Keywords: Symphony Concert
| Noa Wildschut | Violin |
| Mariangela Vacatello | Piano |
| IRCAM | Live-Elektronik |
| WDR Sinfonieorchester | |
| Ilan Volkov | Director |
| Konzert | Beat Furrer |
| Kinderszenen | Marco Momi |
| Sinfonie in einem Satz | Bernd Alois Zimmerman |
These events are similar in terms of concept, place, musicians or the program.
German premiere.
Johannes Maria Staud's drum concerto for Christoph Sietzen, portrait artist of the 2024/2025 season, captures the shimmer of reality. A highly virtuosic pleasure on sought-after and found instruments, from drums to flowerpots. The protagonists in Gordon Kampe's "Lyrical Symphony" are "delighted to devour": inhumanly heightened desire dominates the music. Nicolas A. Huber devotes himself to the perfection of the number 4.
Exceptional violinist Arabella Steinbacher inspired Luxembourgish composer Georges Lentz to create an ethereal violin concerto. Its sound expands through the Philharmonie like starlight under the Australian Outback sky, Lentz's composing location. Olga Neuwirth's "Masaot" delves into a river of memories and associations, music as both home and foreign land. Georges Aperghis' eighth Etude ignites a new celebration of orchestral virtuosity.
German premiere.
When the significant French composer and conductor Pierre Boulez passed away in 2016, Austrian composer Olga Neuwirth recalled her mentor in an obituary, remembering his way of "looking at music in a completely different way". Neuwirth composed a new piece for orchestra and electronics, electro-acoustic sounds that also repeatedly interested Boulez. The WDR Symphony Orchestra, conducted by guest conductor Jonathan Nott, performs Boulez's shimmering and floating sound portrait of the great symbolist poet Stéphane Mallarmé, "Pli selon pli".
Writer Händl Klaus and composer Hèctor Parra present "A Song of the Earth" for our time. Olivia and Bruno trudge through a glowing, dead landscape, their sung and spoken words forming an impossible dialogue. Kaija Saariaho's clarinet concerto, inspired by medieval tapestries, features a soloist who seems to "wander" through the concert hall.
How does spirit enter sacred music, Mr. Lauster? Not only sacred works are ingenious, inspire, and uplift. We readily attribute "spirit" to musical phenomena, to the inexplicable in art and other areas of existence. When is this justified and when not? Is the invisible phenomenon of sound, music, particularly predestined as a dwelling place of spirit and spirits? Myths, not only from the Christian cultural sphere, suggest this. The Protestant theologian Jörg Lauster, holder of the Chair of Dogmatics, Philosophy of Religion, and Ecumenism in Munich and author of fundamental books on Christianity, has dedicated a "biography" to the Holy Spirit and traces the "enchantment of the world" through art and culture.
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