Jansons conducts Rihm; H&N, Sat 16/9/17

[ferneyhoughgeliebte]

The annual series of Musica Viva concerts of Contemporary Music has been a feature of the Bavarian Radio Symphony Orchestra since they were inaugurated by Karl Amadeus Hartmann in 1945. In a programme that should really be on at 7:30, current Music Director Mariss Jansons conducts the orchestra in the World Premiere of Wolfgang Rihm (b1952)'s Requiem Verses, with soloists Mojca Erdmann and Anna Prohaska (sopranos), and Hanno Müller-Brachmann (bass-baritone).

Also from the Musica Viva Season, the orchestra is conducted by Peter Rundel for the World Premiere of Quicksilver by Belgrade-born Milica Djordjević (b1984):

http://www.milicadjordjevic.com/english.html

Samples of this composer's work are avaialable vis Soundcloud:

https://soundcloud.com/milicadjordjevic

Completing the programme, which is introduced by Kate Molleson is the first in a brand-new feature of the programme, Sound of the Week, in which a guest introduces " talks about a sound that has caught their ear and informed their music". Whoop-di-doo. The first guest is composer Jennifer Walshe(b1974) who talks about a cassette tape made by her mother.

http://www.bbc.co.uk/programmes/b094s40g

[Petrushka]

The annual series of Musica Viva concerts of Contemporary Music has been a feature of the Bavarian Radio Symphony Orchestra since they were inaugurated by Karl Amadeus Hartmann in 1945. In a programme that should really be on at 7:30, current Music Director Mariss Jansons conducts the orchestra in the World Premiere of Wolfgang Rihm (b1952)'s Requiem Verses, with soloists Mojca Erdmann and Anna Prohaska (sopranos), and Hanno Müller-Brachmann (bass-baritone).

Also from the Musica Viva Season, the orchestra is conducted by Peter Rundel for the World Premiere of Quicksilver by Belgrade-born Milica Djordjević (b1984):

http://www.milicadjordjevic.com/english.html

Samples of this composer's work are avaialable vis Soundcloud:

https://soundcloud.com/milicadjordjevic

Completing the programme, which is introduced by Kate Molleson is the first in a brand-new feature of the programme, Sound of the Week, in which a guest introduces " talks about a sound that has caught their ear and informed their music". Whoop-di-doo. The first guest is composer Jennifer Walshe(b1974) who talks about a cassette tape made by her mother.

http://www.bbc.co.uk/programmes/b094s40g

Ferney: This performance is on video on the BRSO website here http://www.br-so.de/mariss-jansons-m...03-2017/k5066/

[ferneyhoughgeliebte]

Ferney: This performance is on video on the BRSO website here http://www.br-so.de/mariss-jansons-m...03-2017/k5066/

- can anyone think of any reason why this entire concert wasn't broadcast during the evening schedules?

I thought the Rihm was a dreary piece; some of his works I enjoy(ed) - Jagden und Formen at HCMF many years ago was a great gig - but this .... Well, it only added substance to Andriessen's comment (in The Apollonian Clockwork ) that any large-scale "Requiem" is redundant after the Requiem Canticles.

I've yet to catch up with Quicksilver - I was following the fun and games in the ski resort whilst it was being broadcast and joined the programme whilst Jennifer Walshe was telling us how she'd felt loved as a child - but I hope it was a lot better than the Rihm.

[Serial_Apologist]

I thought the Rihm was a dreary piece; some of his works I enjoy(ed) - Jagden und Formen at HCMF many years ago was a great gig - but this .... Well, it only added substance to Andriessen's comment (in The Apollonian Clockwork ) that any large-scale "Requiem" is redundant after the Requiem Canticles.

There was pre-mention of the Requiem Canticles being a stated influence, but I heard nothing of that - the idiom seemed to drift in some vacuum between Henze and late Penderecki.

[ferneyhoughgeliebte]

There was pre-mention of the Requiem Canticles being a stated influence, but I heard nothing of that - the idiom seemed to drift in some vacuum between Henze and late Penderecki.

I heard some "1950s Serial"-type things going on in the orchestral accompaniment about ten minutes or so into the work, but ... the intricacy of Stravinsky's serial thinking, the rich harmonics he conjured, the clarity of the voicing and instrumentation; none of that was present, and nothing there remotely to compensate for these deficiencies.