Set your preferred locations for a better search. You can sign up here.

Man with a Movie Camera

Date & Time
Mon, May 12, 2025, 20:00
Dziga Vertov's "Man with a Movie Camera" remains relevant 95 years after its release. The silent film, which dispenses with intertitles, has received various musical interpretations as an experiment in a universal cinematic language. Thomas Sauerborn's composition intensifies the film's pull, drawing viewers into life in Kyiv, Kharkiv, and Odessa in 1929. Sauerborn, along with two companions from "Das Ende Der Liebe", brings two trombonists into this ensemble and opens the space between wind instruments, manipulated Nintendo Gameboy sounds, and live samplings. They bring the everyday life and rhythm of 1929 into today, juxtaposing it with the life and sounds of the 21st century. Light and shadow, the visual language of silent film, influenced the dramatic use of light and shadow in 1920s German Expressionist cinema. By manipulating light and shadow, reality is distorted, and the audience is drawn into the characters' inner world, enhancing emotional intensity.

A summary from original text in German | Read the original

Keywords: World Premiere

Info & Ticket (www.koelner-philharmonie.de)
Artistic depiction of the event

Musicians

Kenn HartwigNintendo Gameboy, Circuit Bending
Shannon BarnettPosaune
Carlotta ArmbrusterTrombone
Andreas VölkBarth Audios, Live-Sampling
Thomas SauerbornSuspended Cymbal, Percussion

Program

Thomas SauerbornMan with a Movie Camera Musik zum gleichnamigen Stummfilm von Dsiga Wertow (1929, Ukraine) Uraufführung
Give feedback
Last update: Sat, Mar 29, 2025, 18:36

Similar events

These events are similar in terms of concept, place, musicians or the program.

Artistic depiction of the event
Finished

"drawing a straight line in a curved universe"

Sat, Nov 9, 2024, 16:00
Theater und Philharmonie Essen, Folkwang Universität der Künste, Neue AulaRWE PavillonAlfried Krupp Saal (Essen)
Benjamin Dinnebier (Dance), Zoélie Guckert (Physical Theatre), Katrin Meier (Stimme), Béla Bluche (Contrabass), Fanny Herbst (Harp), Daniel Ismaili (Drums), Shuizi Tong (Piano), Lukas Becker (Video), Charles Deichmann (Sound Director), Fabian Bentrup (Spatialisierung)
In the 1960s, choreographer Merce Cunningham dreamed of electronically notating dance. Composer Roman Pfeifer, inspired by this vision, created the transdisciplinary piece "drawing a straight line in a curved universe." He applied computer-generated dance technologies to music, presenting new possibilities and challenges for the Kammerelektronik ensemble, which Pfeifer founded to connect sound, instrumental gesture, light, space, and dance.
Info (www.theater-essen.de)
Artistic depiction of the event
Finished

Free Lunchtime Concert: Laurens de Man

Thu, Oct 3, 2024, 12:30
Het Concertgebouw, Main Hall (Amsterdam)
Laurens de Man (Organ)
For many years now, Lunchtime Concerts have been held in the Main Hall and the Recital Hall. The concerts range from public rehearsals by the Concertgebouworkest, to chamber music performances by young up-and-coming artists.For Lunchtime Concerts you will require a free ticket, which you can buy online. Doors to the concert hall open about 30 minutes before the Lunchtime Concert starts.We offer a broad range of music: the majority of concerts include classical music, but you can sometimes hear more modern repertoire. The concert programme is announced one week in advance on our website. The concerts last thirty minutes and are free of charge. Visitors are advised that these concerts are suitable for children from six years old.
Info (www.concertgebouw.nl)
Artistic depiction of the event
This month
In Berlin

A Ravel evening with Seong-Jin Cho

Tue, Apr 29, 2025, 19:00
Philharmonie Berlin, Chamber Music Hall (Berlin)
Seong-Jin Cho (Piano)
Seong-Jin Cho loves the “incredible wealth of colours” and “often orchestral sound” of Maurice Ravel's piano music, where he finds a special form of sensitivity. He sees in Ravel “a person who smiles gently, but with tears in his eyes”. To mark the 150th anniversary of the French composer's birth, our Artist in Residence will perform Ravel's complete works for solo piano, including the gravitational Pavane pour une infante défunte, the mysterious Gaspard de la nuit and the sometimes lively, sometimes dreamy Valses nobles et sentimentales.
Info & Ticket (www.berliner-philharmoniker.de)
Artistic depiction of the event
This season
In Katowice

