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New Music Concert Listings
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| 7 Jul |
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| 8 Jul |
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| 9 Jul |
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10 Jul
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| 11 Jul |
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12 Jul
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Saturday, July 12, 2014 at 12pm-1pm
The Lawson Trio
Pavilion Arts Centre
Buxton Opera House, Water Street, Buxton Derbyshire, SK17 6XN
United Kingdom
0845 127 2190
http://www.buxtonoperahouse.org.uk/pavilion-arts-centre
The Lawson Trio
Gaining recognition for powerful interpretations of both new and established repertoire, the Lawson Trio appears at major venues including London’s Wigmore Hall, King’s Place and Southbank Centre. Selected as a featured artist for recent seasons by Park Lane Group and Music in the Round, their concerts have also been broadcast live on BBC Radio 3 and ABC Classic FM. Their debut CD, The Long Way Home, featuring new British music, met with critical acclaim and was awarded 5 stars in the BBC Music Magazine.
Wolfgang Amadeus Mozart : Piano Trio in C, K548
Judith Weir : Piano Trio Two
Maurice Ravel : Piano Trio in A minor
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13 Jul
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Sunday, July 13, 2014 at 8pm
Manfred Trojahn and György Ligeti
Darius Milhaud Conservatoire
380, avenue Wolfgang Amadeus Mozart 13100 Aix-en-Provence
France
ENSEMBLE MODERN
Manfred Trojahn, a lover of the French language, has dedicated a song cycle to the surrealist poet René Char whom he greatly admires. L’Éternité à Lourmarin (Eternity at Lourmarin), a work for soprano and chamber music ensemble, is inspired by the poem of the same name that Char wrote to honour his friend Albert Camus who died in a car accident at Lourmarin where he had bought a house.
L’Allégresse (Elation), based on a prose poem, was specially written for the French soprano Sabine Devieilhe. The title suggests a light-hearted, happy mood but it ends on a serious question: will we know, when death comes to meet us, whether the heart, this gleaner, has to go before or follow?
A third work for orchestra, Contrevenir (Counterstatement), written in December 2012 and based on René Char’s mysterious poem, will be given in Aix. For the Festival, Manfred Trojahn has extended his score with a prologue that will also be performed for the first time by Sabine Devieilhe.
J.S. Bach : Ricercar (transcription by Anton Webern)
Manfred Trojahn : Contrevenir for soprano and piano
Manfred Trojahn : Contrevenir for ensemble
Manfred Trojahn : L’Allégresse for soprano and ensemble
Manfred Trojahn : L’Eternité à Lourmarin for soprano and ensemble
Gyorgy Ligeti : Kammerkonzert
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| 14 Jul |
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15 Jul
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Tuesday, July 15, 2014 at 8:00pm
The Stone Presents Weeklong Residency with Eyal Maoz
The Stone, NYC
The corner of Avenue C and 2nd Street
United States
http://www.thestonenyc.com
Tickets: $15
Residency includes sets with his iconic bands: Middle-Eastern meets pop and Downtown music of Edom featuring Shanir Blumenkranz (7.18); The X guitar and contemporary classical string quartet premiering new works (7.15); acoustic Jewish project Dimyon (7.16); eccentric, electric Collapse Guitar Quartet (7.17); jazz-based trio 9 Volt featuring Rick Parker and Tim Berne (7.17); the Jewish rock sounds of John Zorn’s Abraxas (7.19); experimental group Hypercolor featuring Lukas Ligeti (7.20); and more.
When: Tuesday 7.15 – Sunday 7.20 at 8:00pm + 10:00pm nightly
Where: The Stone, Corner of Avenue C/2nd Street, NYC, Train: F/J/M/Z at Delancey-Essex
Tickets: $15/Students $10. No advanced ticket sales. For more information, visit stonenyc.com.
John Zorn’s renowned THE STONE presents a weeklong residency performed and curated by mesmerizing guitarist and composer Eyal Maoz. A mainstay of the NYC downtown music scene, Maoz is notoriously known as the bad (and crazy) boy of the progressive jazz guitar world. For six nights, he brings his new works evoking both cutting edge rock-jazz-Jewish extravaganza noise and chamber grace.
Eyal Maoz : tba
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16 Jul
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Wednesday, July 16, 2014 at 8:30pm
ERC Returns to Berkshires with "Beethoven Love Elegies"
The Stables at Edith Wharton's Mount
2 Plunkett Street
United States
http://www.edithwharton.org
Tickets: $55
Ensemble for the Romantic Century
The Ensemble for the Romantic Century (ERC) returns to Lenox, Massachusetts, for the second consecutive summer, with 12 performances of the fully staged theatrical concert, Beethoven Love Elegies. With a script drawn from Beethoven’s letters and diaries and accounts by his contemporaries, interwoven with performances of some of his greatest music, this poignant, humorous, and emotionally intense production dramatizes Beethoven’s young years in Vienna and his search for the perfect wife.
