Class of 1803
As an illustrious biographer of Beethoven as well as a conductor Jan Caeyers has created a stir. In Innsbruck on 26 September he will reconstruct a programme given by Beethoven’s academy on 5 April 1803 together with his orchestra Le Concert Olympique and the Arnold Schoenberg Chor. This concert is part of a tour that also encompasses the Beethovenfest Bonn, Antwerp and Amsterdam....
22.09. Bourgie Hall
22.09. Royal Swedish Opera, Stockholm
22.09. Helsinki Music Center
22.09. Wiltshire Music Centre, Bradford-on-Avon
22.09. Rathausprunksaal, Landshut
22.09. Anneliese Brost Musikforum Ruhr
22.09. Chassé Theater, Breda
22.09. Teatro Degollado, Guadalajara, Mexico
23.09. Royal Swedish Opera, Stockholm
23.09. Romanian Athenaeum
23.09. Leuphana Universität Lüneburg
23.09. Teatro Degollado, Guadalajara, Mexico
23.09. Anneliese Brost Musikforum Ruhr
24.09. Teatro Degollado, Guadalajara, Mexico
24.09. Muziekgebouw Frits Philips Eindhoven
24.09. Mercatorhalle Duisburg im CityPalais
25.09. Royal Swedish Opera, Stockholm
26.09. Stadtkirche Liestal
26.09. Octagon Theatre
26.09. Elbphilharmonie, Hamburg
26.09. Auditorium Cesare Pollini, Padova
27.09. Royal Swedish Opera, Stockholm
27.09. Fundación Juan March, Madrid
27.09. Stift Obernkirchen
27.09. Elbphilharmonie, Hamburg
“In Stromab the whole orchestra is sent like a boat down the great river in its dazzling diversity,” says Johannes Maria Staud about his new orchestral piece, premiered this season by three leading international orchestras. The world premiere will be given in Copenhagen by the Royal Danish Orchestra under Alexander Vedernikov, before the Wiener Symphoniker under Francois-Xavier Roth give the Austrian premiere a few weeks later. In January 2018, Stromab will find its American premiere in Cleveland under Franz-Welser Möst, followed by further concerts in in the US. Ahead of the upcoming premiere, Johannes Maria Staud talks about the finished score and its relationship to Algernon Blackwood’s short story The Willows, which the composer describes as “one of the most beautiful horror stories of all time”. The conversation with Dr. Frank Reinisch is published with the kind permission of his publisher, Breitkopf & Härtel....
Mariam Batsashvili has stunned, fascinated and touched audiences at the most renowned concert halls in Europe during her tour as a “Rising Star” of the European Concert Hall Organisation (ECHO). Now, the young Georgian pianist has just received the exciting news that she will be a BBC New Generation Artist, as part of which she will perform at major festivals and concert venues across the UK during the next two seasons. In conversation, she shares her impressions on a whirlwind few months, the magic of the classical concert, and her tips for surviving the rigours of life on tour....
At the end of August and the beginning of September, Friedrich Cerha’s monumental Spiegel cycle will be performed by the Lucerne Festival Academy Orchestra under Matthias Pintscher. Conceived as a kind of “world-theatre about humankind”, the seven parts of the cycle are concerned in purely musical terms with one of the composer’s life-long interests: the relationship between the individual and society. To mark the 2011 CD release of Spiegel, recorded by the SWR Symphony Orchester under Sylvain Cambreling, composers of various generations contributed their personal encounters with Friedrich Cerha’s cycle. These quotations are published with the kind permission of Kairos....
The composer Mark Andre began July with an eventful week: as part of the musica viva weekend he received the biennial “Happy New Ears” prize (named after John Cage’s well-known provocation to listen with fresh ears) from the Hans und Gertrud Zender Stiftung in collaboration with the Bavarian Academy of Arts, musica viva and BR Klassik. The day before, the Arditti Quartet gave the world premiere of Miniaturen, and on the day of the prize ceremony his orchestral work woher… wohin was premiered by the Bavarian Radio Symphony Orchestra under Matthias Pintscher. In conversation with Jeffrey Arlo Brown, the composer discussed teachers and companions, his German-French heritage and the aesthetics of fragility....
Brad Lubman’s official title at this year’s Grafenegg Festival is “only” Composer-in-Residence. However, at Schloss Grafenegg in August, the many facets of his musical life will be on display: as a conductor, he will give the closing concert with the Tonkünstler Orchestra, leading Brahms’ Symphony No. 1 and Mahler’s Rückert Lieder with Waltraud Meier, and for which Brad Lubman as a composer has written a new orchestral piece, Reflections. He has also acted as a door opener for a generation of young musicians through his teaching, as he explains in conversation with Sarah Laile Standke. In Grafenegg, he will once again help young musicians navigate the rocky terrain of contemporary music as leader of the festival’s composition workshop INK STILL WET....