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Concerts featuring SWR Vokalensemble in season 2024/25 or later
Inspired by György Ligeti's microtonality, Lithuanian composer Justė Janulytė's "Iridescence" features vibrant soundscapes and ever-changing harmonies. The spiraling sound, evoking infinity and eternal light, connects with the ancient text in Helmut Lachenmann's "Consolation." Josef Gabriel Rheinberger's "Cantus missae" shares this theme of eternal faith, showcasing the Liechtenstein composer's emphatic style.
Comfort, critique, experimentation, and harmony define contemporary composing. Agata Zubel's choral piece, inspired by Gerhard Richter's societal critiques, joins Ulrich Kreppein's work based on Federico García Lorca's poetry. Younghi Pagh-Paan's piece offers solace through biblical texts. The ECLAT Festival also features instrumental debuts by Zeynep Toraman and Arne Gieshoff, performed by the experimental Duo Saviet/Houston.
This Liederabend pays tribute to Clytus Gottwald, who transformed fin de siècle music, including piano songs and orchestral pieces, into choral works. While composers like Richard Strauss briefly experimented with vocal music, Gottwald combined Strauss's instrumental approach with Ligeti's vocal techniques, creating a new genre of over 100 transcriptions, starting with pieces by Ravel, Berg, and Mahler.
This Liederabend pays tribute to Clytus Gottwald, who transformed fin de siècle music, including piano songs and orchestral pieces, into choral works. While composers like Richard Strauss briefly experimented with vocal music, Gottwald combined Strauss's instrumental approach with Ligeti's vocal techniques, creating a new genre of over 100 transcriptions, starting with pieces by Ravel, Berg, and Mahler.
This Liederabend pays tribute to Clytus Gottwald, who transformed fin de siècle music, including piano songs and orchestral pieces, into choral works. While composers like Richard Strauss briefly experimented with vocal music, Gottwald combined Strauss's instrumental approach with Ligeti's vocal techniques, creating a new genre of over 100 transcriptions, starting with pieces by Ravel, Berg, and Mahler.
In 1867, Anton Bruckner, recovering from a nervous ailment, began composing his large-scale Mass No. 3. Twenty-five years later, he quoted it in his unfinished 9th Symphony as a gesture of thanks to God.
After personal and professional setbacks drove Bruckner to the brink of madness in 1867, the organist suffered a nervous breakdown. Recovering in an asylum, he returned to composing and created his "Great" f-minor Mass, a work of symphonic scale and profound expressiveness. The SWR Vokalensemble, WDR Rundfunkchor Köln, and SWR Symphonieorchester reunite with conductor Pablo Heras-Casado this season for a performance of Bruckner's final mass setting.
In 1867, Anton Bruckner, recovering from a nervous ailment, began composing his large-scale Mass No. 3. Twenty-five years later, he quoted it in his unfinished 9th Symphony as a gesture of thanks to God.
After personal and professional setbacks drove Bruckner to the brink of madness in 1867, the organist suffered a nervous breakdown. Recovering in an asylum, he returned to composing and created his "Great" f-minor Mass, a work of symphonic scale and profound expressiveness. The SWR Vokalensemble, WDR Rundfunkchor Köln, and SWR Symphonieorchester reunite with conductor Pablo Heras-Casado this season for a performance of Bruckner's final mass setting.
After personal and professional setbacks drove Bruckner to the brink of madness in 1867, the organist suffered a nervous breakdown. Recovering in an asylum, he returned to composing and created his "Great" f-minor Mass, a work of symphonic scale and profound expressiveness. The SWR Vokalensemble, WDR Rundfunkchor Köln, and SWR Symphonieorchester reunite with conductor Pablo Heras-Casado this season for a performance of Bruckner's final mass setting.
In 1867, Anton Bruckner, recovering from a nervous ailment, began composing his large-scale Mass No. 3. Twenty-five years later, he quoted it in his unfinished 9th Symphony as a gesture of thanks to God.
