Info text: Tschappina Variations – Concerto for Ensemble and Violin One quickly notices the great linguistic nature of Klaus Ospald's music; His instrumental music also gives the listener the impression that something that is clearly comprehensible in language is being communicated to him. In addition to the unmistakable rhythm design, which knows many states between the poles of almost rigidity and driven rush and the progressions [...]

Program: Mauricio Kagel (*1931) [01] 27:39 Divertimento? (2005/2006) Farce for Ensemble Schönberg Ensemble Amsterdam Reinbert de Leeuw, conductor Alberto Posadas (*1967) [02] 22:27 Anamorfosis (2006) for large ensemble Schönberg Ensemble Amsterdam Reinbert de Leeuw, conductor overall 50:06 Press reviews: 11 -12/2008 On my first listening to this disc—with the somewhat undescriptive title “Donaueschinger Musiktage 2006, Vol. 4”—these two works seemed odd discmates indeed. […]

Info text: Martin Smolka (*1959) 43:43 Semplice (2006) for old and new instruments in six movements [01] 09:55 I. [02] 06:55 II. [03] 08:20 III. [04] 05:50 IV. [05] 09:33 V. [06] 03:10 VI. ensemble recherche Freiburg Baroque Orchestra Lucas Vis, conductor Wolfgang Mitterer (*1958) 22:39 internally detached (2006) for baroque orchestra, ensemble and electronics [07] 01:11 empty and plaintive [08] 03:05 fast […]

Program: Georg Friedrich Haas (*1953) [01] 40:13 Hyperion (2006) for light and orchestra SWR Symphony Orchestra Baden-Baden and Freiburg Rupert Huber, direction rosalie, light installation Jörg Widmann (*1973) [02] 13:40 Second Labyrinth (2006) for orchestra groups SWR Symphony Orchestra Baden-Baden and Freiburg Hans Zender, direction overall 53:53 Press reviews: 03/2008 December 11.12.2007, XNUMX Light Game Music Interpretation: Sound quality: Repertoire value: Booklet: The Donaueschinger Musiktage is one of the few [… ]

Program: Ole-Henrik Moe (*1966) [01] 13:43 Lenger (2006) for string quartet and solo violin Arditti Quartet Ole-Henrik Moe, violin Saed Haddad (*1972) 17:26 Joie voilée (2005/2006) for string quartet [02] 00:10 Prologue 00:10 [03] 01:00 1. On Purity [04] 02:06 2. On Happiness [05] 01:54 3. On Warmth [06] 01:12 4. On Moderateness [07] 00:51 5. On Serenity [08] 01:49 6. On Collectiveness [09] 00:59 7. On Togetherness [10] 01:46 8. On the […]

Info text: Elliott Sharp: Tectonics – ERRATA As a child, I was fascinated by everything that was futuristic and electronic. My Tectonics project may have its roots here. I read science fiction books from a young age and planned to become a scientist. Anyone who grew up in the USA in the 1950s was constantly and unscrupulously bombarded with propaganda about “scientific progress” […]

Info text: In all three pieces, guitar quartet, string quartet and clarinet quintet, the melody is the comforting hand that was perhaps the oasis of peace for St. Augustine. Just as his perception, shaken by the collision with the ego, migrated back to the content of perception, the melodies from Machaut migrate to me and perhaps back - more melodic mass than quotation, [...]

Info text: Boris Pasternak received the Nobel Prize in 1958 for his novel Doctor Zhivago, which he was forced to decline by the regime. The Czech composer Ladislav Kubík, who lives in the USA, sees the poems that Pasternak added at the end of his novel as a portrait of the poet and used this material to form his main work for tenor and orchestra. […]

Info text: Schönberg wrote “Pierrot lunaire” shortly before the development of twelve-tone music in a few days (March/June 1912) and selected 21 poems from a cycle by the French poet Albert Giraud in the German translation by Otto Erich Hartleben. There is no ongoing plot. Each poem describes a small scene, a moving image, a macabre anecdote […]

Info text: Spahlinger is not exactly known as a quick writer, but the eight years it took to write it is exceptionally long, even for his standards. The premiere of the piece was postponed five times before it was finally realized in November 2005 (Theaterhaus Stuttgart). Last but not least, Spahlinger opens up between the rubble of tonal order and the shells and new buildings of the […]

Info text: In each individual way, the composing of György Kurtág and Jörg Widmann can be understood as a constant, productive dialogue with musical suggestions from the past. In Kurtág's work, this corresponds to the wide range of design means used, which extends from the traditional triad to canonical techniques through to the handling of sound textures and finds its ideal expression in the fragmentary […]

Info text: Erhard Grosskopf: As a composer, I am like an architect who builds a house for music and hopes that the music will move into this house - not like the content into the form, but like the spirit into the soul. A musical score is usually notated so that we have the sounds vertically and the time horizontally […]