Ludwig Beethoven : Moonlight Sonata
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| 17 Jul |
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| 18 Jul |
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19 Jul
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Saturday, July 19, 2014 at 7.30pm
Chen, Elgar, Tchaikovsky, Mussorgsky & Liszt
Royal Albert Hall, London
Kensington Gore, London SW7 2AP
United Kingdom
020 7589 8212
http://www.royalalberthall.com/
boxofficeenquiries@royalalberthall.com
Haochen Zhang piano, Proms debut artist
Alison Balsom trumpet
China Philharmonic Orchestra
Long Yu conductor, Proms debut artist
The China Philharmonic Orchestra makes its Proms debut, launching this season’s global orchestras strand. East meets West in a colourful programme featuring Elgar’s Pomp and Circumstance March No. 4, Liszt’s First Piano Concerto and Mussorgsky’s Pictures at an Exhibition. Britain’s own queen of the trumpet, Alison Balsom, joins them in Shanghai-born Qigang Chen's new trumpet concerto, a work co-commissioned by the KT Wong Foundation, China Philharmonic Orchestra and the BBC, alongside Dutch and German partners.
Edward Elgar : Pomp and Circumstance March No. 4 in G major
Pyotr Tchaikovsky : Fantasy-Overture 'Romeo and Juliet'
Qigang Chen : Joie éternelle
Modest Mussorgsky : Pictures at an Exhibition
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20 Jul
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Sunday, July 20, 2014 at 7.30pm
World Orchestra for Peace, Valery Gergiev
Royal Albert Hall, London
Kensington Gore, London SW7 2AP
United Kingdom
020 7589 8212
http://www.royalalberthall.com/
boxofficeenquiries@royalalberthall.com
World Orchestra for Peace
Valery Gergiev conductor
The World Orchestra for Peace returns with its conductor Valery Gergiev for its fourth Proms appearance and its only UK appearance this year. This classical supergroup celebrates Strauss’s 150th anniversary with the colourful, fairy-tale soundscapes of his operatic masterpiece Die Frau ohne Schatten.
Fantasy gives way to reality in the prescient tragedy of Mahler’s Sixth Symphony, the glorious agony of its final movement foreshadowing the composer’s own personal heartbreaks.
Roxanna Panufnik’s Three Paths to Peace, commissioned by tonight’s orchestra, meshes Christian, Jewish and Islamic musical traditions to tell the story of Abraham and Isaac.
Roxanna Panufnik : Three Paths to Peace
Richard Strauss : Die Frau ohne Schatten
Gustav Mahler : Symphony No. 6 in A minor
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| 21 Jul |
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| 22 Jul |
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23 Jul
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Wednesday, July 23, 2014 at 6.30pm
Shostakovich, Bartók & Tavener
Royal Albert Hall, London
Kensington Gore, London SW7 2AP
United Kingdom
020 7589 8212
http://www.royalalberthall.com/
boxofficeenquiries@royalalberthall.com
Michael Cox alto-flute
Sarah Connolly mezzo-soprano
Isabelle Faust violin
BBC Symphony Orchestra
Jiří Bělohlávek conductor
Isabelle Faust’s association with Bartók extends back to her very first recording. Now, fresh from an acclaimed disc of both the composer’s violin concertos, she joins the BBC SO and Conductor Laureate Jiří Bělohlávek for Bartók’s Second Violin Concerto. Written under the threat of Fascism, it’s a passionate national statement, lively with folk rhythms.
By the early 1950s and Shostakovich’s 10th Symphony, threat had become reality. This violent, despairing work paints a vivid portrait ofthe horrors of Stalin’s Russia. The evening opens with the first of two posthumous premieres this season from the late John Tavener – some of the last works from England’s great musical mystic.
John Tavener : Gnosis
Béla Bartók : Violin Concerto No. 2
Dmitri Shostakovich : Symphony No. 10 in E minor
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| 24 Jul |
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| 25 Jul |
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| 26 Jul |
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| 27 Jul |
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| 28 Jul |
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29 Jul
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Tuesday, July 29, 2014 at 7.30pm
Oriental Promise
Royal Albert Hall, London
Kensington Gore, London SW7 2AP
United Kingdom
020 7589 8212
http://www.royalalberthall.com/
boxofficeenquiries@royalalberthall.com
Daniel Hope violin
Borusan Istanbul Philharmonic Orchestra
Sascha Goetzel conductor, Proms debut artist
Violinist Daniel Hope joins the Borusan Istanbul Philharmonic Orchestra, which makes its Proms debut with a classical celebration of the Orient. Sneak into Mozart’s harem, witness the magnificent Queen of Sheba in portraits by both Handel and Respighi, and enjoy the insistent rhythms and swaying hips of Balakirev’s oriental fantasy Islamey. The concert also features a new violin concerto from Gabriel Prokofiev, commemorating the First World War centenary.
