21.03. Middle Temple Hall
22.03. Malmö Live Concert Hall
22.03. Foyer der Versicherungskammer Bayern
22.03. Das Wormser/Theater, Worms
22.03. Hotel Bären, Langenthal
23.03. National Forum of Music Wroclaw
23.03. Fruchthalle, Kaiserslautern
23.03. Arsenal de Metz
24.03. Malmö Live Concert Hall
24.03. Congress Centrum Suhl
24.03. National Forum of Music Wroclaw
24.03. Rosengarten Mannheim
24.03. Graf-Zeppelin-Haus, Friedrichshafen
25.03. Congresshalle, Saarbrücken
25.03. Markus Sittikus Saal, Hohenems
25.03. Konzerthaus Freiburg
26.03. Laeiszhalle Hamburg
An outstanding soloist, chamber musician, pedagogue, artistic director and essayist – and in all these things a musical bridge-builder and partner to musicians, composers and artists alike from various fields: Anssi Karttunen forges his own path. His journey started in Finland at a very special time. “I was born into a lucky generation,” he explains. “This was a time when the windows to the world were more open than before and perhaps even more so than later on. There were many like-minded people my own age who were interested in being more than just one thing; the cellist, the pianist or the conductor. We saw that being a musician can mean many things.” This lucky generation includes Anssi Karttunen’s contemporaries Esa-Pekka Salonen, Magnus Lindberg and Kaija Saariaho, with whom he started his voyage of discovery....
Having just appeared at the Ultraschall Festival in Berlin performing brand new music - Georg Friedrich Haas’ Concerto for Trombone and Orchestra - Mike Svoboda is a musical innovator and artistic partner to many composers. Now, the American-born trombonist, based in Europe for many years, has taken a look into his musical past for VAN Magazine. His playlist collects recordings by his musical heroes from his formative years – from the jazz albums that defined his idea of the perfect trombone sound, through late romantic orchestral repertoire, up to the equally extraordinary avant-gardists Ornette Coleman and Pierre Boulez, as well as the pioneer of just intonation, Harry Partch....
Two years after its celebrated premiere, Toshio Hosokawa’s opera Stilles Meer is being revived at the Hamburg State Opera from 31 January, in the original production by Japanese director Oriza Hirata and the musical direction once again taken by Kent Nagano. The work was enthusiastically received by critics and audiences alike; NMZ magazine commented that “Hosakawa’s sounds are so finely tuned, they generate a real undertow,” whilst BR-Klassik praised “a tremendously subtle, tentative drama […] an intense interaction with moments of tension.” Stilles Meer deals with traditional subject matter from Noh theatre, brought up to date in the context of Fukushima. Toshio Hosokawa gave an interview about the opera and its relationship to the Fukushima catastrophe during a visit to Berlin at the end of 2015....
Jan Caeyers and his orchestra, Le Concert Olympique, will make their Berlin debut on 20 November at the end of a tour that has included appearances at the deSingel in Antwerp and the Wiener Konzerthaus. Together with a trio of high-quality soloists – Till Fellner, Antje Weithaas and Maximilian Hornung, who will perform the Triple Concerto – they will present a special programme to kick off their concert series The Beethoven Experience. The title is no empty promise; these concerts will offer a unique insight into the composer’s musical universe, as Jan Caeyers explains in a video interview....
Just a matter of months after her celebrated opera Infinite Now, which was recently awarded Premiere of the Year by Opernwelt Magazine, a brand new work by Chaya Czernowin is being brought into the world. The cello concerto Guardian was performed in the closing concert of the Donaueschingen Festival on 22 October by the SWR Symphony Orchestra with soloist Séverine Ballon, who will give the work's Luxembourgian premiere on 17 November. But what does the name tell us about the piece? Does it refer to the British newspaper, or rather call to mind protecting angels? The composer laughs at these suggestions, explaining: “Sometimes names are just a source of inspiration. It might be the sound or an association that helps colour what you are doing.”...
In September Mariam Batsashvili was on concert tour in Mexico. News of the devastating earthquake on 19 September reached the pianist shortly before her first concert in Monterrey. The following personal account of her experience in Mexico is taken from a text the pianist wrote for the Keyboard Charitable Trust in London, who organised the tour....