Many composers have written pieces in close cooperation with the Scharoun Ensemble, but on this evening in the chamber music hall, the Ensemble celebrates its 35th anniversary, rings, only one. This is a premiere: The “Three pieces for Ensemble” by Mark Andre to cut the surprisingly religious Note, the draws for the evening. Andre speaks of the Disappearance, and, as he calls it, the sound of the shadows. He sees in it a reference to the gospel of Luke, but provides no programmatic sacred piece. The topic of the disappearance begins with him, with the analysis of sounds, dissected, and when listening to the Detail to be resolved. The reformulation is, the shadow of the output sounds, are compositional Basis. Without great expressive gestures, listening to an Ensemble, the sounds of steel and glass, or abstract materials. Imposing, for example, as the pianist strikes in the low Register intervals that lasts a long time and now the strings, harmonics, and carefully composed beats add. So the impression of a completely different set of instruments.
In the case of Schoenberg, the confidence in the world
fades Fades with Mark Andre of the sound, so it is in the case of Schoenberg, the confidence in the world. He knows Mathilde in 1907/08 by the affair of his wife, musing also about Gustav Mahler’s Emigration. His inner musical development, probably under the influence of these circumstances has already begun, the audience in the incomprehension to hang out. So his second string Quartet is in f – sharp minor, which loses itself in an increasingly dysfunctional, atonal, the piece sounded a cautiously optimistic Conclusion in f sharp major ends.
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Scharoun-Ensemble Schumann memories plays fly through space
Sybill Mahlke
Optimistic, the approach of the 18-year-old George Benjamin, with his octet, performed, everything he had learned in the studies with Messiaen was in 1978, in only ten minutes. What sounds overly ambitious, is rightly rated as a amazing Mature. The Trick: The piece with many short stages, in which different principles can be processed to be running. Within these parts but it is kept as simple as possible. So also in the closing bars: Almost reverent everything, than only the basin with a soft felt bat calms down to be beaten, as would be leading a ceremony. Thus, it includes Sofia Gubaidulina’s “Hommage à T. S. Eliot” from 1987/91 of the path, the way, as a Liturgy appears to be. A capella vocals, with a steady Hand, coloratura composed, then again, almost spoken, alternate with instrumental Parts driven in Unison with long breathing pauses. To describe it as a sacred plant, would also be misleading. Gubaidulina, as Eliot asks, rather, to the place of the Spiritual in Modern art, as it call just. The program touches so, to quote instead from the own history, the transience of self and do not cling only own 35 years of the ensemble’s history. It is used to performed scores.