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New Music Concert Listings
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| 8 Sep |
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14 Sep
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Tuesday, August 14, 2012 at 7.30 pm
LUCERNE FESTIVAL ORCHESTRA Brass Ensemble | Lutz Köhler | Birgit Remmert
Lucerne Festival
Lucerne
Switzerland
http://e.lucernefestival.ch
The phrase “Brass Ensemble” isn’t associated only with swinging rhythms, lively medleys, and the immortal sounds of the music hall. Even the Bible ascribed a very special role to wind instruments, especially when they appear in larger formations. Think of the dedication of the Temple in Jerusalem, when 120 trumpeters are said to have played, or of the seven “trumpets of rams’ horns” that rang out as the walls of Jericho fell. And contemporary composers have also recognized the spiritual potential of brass instruments—which is exactly why the LUCERNE FESTIVAL ORCHESTRA Brass Ensemble is able to perform a program of nothing but original works this year. All of them are eminently suited to the theme of “Faith,” from pieces by the Russians Sofia Gubaidulina and Galina Ustvolskaya and by the Karlsruhe master Wolfgang Rihm to music by Carl Ruggles and Einojuhani Rautavaara, who commune with angels.
Sofia Gubaidulina : In the Beginning There Was Rhythm
Carl Ruggles : “Angels” for Muted Brass
Wolfgang Rihm : Sine Nomine I
Galina Ustvolskaya : Symphony No. 4 “Prayer”
Samuel Barber : “Mutations from Bach” for four french horns, three trumpets, three trombones, tuba, and timpani
Einojuhani Rautavaara : “Playground for Angels” for four trumpets, four trombones, french horn, and tuba
Galina Ustvolskaya : Symphony No. 5 “Amen”
Sofia Gubaidulina : Risonanza
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| 15 Sep |
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| 16 Sep |
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| 17 Sep |
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18 Sep
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Saturday, August 18, 2012 at 11 am
Collegium Novum Zürich | Wilfried Hiller | Elsbeth Moser | Hubert Nettinger | Elisabet Woska
Lucerne Festival
Lucerne
Switzerland
http://e.lucernefestival.ch
Collegium Novum Zürich: Bettina Boller violin | Martina Schucan violoncello | Simon Lamothe-Falardeau tuba | Christoph Keller piano | Wilfried Hiller conductor (Hiller) | Hubert Nettinger tenor (Hiller) | Elsbeth Moser bayan | Elisabet Woska narrator (Hiller) | Stefan Blum percussion | Thomas Hastreiter percussion | Werner Hofmeister percussion | Edith Salmen percussion | Sebastian Hollunder piano and organ (Hiller)
“My way of working is essentially different from that of other composers,” Galina Ustvolskaya once observed. “I write when I find myself in a state of grace.” Music as worship, as testimony to a higher inspiration? This concert launches the Credo series with a gathering of four composers whose works also contain a spiritual message: first is Sofia Gubaidulina, who musically traces the symbol of the cross in her duo “In croce” and who depicts the soul’s ascent into heavenly heights in “De profundis,” which was inspired by Psalm 130 (“Out of the depths, o Lord, I cry to You”). Her Bavarian colleague Wilfried Hiller similarly drew on a biblical text for his monodrama from 1979, “Ijob”: the story of a man who loses everything because God wishes to test his faith.
Wilfried Hiller : Ijob
Galina Ustvolskaya : Piano Sonata No. 6
Galina Ustvolskaya : Composition No. 1 “Dona nobis pacem”
Sofia Gubaidulina : “In croce” for Violoncello and Bayan
Sofia Gubaidulina : “De profundis” for Solo Bayan
Sofia Gubaidulina : “Silenzio” for Bayan, Violin, and Violoncello
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19 Sep
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Sunday, August 19, 2012 at 6.30 pm
Junge Philharmonie Zentralschweiz | Latvian National Choir | Andres Mustonen | Soloists
Lucerne Festival
Lucerne
Switzerland
http://e.lucernefestival.ch
Junge Philharmonie Zentralschweiz | State Choir "Latvija" | Andres Mustonen conductor | Raminta Vaicekauskaitë soprano | Mati Turi tenor | Vytautas Juozapaitis baritone | Gennadi Bezzubenkov bass
Sofia Gubaidulina faced a dilemma when she took up a commission to compose a Passion for the Bach anniversary year in 2000: “In Russian liturgical practice, there is no Passion tradition,” she remarked. “The Orthodox Church’s practice is to avoid any reference to personal representation or characterization and to anything theatrical.” Yet Gubaidulina solved the problem by freely combining excerpts from the Passion narrative told in the Gospel of St. John with verses from the visionary Book of Revelation, often setting them to music simultaneously. Her “St. John Passion” is closer to a ritual than to a theological plot. Shortly after the world premiere, she complemented the Passion with another large-scale work, the oratorio “St. John Easter” (2002), which focuses on the events involving the resurrection of Jesus Christ. Together they form a diptych that is her opus summum—and a centerpiece of this summer’s career retrospective in Lucerne.
