With ‘Minerals’, composer Mathias Coppens redefines the traditional relationship between musicians and listeners. Artists on stage, consumers in the audience? In this age of co-creation, that atavism needs to be shaken up. Together with BRYGGEN – Bruges strings, we interrogate tomorrow’s music.
Read More »Minerals
In december 2022, cellist Benjamin Glorieux went on a week-long journey from Arnstadt to Lübeck. With his cello on his back, Glorieux followed the same route that Bach took 300 years ago, in order to hear his great hero Buxtehude play. Bach’s cello suites formed the rhythmic thread during his walks: “As I heard the music sounded in my mind or played live, I collected reflections, ideas and insights that will guide the live performance.”
Read More »Weg van Bach
Imagine the contemporary classical composition ‘Why Patterns?’ by Morton Feldman as a self-contained world, subject to specific laws and recurring patterns like other planets. It would have its own unique atmosphere, rotating on its axis and orbiting a star.
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There you are, solitary in the middle of a pitch-black hole. How did you get there, and how could you get out? You’re shouting, screaming, signaling to the outside world, but everything seems to return to you like a boomerang. Nothing can escape the horizon, or does it? Is there something or someone out there who might see or hear your experience inside?
Read More »The Solitary One
Signale zur Invasion (1992) is performed simultaneously with Octophonie (1991), both pieces are part of Dienstag from Stockhausen’s monumental Opera Cycle Licht. The trombonist plays and walks a parcours amongst the audience whilst the video-artist divides it into equal protanganists.
Read More »Octophonie & Signale zur Invasion | Karlheinz Stockhausen
In Morton Feldman’s music, silence plays a prominent role, thanks to the hushed volume and the interval between sounds.
Read More »Crippled Symmetry | Morton Feldman