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New Music Concert Listings - Germany

Welcome to the Composition:Today New Music Concert Listings.
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9 Sep

 Friday, September 09, 2016 at 8pm 
Haus der Berlin Festspiel


Clément Saunier Trumpet

Jean-Christophe Vervoitte Horn

33 1/3 Collective Video and kinetic sculpture

Founded in 1976 by Pierre Boulez in Paris, Ensemble intercontemporain is one of the most long-standing specialist ensembles for New Music. Its members, all of them internationally renowned soloists in their own rights, have significantly contributed to the performance practise of New Music. Composer and conductor Matthias Pintscher has been the ensemble’s music director since 2013. At last year’s Musikfest Berlin, he conducted the Berliner Philharmoniker for the first time. This year, the first part of his concert will present his ensemble cycle sonic eclipse, which centres on trumpet and cornet. As if in a lunar or solar eclipse, the two protagonists’ sound characteristics slowly spread over each other, drawing the other instruments into their gravitational fields.

Wolfgang Rihm’s Concerto Seraphin, commissioned and premiered by Musikfest Berlin eight years ago, is part of a larger body of work that consists of a topical core to which further parts and layers were continually added over the years. The central sources of inspiration for Rihm were Antonin Artaud’s and Charles Baudelaire’s texts on the Théâtre de Séraphin. In their project No More Masterpieces, the Dutch experimental video artists of 33 1/3 Collective developed digital imagery that draws on Antonin Artaud’s radical and provocative manifest of the same title and extends Wolfgang Rihm’s Concerto Séraphin into the world of kinetic visuals.

Matthias Pintscher : sonic eclipse for trumpet, horn and ensemble celestical object I – celestical object II – occultation
Wolfgang Rihm : Concerto »Séraphin« for 16 players performed in combination with No More Masterpieces by 33 1/3 Collective

10 Sep 
11 Sep

 Sunday, September 11, 2016 at 10am 
Philharmonie Hall, Berlin


Pekka Kuusisto Violin

Paul Jeukendrup Sound Direction

Edgard Varèse’s admiration for Beethoven has been documented in multiple ways. A photograph shows a Beethoven portrait on his desk. For him, Beethoven embodied the prototype of a modern composer. Beethoven was also the model for the title figure Jean-Christophe by Romain Rolland, who was a friend of Varèse’s. The author incorporated some of Varèse’s characteristics into his fictitious character. The world premiere of Déserts in 1954 in Paris under Hermann Scherchen was a scandal. The audience reacted with incomprehension to the audio tape recordings Varèse used to enrich his musical language. In Hamburg, however, where Déserts was performed in the same year under Bruno Maderna, the work met with great success. This time, Karlheinz Stockhausen modulated the audiotape interpolations. The fusion of exterior impulses and impressions with inner images are as applicable to Varèse’s Déserts piece as they are to Ligeti’s Concert for Violin and Orchestra. In Ligeti’s music, an amalgam of heterogeneous impressions – impressions of African music, geometry, untempered tuning systems – leads to new rhythmic constellations, harmonious colours and moulding processes.

Edgard Varèse : Déserts für 15 Instrumentalisten, Schlagzeuger und Tonband
Gyorgy Ligeti : Violin Concerto
Ludwig Van Beethoven : Symphony No. 3 in E flat major Eroica

12 Sep

 Monday, September 12, 2016 at 6pm 
Philharmonie Hall, Berlin



“This piece is one of the monuments of piano literature. It is the work of a composer who was a pianist himself and who knew and understood his instrument extremely well. That is why he was able to radically transform the writing of music for this instrument. Due to Boulez’ permanent endeavours to renew himself, each work illustrate a further step on his path of creative exploration. And yet they all contain an effortless energy and creativity. This adventure of playing his entire works for solo piano, and finally, as the crowning piece, the second book of his Structures, marks one of my most intense experiences as a pianist. ”

Pierre-Laurent Aimard 2011

Pierre Boulez : Douze Notations
Pierre Boulez : Première Sonate
Pierre Boulez : Deuxième Sonate
Pierre Boulez : Troisième Sonate
Pierre Boulez : Incises
Pierre Boulez : Une page dʼéphéméride
Pierre Boulez : Structures for two pianos, Deuxième Livre

13 Sep 
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22 Sep

 Thursday, September 22, 2016 at 7pm 
Philharmonie Hall, Berlin



With La Mer, “three symphonic sketches for orchestra” premiered in Paris in 1905, Claude Debussy created a work that many classical music lovers consider a high point of impressionism in music. The composer himself, however, reacted sensitively when the term, first used in 1874 in connection with a painting by Claude Monet, was applied to his compositions: “It is only journalists doing their job who call them that,” he had his literary alter ego, the self-titled anti-dilettante Monsieur Croche, proclaim: “That’s of no importance”. It was less fear that his compositions would be compared with paintings than a general aversion to overly facile categorisations that inspired Debussy to call for an attack against all “-isms”. Nonetheless, precisely a piece like his compositional seascape La Mer contributed to the word “impressionism” soon being used in the field of music without negative connotations.

Like many French composers of the following generation, Henri Dutilleux was also influenced by Debussy’s music – at times more to distinguish his own from it. Thus the composer, who died in 2013 at the age of 97, once confessed: “I have a tendency – it’s almost entirely intuitive – not to present the theme in its definitive state at the beginning. It is not cyclic form, that is different; in cyclic form, the theme is a given from the beginning, as for instance in Debussy’s Quartet. It’s different in my music: I use small cells which develop bit by bit.” The orchestral composition Métaboles from 1964 that will be played in this programme is considered a milestone in Dutilleux’s compositional development. Daniele Gatti, who took up his duties as chief conductor of the Amsterdam Concertgebouw Orchestra at the beginning of this season and who could last be experienced conducting the Berliner Philharmoniker in 2014, will kick off the evening with Swiss composer Arthur Honegger’s Third Symphony, the so-called Liturgical. Composed in the years 1945-46, inspired by psalm texts and passages of the mediaeval requiem mass, the work, according to the composer, represents “an unabashedly personal dialogue with the specific liturgical texts”, but nonetheless has a clear message to his listeners: “It is the inner peace of mind that faith gives, the peace of the heart, nature, life – how things could be if humanity had the goodwill.”

Concerts 22, 23, 24th

Arthur Honegger : Symphonie liturgique (Symphony No. 3)
Henri Dutilleux : Métaboles
Claude Debussy : La Mer

23 Sep 

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