This lecture-recital, accompanied by projections from the stage, will read between the ledger lines and unlock the secrets behind one of the Second Viennese School’s most passionate scores.
Tickets are still available – or you can watch the live stream from the comfort of your own home.
It’s been 80 years to the day since the world première of Alban Berg’s Violin Concerto “In Memory of an Angel”.
In February 1935 Alban Berg was approached by the American violinist Louis Krasner with a request to write a violin concerto. The resulting concerto – the last work that Berg completed – was first performed on 19 April 1936 by Krasner and the Casals-Orchestra in Barcelona.
The first issue of the Universal Edition listening lab is dedicated to Berg’s Violin Concerto:
“Man hat es hier nicht mit einer Symphonie oder Suite zu tun, in deren Orchester auch ein Klavier verwendet und gelegentlich solistisch bevorzugt wird: Das Klavierkonzert von Wellesz ist ein richtiges Konzert, der Part tritt hervor und lebt sich in Toccaten-Sätzen aus.” (P. Stf., Musikblätter des Anbruch, 1934)
Kimbo Ishii leads the Oldenburgisches Staatsorchester in two performances of Egon Wellesz’ Piano Concerto (William Youn, pno) on 17 and 18 April at the Oldenburgisches Staatstheater.
The pseudo folkloristic character of some movements in Kantrimiusik, their double-hearted, vague folklore, should certainly not lead to double-hearted presentations. The piece purposely doesn't claim any authenticity with regard to sources, it rather works up the usual apocryph music. Every accurate musical interpretation ought to make clear how much parody and caricature or substantiated seriousness it contains. (Mauricio Kagel)
Under the motto “20 years of bilateral collaboration between Belgium and Lithuania” Vykintas Baltakas, the Het Collectief ensemble and LENsemble will be presenting a composer portrait of Mauricio Kagel. For more information and the full program book visit the website of Vykintas Baltakas.
Among the works performed will be Kagel’s Kantrimiusik:
Jenůfa and Katya and Makropulos are constructed like what I’d call in English “a well-made play”. They are linear stories with three acts: a beginning, a middle, an end. (David Pountney)
Tonight David Pountney’s production of Leoš Janáček’s Jenůfa (cond. Ingo Metzmacher) returns to the Wiener Staatsoper.
It is obvious that if there remains any hope for the survival of folk music [...] an artificial erection of Chinese walls to separate peoples from each other bodes no good for its development.
A complete separation from foreign influences means stagnation: well assimilated foreign impulses offer possibilities of enrichment. (Béla Bartók)
Béla Bartók was born today 135 years ago.
The quote above is taken from a text by the composer on “race purity in music” – read more on our MusikSalon.
Possibly one of Mahler’s most passionate emotional outbursts and autobiographical creations, Mahler’s Symphony No. 10 is a fascinating journey, not only for performance aspects, but also for musicological and analytical ones, providing a deep psychological pathway into the genius that was Mahler – a mesmerising voyage for the composer, performer and conductor. (Michelle Castelletti)
On 24 March, John Storgårds will conduct the Finnish première of Michelle Castelletti’s arrangement of Gustav Mahler’s Symphony No. 10 in Korundi.
The latest issue of the MusikSalon is out now!
In an in-depth interview, Georg Friedrich Haas talks about his opera Morgen und Abend. Kasper Holten, Director of Opera at the Royal Opera House, and Michael Boder, who conducted the world première, are also interviewed.
Furthermore, two important works from the UE catalogue will be presented: the violin concertos by Georg Friedrich Haas and Kurt Weill, for which we interviewed the soloists Ernst Kovacic and Benjamin Schmid.
You can watch the trailer here:
Tom Fool’s Wooing for 14 solo voices, was initially conceived for the John Allldis choir, who had performed an earlier work of mine (Cipriano) for 10-voice ensemble. The writing took from 1975 to 1978, three emotionally and financially turbulent years, and by the time it was finished, the choir was no longer in existence. In 2013 James Weeks told me of his intention to finally perform the work, and, after looking through the score, I decided to considerably revise the central folk-play that lends the work its title. (Michael Finnissy)
On 12 and 13 March, the Guildhall School and Exaudi present a weekend of events in celebration of Michael Finnissy’s 70th birthday, which takes place on 17 March. Among the works performed will be the long awaited world première of Tom Fool’s Wooing for 14 voices.
“… once the musicians found their collective feet conductor Marc Niemann was able to exploit the music’s colour, dynamism and swift dramatic pacing to the full.” (Matthew Rye, ferneklang.blogspot.co.at, 7 March 2016)
Antony Beaumont on Gurlitt’s opera:
“In contrast to Berg’s setting of the same text, Gurlitt interprets the drama with little structural, harmonic or instrumental refinement – not on account of any particular technical deficiencies, but rather because he approaches the subject from the standpoint of spoken theatre.”
On 5 March at 19:05 on Deutschlandradio Kultur: listen to Alban Berg’s Lulu, recorded on 21 November 2015 at the New York Metropolitan Opera.
The programme also features an interview with Friedrich Cerha, in which the composer talks about his realization of the opera’s third act.
Find out more about the event on the website of the Red Note Ensemble.
“I had worried that I’d find the darkness oppressive, and that the loss of sight might induce claustrophobia – or, worse, the sense of being taken for a ride by a composer obsessed with control. Instead I found the darkness that settled over the sold-out auditorium to be warm, convivial and conducive to a state of heightened listening in which Mr. Haas’s fragile, searching music took on vivid, sensuous plasticity.”
Corinna da Fonseca-Wollheim has recently reviewed the American Immersion concert series with the Talea Ensemble.