Johannes X. Schachtner: Works For Ensemble

[01] Symphonic essay for chamber ensemble (2007/2008/2016)

[02] Air - to Samuel's aerophone for large wind ensemble (2013)

Quatre tombeaux de vent for soprano and chamber ensemble (2013)
to poems by Frédéric Wandère (*1949)

[03] I Cinq heures, chemin Éduard-Tavan
[04] II Madame jardiniere
[05] III “Avant de me Coucher”
[06] IV part avec le vent

[07] Invention III: Hopscotch (2013) for percussion solo

[08] Invention IV: Canon - Tribute to Johanna M. Beyer for percussion and piano quintet (2016)

[09] Invention V: Battery for percussion and four wind players (2016)

Ascent Ballad for baritone and chamber ensemble (2010)
to texts by Johanna Schwedes (*1979)

[10] Prolog
[11] Serenade
[12] “Visit” – interlude
[13] Epilogue

Therese Wincentsoprano
Peter Schoene, baritones

Ensemble time jump
Tobias Kaiser, flute/piccolo/alto flute/lotos flute
Jörg-Oliver Werner, flute/piccolo [02]
Claire Sirjacobs, oboe/English horn/mouth organ/hi hat
Andrea Kempff, English horn [02]
Oliver Klenk, clarinet/E-flat clarinet/basset horn/bass clarinet/snare drum
Elisabeth Seitenberger, clarinet/mouth organ [02]
Cornelius Rinderle, bassoon/bass drum
Jacob Karwath, bassoon [02]
Nina Ashton, contra bassoon (2)
Dorothea Bender, horn
Daniela Martin, horn [02]
Johannes Bernhard, Wagner tuba [02]
Michael Reifer, Wagner tuba [02]
Matthew Sadler, trumpet [03-06 & 10-13]
Aljoscha Zierow, trumpet/rattle [09]
Mathias Lachenmayr, percussion
Veronica Ponzer, harp
Sachiko Hara, piano/celesta
Henri Bonamy, piano [10–13]
Felix Key Weber, violin
Nicolaus Richter de Vroe, violin [01 & 08]
Veronique Bastian, viola
Philipp von Morgen, cello
Sophie gap, double bass

Markus Elsner, conductor

02/2017

“… his [Johannes X. Schachtner] concern to balance innovation with historical awareness. (…) Best are the vocal works – the lucid elegance of Quatre tombeaux de vent (2013) and scenic immediacy of the ballad Ascent (2010). Markus Elsner secures vividly characterful playing from Ensemble Zeitsprung, himself poised for international status.” (Richard Whitehouse)

03/2017

12/2016

“Powerful and symphonic, Schachtner initially piles up the motifs in an insistent rhythm, then the whole thing falls apart again into long, thin threads – as if the music were saying goodbye. Here, as in the other chamber music pieces, the Zeitsprung ensemble does its best, blows heavily on the horn, trumps, and then again caresses the most airy sound from the instruments. In general, Schachtner is not a specialist in “isolation symptoms”, of the kind that has been found in abundance in contemporary music not just since Lachenmann. For him, the continuity, the comprehensible narrative, the large, if sometimes fragile, arc of a composition remains essential.” (Tilman Urbach)

Klaus Kalchschmid in the SZ Extra of June 30.6.2016, XNUMX: