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A breathtaking interplay between electrifying dancing and classical music’s timeless beauty unfolds at the WERK7 theater in Munich’s Werksviertel-Mittel district. Young talents from both educational institutions, the BRSO Academy and the Iwanson International School of Contemporary Dance, bring melodies to life on stage. The audience can expect a unique performance in which experimental dance provides new interpretations of familiar music. This promises to be an concert full of surprises and artistic synergy that will captivate even those who are die-hard fans of just one art form.
One instrument crops up with striking frequency in French music: the harp. Magdalena Hoffmann, in Debussy’s Danse sacrée et danse profane, invokes this special Debussyan inflection on her instrument, joined by a string quartet. She also creates a close but delicate exchange with the violin in Camille Saint-Saëns’s Fantaisie. But no less essential to the special French sound is the flute: when it enters an intimate dialogue with the viola in Ibert’s Interludes, the conversation takes place against the undulating ground of a harp. Wave-like arpeggios for the harp are also heard in Quintet for Harp, Flute, Violin, Viola and Cello by the composer and admiral Jean Cras, a work perhaps inspired by his long journeys at sea. The 20th-century music of Cras, Debussy and Ibert receives an exciting contemporary counterpart in Guillaume Connesson’s String Quartet, composed in 2008.
One instrument crops up with striking frequency in French music: the harp. Magdalena Hoffmann, in Debussy’s Danse sacrée et danse profane, invokes this special Debussyan inflection on her instrument, joined by a string quartet. She also creates a close but delicate exchange with the violin in Camille Saint-Saëns’s Fantaisie. But no less essential to the special French sound is the flute: when it enters an intimate dialogue with the viola in Ibert’s Interludes, the conversation takes place against the undulating ground of a harp. Wave-like arpeggios for the harp are also heard in Quintet for Harp, Flute, Violin, Viola and Cello by the composer and admiral Jean Cras, a work perhaps inspired by his long journeys at sea. The 20th-century music of Cras, Debussy and Ibert receives an exciting contemporary counterpart in Guillaume Connesson’s String Quartet, composed in 2008.
The BRSO is continuing its chamber music series “Watch This Space” at various venues in Munich’s Werksviertel-Mitte district, striking ever-deeper roots into its future home and giving audiences keen on small formats a chance to explore and enliven the location with the musicians. This time flautist Natalie Schwaabe will focus on trios, a format which, though not exactly unusual, is seldom heard in recitals. She and her colleagues Bettina Faiss (clarinet) and Lukas Maria Kuen (piano) will devote themselves mainly to sprightly dance pieces, from tarantella, tango and csárdás to bebop, blues and techno. Kuen will supply the dance backdrop for “Dancing With Winds”, creating a dialogue for flute and clarinet, and round off the series with three piano waltzes by Tchaikovsky.