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G. Ricordi & Co. München
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For information on Contemporary Music and Composers published by G. Ricordi & Co click here.
The Tre Media music publishing company’s catalogue of works is to be absorbed within the G. Ricordi & Co. Stage and Music Publishers Munich catalogue, effective immediately.
We are pleased to announce that the catalogue will not only continue to exist but will be enabled to reach the broadest possible audience as it is targeted at a global public under the auspices of Universal Music Publishing, an internationally operating publishing group that encompasses G. Ricordi & Co. Munich, the Robert Forberg Music Publishing House, Casa Ricordi Milan, G. Ricordi & Co. London, Éditions Durand-Salabert-Eschig and Editio Musica Budapest.
Tre Media was founded in Karlsruhe in 1994 by Friederike Zimmermann with the goal of publishing music of our time, unearthing and publishing new composers and working consistently to ensure dissemination of their works. The publishing house has particularly distinguished itself within the Swiss music scene, and the company received recognition from the SUISA Foundation for Music in 2001 with an award “for its extraordinary engagement on behalf of the composers of Switzerland.” (...)
Among the Swiss composers already represented extensively within the catalogues of Ricordi Munich and the Robert Forberg Music Publishing House Munich are Ulrich Gasser, Klaus Huber, Rolf Liebermann, André Richard, Urs Peter Schneider and Hans Wüthrich, as well as Polish composer Bettina Skrzypczak, a longtime resident of Switzerland. (...)
Tirol festival to open sep 9 with Sergej Newski’s chamber opera "Franziskus"
The fact that Sergej Newski’s first musical theater work reflects on the life and work of Saint Francis is quite telling. Olivier Messiaen also penned an opera based on the life of Saint Francis, but Newski’s chamber opera "Franziskus" – the first three scenes of which are to be premiered in concert on September 9 at the Klangspuren Schwaz Tirol – forges its own unique path. “The main character of Francis will be played by two performers,” explains Newski, “one having the somewhat drier, partly ironic and partly expressive voice of a narrator, the other a countertenor that makes his appearance in the most important scenes and at the most important moments to provide simultaneous narration.”
The evening-long work has a total of four tableaus and is written for two sopranos, countertenor, narrator, sixteen choir singers and twenty instrumentalists. “Franziskus is essentially a trialogue,” states Newski. “The four scenes make up four tableaus within the life of a saint, told by the figure of Saint Francis himself.” The work is based on a text entitled Heiliger Franz, by Claudius Lünstedt, written especially for the project. The most important source for the text, in turn, is provided by two descriptions of the life of "Saint Francis" by Thomas von Celano, a companion of the saint. “Saint Francis senses that his life will be a difficult struggle,” Lünstedt states. “The nearer he comes to the poorest of the world, the richer his own life appears to him and thus the more despicable he finds himself…. The basic theme underlying the text is that Francis seeks simply to survive without denying himself. He only experiences salvation when he is able to experience a spiritually sweet feeling (belief); he is willing to give his all, to vandalize his body, just for one moment of this kind. Sainthood is granted in a nervous process of mystification that includes a listing of miracles. The great number of extraordinary deeds attributed to the saint slays every thought of unbelief (doubt).” The vicissitudes and expressivity of the main character stand in contrast to his more static surroundings, explains Newski. “The soloists take on the role of the disciple, the choir and the people but are also used as individuals.”
The percussion section, which also integrates elementary materials such as stone, wood and iron, provides an important component to the music. “It completes the circle, tying together the Franciscan vow of poverty and simplicity and the aesthetic of the Italian Arte Povera ,” Newski continues. The four percussionists, positioned in various places throughout the room, bring about constant change in the spatial atmosphere. For the premiere, Johannes Kalitzke will be directing the Latvian Radio Choir, the Mark Pekarski Percussion Ensemble, Windkraft Tyrol and the Kilviria String Quartet. Soloists will include Daniel Gloger (countertenor), Natalia Pschenitschnikova (soprano) und Jakob Diehl (narrator).
