Klangforum Wien Klangforum Wien Klangforum Wien
Mandolínka Folklórní
Včeloun Brumlavý
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Klangforum Wien

Poppe / Mrkvička / Lang

Date of Event

Monday, 21. 5. 2018 from 20.00
Expected end of the concert 21.45

Price

700 CZK Sold out

Program

  • Enno Poppe: Speicher I
  • Luboš Mrkvička: For Large Ensemble, Part D (world premiere of a work commissioned by the Prague Spring)
  • Bernhard Lang: Monadologie XII

Interprets

  • Klangforum Wien
  • Bas Wiegers - conductor
  • Olivier Vivarѐs - clarinet
  • Gerald Preinfalk - saxophone
  • Anders Nyqvist - trumpet
Křídlatec Rudolfinský
Pikolka Lyrická

Today, the Austrian ensemble Klangforum Wien is regarded as one of the world’s leaders in the interpretation of contemporary music. It focuses on exceptionally difficult repertoire, giving truly paradigmatic performances of these works on its concert programmes and recordings.

The most important composers of the contemporary music scene from around the world have collaborated with Klangforum Wien. At Prague Spring, the ensemble will be presenting three compositions, two of which are part of its established repertoire of German-Austrian provenience, and the third will be the world premiere of a new work by a Czech composer.

Programme note

The programme will open with a work by a composer who has been regarded in recent years as the chief representative of the middle generation of German composers: Enno Poppe and his Speicher I for 19 instruments, which is the first part of his free cycle of works for various instrumental combinations written during the past decade.

Next to be heard is a new work written on commission for Prague Spring by the Czech composer Luboš Mrkvička (1978). His composition has the abstract title For Large Ensemble, Part D, and it is a continuation of a cycle of instrumental works with similar titles, the previous parts of which were written for the Berg Orchestra and the Brno Contemporary Orchestra. Luboš Mrkvička makes no secret of being an avid listener of rock music as well as of contemporary art music. In his own music, however, he strictly follows a stylistic line based on pure musical forms and shapes, emphasising the masterful compositional handling of musical detail. Such music makes great demands on performers, and it can be challenging even for an ensemble of the calibre of Klangforum Wien.

The concert will conclude with a lengthy work by the Austrian composer Bernhard Lang titled Monadology XII. In his cycle of Monadologies, Lang is refining his personal aesthetic, which combines certain elements of constructivism and minimalism with rock instrumentation.

Luboš Mrkvička – about the piece

From the moment I have started composing I felt somehow reluctant to give titles to my compositions. Although there may have been significant differences between the pieces I felt like I have been fundamentally doing the same thing all along. If I have ever been attracted to a composition as a listener I always wanted to know what else the composer has written. And as an enthusiastic rock music listener I have never been among those who have only their favorite albums or even songs that they listen to all the time without listening to the rest of the band’s production. I have always appreciated bands and not just songs; I have always appreciated composers and not just pieces – I have always tended to see all music as one thing, as something that in spite of its structural diversity is still the same in its essence.

As with any true music lover, for whom I think myself, all of these tendencies originated primarily from the immediate and even physical pleasure of the musical detail that, like in a single moment, contains the entire musical experience. Thanks to this feeling of primacy of musical detail I have never quite understood the need to create dramatic forms which is manifested by the fact that the individual movements of the composition must always be presented in the same order in order to achieve the intended dramatic effect. Without any problems I could play the scherzo of a romantic symphony before the first movement or listen to the songs of a concept rock album in altered order without any reduction in the intensity of my musical experience.

I suppose it was primarily the tension between my need to perceive music as a single phenomenon and that physical pleasure of the musical detail that made me come up with a simple decision about eleven years ago: I will simply label my pieces with ordinal letters. Each piece (letter) will represent the development of a specific musical idea in relation to harmony, dynamics, speed, density, texture, registers… It will stand either alone or in the neighborhood of any number of any other parts, in which case their order will be entirely at the discretion of the performer(s). I completed the first part of the cycle called For Large Ensemble in 2008. Part B was composed for the Berg Orchestra in 2015, Part C for the Brno Contemporary Orchestra in 2017. Part D, commissioned by the Prague Spring Festival, composed for Klangforum Wien, is the last composition of the cycle so far.


The ensemble Klangforum Wien was founded by the composer and conductor Beat Furrer in 1985. Since then, it has been exercising a major influence over Austrian music by collaborating closely with composers (and not only from German-speaking countries) and supporting the composing of new works. During the more than thirty years of its existence, Klangforum has earned itself the position as one of the world’s most respected ensembles, and it has grown into an important institution with a whole range of activities, ranging from large-scale projects of its own to collaborations on multimedia works and various educational events. Its discography includes over seventy CDs, and it has premiered nearly five hundred new works. It is invited regularly to the world’s leading festivals and concert halls, winning numerous awards and working with outstanding conductors. It will be appearing at Prague Spring with the conductor Bas Wiegers.

Ensemble members:

Flute: Eva Furrer, Thomas Frey

Oboe, English horn: Markus Deuter

Clarinet: Olivier Vivarès, Johannes Feuchter

Bassoon: Lorelei Dowling

Saxophone: Gerald Preinfalk

French horn, Wagnertuba: Christoph Walder

Trumpet: Anders Nyqvist

Trombone: Mikael Rudolfsson

 

 

Piano: Florian Müller

Percussion: Lukas Schiske, Björn Wilker

Accordion: Krassimir Sterev

Violn: Sophie Schafleitner, Annette Bik

Viola: Geneviève Strosser, Rafal Zalech

Violoncello: Benedikt Leitner, Leo Morello

Double bass: Aleksander Gabrys