The inextricable link between Gilbert Kaplan and Mahler’s Symphony No. 2 is familiar to just about every music lover. The arrangement for chamber orchestra of Mahler’s Symphony No. 2 by Gilbert Kaplan and Rob Mathes makes it possible for chamber orchestras to perform this piece, for which usually more than 100 musicians are needed.
The world première of the arrangement takes place on 17 February 2013 at the Wiener Konzerthaus, with Gilbert Kaplan conducting the Wiener KammerOrchester, the Wiener Singakademie and the soloists Marlis Petersen, soprano and Janina Baechle, mezzo-soprano.
Symphony No. 2
for soli, mixed choir and small orchestra | 80‘
2 2 2 2 - 3 3 2 1 - timp, perc, hp, org, str
17/2/2013, Konzerthaus, Vienna; Marlis Petersen, s; Janina Baechle, ms; Wiener Singakademie; Wiener Kammerorchester, cond. Gilbert Kaplan
Happy Birthday Yukiko Watanabe!
The winner of the Ö1 Talentebörse – Kompositionspreis 2011 on her work ver_flies_sen:
This piece's German title has three meanings, all of which are phonically unrelated in English: Fliese (= n.: tile), fließen (= v.i.: to flow, to stream) and verfließen (= v.i. pass by).
I had started writing the piece when I saw the beautiful picture O Hungaro (The Hungarian) by the Brazilian artist Adriana Varejão, in which she depicts a tiled swimming pool. The tiles – all of them of identical - seem to be contorted, due to the water.
That became the inspiration for my piece. First, I built the fundament – nine invisible layers, all of them moving in different tempi; then I placed suitable notes overtop.
The music is in constant motion, sometimes losing its shape inscrutably, like tiles in the water or vague old memories as one looks back on them.
On his blog Entartete Musik, Gavin Plumley reviews Gustavo Dudamel’s recent recording of Mahler’s 9th Symphony, noticing “yearning tempo changes” and “the feeling of an unstoppable juggernaut”.
In September 2010, we interviewed Gustavo Dudamel for our new publication Gustav Mahler: The Conductors’ Interviews (you can watch all of the video-interviews here). Dudamel himself describes the music of the 9th as “perfect. You don’t have to do anything. The notes are there and the indications, ‘faster’, ‘slower’, ‘pianissimo’, ‘sostenuto’, ‘marcato’, everything. The only thing you can add is the energy and the vision.”
Furthermore, he remembers what Sir John Berbirolli once said about Jacqueline du Pré: “If you don’t exaggerate when you’re young, then what are you going to do when you’re old?”
Diego Collatti will be guest at the Ö1 Spielräume Nachtausgabe on 8 February at 23:03. The topic of his talk with Mirjam Jessa: “Tango – danced passion”.
On 1 February 2013, Dima Slobodeniouk conducts a memorial concert at the Auditorium Toscanini in Torino to honour the distinguished composer who passed away ten years ago († 27 May 2003). The Orchestra Sinfonica Nazionale della RAI Torino is performing three of Berio’s key works.
for orchestra | 11’
Luciano Berio: Requies
for chamber orchestra | 17’
Luciano Berio: Sinfonia
for 8 voices and orchestra | 35’
Orchestra Sinfonica Nazionale della RAI Torino; c. Dima Slobodeniouk
3 of David Fennessy’s chamber works will be performed on 4 February at the Southbank Festival. Among the performers are Mira Calix (live electronics), John Reid (piano) and Oliver Coates (cello).
David Fennessy on The
first thing, the last thing and everything in between
David Fennessy on The room is the resonator
Tom Service on Schönberg’s anti-revolutionary qualities: “The most radical thing about Schoenberg's Second String Quartet is precisely that there isn't a big musical signpost declaring: 'No key signature ahead – beware!'”
Read the full article on the Guardian.
Listen to an excerpt of the String Quartet No.2
Find out more at the Welsh National Opera