Man's relationship with nature is complex: a place of longing, a role model, and a victim. Nørgård uses Rilke's texts to find this connection in sound. Mason composes based on swarm intelligence, mirroring fish and birds' survival strategies. Staud's choir remembers death marches witnessed by willows. Pagh-Paan tells of Korea's exploitation and societal upheaval leading to a "loss of soul".
Man's relationship with nature is complex: a place of longing, a role model, and a victim. Nørgård uses Rilke's texts to find this connection in sound. Mason composes based on swarm intelligence, mirroring fish and birds' survival strategies. Staud's choir remembers death marches witnessed by willows. Pagh-Paan tells of Korea's exploitation and societal upheaval leading to a "loss of soul".
Berlin-based composer, performer, and sound artist Yiran Zhao, originally from China, incorporates light, shadow, performance, and visual media in her work. British composer Christian Mason's new piece, "The Oddity Effect," uses text by Paul Griffiths about the light-related swarming behavior of fish. Ustina Dubitsky, winner of the Besançon and La Maestra conducting competitions, will conduct both pieces and the premiere of a prize-winning work from the ACHT BRÜCKEN Composition Competition. This concert is supported by the Ministry of Culture and Science of North Rhine-Westphalia and recorded by WDR radio.
The Festspielhaus Baden-Baden celebrates Pierre Boulez's 100th birthday with several concerts, including two of his "younger" works paired with Bruckner's last symphony. Boulez admired Bruckner and played a key role in his recognition. The program features "Figures – Doubles – Prismes," where figures are varied and doubled, concluding with a new perspective on the earlier work. A vocal piece inspired by E. E. Cummings's poetry experiments combines text and music.
The Festspielhaus Baden-Baden celebrates Pierre Boulez's 100th birthday with several concerts, including two of his "younger" works alongside Bruckner's last symphony. Boulez admired Bruckner, frequently conducting his works. "Figures – Doubles – Prismes" showcases variations and doublings of musical figures, culminating in a re-examination of the earlier work. Boulez also sets E. E. Cummings's poems to music, creating a unique blend of text and sound.
For almost 3000 years, Psalms have been prayed and sung by Jews and later Christians, and are even found in the Quran. These poetic, powerful prayers, dramatic laments, and jubilant hymns, attributed to King David, reflect the shared cultural and religious roots of now-divided parties. This concert contrasts the passionate Christian-Jewish tradition in works by Mendelssohn and Kreek with perspectives from Lebanese composer Zad Moultaka and Yemeni composer Saed Haddad.
For almost 3000 years, Psalms have been prayed and sung by Jews and later Christians, and are even found in the Quran. These poetic, powerful prayers, dramatic laments, and jubilant hymns, attributed to King David, reflect the shared cultural and religious roots of now-divided parties. This concert contrasts the passionate Christian-Jewish tradition in works by Mendelssohn and Kreek with perspectives from Lebanese composer Zad Moultaka and Yemeni composer Saed Haddad.
For almost 3000 years, Psalms have been prayed and sung by Jews and later Christians, and are even found in the Quran. These poetic, powerful prayers, dramatic laments, and jubilant hymns, attributed to King David, reflect the shared cultural and religious roots of now-divided parties. This concert contrasts the passionate Christian-Jewish tradition in works by Mendelssohn and Kreek with perspectives from Lebanese composer Zad Moultaka and Yemeni composer Saed Haddad.
For almost 3000 years, Psalms have been prayed and sung by Jews and later Christians, and are even found in the Quran. These poetic, powerful prayers, dramatic laments, and jubilant hymns, attributed to King David, reflect the shared cultural and religious roots of now-divided parties. This concert contrasts the passionate Christian-Jewish tradition in works by Mendelssohn and Kreek with perspectives from Lebanese composer Zad Moultaka and Yemeni composer Saed Haddad.
For almost 3000 years, Psalms have been prayed and sung by Jews and later Christians, and are even found in the Quran. These poetic, powerful prayers, dramatic laments, and jubilant hymns, attributed to King David, reflect the shared cultural and religious roots of now-divided parties. This concert contrasts the passionate Christian-Jewish tradition in works by Mendelssohn and Kreek with perspectives from Lebanese composer Zad Moultaka and Yemeni composer Saed Haddad.
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