Cleveland Orchestra to Premiere new work by Jörg Widmann

By -

German composer Jörg Widmann (pictured) is the Orchestra’s sixth Daniel R. Lewis Young Composer Fellow, serving for the 2009-10 and 2010-11 seasons. Mr. Widmann is a winner of the Claudio Abbado Composition Award of the Berlin Philharmonic Orchestra Academy. He has been composer-in-residence at the Salzburg Festival, and his music has been performed by the Vienna Philharmonic.

During a two-year relationship with the Orchestra, the Lewis Fellow composes a new piece for the Orchestra. He is in residence for two weeks, participating in rehearsals, master classes, and educational activities. The Young Composers Endowment Fund was established in 1997 by a $1 million gift from Jan R. and Daniel R. Lewis, who reside in Florida . Mr. Lewis is the Chair of the Musical Arts Association of Miami.

Franz Welser-Möst will conduct the Cleveland premiere of Mr. Widmann’s Chor (for orchestra) at Severance Hall in October 2009, and guest conductor Jonathan Nott will lead the United States premiere of Mr. Widmann’s Con brio (Concert Overture for Orchestra) in November 2009.

A new work by Mr. Widmann will be given its world premiere under Franz Welser-Möst’s direction during the 2010-11 season. The work has been commissioned by The Cleveland Orchestra through the Young Composers Fund, endowed by Jan R. and Daniel R. Lewis.

The 2009-10 season will also include a special free concert at Severance Hall on June 5, 2010 to celebrate the tenth anniversary of the Daniel R. Lewis Young Composer Fellow program. The program will be conducted by Matthias Pintscher and includes Concertate il suono by Marc-Andre Dalbavié; with lilies white by Matthias Pintscher; Translucence, by Susan Botti; a work by Julian Anderson, to be announced; and On Comparative Meteorology, by Johannes Maria Staud. The concert is free and open to the public as part of the Orchestra’s new Community Music Initiative.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more