| Gammon | Modular Synthesizer |
| Klaus-Peter Werani | Viola |
| Hanno Simons | Cello |
| José Sebastião Trigo | Double bass |
| Aus dem Nachlass – Sechzehn Stücke für Viola, Violoncello und Kontrabass | Mauricio Kagel |
| From the “Gymnopédies” and “Gnossiennes pour piano” (instrumentation Klaus-Peter Werani) | Erik Satie |
These events are similar in terms of concept, place, musicians or the program.
The Academy has chosen compositions that demand quite special ways of approaching their instruments. Stephen Montague, in Thule Ultima, has the wind quintet play mainly on their mouthpieces, like a concert of exotic birds. George Crumb likewise calls for special timbres in his string quartet Black Angels: written to commemorate the victims of the Vietnam War, this pacifist composer asks the strings to play a quotation from Schubert’s Death and the Maiden using the wood of their bows (col legno), producing a bleak, oppressive tone. Ligeti’s Six Bagatelles, written shortly after his emigration from Hungary, reflect his immersion in Western culture. Ravel wrote Le Tombeau de Couperin as funeral music for the great French claveciniste. The movements originated during the First World War, and Ravel soon dedicated each one to a fallen French soldier from his circle of friends – a musical memorial spanning the centuries. His Sonata for Violin and Violoncello is likewise a funeral piece for a deceased composer, Claude Debussy.
BRSO solo oboist Stefan Schilli has been a Friend of the Academy for many years and is wholeheartedly committed to the Academy’s up-and-coming professional musicians. With his program for this Watch-This-Space concert, he not only wants to support the scholarship recipients, but also specifically challenge them – for instance with Mozart’s great serenade for winds, the Gran Partita, whose Adagio is also one of the most beautiful that Mozart ever wrote. Ligeti himself considered the Ten Pieces for Wind Quintet to be “miniature concertos” in which the individual instrumentalists are showcased in particularly striking ways. This is also the case with Bach, where there is an equal juxtaposition of musical lines with different timbres and characteristics.
Spotlight on the viola(s)! The composer and viola player Klaus-Peter Werani has assembled an all-viola programme with his BRSO colleagues Tobias Reifland, Anja Kreynacke, Giovanni Menna and German Tcakulov. It consists entirely of works from the modern era to the present day, all devoted to the deep and rich tone of the viola in combinations ranging from duo to string quintet. Founded during the covid pandemic, Watch This Space has evolved into a chamber music series that focuses not only on the new performance arena in Munich’s Werksviertel-Mitte district, but also on rarely heard works in smaller formats.
Unusual duo formats resound in the Werksviertel Complex: a work by Ravi Shankar for flute and harp, Beethoven’s tongue-in-cheek Duet for Two Obligato Eyeglasses (i.e. viola and cello), Scelsi’s microtonal Ko-Lho for flute and clarinet (1966) and Lauro’s Venezuelan waltz Natalia for marimba. Then the instruments from the duos join forces in a small multi-hued ensemble to accompany the mezzo-soprano Stefanie Iranyi. They will perform Luciano Berio’s Folk Songs, a gathering of songs from Armenia, France, Azerbaijan, Italy (Sardinia and Sicily) and the USA that this Italian composer, much like Bartók, united into a cycle in a plea for international understanding.
Ten winners of the Bavarian Young Composers’ Competition, in interaction with the BRSO, have developed miniature solo pieces, each for a single instrument. Together with the orchestra members, the young composers explore the rich technical and timbral possibilities of their respective instrument. The miniatures will be played by members of the BRSO in the orchestra’s colourful concert format “Watch This Space”.
The popular “Watch This Space” series will kick off the new season with a tribute to the Twenties. It was an age of vibrant diversity in society and the arts: radio was born, and music faced a rich amalgam of contrasting currents, from the avant-garde to neoclassicism and jazz. Together with artist-in-residence Kirill Gerstein, the young German-Japanese conductor Erina Yashima will tackle the music of this exciting era. After studying at Berlin’s Hanns Eisler University of Music, she worked as an assistant conductor to such figures as Riccardo Muti in Chicago, Yannick Nézet-Seguin in Philadelphia and Zubin Mehta on the BRSO’s Asian tour of 2018. Beginning with the new season she will be the principal conductor of the Komische Oper in Berlin.
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