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Lawrence Power

4hits in season
2024/25 or later 6hits in
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January 10, 2025

Kantorow / Sitkovetsky / Power / Julien-Laferrière

Fri, Jan 10, 2025, 20:00

Laeiszhalle, Kleiner Saal (Hamburg)

Alexander Sitkovetsky (Violin), Lawrence Power (Viola), Victor Julien-Laferrière (Cello), Alexandre Kantorow (Piano)

This piano quartet proves that you do not have to belong to the same generation to make superb music together. Pianist Alexandre Kantorow, to whom the Elbphilharmonie is dedicating a special focus this season, has been on a meteoric rise for several years and has already reached major venues by his mid-twenties. Cellist Victor Julien-Laferrière and violist Lawrence Power have used their advanced career of 10 and 25 years respectively for exciting solo projects, chamber music and much more. Young blood is now encountering great experience in the contrasting Piano Quartets Nos. 1 and 2 by Johannes Brahms. Brahms’ first two piano quartets were composed at the same time in 1861, when the young composer had moved from Hamburg to Vienna and had fallen in love with Hungarian folk music. Both works culminate in a lively, dance-like finale. The other movements also radiate a great deal of joie de vivre and enthusiasm.

Info (www.elbphilharmonie.de)

February 23, 2024

musica viva: Duncan Ward & Lawrence Power

Fri, Feb 23, 2024, 20:00

Herkulessaal (München)

Duncan Ward (Conductor), Lawrence Power (Viola), Symphonieorchester des Bayerischen Rundfunks

Collisions: Before “the combustion engine and radio monopolized earth and air” (Ives), one could experience the stillness of night even in New York. In Central Park in the Dark, stillness is interrupted by distant noises – including a passing street band. A second dimension is also present in Sofia Gubaidulina’s Concerto for Viola and Orchestra via a solo string quartet tuned a quarter tone lower than the other instruments of the orchestra. Both works provide the framework for this concert with internationally acclaimed guest conductor Duncan Ward. The centerpiece is the world premiere of sparks, waves and horizons by Minas Borboudakis, who describes his music as “a mixture of intensity, impulse and curiosity.” The concert also includes the work Čvor (Knot) by Serbian composer Milica Djordjević – named after the proverbial knot that bursts.

Info (www.brso.de)

February 17, 2024

Coptic Light

Sat, Feb 17, 2024, 19:00

hr-Sendesaal (Frankfurt am Main)

Lawrence Power (Viola), Stefan Asbury (Conductor)

Morton Feldman's "Coptic Light," inspired by Coptic textiles, is an orchestral expression of his interest in woven materials. The hr-Sinfonieorchester's concert connects this piece with works by Tania León, George Benjamin, and Sofia Gubaidulina, exploring cultural clashes, manuscript layers, and 20th-century Russian history, including the Cold War and Perestroika. The concert lasts approximately 115 minutes including intermission.

Info (www.hr-sinfonieorchester.de)

May 12, 2023

Vier Legenden

Fri, May 12, 2023, 20:00

Alte Oper (Frankfurt am Main)

Lawrence Power (Viola), Jukka-Pekka Saraste (Conductor)

Finnish conductor Jukka-Pekka Saraste presents a Nordic program featuring Sibelius' "Lemminkäinen Suite", portraying the Finnish hero Lemminkäinen. The suite includes the popular "Swan of Tuonela". Also included is the viola concerto by Swedish composer Anders Hillborg, a powerful and contrasting work premiered by Lawrence Power. Hillborg's music is characterized by juxtaposing static and hyperactive elements.

Info (www.hr-sinfonieorchester.de)

May 11, 2023

Vier Legenden

Thu, May 11, 2023, 19:00

Alte Oper (Frankfurt am Main)

Lawrence Power (Viola), Jukka-Pekka Saraste (Conductor)

Finnish conductor Jukka-Pekka Saraste presents a Nordic program featuring Sibelius' "Lemminkäinen Suite", portraying the Finnish hero Lemminkäinen. The suite includes the popular "Swan of Tuonela". Also included is the viola concerto by Swedish composer Anders Hillborg, a powerful and contrasting work premiered by Lawrence Power. Hillborg's music is characterized by juxtaposing static and hyperactive elements.

