Untitled - Musik-Akademie Basel

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Untitled - Musik-Akademie Basel

AKADEMIE-KONZERTDienstag, 5. April 2011, 20.15 UhrLeonhardskirche BaselSamstag, 2. April 2011, 19.00 UhrKirche Rasteau (Südfrankreich)Donnerstag, 7. April 2011, 20.00 UhrDorfkirche Winterthur-VeltheimEintritt frei, KollekteSchein-Polyphonie 2011Abschlusskonzert eines Projektes derSchola Cantorum Basiliensis und der Hochschule für Musik BaselKonzept und EinstudierungKatharina Bopp, Rebeka Rusó, Markus Hünninger, Erik OñaConrad Steinmann: ProjektleiterBlockflötenElodie Bouleftour, Giulia Breschi, Sarah Dentler, Anne Durant, Mira Gloor,Julie Kihm, Stélios Lazarou, Raphael Meyer, Alice Müller, Lydia Pacevicius,Tabea Schwartz, Benedicte WodeyViole da gambaLeonardo Bortolotto, Ainel Gonzalez, Lina Manrique, Mátyás Ölveti,Sarah Souza-SimonPerkussionLouisa MarxenOrgel, CembaloAnne Durant, Markus HünningerMit freundlicher Unterstützung derARTEPHILA STIFTUNGERNST GÖHNER STIFTUNG ZUGFAMILIEN-VONTOBEL-STIFTUNGMAJA SACHER-STIFTUNGMOMENTS MUSICAUX DE CACHAREL


Conrad Steinmann*1951Samuel Scheidt1587 – 1654Johann Hermann Schein1586 – 1630Samuel ScheidtRicercar II (Ein Schein von Scheidt) 2010 UACanzon Cornetto (Cantus XVIII )aus: Ludi Musici (Prima Pars 1622)Suite 7PadouanaGagliardaCourenteAllemande – Triplaaus: Banchetto Musicale 1617Canzon superO Nachbar Roland (Cantus XXVIII)aus: Ludi Musici (Prima Pars 1622)* * *Anita Mieze*1980Samuel ScheidtOlga Bočichina*1980Porta 2010 UAFantasia à 4 Voc. SuperIo son ferito lassoaus: Tabulatura nova 1624Invisible Choir: echo-studium 2011 UA* * *Johann Hermann ScheinDie mit Tränen säenaus: Israels Brünnlein 1623Johann Hermann Schein Suite 1PadouanaCourenteGagliardaaus: Banchetto Musicale 1617Samuel Scheidt Paduan (Cantus V)aus: Ludi Musici (Prima Pars 1622)Samuel ScheidtSamuel ScheidtBattaglia (Cantus XXI)Courant Dolorosa (Cantus IX)


Ricercar II oder ein Schein von Scheidt (2010)Es ist, als ob sich seit dem Erscheinen des Görlitzer Tabulaturbuches 1650 von SamuelScheidt ein feiner Staub auf dessen Choral „Gib Fried, o frommer, treuer Gott (Gebet zurZeit des Krieges um Frieden)“ gelegt hätte. Harmonien haben sich inzwischen verschobenund überlagern sich, und Töne sind wächsern geworden. Mein kleines Stück „Ricercar II“ istder Versuch, diesen wunderlichen Klängen nachzuhören und gleichzeitig Schichtenabzutragen, bis der Choral in seiner ganzen Schönheit, für Momente wenigstens, wiederaufScheint.Conrad SteinmannP o r t a (2010)Porta (L.) - gate, door, gatewayThe title of this composition compile several abstract ideas. which are not necessarilyrelated to each other. One of various explanations for example reveals the fact thatcomposing music nowadays but for historical instruments is also a kind of a gatewaywhich is not so often explored. As a composer first of all I had to find my way to approachthese specific musical instruments and to explore their characteristic sound colours. Thenmy whole attention was focused how to embody initial compositional idea of building upthe gate and finaly to open the door to imaginary musical space. But actually during thecomposing this piece all the time I had on my mind the phrase said by Julio Cortázar:«All profound distraction opens certain doors. You have to allow yourself to be distractedwhen you are unable to concentrate.» – J. Cortázar (Around the Day in Eighty Worlds)Anita MiezeInvisible Choir: echo-studium (2011)The basis of my new composition is the sounding of a mass: a sound image of liturgy withsuch attributes as chant and organ. “Invisible Choir” is an attempt to present this soundimage, or in other words to recreate the feeling of the sound atmosphere of a mass.In my piece there are two groups of instruments placed one behind the other. Theyimitate in a certain way the disposition of organ manuals: the gamba consort is frontstage, while the recorders are behind at the distance of the second manual. The distantrecorders, or «recorder manual», give a piano (soft) effect – an effect of echoing, ofrepetitions in the distance. This echo effect, so typical for early music and here featuredin my composition, is originally a result of the acoustical properties of a cathedral, itsboominess, and the complex combinations that follow a sound made by chance.In this context my piece is figuratively the invisible world of pulsations, which fill thecathedral but stay unhearable. This is exactly the imaginary action that is hidden from theear but which exists in the acoustical labyrinth of the cathedral.Olga Bočichina

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