The Italian premiere of the chamber opera "Franziskus" is to take place in Bozen on September 12 in the framework of the Transart Festival. The Asasello Quartet will also be performing the Austrian premiere of Newski’s Third String Quartet at the Klangspuren Schwaz (September 23) and Mikhail Doubov the piano work "Exploding Rooms" (September 22). Before that, on September 17, the 2008 film "Yuriev Den – Yuri’s Day", by Kirill Serebrennikov, with music composed by Newski, will be shown.
Heiner Goebbels’ "Walden" consists of musical sketches put to the novel of the same name by the naturalist Henry David Thoreau. Thoreau is recognised as the forefather of modern environmentalism, and also for his support for civil disobedience. After retreating for two years to live in a self built wooden hut on the shores of Walden Pond in the woods of Concord (Massachusetts), he argued the case for a radical, lonesome, Spartan individualism committed to living in harmony with Nature.
The musical interpretation of Thoreau’s "Walden", that was composed by Heiner Goebbels in 1998 for the Ensemble Modern, can be regarded as a counterpart to the urbane pictures of his earlier work "Surrogate Cities". For the new version of "Walden", that can be seen at the Bienalle festival Bern, Goebbels worked closely in collaboration with the Ensemble Klang, as well as with Keir Neuringer as the narrator. "Walden" is a spatial-visual conglomerate of sound, a scenic séance, that dedicates itself, in various forms and arrangements, to Thoreaus’s experiences during his transcendental forest reclusion. (Text: Biennale festival Bern)
Music: Ensemble Klang, Narrator: Keir Neuringer
Dampfzentrale Turbinensaal, Bern
14th and 15th September, 20.00 o’clock
At age 33, composer Dai Fujikura, already distinguished with multiple awards, has been chosen as prizewinner of the 40th ExxonMobil Music Awards. This prize has been awarded in Japan since 1971 with the aim of “encouraging promising young musicians in order to promote future musical activities in Japan.” The reason given by the jury for its decision reads, “Mr. Fujikura, Dai, whose musical activities are based in England, is a leading figure among the younger generation of composers (…) His innovative music, which exudes an inspired beauty along with a positive vitality, contains a wealth of unknown possibilities for bringing a new sense of joy and excitement to modern audiences.” Dai Fujikura was presented with the prize of 2 million Yen on October 28. – Congratulations!!
“Since I composed a piano concert in 2008, I try and sound out the relationship between the percussion and the perpetual sounds.” With these words Dai Fujikura shares a central characteristic of his musical-tonal thinking. The Japanese composer who was born in Osaka in 1977 before moving to London at the age of fifteen, always looks for different solutions. This is evident in "Away We Play" a piece for three women’s voices, which has it’s world premiere on the 10th of September by the Juice Vocal Ensemble at the Vale of Glamorgan Festival in Wales. In this piece, the character of the percussion sound is achieved by a “super short staccato.” As well as this, the work reflects a text by Harry Ross, which Fujikara recently performed in the world premiere "Love Excerpt" from 2009. In "Mirrors" from 2010 for six cellos, which has it’s Swiss premiere at the Lucerne festival on the 3rd September, Fukijara works with distinctive Pizzicato-and Arco contrasts. “Sometimes the mirror is inverted, almost as if the music has entered a mirror maze at a fairground.” explains Fujikara. The work was commissioned by the Chicago Symphony Orchestra.
Upcoming premieres of new works by Dai Fujikura:
September 3, 2010, Lucerne (Lucerne Festival): “Mirrors” (2010) for six cellos, CH-EA
Lucerne Festival Academy
September 10, 2010, Glamorgan (UK), Vale of Glamorgan Festival
“Away we play” for three female voices (2010), Text: Harry Ross, UA
Juice Vocal Ensemble
The composer describes his work “Blau, See” as follows: “Orchestral miniatures (Blau) comprising the smallest gestures – gestures at first sharply chiseled, then increasingly intermingling, blending softly. Fragmented scenes, like the echo of past things and the foreshadowing of what is yet to come. A spatial deepening, an English horn behind the scenes (See) like a call from afar, proclaiming, promising.” The work, commissioned by the Cottbus Philharmonic Orchestra, will be premiered under the direction of Ewan Christ on September 17, 2010, at the Staatstheater Cottbus.
