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. (…) The 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

“Schachtner initially piles up the motifs in an insistent rhythm in a powerful and symphonic manner, then the whole thing falls apart into long, thin threads - as if the music was saying goodbye. The Zeitsprung ensemble gives its best here, as in the other chamber music pieces, blowing powerfully on the horn, showing off its trumpets, and then caressing the airiest sound from the instruments again. In general, Schachtner is not a “symptom of isolation” specialist, as has been the case in new music since Lachenmann. For him, the progression, the comprehensible narrative, the large, if sometimes brittle, arc of a composition remain essential.” (Tilman Urbach)

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