Mily Balakirev : Islamey – oriental fantasy
Gustav Holst : Beni Mora
Gabriel Prokofiev : Violin Concerto
Wolfgang Amadeus Mozart : Die Entführung aus dem Serail - overture
G F Handel : Solomon - overture
Ottorino Respighi : Belkis, Queen of Sheba
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30 Jul
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Wednesday, July 30, 2014 at 7.30pm
Mahler, Ravel & Sir Harrison Birtwistle
Royal Albert Hall, London
Kensington Gore, London SW7 2AP
United Kingdom
020 7589 8212
http://www.royalalberthall.com/
boxofficeenquiries@royalalberthall.com
Alexandre Tharaud piano
BBC Philharmonic
Juanjo Mena conductor
The intense, contrasting moods of Mahler’s Symphony No. 5 – the bitter solemnity of its funeral march, the violence of its second movement and the tenderness of the famous Adagietto – make this one of the great orchestral showpieces.
In his Proms concerto debut, French pianist Alexandre Tharaud performs Ravel’s atmospheric and virtuosic Piano Concerto for the Left Hand, and the concert opens with the first of several works at this year’s Proms celebrating Sir Harrison Birtwistle’s 80th birthday – an atmospheric plunge into mossy, melancholic darkness, lightened only by the call of birds.
Harrison Birtwistle : Night's Black Bird
Maurice Ravel : Piano Concerto for the Left Hand
Gustav Mahler : Symphony No. 5 in C sharp minor
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30 Jul
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Wednesday, July 30, 2014 at 21.00
Bolcom, Copland, Rzewski, Barber, Bowles
Parvis de l'Eglise
Parvis de l'Eglise Lambesc
France
Lidija et Sanja Bizjak duo de piano
Sébastien Giot hautbois et cor anglais
Florent Pujuila clarinette et clarinette basse
Marc Gueujon trompette
Sylvain Bertrand percussion
Eriko Minami percussion
Écrivain voyageur célèbre notamment pour son livre Un Thé au Sahara, Paul Bowles (1910-1999) fut également critique musical et compositeur. Elève d’Aaron Copland, il composa son Concerto pour deux pianos, instruments à vent et percussion à la demande d’Arthur Gold et Robert Fizdale, l’un des plus grands duos de pianos du XXe siècle. Ce concert sera une occasion unique de découvrir une œuvre méconnue et un répertoire de musique américaine très original, sous les doigts des talentueuses Lidija et Sanja Bizjak.
William Bolcom : Recuerdos
Aaron Copland : Danzon Cubano
Aaron Copland : El Salon Mexico
Frederic Rzewski : Winnsboro Cotton Mill Blues
Samuel Barber : Souvenirs, suite pour piano à quatre mains opus 28
Paul Bowles : Concerto pour deux pianos, instruments à vent et percussion
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31 Jul
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Thursday, July 31, 2014 at 20:30
SALZBURG CONTEMPORARY • ISLAM • ŒNM
Salzburger Festspiele
various, Salzburg, Austria
Austria
ttel.: +43-662-8045-500
http://www.salzburgfestival.at/
info@salzburgfestival.at
Titus Engel, Conductor
EXPERIMENTAL STUDIO of the SWR
œnm . österreichisches ensemble für neue musik
Pier Damiano Peretti, Organ
The central figure of the three concerts is the Sufi master and martyr Mansur Al-Hallağ, born ca. 858, whose radical views on faith attracted an immense number of followers among the people of Iran and Iraq on the one hand: up to 4,000 people would congregate to hear him preach. On the other hand, he made implacable enemies among the powerful and among orthodox Muslims, who accused him of heresy, made him languish in prison for years and finally executed him brutally in 922. Al-Hallağ preached love as the only way towards freedom, and he was convinced of the possibility of each person’s union with god. Right until his violent end, which he is said to have accepted with a smile, he claimed: ‘I am truth.’
His last words, reported by his followers, form the basis of Hossam Mahmoud’s composition Seelenfäden, or Soul Threads. The composer, born in Cairo in 1965, has promoted cultural dialogue for years; his work tells an Islamic story which gives the listener insights into this world and is told by Sufi musicians and singers, Salzburg’s Bach Choir and the Austrian new music ensemble oenm.
