Dieter Ammann – glut (2016)

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Dieter Ammann: “glut” (2014-2016) for orchestra, Tonhalle-Orchester Zürich. (The images of the score are examples and are not meant to correspond to the music being heard).

“A world whose inner glow, shaped into sound, drives towards the external.” This is how Dieter Ammann describes his new orchestral work, composed as part of the “Œuvres Suisses” for the Tonhalle Orchestra and the Bern Symphony Orchestra. The title glut can be understood in both German and English and determines the programme of the work. Translated, it means blaze, glow, fervour. Dieter Ammann’s music is generally characterised by its open, energetic, surprising and communicative quality, and consistently through a high density, a refined, sophisticated texture. glut now continues in the same vein: “Even by my standards”, says Ammann, the new work is “characterised by an exceptionally high concentration of events. This concentration relates not only to what is heard simultaneously – that is the vertical – but also to the multitude and complexity of the processed concepts of sound, and therefore to the great diversity of textures which successively unfold in the course of the piece.”

The greatest possible diversity of musical material is used in order to illuminate the “machine of the orchestra” from various angles, and to realize the composer’s acoustic vision. What results is a constantly changing topography of sounding phenomena, held together dramaturgically firstly by references forwards and backwards to events, and secondly through “steady” harmonic fields, some of which acquire the function of caesura because of their extended duration. Through this, they make the formal sequence more comprehensible, similar to the way that cadences assume this function in major-minor tonal music.

glut, this time in the sense of fervour, also becomes a metaphor for the process of composing: the title stands, according to Ammann “for the passion of researching in one place for months at a time, of burying yourself in the infinite mass of possible sounds, and so of stumbling into areas which were unknown to you before. There, only a slow, intuitive moving forward is possible in order to give shape to the imagined. At the same time, however, a music of this kind developing in every dimension, that is from the single note via complete passages to the overall form, must be examined and tested in its substance, which in turn requires a rational approach. Working on this piece, to maintain the contradiction, also therefore means to be on a journey in a world as a searcher, at the same time as you are its own creator.’

Alva Noto & Ryuichi Sakamoto – Vrioon (2002)

Vrioon is the debut collaboration album between Ryuichi Sakamoto and Alva Noto, released in 2002 [source]

Music By – Alva Noto and Ryuichi Sakamoto

Piano – Ryuichi Sakamoto / Sounds [Additional Sounds] – Carsten Nicolai

  1.  “Uoon I” 13:51
  2.  “Uoon II” 9:40
  3.  “Duoon” 5:46
  4.  “Noon” 10:13
  5.  “Trioon I” 5:09
  6.  “Trioon II” 9:57

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Yuja Wang photos going viral

Acclaimed pianist Yuja Wang recently performed with the Rochester Philharmonic Orchestra. The programme included Bartok’s two piano concerts. But it is the racy dress and the high heel shoes that are creating headlines and controversy.

And fast breathing by men all over the world.

Parts of the conservative classical music world are upset about the flashy pianist, but it is nothing new that she has her own fashion style. She is famous for that. Not only is she getting attention from people who normally don’t listen to classical music – granted, some will just stay for the photos! – but she also looks stunning.

Go, Yuja!

Here is the programme for the night.

LSO Conductor lineup announced

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London Symphony Orchestra just announced today that Gianandrea Noseda will join them in 2016/17 as Principal Guest Conductor, alongside Daniel Harding. Michael Tilson Thomas becomes Conductor Laureate; and Andre Previn becomes Conductor Emeritus. The family is completed by Sir Simon Rattle as Music Director from 2017/18 and Elim Chan, the Assistant Conductor.

