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Welcome to the Composition:Today New Music Concert Listings.
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19 Aug



Switzerland
 Saturday, August 19, 2017 at 11am 
Helena Winkelman World Premiere
Lucerne Festival
Lucerne
Switzerland
http://e.lucernefestival.ch

sCHpillit
Ghost Choir (Peter Siegwart chorus master)
Dani Mangisch speaker
Sylvia Nopper voice

Starting in the mid-1970s the group known as Oberwalliser Spillit became a sensation. With clarinet, hammered dulcimer, and such new-fangled instruments as the Tenundi Titschini (a tuned wooden drum), as well as plenty of wit, the “Oberwalliser Spielleute” (“the bandsmen from Valais”) devoted themselves to the old tunes and dances of the Swiss Confederation – but without a hint of old-fashioned stuffiness. And they proved that folk music and the avant-garde can get along by having contemporary composers write new works tailor-made for them. Composers like Heinz Holliger. In Alb-Chehr he set a Valais legend about two shepherds and a cantankerous dairyman who run into some music-making ghosts – with a fatal outcome for the dairyman. Shortly after Oberwalliser Spillit broke up in 2001, the clarinetist Elmar Schmid founded the ensemble sCHpillit, which is now coming together again to present not only Holliger’s classic but also a brand-new score by the composer and violinist Helena Winkelman.



Heinz Holliger : Fünf Kinderlieder
Heinz Holliger : Alb-Cher. “Geischter- and Älplermüsig”
Heinz Holliger : Gränzä – Grenzen
Helena Winkelman : Ronde des Lutins

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27 Aug



Switzerland
 Sunday, August 27, 2017 at 3pm 
Ensemble of the LUCERNE FESTIVAL ACADEMY
Lucerne Festival
Lucerne
Switzerland
http://e.lucernefestival.ch

Ensemble of the LUCERNE FESTIVAL ACADEMY | Frédérique Cambreling

In 1905 Béla Bartók and Zoltán Kodály went on the road together in order to systematically research the folk music of southeastern Europe. They made their way to secluded regions and had old peasant women sing them songs their grandmothers had sung and asked goatherds to play the flute and village musicians to play the fiddle. This archaic, unadulterated peasant music, which they heard and recorded in the process, served both composers as a way to renew the musical language and development of a specific identity: “from musical forces that have sprung up from the earth,” as Bartók put it.
The Special Event Day Museum Concerts will explore Bartók’s and Kodály’s revolution – and pose the question of what their contemporaries and the ensuing generation made of it. The Romanian George Enescu and the Frenchman Maurice Ravel, for instance, took up their innovations, while Sándor Veress (who was also the teacher of Heinz Holliger), György Ligeti, and György Kurtág initially carried them forward but ultimately freed themselves from the overwhelming influence of their early models. A wide variety of ensembles from the LUCERNE FESTIVAL ACADEMY – from duo and string quartet to wind quintet, brass ensemble, and string orchestra – will present this musical excursion across the Balkans. The centerpiece is a longer concert featuring this summer’s two “artistes étoiles”: the violinist Patricia Kopatchinskaja and the cellist Jay Campbell, who will be joined on their program by the Russian pianist Polina Leschenko. Whoever is interested in knowing whether all of this is still of relevance for the young generation of composers can find answers at the opening Composer Seminar workshop concert.



Béla Bartók : Selected Duos for two violins
Heinz Holliger : Partita for harp
Sandor Veress : Diptychon for wind quintet

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