Quick overview of Wolfgang Rihm by associated keywords
These concerts with works by Wolfgang Rihm became visible lately at Concert Pulse.
KlangForum Heidelberg presents a program of significant choral works. Featuring Scarlatti's impulsive setting of Mary's suffering, Brahms's romantic motets, the premiere of Sciarrino's "Due Cori" reflecting on human fate, and a farewell to Wolfgang Rihm. The concert will be performed without intermission.
Sebastian Küchler-Blessing, Essen Cathedral organist, explores the Kuhn organ at the Jesuit Church. His improvisational journey through the organ's sounds is framed by Bach's works and 20th-century music, culminating in Reger's homage to the B-A-C-H motif. The concert also features a discussion on Bach's Toccata.
For decades, lyric tenor Christoph Prégardien has cultivated a wide repertoire and diverse artistic activity. His vocal nobility, stylistic sensitivity, and psychological nuance make his interpretations of oratorios and song cycles exceptional. He premiered Wolfgang Rihm's song cycle "Das Rot" in 1991. Schubert's last songs form another existential counterpart.
Concerts in season 2024/25 or later where works by Wolfgang Rihm is performed
KlangForum Heidelberg presents a program of significant choral works. Featuring Scarlatti's impulsive setting of Mary's suffering, Brahms's romantic motets, the premiere of Sciarrino's "Due Cori" reflecting on human fate, and a farewell to Wolfgang Rihm. The concert will be performed without intermission.
Mignon, Ophelia, and Mary, Queen of Scots—these three towering figures of literature and history provide the inspiration for an evening of words and music created by Christiane Karg, Malcolm Martineau, and actor Helmut Mooshammer. In addition to Goethe settings by Beethoven, Schubert, Wolf, Duparc, and Josephine Lange and Ophelia songs by Brahms, Strauss, Chausson, and Wolfgang Rihm, the program also includes Robert Schumann’s Gedichte der Königin Maria Stuart, the composer’s final vocal cycle written in 1852.
Sebastian Küchler-Blessing, Essen Cathedral organist, explores the Kuhn organ at the Jesuit Church. His improvisational journey through the organ's sounds is framed by Bach's works and 20th-century music, culminating in Reger's homage to the B-A-C-H motif. The concert also features a discussion on Bach's Toccata.
For decades, lyric tenor Christoph Prégardien has cultivated a wide repertoire and diverse artistic activity. His vocal nobility, stylistic sensitivity, and psychological nuance make his interpretations of oratorios and song cycles exceptional. He premiered Wolfgang Rihm's song cycle "Das Rot" in 1991. Schubert's last songs form another existential counterpart.
He is a rising star among conductors: Klaus Mäkelä is just 29 years old, and already chief conductor designate of Amsterdam’s Concertgebouw Orchestra. With Richard Strauss’ Alpine Symphony, he will be able to open a magnificent panorama of sound. The work takes us through a day in the mountains, across flowery meadows, through thunderstorms and storms. Wolfgang Rihm also favours lush sounds in Transitus III. “I love the intricate web of orchestral possibilities,” says our Composer in Residence, who died in 2024, “the creation of states, and of transformations.”
He is a rising star among conductors: Klaus Mäkelä is just 29 years old, and already chief conductor designate of Amsterdam’s Concertgebouw Orchestra. With Richard Strauss’ Alpine Symphony, he will be able to open a magnificent panorama of sound. The work takes us through a day in the mountains, across flowery meadows, through thunderstorms and storms. Wolfgang Rihm also favours lush sounds in Transitus III. “I love the intricate web of orchestral possibilities,” says our Composer in Residence, who died in 2024, “the creation of states, and of transformations.”
He is a rising star among conductors: Klaus Mäkelä is just 29 years old, and already chief conductor designate of Amsterdam’s Concertgebouw Orchestra. With Richard Strauss’ Alpine Symphony, he will be able to open a magnificent panorama of sound. The work takes us through a day in the mountains, across flowery meadows, through thunderstorms and storms. Wolfgang Rihm also favours lush sounds in Transitus III. “I love the intricate web of orchestral possibilities,” says our Composer in Residence, who died in 2024, “the creation of states, and of transformations.”
Karlheinz Stockhausen – and Wolfgang Rihm? Was there something? You bet. In the early summer of 1972, Rihm finished school and had a state examination in composition and music theory in his pocket. Rihm was just twenty and his goal was clear: to study composition. And only Stockhausen in Cologne was an option. He replies politely, invites him, but immediately makes his reservations clear in writing. It had to be »clear that you have no other plans for at least two years. Otherwise you’d better go somewhere else or nowhere at all. Kind regards, K. Stockhausen«.
Whether in the 19th or 20th century: The string quartet is the supreme genre of chamber music, and every composer must consider it. Robert Schumann’s quartet cycle op. 41 is a stroke of genius; members of the Berliner Philharmoniker play numbers 1 and 3. Inspired by the quartets of Beethoven and Mendelssohn, Schumann created his own musical cosmos, full of poetry and instrumental song. Our late Composer in Residence Wolfgang Rihm, on the other hand, favours contrasts in his Fourth String Quartet. On the one hand, his work appears brusque, passionate and effervescent; on the other, tender, intimate and poetic.
Rihm and Stockhausen’s first meeting took place in the summer of 1972. Stockhausen, 24 years his senior, had already seen a lot of talented young people, but was quite taken with Wolfgang Rihm and his youthful self-confidence when he applied for his composition class at the age of barely twenty. And so Rihm, who had been taking professional composition lessons for a long time, regularly travelled from his new home in Cologne to Kürten, 25 km away, where the master held his classes. He would later say that this time was a time of self-discovery and self-examination as a composer.
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