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New Music Concert Listings - Germany

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30 Aug

 Sunday, August 30, 2015 at 12pm - 5pm 
MikroMusik Festival
Kapelle der Versöhnung (Chapel of Reconciliation)
Bernauer Straße 4, 10115 Berlin, Germany

Erik Drescher
Rishin Singh
Michelle O' Rourke
Johnny Chang

once below (2015) is a double quadraphonic sound installation with intermittent soloists, which focuses on time, place and our ever-changing contexts of hearing. The entire work is based on recordings made in a bunker underneath Gesundbrunnen Station, Berlin. Most of the sounds recorded are not audible to our naked ears. They are hidden and yet feel very real and present. These sounds themselves adhere to their own rhythm and time, in which we play little part. This work brings many aspects of Karen’s work together in a very special and unique venue; Kapelle der Versöhnung (Chapel of Reconciliation). Here, the two sound installations are naturally separated through the chapel dome offering audiences the opportunity to experience a creative manipulation of hidden and audible from this special world below. 4 soloists will ‘drop-by’ to perform a short composed piece in the outer space at numerous times throughout each day, which offers yet another context, another time, another space that changes how we hear everything.

Karen Power : once below (2015)

31 Aug 
1 Sep 
2 Sep

 Wednesday, September 02, 2015 at 8pm 
Synergy Vocals / Ensemble Modern
Musikfest Berlin
Berliner Festspiele Schaperstraße 24 10719 Berlin
+49 30 254 89-244

NORBERT OMMER sound projection
BRAD LUBMAN conductor

When Minimal Music was invented in the 1960s many a critic would have loved for time to simply stop: hadn’t a contemporary method finally been found that was still functional at the tonal level, and which clearly differentiated itself from the music of old Europe that was becoming ever more complex? The most important composers of the minimalist scene, however, rejected using the new technology in a dogmatic manner. It seemed like a taboo had been broken when John Adams linked the idea of emotional development and ecstasy with strict minimalist patterns in his “Shaker Loops”. The legendary work, which Ensemble Modern and Synergy Vocals present under Brad Lubman, is one of three successful attempts to seek liberation from the chaste, pure tenets of Minimal Music. What Arnold Schönberg and American cartoon music have in common can be heard in Adam’s popular “Chamber Symphony”, while Steve Reich’s “Tehillim” newly invents Hebrew psalm singing in the spirit of Minimal Music, a tradition lost in the West.

John Adams : Chamber Symphony
John Adams : Shaker Loops
Steve Reich : Tehillim

3 Sep 
4 Sep 
5 Sep 
6 Sep 
7 Sep

 Monday, September 07, 2015 at 8pm 
SWR Sinfonieorchester Baden-Baden und Freiburg
Musikfest Berlin
Berliner Festspiele Schaperstraße 24 10719 Berlin
+49 30 254 89-244


The symphonic poem “Pelléas et Mélisande” is Arnold Schönberg’s first work for a large orchestra. It was composed during his first stay in Berlin from 1901 to 1903. Schönberg initially worked there as a Kapellmeister at the Berlin literary cabaret Überbrettl and then, on the recommendation of Richard Strauss, taught music theory at the Stern’schen Konservatorium. It was also Richard Strauss who pointed him towards the drama “Pelléas et Mélisande” by Maurice Maeterlinck, recommending it as opera material. In Schönberg’s adaptation of the material, Maeterlinck’s drama is the backbone but does not serve as the content of his symphonic poem. The post-Romantic sound of the large-scale orchestra is never descriptive but transforms the story of “Pelléas et Mélisande” into a sequence of musical moods and images.

Georg Friedrich Haas’ composition “limited approximations” from 2010 integrates six micro-tonally tuned pianos into a large orchestral apparatus, unfolding a fan of iridescent harmonies, nuances and unusually rich consonances. The composition “Arc-en-Ciel” for six pianos by Russian composer Ivan Wyschnegradsky is also symphonic – an attempt to bring to light the microstructures of unusually dense harmonies in all their colour.

Ivan Wyschnegradsky : Arc-en-ciel
Georg Friedrich Haas : limited approximations
Arnold Schoenberg : Pelleas and Melisande

8 Sep 
9 Sep 
10 Sep 
11 Sep

 Friday, September 11, 2015 at 8pm 
Religious Force
Wachsbleiche 16 53111 Bonn
0228 / 7222-0

Julius Berger (Cello)
Hyun-Jung Berger (Cello)
Beethoven Orchester Bonn
Stefan Blunier (Conductor)

Sofia Gubaidulina – of Russian Tartar origin, Orthodox faith and a pupil of Shostakovich – is no longer just an insider tip in the West either. Two Paths, originally for two violas and orchestra, here in a version for two cellos and orchestra. The sub-title ‘in A Dedication to Mary and Martha’ refers to the biblical figures. Their contradictory experience of worldly and spiritual love forms the dramatic inspiration for this music. Posterity has sometimes referred to Bruckner’s fifth symphony as the ‘Church of Faith’, but he called it his ‘Fantastic’, and it is fantastic, through its inventiveness, variety and its overwhelming architecture: it ends with a magnificent double fugue on the main theme of the final movement and a chorale-like climax.

