With a reference to the novel “On the Road” by Jack Kerouac, we present a selection of pieces by composers who have continually amazed us with their outstanding language in our shared musical journey over the last few years. A program like the flower collection you take home with you as a child.
Claude Vivier (1948-1983): Pulau Dewata (1977) Claire-Mélanie Sinnhuber (*1973): Tracasseries (2006) James Tenney (1934-2006): Beast (1971) Fausto Romitelli (1963-2004): Domeniche alla periferia dell’impero(1996-2000) Zygmunt Krauze (*1938): Aus aller Welt Stammende:Teil: Molto espressivo, molto rubato, molto vibrato (1973) Daniel Eichholz (*1978): Habakuk 5 „the Oakwood Maze“ (WP 2021) Terry Riley (*1935): in C (1964)
“Ona”, written by a friend for his own wedding, is a short, unusual and beautiful piece of music. It is the starting point, but sounds in the middle of the concert. After the wedding there could be wild dancing. Before – a walk to a John Cage tune, then – a scream? This is Manuela Guerra’s solo cello piece, discovered at midnight. You’ll probably hear some signs of spring with Salvatore Sciarrino’s Blackbird.
What characterizes this couple’s journey? Are you telling me? Jonah Haven and Zeynep Gedizlioğlu shape and direct their path until we can watch a magical mobile for solo harp together… John Cage: Melody No. 1 (1950), violin and harp Manuela Guerra (1996): Clamor (2021), violoncello Salvatore Sciarrino (1947): Fauno che fischia a un merlo (1980), harp and flute Hèctor Parra (1976): Ona (2006), flute and viola Iannis Xenakis (1922-2001): Dhipli Zyia (1951), violin and violoncello Halim El-Dabh (1921-2017): Sonic No. 10 (1955), percussion Jonah Haven (1995): Another Ditch (2018), flute, viola and percussion Zeynep Gedizlioğlu (1977): Ungleiche Gleichungen (2006), cello and clarinet Ruth Zechlin (1928-2007): Mobiles for harp (1978)
Zafraan’s new concert series “On the Road” takes us into the middle of eccentric dialogues and encounters. A single point explodes out of nowhere in Christophe Bertrand’s “Aus” and becomes a bubbling organism. We are returning to the path we started last autumn: Claude Vivier and Daniel Eichholz are performing new works in new surroundings. Solos and duos remain energetically in dialogue until the evening leads us together to a listening silence with “Lauschgut” by Charlotte Seither. Christophe Bertrand: “Aus” (Kl, Sax, Piano, Vla) (2003) (8′) Daniel Eichholz: “Habakuk 1” (2021) (2′) Claude Vivier: “pièce pour violon et clarinette” (1975) (8′) Georg Katzer: Dialog Imaginär 6“ Stockendes Lied” for tenor saxophone and tape (1983) (8′) Iris ter Schiphorst: “Hi Bill! “ for bass clarinet solo (2005) (3′) Beat Furrer: “Presto” for flute and piano (1998) (10′) Pär Lindgren: “Beep-Ooh” for clarinet and percussion (1995) (7′) Charlotte Seither: “Lauschgut” (2018/19 for (inside) piano (7′)
Very subtle, quiet sounds altered by a wave of electricity before an alien presence invisibly surrounds us. This is what we, already born people, could hear when we listen to the first three pieces by Marta Liisa Talvet, Sofia Gubaidulina and Ádám Bajnok. But what does a baby, still in its mother’s womb, hear about the sounds we share in our “outside world”? In “9:30 pm, Lullaby”, which premieres in this concert (!), Lin Yang paints this imaginary picture for us.
Back to our “direct” listening experience and before we say goodbye to each other for the summer, there is one more very important place where we want to meet you: The “Paramirabo” by Claude Vivier, will you be there? Marta Liisa Talvet (1998): A Dream of Blowing Glass (2021) (fl, hrf, sax) 15′ Sofia Gubaidulina (1931): II. from “Five Etudes” (1965) (perc., kb, hrf) 2′ Ádám Bajnok (1992): Пикник (Piknik), German premiere (2023) (fl, kl, vl, vlc) 7′ Lin Yang (1982): 9:30 pm, Lullaby WP (2024) (tutti Zafraan) 20′ Claude Vivier (1948-1983): Paramirabo (1978) (fl, vl, vlc, pno) 15′
