PROGRAMM
14.04.2015 20:00 Luzern, Neubad
15.04.2015 20:00 Uster, Central
16.04.2015 20:00 Zofingen, Alass
"Mirage" 2014 für Sextett
von Yevhen Stankovych
"ENSEMBLE-BUCH 5" 2014 für 6 Instrumente
von Rudolf Kelterborn
"Adagio“ 2014 für Sextett von Johannes Harneit
"Partita" für Sextett von Sebastian Gottschick
ensemble für neue musik zürich
Hans-Peter Frehner Flöte
Manfred Spitaler Klarinette
Viktor Müller Klavier
Lorenz Haas Schlagzeug
Daniela Müller Violine
Nicola Romanò Violoncello
Sebastian Gottschick Leitung
Rudolf Kelterborn
Yevhen Stankovych
ENSEMBLE-BUCH 5 für 6 Instrumente (2013/14)
von Rudolf Kelterborn
Nach meiner 5. Sinfonie („La notte“) habe ich nun auch noch ein fünftes Ensemble-Buch geschrieben – für das „ensemble für neue musik zürich“.
Meine Ensemble-Bücher sind Kompositionen für einen Pool von Instrumenten und (zum Teil) Stimmen, die in den verschiedensten Kombinationen kammermusikalisch und nur gelegentlich als kompaktes Tutti eingesetzt werden. Mein Ensemble-Buch I zum Beispiel ist für Bariton und 14 Instrumente komponiert – darin gibt es u.a. zwei Sätze für Bariton und Klavier, ein Trio für Bariton, Violine und Cello, ein instrumentales Oktett usw.
Das Ensemble-Buch V hat die kleinste Besetzung meiner Ensemble-Bücher: 2 Bläser, 2 Streicher, Schlagzeug und Klavier. In den sechs Sätzen, deren Titel die Phantasie der Zuhörerinnen und Zuhörer in eine bestimmte Richtung lenken mögen aber Vieles offen lassen (I. Chemins II. Dark music – Cris du monde III. Natura morta 1 IV. Illuminations V. Beating and Whispering VI. Natura morta 2 – Apertura), gibt es Duette, Trios, Quartette, Quintette und (tatsächlich auch……) Sextette.
Rudolf Kelterborn
Geboren am 3.9.1931 in Basel. Ausbildung in den Hauptfächern Musiktheorie (Güldenstein, Müller von Kulm), Komposition (u.a. Geiser, Fortner, Bialas, Blacher) und Dirigieren (Krannhals, Markevitch) in Basel, Salzburg und Detmold. Umfangreiches kompositorisches Oeuvre aller Gattungen (Bühnenwerke, Orchester- und Kammermusik, instrumentale und vokale Kompositionen für grössere Ensembles, Chorwerke). Kontinuierlich Aufführungen in ganz Europa, in den USA und in Japan. War u.a. Leiter der Abteilung Musik Radio DRS, Chefredaktor der Schweiz. Musikzeitung, Direktor der Musik-Akademie Basel, Mitbegründer des „ Basler Musik Forum“. Dozent und Professor an verschiedenen deutschen und schweizerischen Musikhochschulen. Gastdozent u.a. in den USA, England, Japan, China und in osteuropäischen Ländern. Musiktheoretische und analytische Publikationen. Bis 1995 vielfältige Tätigkeit als Gastdirigent (vor allem eigener Werke). Zahlreiche Preise und Auszeichnungen.
"Міражі" (Mirage) für Sextett
von Yevhen Stankovych
“Mirages” are written for a wonderful modern music ensemble ensemble für neue musik zürich, with that I cooperate over twenty years.
The ensemble attracts with its large view of the world, that permits to play music in different style direction of modern music. In brief, it seems like “Mirages” are a sequence of emergent sound episodes joining together on the ground of the developing head-intonation or head-motif. To define the emotional aspect of “Mirages” is prerogative of listeners…
Yevhen Stankovych
Yevhen Stankovych (b. 1942, Svaliava, Transcarpathian Region, Ukraine) is one of the central figures of contemporary Ukrainian music. A prolific composer, he has, since 1966, authored 6 symphonies, 12 chamber symphonies, an opera (When the Fern Blooms), 6 ballets, a large number of works in the oratorical, vocal chamber and instrumental chamber genres, as well as incidental music to 6 music theatre plays and over 100 films.