Eliot Quartet / Music with a sense of humor

Thu, Jun 12, 2025, 19:30
Narodowej Orkiestry Symfonicznej Polskiego Radia, Chamber Hall (Katowice)
Eliot Quartett, Maryana Osipova (Violin), Alexander Sachs (Violin), Dmitry Hahalin (Viola), Michael Preuß (Cello)
Haydn wrote the Quartet in C major op. 54 No. 2, both virtuosic and exceptionally deep in its artistry, with Johann Tost, a violinist of the Esterhazy orchestra he was leading, in mind. Much to his surprise, he later learnt that the musician had sold the work to the publisher Seiber, keeping all money for himself. What was more, the quartet was published with changes unauthorised by Haydn. In his Quartet No. 3, Brahms obviously references the Viennese classic, creating a work of classical subjectivity, with all-encompassing sense of humour, and a tiny bit of the romantic emotionality in the slow movement, reminding us clearly of that being a completely different era already. Krzysztof Meyer, in turn, freely admits that the composition Au-delà d’une absence is a quartet in the style of his teacher, Dmitri Shostakovich. It is an attempt at continuing the Russian composer’s unfinished plan of writing 24 string quartets in all keys. An interesting and successful attempt, let us add. Adam SuprynowiczConcert duration (intermission included): approximately 100 minutes
Info & Ticket (nospr.org.pl)
Artistic depiction of the event
Finished

Concertgebouw Orchestra: A Prokofiev feast with Iván Fischer

Wed, Feb 12, 2025, 20:15
Het Concertgebouw, Main Hall (Amsterdam)
Concertgebouw Orchestra, Iván Fischer (Conductor), Nelson Goerner (Piano)
Sergey Prokofiev’s tremendous versatility can be appreciated only when multiple works of his are heard side by side. This concert by the Concertgebouw Orchestra under the direction of honorary guest conductor Iván Fischer is the perfect opportunity.The Overture on Hebrew Themes is friendly, playful and folkloric. By contrast, the Second Piano Concerto features all the shock effects that made Prokofiev famous. The music is like that of a wicked fairy tale, but can also be heard as the missing link between Rachmaninoff and the brutal ‘machine music’ of the 1920s. The work is rarely performed live owing to the extremely difficult piano part. Nelson Goerner is one of few to venture such a performance. Hearing the Argentine pianist in concert is invariably an unforgettable experience.With the ballet Cinderella (based on Perrault’s ‘Cendrillon’), Prokofiev proved himself a worthy successor to Tchaikovsky – and was even heralded as ‘the new waltz king’ by a Russian critic at the time. Performed less frequently than Prokofiev’s earlier ballet Romeo and Juliet, it nevertheless features the same compelling blend of elegance, whimsy and magical orchestral colour. Prokofiev himself claimed it contains some of the best passages he ever composed.
Info (www.concertgebouw.nl)
Artistic depiction of the event
Finished

Concertgebouw Orchestra: A Prokofiev feast with Iván Fischer

Thu, Feb 13, 2025, 20:15
Het Concertgebouw, Main Hall (Amsterdam)
Concertgebouw Orchestra, Iván Fischer (Conductor), Nelson Goerner (Piano)
Sergey Prokofiev’s tremendous versatility can be appreciated only when multiple works of his are heard side by side. This concert by the Concertgebouw Orchestra under the direction of honorary guest conductor Iván Fischer is the perfect opportunity.The Overture on Hebrew Themes is friendly, playful and folkloric. By contrast, the Second Piano Concerto features all the shock effects that made Prokofiev famous. The music is like that of a wicked fairy tale, but can also be heard as the missing link between Rachmaninoff and the brutal ‘machine music’ of the 1920s. The work is rarely performed live owing to the extremely difficult piano part. Nelson Goerner is one of few to venture such a performance. Hearing the Argentine pianist in concert is invariably an unforgettable experience.With the ballet Cinderella (based on Perrault’s ‘Cendrillon’), Prokofiev proved himself a worthy successor to Tchaikovsky – and was even heralded as ‘the new waltz king’ by a Russian critic at the time. Performed less frequently than Prokofiev’s earlier ballet Romeo and Juliet, it nevertheless features the same compelling blend of elegance, whimsy and magical orchestral colour. Prokofiev himself claimed it contains some of the best passages he ever composed.
Info (www.concertgebouw.nl)
Artistic depiction of the event
Finished

Concertgebouw Orchestra: A Prokofiev feast with Iván Fischer

Sat, Feb 15, 2025, 20:15
Het Concertgebouw, Main Hall (Amsterdam)
Concertgebouw Orchestra, Iván Fischer (Conductor), Nelson Goerner (Piano)
Sergey Prokofiev’s tremendous versatility can be appreciated only when multiple works of his are heard side by side. This concert by the Concertgebouw Orchestra under the direction of honorary guest conductor Iván Fischer is the perfect opportunity.The Overture on Hebrew Themes is friendly, playful and folkloric. By contrast, the Second Piano Concerto features all the shock effects that made Prokofiev famous. The music is like that of a wicked fairy tale, but can also be heard as the missing link between Rachmaninoff and the brutal ‘machine music’ of the 1920s. The work is rarely performed live owing to the extremely difficult piano part. Nelson Goerner is one of few to venture such a performance. Hearing the Argentine pianist in concert is invariably an unforgettable experience.With the ballet Cinderella (based on Perrault’s ‘Cendrillon’), Prokofiev proved himself a worthy successor to Tchaikovsky – and was even heralded as ‘the new waltz king’ by a Russian critic at the time. Performed less frequently than Prokofiev’s earlier ballet Romeo and Juliet, it nevertheless features the same compelling blend of elegance, whimsy and magical orchestral colour. Prokofiev himself claimed it contains some of the best passages he ever composed.
Info (www.concertgebouw.nl)