Hanns Eisler – 14 Arten den Regen zu beschreiben (14 Ways To Describe The Rain), Op. 70 (1941)

In 1941, Eisler wrote music for the 1929 black-and-white documentary Rain by legendary Dutch director Joris Ivens. The Ivens website describes the film as “a very poetic film with changing moods, following the change from sunny Amsterdam streets to rain drops in the canals and the pooring rain on windows, umbrellas, trams and streets, until it clears up and the sun breaks through once again.” Eisler’s score was written as an experiment for the Rockefeller Foundation’s Film Music Project at the New School in New York City. The music does not exactly correspond to the mood of each image in the film; instead, it explores the textures of sadness—an unusual theme for Eisler. The chamber suite based on the film score was one of Eisler’s favorite works and is a study in his communicative style of twelve-tone music. It was premièred in Arnold Schönberg’s home in Los Angeles for the elder composer’s seventieth birthday celebration in 1944. [source]

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Toshiyuki Kamioka appointed Chief conductor for Copenhagen Phil

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Toshiyuki Kamioka is appointed Copenhagen Phil’s chief conductor from the season 2016/2017 for a four year period.

Toshiyuki Kamioka was born in 1960 in Tokyo, where he studied conducting, composition and piano and violin at the National University of Fine Arts & Music. In 1982 he was awarded the coveted ‘Ataka Prize’ and two years later he received a Rotary scholarship to study conducting with Klaus Peter Seibel at the conservatory in Hamburg.

In 1987 he became associate professor of chamber music and accompaniment at the Hamburg Conservatory, and in season 2000/2001 he became professor of opera classes at Frankfurt-am-Main Conservatory. Since autumn 2004, he worked as a professor at the Hochschule für Musik Saar in Saarbrücken, where he has been dealing with the development of the next generation conductor – a profession that keeps him sharp and professional completely out of her fingers.

Toshiyuki Kamioka got his first theater experience as chorus master for soloists and conductor at Städtische Bühnen in Kiel. From 1992 to 1996 he was first Kapellmeister at the Aalto Theater in Essen. Between 1996 and 2004 he was General Music Director of the Hessisches Staatstheater in Wiesbaden. During the eight seasons from 1998 to 2006 was Kamioka Chief Conductor of the Nordwest-Deutsche Philharmonie in Herford and was also regularly invited to tour in Germany and abroad. Concerts with ensembles such as the NHK Symphony Orchestra in Tokyo and the Bamberg Symphony Orchestra has given Kamioka an international reputation, where both the press and the public have praised him for his sophisticated musical interpretations. Besides his conductor exposures occur Toshiyuki Kamioka regularly as a subtle and virtuoso piano soloist.

Toshiyuki Kamioka was General Music Director of the Wuppertal Symphony Orchestra in the season 2004/2005, where he 2009/2010 season was the chief conductor and artistic director. Under his baton the Wuppertal Symphony Orchestra evolved significantly both musically and technically in an orchestra class.

Kamioka has also served as General Music Director of Saarländisches State Theatre in Saarbrücken since the 2009/2010 season until the summer of 2014. Since 2014/2015 he has been General Music Director and Artistic Director of Wuppertaler Bühnen und Sinfonieorchester GmbH.

In 2010, Toshiyuki Kamioka ‘Von der Heydt-Kulturpreis’ in Wuppertal. In early 2011 allocated Music Pen Club Japan him a ‘concert Prize’ for his work as a conductor for Japanese orchestras and to have toured in Japan with the Wuppertal Symphony Orchestra.

Sándor Veress – Hommage à Paul Klee (1951)

Composed By – Sándor Veress / Conductor – Heinz Holliger / Orchestra – Budapest Festival Orchestra / Piano – András Schiff and Dénes Várjon

Sándor Veress was a Swiss composer of Hungarian origin. He has (among others) been teached by Zoltán Kodály and Béla Bartók, and he has teached György Ligeti, György Kurtág, Heinz Holliger, Heinz Marti, Jürg Wyttenbach and Roland Moser.

I : Zeichen in Gelb, Allegro (Mark in Yellow)

II : Feuerwind, Allegro molto (Fire wind)

III : Alter Klang, Andante con moto (Old Sound)

IV : Unten und oben, Allegretto piacevole (Below and Above)

V : Steinsammlung, Allegretto (Stone Collection)

VI : Grün in Grün, Andante (Green in Green)

VII : Kleiner Blauteufel, Vivo (Little Blue Devil)

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