The regime of socialist realism, enforced with greater fervour in the Soviet Ukraine of the 1970’s than in Russia, attempted to create barriers to external influences. Yevhen Stankovych is recognised as the leader of the group of young Ukrainian composers who in the early 1970’s brought down those barriers and introduced innovation in their techniques and themes.
Stankovych studied at the Kyiv Conservatory under Borys Liatoshynsky, and later under Myroslav Skoryk.
Beginning with his first compositions, Stankovych declared himself as a composer of dramatic temperament, not adverse to emotional risk. His works reflect his defiance and at the same time his optimism. Stankovych uses music as a means of expression of his philosophical and dramatic thoughts.
While his technique is contemporary, folkloric themes of Ukraine’s cultural groups are paramount in his works. Examples of this are his opera, When the Fern Blooms (1978), and Kaddish-Requiem for Babyn Yar (1991).
Stankovych’s uniqueness lies in his pronounced affinity with the vernacular, in his blending of folk motifs with orchestral colours, reproducing the unique aspects of the folk song and of multilayer polyphony. A composer, he believes, cannot create music in isolation from his cultural lifeline and works to extend that lifeline to his audience.
The composer’s elaborate polyphonic textures and meditative lyricism are reminiscent of the strict instrumental style of Baroque music, while the full-bodied affected melodies with an obvious post-romantic colouring give the music warmth and expressiveness. His music is remarkable in many respects, showing his emotional freedom, consummate technical mastery and flexibility of form.
Starting with the late 1970’s his works were censored or banned by the Soviet government. His opera, When the Fern Blooms, was banned on the eve of its premiere in 1978, the sets, decorations and music score seized and destroyed. His ballet Rasputin/Prometheus (1985), was censored after each performance; its first performance as originally written took place in Skopje, Macedonia in 1989.
As the U.S.S.R. collapsed, Stankovych wrote several monumental works commemorating Ukraine’s victims. His Kaddish-Requiem for Babyn Yar was the composer’s gift to the memory of Jews who perished at the hands of the Nazis in Kyiv in September 1941 (premiered in September 1991 in Kyiv); Requiem for those who died of famine commemorates the 10 million who perished of hunger in 1932-33 in Ukraine (premiered in 1993 in Kyiv); Black Elegy - a commemoration of the victims of the Chornobyl tragedy (premiered in 1991 in Winnipeg).
Yevhen Stankovych is the recipient of several major awards. His Chamber Symphony # 3 was selected by UNESCO’s World Tribune as one of the 10 best works of 1985. He has been recognised with several awards in Ukraine, including the country’s highest award for artistic creativity, the Taras Shevchenko State Award and Hero of Ukraine.
Yevhen Stankovych is chair of the Faculty of Composition at the Kyiv Conservatory (Music Academy) and former Chairman of the Composers’ Union of Ukraine.
The composer’s works been performed in Canada, the U.S., Germany, France, Switzerland, Finland, Spain, China, the Phillipines and the former Yugoslavia, in addition to performances in the former U.S.S.R. and in countries formerly aligned with it. In January 1992, he was the senior juror at Canada’s First Contemporary Music Competition held in Winnipeg and has been the featured at contemporary music festivals in Germany and Poland. His works have been recorded on the Melodiya, Analekta, ASV and Naxos labels.
In 1996, he was composer-in-residence in the Canton of Bern, Switzerland. During 1997 and the first part of 1998, several of his works were premiered and performances devoted to his music took place in various countries: the premiere by the Winnipeg Symphony Orchestra of his Liturgy for mixed choir and orchestra, “Thy Kingdom Come”; in Biel, Switzerland, the symphonic poem “Ave Maria” for chamber orchestra was premiered; concerts devoted to his music in New York, Zurich, Toronto and in several Ukrainian cities .