The LINEA Ensemble of Strasbourg will be premiering Liza Lim’s latest work, “Buwayak,” under the direction of Jean-Philippe Wurtz on September 18, 2010, in Royaumont. In creating the piece, which is scored for flute, clarinet, trumpet, cello and percussion, the composer has reworked material from her solo cello work “Invisibility” (2009) and successive orchestral work “Pearl, Ochre, Hair String” (2010), gleaning it for new possibilities. “Invisibility draws inspiration from Aboriginal art, particularly in its use of ‘shimmer’ effects to reveal the simultaneity of past, present and future spiritual reality. The piece calls for two bows, one standard, the other a ‘guiro’ bow of Lim’s devising, in which the bow hairs are twisted round the wood of the bow, like a damper spring. This gives the sound across the string an irregular, serrated effect, rather like the cross-hatchings of Aboriginal art.” (Tim Rutherford-Johnson in Kings Place, 8 February 2010)
“Symphony of the late 20th century”: These are the words Enno Poppe uses to describe the musical genre comprising works for ensemble, and his composition "Salz" is a singular exploration of just that genre. The work, scored for nine instrumentalists, was commissioned for the Salzburg Festival and was given its world premiere there in 2005, and it established the international reputation of this composer from the Sauerland region. Poppe will be conducting the Norwegian premiere of the piece on September 9 in Oslo. “Salz consists of 125 intensifications – waves ensconced within waves,” explains Poppe. “The piece as a whole gradually and steadily becomes faster and louder. It threatens to fall into a state of utter chaos 125 times over, an impression created by the particular way the piece is organized.” Poppe’s use of a thirty-two-note Hammond organ is instrumental in creating the overall sound of the piece. The Norwegian premiere of the piece will be performed by ensemble mosaik.
With his work "Atlantis", Peter Eötvös has created a masterpiece of cognitive psychological exegesis. Inspired by a poem by Hungarian Surrealist Sándor Weöres, the work was conceived in 1995 as a gesamtkunstwerk – a cross-disciplinary synthesis of all the arts – with careful attention as to the construction of its spatial sonorities. A new version of this same piece, scored for boy soprano, baritone, cimbalom and orchestra, will receive its world premiere on September 24 in the scope of this year’s Musica Festival in Strasbourg. The work is comprised up of three main parts, with the last part divided into episodes, and in the new version, Episode B of the third part has been composed anew. Otherwise, the spatial positioning of the instrumentalists (particularly that of the ten percussionists) and the inventive sound colors remain the same. Eötvös also assigns particular significance to the number five within the work, employing the following instruments: five woodwinds; five trumpets; five trombones; four saxophones and one flugelhorn; two electronic pianos, two harps and one bass guitar; three synthesizers and one soloist duo (comprising cimbalom and baritone). The ten percussionists and two string quintets are also representative of the five sets of twins of Poseidon and Kleitos (the ten kings of Atlantis). Pascal Rophé will be conducting the Orchestre Philharmonique de Radio France for the world premiere of this new version of "Atlantis". The baritone part will be performed by Christian Miedl, and Cyril Dupuy will be featured on cimbalom.
Thomas Lauck wrestles with the question as to the value assigned to individual tones and their respective resonances in a way more multifaceted than nearly any other composer today. Lauck, born in 1943 and an optician by profession, treats each note as a distinctly individual personality all its own; for him, the elimination of any note represents a musical tragedy. His composition "Kurze Reise", written in 2009-2010, exemplifies yet another exploration of this same working method. The eight-minute work bears the subtitle “Hommage an die Basler Fasnacht” (“Homage to Basel’s Shrove Tuesday”) and will be given its world premiere in Freiburg on September 24. In talking about the piece, the composer speaks of a “solo for piccolo flute with hi-hat and pedal drum.” Indeed, in an examination of Lauck’s oeuvre, we find that percussion plays a significant role within his body of works as a whole; as with all “diminuendo instruments,” it is a visceral representation of our inability to prolong notes past their point of termination, a reminder that the elimination and death of a sound are inherent within its very birth. Along these same lines, Lauck’s new soundscape reflects on deeply existential questions that revolve around becoming, being and passing away. The world premiere of "Kurze Reise" will be performed by ensemble aventure.