The Palestinian-Israeli composer Samir Odeh-Tamimi, born in 1970, who has engaged in an intensive exploration of Koran recitation and rituals rooted in Islam for several years now, is also fascinated by Al-Hallağ: ‘He is among the most important philosophers and poets of Islamic mysticism; his texts and poems are influential to this day. In my work for the Salzburg Festival, I react not only to his poems, but also to his personality. The instrumentation (for large choir, four brass players and two percussionists) allows me to divide singers and musicians into different groups and distribute them throughout the space – this is reminiscent of traditional Sufi rituals in which those praying slowly move in a circle, playing certain rhythms on various percussion instruments. In my new work, however, not the singers, but the sound it-self will move through the space, taking into account the special circumstances at Salzburg’s Kollegienkirche.’
The third world premiere of this focus is a contribution by the Egyptian composer Amr Okba, who currently divides his time between Vienna and Cairo. Born in 1972, he also draws on his musical roots for inspiration. His symphonic poem composed for Salzburg is based on the novel Rhadopis of Nubia by Nobel Prize winner Naguib Mahfouz, set in ancient Egypt. According to the composer, its subject is ‘the responsibility and loyalty of rulers towards their subjects, and how religion and faith can be abused for political purposes – in this case, by the priests’.
Samir Odeh-Tamini : Cihangir for ensemble
Amr Okba : Rhadopis, symphonic poem for ensemble
Zeynep Gedizlioglu : Kesik
Hossam Mahmoud : Tarab 5 for organ, string quartet and wind instruments
Marc Andre : üg for ensemble and electronics
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| 1 Aug |
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| 2 Aug |
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| 3 Aug |
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4 Aug
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Monday, August 4, 2014 at 8.30pm
SALZBURG CONTEMPORARY • RIHM • KLANGFORUM WIEN
Salzburger Festspiele
various, Salzburg, Austria
Austria
ttel.: +43-662-8045-500
http://www.salzburgfestival.at/
info@salzburgfestival.at
Sylvain Cambreling, Conductor
Susanne Otto, Contralto
Noa Frenkel, Contralto
Klangforum Wien
As a child, Wolfgang Rihm wanted to be a painter, then a writer and finally a composer. Entire groups of works illustrate his close relationship with the visual arts, while numerous artist friendships give testament to the constant flow of energy between Wolfgang Rihm and painting.
His anti-cyclical ‘over-painting’ of works that seem to grow from one germ cell has led to large-scale open series and complexes of works. Starting with his Chiffren and Tutuguri cycles from the 1980s, Rihm made it clear that in his flow of music, form generates itself from beginnings and endings of music. The works Gedrängte Form and Gejagte Form, all the way to his Jagden und Formen (1995–2001), are eloquent examples of this, already evoking the principle of continuous shaping within their titles.
By now, there are three of Rihm’s Will Sound works: Will Sound More (2005/2011) is clearly differentiated from the wild movement of its predecessor Will Sound (2005) by its lyrical moments. ‘Something will sound because it wants to sound’, Rihm wrote about this: ‘The composer follows the will and the process of becoming and notates the spaces in between. The result is a form which reflects the energy wanting to shape itself.’ Expanding the work further, the composer has written Will Sound More Again, first performed in October 2011. With their free interplay of musical forces and their existence-affirming attitude, these Will Sound works are also an extension of his Jagden und Formen into a new complex of works.
The world premiere of a new piano concerto by Wolfgang Rihm is an event to look forward to particularly. Rihm began to compose piano music as a teenager. A first piano concerto is dated 1969. One year later and for a period of one decade exactly, he created seven very different and expansive piano works which set standards in contemporary piano literature on account of their playing technique, sensuality of sound, energy and aesthetics. Nachstudie for piano (1992/1994), lasting almost half an hour and placing enormous demands on the pianist as a whole, can be considered the crowning highlight of his piano oeuvre so far.
The entire experience of his life as a composer so far, all his studies of tradition – despite all outside interference – and all his visions for the history of piano music, far from complete: Wolfgang Rihm will bring them all to bear on his new piano concerto for pianist Tzimon Barto. One thing we can be sure of: musical balance will be attained through great arches of tension, through an audible ‘cutting into one’s own flesh’ and an articulation of tradition ‘which can only ever be my tradition’: ‘There are no historical models anymore, but there are positions which define a Now with a view to a Past (not derived from it), allowing us to see the Past as another Now (that of the past).’
Luigi Nono : Guai ai gelidi mostri
Wolfgang Rihm : Will Sound More
Wolfgang Rihm : Gejagte Form for orchestra
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| 5 Aug |
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| 6 Aug |
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