Concert
Soloists of the DSO Berlin
JAPAN AND THE WEST | CHAMBER MUSIC
The programme illustrates that in the attempt to interweave great traditions it is essential to have a thoroughly worked-out concept if you want to embrace more than just the surface of things. A group of composers around Joji Yuasa and Toru Takemitsu adopted the techniques of Western avant-gardists to break up and “relocate” Japanese traditions. Following the ideas of the innovators, music is regarded as an intellectual process. For Hans Zender, the structures of Japanese Haiku poetry provided a means to focus his musical language and to make musical time float.
Programme
Joji Yuasa A Winter Day - Homage to Bashô
for flute, clarinet, percussion, harp and piano (1982)
Hans Zender LOSHU VI
Five haikus for flute and violoncello (1989)
Toshio Hosokawa Interim
for harp solo and ensemble (1994)
Gerhardt Müller-Goldboom sabi
for violin solo (1997)
Giacinto Scelsi Ho
for soprano solo (1960)
Hans Zender Forin No Kyo
for soprano and chamber orchestra (1989)
Soloists of the Deutsches Symphonie-Orchester Berlin
Mojca Erdmann, Ksenija Lukic · soprano - Eva Christina Schönweiß · violin - Matthias Schorn · clarinet - Katharina Hanstedt · harp - Gerhardt Müller-Goldboom · conductor
Gerhardt Müller-Goldboom took the “reduction of material accompanied by an expansion of the content” as a basis for Sabi - a term with the original meaning of “a feel for beauty” that later on came to represent the basic aesthetic idea of Haiku. Experiences with the chants of Bhuddist monks are “diffracted” in Giacinto Scelsi’s Ho, a vocal meditation centring around one single tone. Toshio Hosokawa projected sonic structures from ceremonial court music into the ideological world of the avant-garde and placed them in auditory perspectives comparable to Chinese landscape painting.
Weblinks
An event of DSO Berlin/ROC-GmbH in cooperation with MaerzMusik | Berliner Festspiele and Haus der Kulturen der Welt