We recently met conductor Pablo Heras-Casado in Salzburg to talk about the influence that his mentor Pierre Boulez had on him.
The full interview will be published in mid-March in the very first issue of our MusikSalon, which will be dedicated exclusively to Pierre Boulez.
Visit our #Boulez90 blog to keep track of the latest news on Pierre Boulez and MusikSalon.
Tutuguri is vast – over two hours of music in this performance – and explosively violent. (Andrew Clements, 01.02.2015, The Guardian)
The UK première of Wolfgang Rihm’s Tutuguri was performed by Kent Nagano, the BBC Symphony Orchestra and Leigh Melrose (in the role of the speaker) on 31 January at the Barbican.
Last but not least, we’ve uploaded the study score of the first scene for you, which you can view here.
“Fold by fold” – this is the English translation of the French title; the text was written by Stéphane Mallarmé – is a milestone in recent music history: in this work, Mallarmé – the revolutionary innovator of French poetry – meets Pierre Boulez, whose treatment of the text and instruments reveals him to be just as much a revolutionary innovator of music. Pli selon pli is therefore not just a “Portrait de Mallarmé”, but also one of Pierre Boulez. (Bálint András Varga)
On 3 February Matthias Pintscher, soprano Marisol Montalvo, the ensemble intercontemporain and the Orchestre du Conservatoire de Paris present an evening with Pierre Boulez’ Pli selon pli and Edgard Varèse’s Amériques at the Philharmonie de Paris.
Find out more on the website of the Philharmonie de Paris.
Watch an excerpt of Boulez conducting Pli selon Pli:
Charles Dutoit’s performance with the Royal Philharmonic Orchestra, the final work in a Hungarian-themed evening, was a fine reminder of [Bluebeard’s Castle’s] power to haunt and disturb by musical means alone. (Tim Ashley, The Guardian, 28.01.2015)
The full Aldeburgh Festival 2015 programme has been announced earlier this week. Find out more on our #Boulez90 blog.
Find out more on the website of the Mondavi Center or watch a short feature on YouTube in which the conductor talks about Sinfonia and the Music & Words Festival:
Texts live their independent lives and they wait for us: each person has their own time for finding those texts. These encounters occur when the texts are no longer considered as literature or works of art, but as anchors or models. (Arvo Pärt)
Last Friday the Arvo Pärt Centre presented its first book “In principio. The Word in Arvo Pärt’s Music” in the hall of Estonian Academy of Sciences.
The book brings together 81 texts of Arvo Pärt’s works, complete with English translations. The works have been arranged chronologically, encompassing Pärt’s work over almost 60 years.
Find out more about the book on the website of the Arvo Pärt Centre.
Photos from the presentation are available on the Centre’s Facebook page.
“If quartets are usually a conversation, drunken banter appeared to dominate the opening. But gradually, slowly, moments of captivating clarity began to appear, the blurred and often abrasive surface gave way to the cold, beautiful regions beneath.” (Guy Dammann, The Guardian, 21.01.2015)
Find the full review on The Guardian.
That the orchestra accomplished so much in a single weekend […] is astonishing. Then again, it also makes perfect sense. That's what you do for someone you love. (Zachary Lewis, cleveland.com, 17.01.2015)
Each [of the five Notations] still seems as musically inevitable as the 1945 piano pieces did. Conductor and orchestra gave committed performances that surely would have pleased the French master. (Timothy Robson, bachtrack, 18.01.2015)
It is with great pleasure that we present our tribute to Arvo Pärt in his 80th year. Tintinnabuli (from the Latin for ‘bell’) is the compositional style created by Arvo Pärt which informs every work on this recording. In all my searchings for inspiring contemporary music I have not come across anyone to rival him. (Peter Phillips)
The Tallis Scholars’ “Arvo Pärt: Tintinnabuli”-CD will be released on 2 March 2015. The official release page is up and running: visit the website of Gimell to read the liner notes and listen to excerpts of the recording’s 23 tracks.
We’ve just sent out our first newsletter of 2015:
– Manfred Gurlitt’s Soldaten [Soldiers] to be staged at the Theater Osnabrück
– Morton Feldman: The 1986 Darmstadt Lecture
– Study scores of Haas’ Traum in des Sommers Nacht, Rihm’s Tutuguri and Gurlitt’s Soldaten
It was not ingratiating, nor neo-Classical in the sense of offering hummable tunes in a definable style, but it was pleasing to the ear. […] The dense textures of the music were pulled apart like cotton balls to reveal the air between and around them. (Anne Midgette, The Washington Post, 15.01.2015)
Anne Midgette has reviewed the American première of Wolfgang Rihm’s Piano Concerto No. 2, which was recently given by Tzimon Barto and the NSO under Christoph Eschenbach at The Kennedy Center in Washington. A second performance of the concerto will take place this Saturday.
Read the full review on the website of The Washington Post.