Sofia Gubaidulina : Two Paths
Anton Bruckner : Symphony no. 5 in B flat major

12 Sep

 Saturday, September 12, 2015 at 7pm 
Berliner Philharmoniker
Musikfest Berlin
Berliner Festspiele Schaperstraße 24 10719 Berlin
+49 30 254 89-244



It was not only painting that experienced the emancipation of colour around the turn of the 19th to the 20th century, but also music. And the first place was in France, where Gabriel Fauré and Claude Debussy countered the impressionism of a Monet, Renoir or Pissarro with their very own new colour schemes. Arnold Schönberg, who – like his two French colleagues – was inspired to write his own composition for the drama “Pelléas et Mélisande” (which is not coincidentally marked by an impalpably dazzling water symbolism), intended in 1911 to formulate the vision of a “timbre melody”. Turning this vision into reality continues today to be an exercise in an unbroken force of fascination. Matthias Pintscher’s 2nd Violin Concert, which the composer will conduct himself at the Berliner Philharmoniker, represents one of the most exciting and contemporary solutions. And it also interprets the term impression in its own way – after all, the title “Mar’eh” can also refer to the “aura of a face” according to the composer: “a beautiful appearance, something wonderful that can suddenly appear in front of you.”


SUN 13 SEP 2015, 20:00

G Faure : Pelléas et Mélisande
Matthias Pintscher : Violin Concerto No. 2 Mar’eh
Arnold Schoenberg : Chamber Symphony No. 2 in E flat minor op. 38
Claude Debussy : La Mer

13 Sep 
14 Sep

 Monday, September 14, 2015 at 8pm 
Royal Danish Orchestra
Musikfest Berlin
Berliner Festspiele Schaperstraße 24 10719 Berlin
+49 30 254 89-244



Today, the Royal Danish Orchestra is considered to be the oldest orchestra in the world. Its history begins in 1448, when Det Kongelige Kapel was founded as a royal trumpet corps with twelve trumpets, timpanis and six trombones and an associated choir at Copenhagen’s royal court. Even though it was transferred into state hands in the middle of the 19th century, the Kongelige Kapel’s ties to the royal house were never eradicated. An expression of this solidarity is that guest performances by the Royal Danish Orchestra remain under the patronage of I.K.H. Princess Benedikte of Denmark.

Approximately 440 years after the orchestra’s foundation, a composer was to be found among the second violins who was become the Danish central star among European composers of the turn of the last century: Carl Nielsen. His Fifth Symphony, which was composed in the shadow of World War I and represents a musical manifestation of the struggle between the most elementary natural forces – is considered to be his most sonically most advanced work. In this concert, it is flanked by Arnold Schönberg’s monodrama “Erwartung” (Expectation), an attempt to formulate the moment of highest emotional excitement stretched temporally using musical means.

Per Nørgård : Iris for orchestra
Arnold Schoenberg : Erwartung
Carl Nielsen : Symphony No. 5 op. 50

14 Sep

 Monday, September 14, 2015 at  
Beethoven our Contemporary

Jean-Francois Heisser (Piano)

Beethoven’s ‘Variations’ on Anton Diabelli’s waltz theme still reverberate today. Philippe Manoury is one of France’s leading contemporary composers. A researcher and pioneer of music with live electronics, Beethoven’s ‘Diabelli Variations’ would not let him go, ‘impossible to love the “Diabelli Variations” the way one loves the “Pastoral”’. But Manoury has not composed further variations on these Variations. On the contrary, he extracts individual elements and submerges these into his own idiom. This is no postmodern work, larded with references and quotes, but a work composed ‘while under the influence of Beethoven’.

Isaac Albéniz : Iberia for piano, Premier Livre
Philippe Manoury : Veränderungen (… deuxième sonate …) pour piano
Federico Mompou : Música Callada for piano
Ludwig Van Beethoven : Sonata for piano No. 32 un C minor op. 110

15 Sep 
16 Sep 
17 Sep 
18 Sep 
19 Sep 
20 Sep 
21 Sep 
22 Sep 
23 Sep 
24 Sep 
25 Sep 
26 Sep 
27 Sep 
28 Sep

 Monday, September 28, 2015 at 3.30pm 
Post Tower Lounge

Přemysl Vojta (Horn)
Tobias Koch (Klavier)

Mit Ausschnitten aus Werken von Ludwig van Beethoven und Giselher Klebe.

In diesem Familienkonzert erfährt man viel über die beiden Instrumente Horn und Klavier: Wie funktionieren sie und wie erzeugt man darauf eigentlich Töne? Die beiden Musiker werden gemeinsam mit den Kindern improvisieren und verschiedene Instrumente zum Klingen bringen.

29 Sep 

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