Info (www.hr-sinfonieorchester.de)

March 11, 2022

Ingo Metzmacher

Fri, Mar 11, 2022, 20:00

Herkulessaal (München)

Ingo Metzmacher (Conductor), Georg Nigl (Bariton), Lawrence Power (Viola), Nicolas Altstaedt (Cello), Magdalena Hoffmann (Harp), Bavarian Radio Chorus, Symphonieorchester des Bayerischen Rundfunks

Wolfgang Rihm’s work is pervaded by “lines of force”, such as a passion for literature and the visual arts, and often by borrowing from his own music. Earlier pieces are reworked and overwritten without being discarded. A crucial role on this labyrinthine path through time is played by lines, both written and performed: “I love the convoluted web of lines in orchestra’s potential”, he explains. “They are the intertwining grids on which I’ve been working for years”. In Die Stücke des Sängers, Orpheus is torn apart and his lyre is smashed. But new things emerge from the destruction, for his harp continues to play: “Everything I’ve brought forth by way of music I owe to a life, not to a strategy, theory or experiment. It has always been life itself.”

Info (www.brso.de)

Kantorow / Sitkovetsky / Power / Julien-Laferrière

Fri, Jan 10, 2025, 20:00

Laeiszhalle, Kleiner Saal (Hamburg)

This piano quartet proves that you do not have to belong to the same generation to make superb music together. Pianist Alexandre Kantorow, to whom the Elbphilharmonie is dedicating a special focus this season, has been on a meteoric rise for several years and has already reached major venues by his mid-twenties. Cellist Victor Julien-Laferrière and violist Lawrence Power have used their advanced career of 10 and 25 years respectively for exciting solo projects, chamber music and much more. Young blood is now encountering great experience in the contrasting Piano Quartets Nos. 1 and 2 by Johannes Brahms. Brahms’ first two piano quartets were composed at the same time in 1861, when the young composer had moved from Hamburg to Vienna and had fallen in love with Hungarian folk music. Both works culminate in a lively, dance-like finale. The other movements also radiate a great deal of joie de vivre and enthusiasm.

musica viva: Duncan Ward & Lawrence Power

Collisions: Before “the combustion engine and radio monopolized earth and air” (Ives), one could experience the stillness of night even in New York. In Central Park in the Dark, stillness is interrupted by distant noises – including a passing street band. A second dimension is also present in Sofia Gubaidulina’s Concerto for Viola and Orchestra via a solo string quartet tuned a quarter tone lower than the other instruments of the orchestra. Both works provide the framework for this concert with internationally acclaimed guest conductor Duncan Ward. The centerpiece is the world premiere of sparks, waves and horizons by Minas Borboudakis, who describes his music as “a mixture of intensity, impulse and curiosity.” The concert also includes the work Čvor (Knot) by Serbian composer Milica Djordjević – named after the proverbial knot that bursts.

Coptic Light

Morton Feldman's "Coptic Light," inspired by Coptic textiles, is an orchestral expression of his interest in woven materials. The hr-Sinfonieorchester's concert connects this piece with works by Tania León, George Benjamin, and Sofia Gubaidulina, exploring cultural clashes, manuscript layers, and 20th-century Russian history, including the Cold War and Perestroika. The concert lasts approximately 115 minutes including intermission.

Vier Legenden

Finnish conductor Jukka-Pekka Saraste presents a Nordic program featuring Sibelius' "Lemminkäinen Suite", portraying the Finnish hero Lemminkäinen. The suite includes the popular "Swan of Tuonela". Also included is the viola concerto by Swedish composer Anders Hillborg, a powerful and contrasting work premiered by Lawrence Power. Hillborg's music is characterized by juxtaposing static and hyperactive elements.

Vier Legenden

Ingo Metzmacher

Wolfgang Rihm’s work is pervaded by “lines of force”, such as a passion for literature and the visual arts, and often by borrowing from his own music. Earlier pieces are reworked and overwritten without being discarded. A crucial role on this labyrinthine path through time is played by lines, both written and performed: “I love the convoluted web of lines in orchestra’s potential”, he explains. “They are the intertwining grids on which I’ve been working for years”. In Die Stücke des Sängers, Orpheus is torn apart and his lyre is smashed. But new things emerge from the destruction, for his harp continues to play: “Everything I’ve brought forth by way of music I owe to a life, not to a strategy, theory or experiment. It has always been life itself.”