The composer is currently working on several new compositions.
15.04.2015 20:00 Uster, Central
16.04.2015 20:00 Zofingen, Alass
"Mirage" 2014 für Sextett
von Yevhen Stankovych
"ENSEMBLE-BUCH 5" 2014 für 6 Instrumente
von Rudolf Kelterborn
"Adagio“ 2014 für Sextett von Johannes Harneit
"Partita" für Sextett von Sebastian Gottschick
ensemble für neue musik zürich
Hans-Peter Frehner Flöte
Manfred Spitaler Klarinette
Viktor Müller Klavier
Lorenz Haas Schlagzeug
Daniela Müller Violine
Nicola Romanò Violoncello
Sebastian Gottschick Leitung
Rudolf Kelterborn
Yevhen Stankovych
ENSEMBLE-BUCH 5 für 6 Instrumente (2013/14)
von Rudolf Kelterborn
Nach meiner 5. Sinfonie („La notte“) habe ich nun auch noch ein fünftes Ensemble-Buch geschrieben – für das „ensemble für neue musik zürich“.
Meine Ensemble-Bücher sind Kompositionen für einen Pool von Instrumenten und (zum Teil) Stimmen, die in den verschiedensten Kombinationen kammermusikalisch und nur gelegentlich als kompaktes Tutti eingesetzt werden. Mein Ensemble-Buch I zum Beispiel ist für Bariton und 14 Instrumente komponiert – darin gibt es u.a. zwei Sätze für Bariton und Klavier, ein Trio für Bariton, Violine und Cello, ein instrumentales Oktett usw.
Das Ensemble-Buch V hat die kleinste Besetzung meiner Ensemble-Bücher: 2 Bläser, 2 Streicher, Schlagzeug und Klavier. In den sechs Sätzen, deren Titel die Phantasie der Zuhörerinnen und Zuhörer in eine bestimmte Richtung lenken mögen aber Vieles offen lassen (I. Chemins II. Dark music – Cris du monde III. Natura morta 1 IV. Illuminations V. Beating and Whispering VI. Natura morta 2 – Apertura), gibt es Duette, Trios, Quartette, Quintette und (tatsächlich auch……) Sextette.
Rudolf Kelterborn
Geboren am 3.9.1931 in Basel. Ausbildung in den Hauptfächern Musiktheorie (Güldenstein, Müller von Kulm), Komposition (u.a. Geiser, Fortner, Bialas, Blacher) und Dirigieren (Krannhals, Markevitch) in Basel, Salzburg und Detmold. Umfangreiches kompositorisches Oeuvre aller Gattungen (Bühnenwerke, Orchester- und Kammermusik, instrumentale und vokale Kompositionen für grössere Ensembles, Chorwerke). Kontinuierlich Aufführungen in ganz Europa, in den USA und in Japan. War u.a. Leiter der Abteilung Musik Radio DRS, Chefredaktor der Schweiz. Musikzeitung, Direktor der Musik-Akademie Basel, Mitbegründer des „ Basler Musik Forum“. Dozent und Professor an verschiedenen deutschen und schweizerischen Musikhochschulen. Gastdozent u.a. in den USA, England, Japan, China und in osteuropäischen Ländern. Musiktheoretische und analytische Publikationen. Bis 1995 vielfältige Tätigkeit als Gastdirigent (vor allem eigener Werke). Zahlreiche Preise und Auszeichnungen.
"Міражі" (Mirage) für Sextett
von Yevhen Stankovych
“Mirages” are written for a wonderful modern music ensemble ensemble für neue musik zürich, with that I cooperate over twenty years.
The ensemble attracts with its large view of the world, that permits to play music in different style direction of modern music. In brief, it seems like “Mirages” are a sequence of emergent sound episodes joining together on the ground of the developing head-intonation or head-motif. To define the emotional aspect of “Mirages” is prerogative of listeners…
Yevhen Stankovych
Yevhen Stankovych (b. 1942, Svaliava, Transcarpathian Region, Ukraine) is one of the central figures of contemporary Ukrainian music. A prolific composer, he has, since 1966, authored 6 symphonies, 12 chamber symphonies, an opera (When the Fern Blooms), 6 ballets, a large number of works in the oratorical, vocal chamber and instrumental chamber genres, as well as incidental music to 6 music theatre plays and over 100 films.
