The Zafraan Ensemble opens the Transparent Sound New Music Festival Budapest on January 6th, 2024 in the Solti Hall of the Franz Liszt Music Academy in Budapest!
For the very first time, the Zafraan Ensemble is playing in Budapest – with the exciting program “jouer, suonare, tocar”:
Making music on an instrument is described in different languages with different verbs: In French, “jouer d’un instrument” focuses on the playfulness, there is a sense of surprise, an alternative world is created, you temporarily agree on an alternative with other players Control system, its own logic. It is something that only exists for a short time, but continues to develop, continues to live.
The Italian “suonare uno strumento” emphasizes the sound element: an object comes to life, it has its own character, we can only stimulate it. The instrument begins to vibrate and fills us with its sound.
“Tocar un instrumento” it says in Spanish. This is about touch, about touching, feeling, and also about closeness. Something is shaped haptically, as if you were working with clay. (In German, the word “Ton” can mean both musical tone and clay).
This three-sided view of making music is the basis of our concert program. All compositions deal creatively with the interplay of playful ingenuity, sound and physical processes.
Program:
Iñigo Giner Miranda (*1980) : “Een Beetje Licht” for violin, cello and bass clarinet
Claire-Mélanie Sinnhuber (*1973) : “Tracasseries” for flute, clarinet, piano, violin and cello
Elena Mendoza (*1973): “The Power of Habit” for violin solo
Francesco Filidei (*1973) : “Esercizio di pazzia II” for four performers
Fausto Romitelli (1963-2004) : “Domeniche alla periferia dell’impero” for clarinet, flute, violin and cello
Clemens Hund-Göschel (*1983): “Thinking within strict limits” for piano, cello, percussion and two assistants
Ádám Bajnok (*1992): “Пикник (Piknik)” (premiere) for flute, clarinet, violin, cello and electronics
More information: https://atlatszohang.hu/en/event/zafraan-ensemble-jouer-sounare-tocar-2/
With financial support from the Goethe-Institut.