Sofia Gubaidulina : St. John Passion
Sofia Gubaidulina : St. John Easter
Sofia Gubaidulina : In Russian
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19 Sep
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Sunday, August 19, 2012 at 11 am
Ensemble intercontemporain | Pablo Heras-Casado
Lucerne Festival
Lucerne
Switzerland
http://e.lucernefestival.ch
Ensemble intercontemporain | Pablo Heras-Casado conductor
It was a series of paintings by Francis Bacon that inspired Philippe Manoury to compose his “Fragments pour un Portrait.” Much as Bacon brought a new perspective to Velázquez’s “Portrait of Pope Innocent X,” Manoury deployed the same musical material for the seven movements of his ensemble piece—and in the process created seven different manifestations of an imaginary single-movement piece. Michael Jarrell was similarly inspired by other artistic disciplines: “La Chambre aux Échos,” which was commissioned by LUCERNE FESTIVAL in 2010 and which will now be performed in its completed version, draws on Richard Powers’s novel by the same name and explores the phenomenon of memory and of the genesis of feelings. Led by Spanish conductor Pablo Heras-Casado, the Ensemble intercontemporain will present an exemplary performance that will also serve as a point of reference for students of the LUCERNE FESTIVAL ACADEMY, who themselves will then perform Jarrell’s score as part of their concert on 1 September.
Sean Shepherd : “Blur” for Ensemble
Michael Jarrell : "La Chambre aux Échos" for Ensemble
Philippe Manoury : “Fragments pour un Portrait” for Large Ensemble
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20 Sep
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Monday, August 20, 2012 at 7.30 pm
Lucerne Symphony Orchestra | James Gaffigan | Hélène Grimaud | Hans Christoph Begemann
Lucerne Festival
Lucerne
Switzerland
http://e.lucernefestival.ch
Lucerne Symphony Orchestra | James Gaffigan | Hélène Grimaud | Hans Christoph Begemann
Wolfgang Rihm has never been afraid of grappling with music historical tradition. “Nähe fern” (“Near Far”) is his new, four-part cycle of orchestral works and will be heard in this concert for the first time in its complete version as a kind of disguised symphony, thus concluding Lucerne’s Brahms/Rihm series. In this work Rihm gives an entirely personal musical response to the four symphonies of Johannes Brahms. Yet his points of reference are extremely subtle: there are no direct quotations, no all-too-obvious echoes of Brahms’s musical language, which here represents the “Near.” Rihm instead homes in on the organic way in which melody is made to flow and on the refined art of motivic development that Arnold Schoenberg so deeply admired in his essay “Brahms the Progressive.” Meanwhile, the program’s second half presents the actual music of Brahms, in the original, as French master pianist Hélène Grimaud appears at the keyboard for the dramatically compelling First Piano Concerto.
Wolfgang Rihm : Symphony “Nähe fern”
Johannes Brahms : Piano Concerto No. 1 in D minor, Op. 15
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| 21 Sep |
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| 22 Sep |
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| 23 Sep |
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| 24 Sep |
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| 25 Sep |
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| 26 Sep |
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| 27 Sep |
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| 28 Sep |
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| 29 Sep |
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| 30 Sep |
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1 Oct
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Saturday, September 1, 2012 at 11 am
Neue Vocalsolisten Stuttgart
Lucerne Festival
Lucerne
Switzerland
http://e.lucernefestival.ch
Neue Vocalsolisten Stuttgart
“What is eternity?” asks the Silesian Baroque poet Angelus Silesius in one of his mysterious epigrams, only to provide a paradoxical answer: “It is not this, not that, / Not now, not aught, not nothing; it is I know not what.” Heinz Holliger has set ten poems from Angelus Silesius’ “The Cherubic Pilgrim” to music, all of which revolve around metaphysical questions of nothingness, space, time, and the nature of God. The same can be said of the other works on this Sunday matinee program of a cappella music. For example, Michael Jarrell grapples with a fragment of the Greek philosopher Parmenides, while in his musical-dramatic cycle LICHT (“Light”), Karlheinz Stockhausen once again undertook a comprehensive worldview at the end of the 20th century. The Neuen Vocalsolisten Stuttgart will present the concluding text from “Wednesday” in the LICHT cycle—a composition Stockhausen incorporated into the design of his own grave.
Michael Jarrell : “… car le pensé et l'être sont une même chose …”
Heinz Holliger : nicht Ichts – nicht Nichts.
Salvatore Sciarrino : Tre canti senza pietre
Karlheinz Stockhausen : “Menschen, hört” from “Mittwoch aus LICHT”
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