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Concerts in season 2024/25 or later where works by Missy Mazzoli is performed
Music is like time, sometimes fast, sometimes slow. Its tempo can be steady like a heartbeat or expansive like the universe. In this concert, we journey through the vastness of space, across seasons and time, until we arrive in the present moment.
Happy Birthday Junge Deutsche Philharmonie! Germany's best music students have been playing together in this orchestra for 50 years – in preparation for a career in a professional orchestra. What characterises its members? A high level of technical proficiency, an irrepressible desire to make music together, and a passion for the music of our time. These qualities are also reflected in this programme – with the spherical tones of Missy Mazzoli's Sinfonia (for Orbiting Spheres), the labyrinthine sound structures of Luciano Berio's Sinfonia for eight voices and orchestra and the rhythmic energy of Igor Stravinsky's Le Sacre du printemps. Roderick Cox conducts.
The premiere of Igor Stravinsky’s ballet »Le sacre du printemps« in Paris in 1913 was one of the biggest scandals in music history: the radically modern choreography and music prompted the audience to heckle, whistle and even start scuffles. But today, »The Rite of Spring« regularly receives standing ovations for its gripping rhythms and dramatic intensity. As Germany’s national orchestra of music college students, the Junge Deutsche Philharmonie under the baton of Roderick Cox has the talent and youthful vigour to perform Stravinsky’s masterpiece to perfection. »Sinfonia (for Orbiting Spheres)« by US composer Missy Mazzoli orbits like a planet in the solar system. Compound rhythms and stylised Baroque ornaments become intertwining passages. »The piece is stirring and agitated at the same time,« says the composer. While »Sinfonia« in Mazolli’s title refers to the Baroque elements in the score, for Luciano Berio, who would have celebrated his 100th birthday in 2025, it refers to the origin of the word – harmony. In Berio’s »Sinfonia« for orchestra and eight voices, the orchestra joins forces with the renowned voices of the RIAS Kammerchor to present exciting music full of quotes from Samuel Beckett to Gustav Mahler.
In her Sinfonia for Orbiting Spheres for orchestra (2014), the American composer and pianist Missy Mazzoli offers spectacular sonic effects. The word „sinfonia” carries is widely associated with the times of Vivaldi and Bach – and rightly so, as there is no dearth of Baroque decoration, ornamentation and stylistic inspiration to be found here. The sonic cloak draped over those rich garments is, however, quite modern. Strings and harmonicas create stained-glass-like loops, the vibraphone lightens the sound, lending it a dancing tone. The orchestral sun rises fast and shines bright.Aaron Copland’s Concerto for clarinet, string orchestra, harp and piano (1948) also glimmers with a blaze of colour. The master’s specific signum, which is bringing together superficially distant styles and techniques (neoclassicism, Mahler’s symphony, jazz and dodecaphony), found its full expression here, while the very first melody of the clarinet makes it clear that Copland is a lyrical poet of sound. This eclecticism, so specific for his music, was transferred to further generations of American composers – and it was in such a convention that Michael Gandolfi designed The Garden of Cosmic Speculation (2004), orchestral piece inspired by the cosmological garden established in Scotland by the landscape architect Charles Jencks and his wife Maggie. Just like at the Jencks’, Gandolfi also offers a multi-coloured space and secrets of the universe coded in moving segments. “It seemed proper for music to participate in this magnificent joining of physics and architecture,” writes the composer about his spectacular opus.Maria Wilczek-Krupa
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