The regime of socialist realism, enforced with greater fervour in the Soviet Ukraine of the 1970’s than in Russia, attempted to create barriers to external influences. Yevhen Stankovych is recognised as the leader of the group of young Ukrainian composers who in the early 1970’s brought down those barriers and introduced innovation in their techniques and themes.
Stankovych studied at the Kyiv Conservatory under Borys Liatoshynsky, and later under Myroslav Skoryk.
Beginning with his first compositions, Stankovych declared himself as a composer of dramatic temperament, not adverse to emotional risk. His works reflect his defiance and at the same time his optimism. Stankovych uses music as a means of expression of his philosophical and dramatic thoughts.
While his technique is contemporary, folkloric themes of Ukraine’s cultural groups are paramount in his works. Examples of this are his opera, When the Fern Blooms (1978), and Kaddish-Requiem for Babyn Yar (1991).
Stankovych’s uniqueness lies in his pronounced affinity with the vernacular, in his blending of folk motifs with orchestral colours, reproducing the unique aspects of the folk song and of multilayer polyphony. A composer, he believes, cannot create music in isolation from his cultural lifeline and works to extend that lifeline to his audience.
The composer’s elaborate polyphonic textures and meditative lyricism are reminiscent of the strict instrumental style of Baroque music, while the full-bodied affected melodies with an obvious post-romantic colouring give the music warmth and expressiveness. His music is remarkable in many respects, showing his emotional freedom, consummate technical mastery and flexibility of form.
Starting with the late 1970’s his works were censored or banned by the Soviet government. His opera, When the Fern Blooms, was banned on the eve of its premiere in 1978, the sets, decorations and music score seized and destroyed. His ballet Rasputin/Prometheus (1985), was censored after each performance; its first performance as originally written took place in Skopje, Macedonia in 1989.
As the U.S.S.R. collapsed, Stankovych wrote several monumental works commemorating Ukraine’s victims. His Kaddish-Requiem for Babyn Yar was the composer’s gift to the memory of Jews who perished at the hands of the Nazis in Kyiv in September 1941 (premiered in September 1991 in Kyiv); Requiem for those who died of famine commemorates the 10 million who perished of hunger in 1932-33 in Ukraine (premiered in 1993 in Kyiv); Black Elegy - a commemoration of the victims of the Chornobyl tragedy (premiered in 1991 in Winnipeg).
Yevhen Stankovych is the recipient of several major awards. His Chamber Symphony # 3 was selected by UNESCO’s World Tribune as one of the 10 best works of 1985. He has been recognised with several awards in Ukraine, including the country’s highest award for artistic creativity, the Taras Shevchenko State Award and Hero of Ukraine.
Yevhen Stankovych is chair of the Faculty of Composition at the Kyiv Conservatory (Music Academy) and former Chairman of the Composers’ Union of Ukraine.
The composer’s works been performed in Canada, the U.S., Germany, France, Switzerland, Finland, Spain, China, the Phillipines and the former Yugoslavia, in addition to performances in the former U.S.S.R. and in countries formerly aligned with it. In January 1992, he was the senior juror at Canada’s First Contemporary Music Competition held in Winnipeg and has been the featured at contemporary music festivals in Germany and Poland. His works have been recorded on the Melodiya, Analekta, ASV and Naxos labels.
In 1996, he was composer-in-residence in the Canton of Bern, Switzerland. During 1997 and the first part of 1998, several of his works were premiered and performances devoted to his music took place in various countries: the premiere by the Winnipeg Symphony Orchestra of his Liturgy for mixed choir and orchestra, “Thy Kingdom Come”; in Biel, Switzerland, the symphonic poem “Ave Maria” for chamber orchestra was premiered; concerts devoted to his music in New York, Zurich, Toronto and in several Ukrainian cities .
The composer is currently working on several new compositions.
