TREBLINKA
INFO Judith Kessler gewidmet PRODUCTION CREDITSTreblinka – 18 Solo Viola Fragments for Yuval Gotlibovich Music: Pedro AlcaldeViola: Yuval Gotlibovich BACKGROUNDThe aim of the project was to compose fragments of a secular Kaddish. Without words.J.K.: “In fragmentation, everything is contained: the voids, the blank spaces, the rupture through everything, the shreds of memory, the unsaid, the […]
MORGEN;
INFO PRODUCTION CREDITS Music: Pedro AlcaldeChoreographer: Nacho DuatoSet, Costumes: Nacho DuatoLighting: Nicolás Fischtel (A.A.I.) Premiered by the Compañía Nacional de Danza (CND)Venue: Palacio de Festivales de Cantabria SantanderDate: 25th February 2022 BACKGROUNDThe initial idea was to build a ballet on Dorothy Parker’s 1926 poem entitled Resumé. The poem consists of 8 short verses. The first 7 refer to the drawbacks of 7 different ways […]
DEUCES/JULIA
INFO PRODUCTION CREDITS Music: Pedro AlcaldeChoreographer: Nacho DuatoSet, Costumes, Lighting: Nacho DuatoDancers: Nora Brown, Barbara Melo FreireVoices: Nora Brown, Sandra Bourdais Premiered by the Gauthier Dance – Dance Company Theaterhaus StuttgartVenue: Theaterhaus – StuttgartDate: 16th March 2019 BACKGROUNDEric Gauthier, artistic director of the Gauthier Dance Company in Stuttgart, invited eight leading international choreographers to create […]
ERDE
INFO PRODUCTION CREDITS Music: Pedro Alcalde / Sergio CaballeroString Trio: Raquel Castro (violin), Yuval Gotlibovich (viola), Erica Wise (violoncello); Kolja Blacher (additional violin – track 6)Additional Music: Richie Hawtin, Alva Noto, Mika VainioChoreographer: Nacho DuatoSet: Numen + Ivana JonkeCostumes: Beate BormannLighting: Brad Fields Premiered by the Staatsballett BerlinVenue: Komische Oper – BerlinDate: 21st April 2017 […]
STATIC TIME
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
RUST
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
JARDÍN INFINITO
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
COBALTO
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
HEVEL
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
ALAS
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
DIECISIETE
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
HERRUMBRE
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
INFINITO
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
JE TE TIENS
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
LA DISTANCIA
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
CIRCUIT
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
PN 1 / PN 2
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
FM 2
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
L’ANGE DU MÉRIDIEN
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
PARAÍSO (IN)HABITADO
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
VALL D’HEBRON
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
EL SOMNI
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
MARAGALL’S ROOM
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
IMMERSION
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
LIMESTONE
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
FM
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
PETER AND THE WOLF
INFO PROKOFIEV Peter and the Wolf by Prokofiev is possibly the best introduction guide for kids to approach the world of orchestral music. The brilliant idea of linking an instrument to a character throughout the story has turned this score into a classic of the musical repertoire for children. To present the classics is not […]
PSYCHO
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
PREMIERE AT THE MIKHAILOVSKY
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
SÓNAR 2005: TWO DIFFERENT IDEAS
INFO WEBERN, TAKEMITSU, BARTOK, DEBUSSY, MUSSORGSKY In the two editions prior to 2005, the Sónar Festival featured an inaugural session held at Barcelona’s L’Auditori with proposals aimed at integrating the festival in the city’s circuit of classical venues. In 2004, a select group of electronic musicians was invited to intervene in well-known pieces chosen from […]
ROMEO AND JULIET
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
CONDUCTING IN A DANCE COMPANY 1998-2008
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
THE DANCER UPSTAIRS
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
PASTORAL
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
CONCERT OR PROGRAMME?
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
BIBLICAL CONCERT
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
VIOLIN CONCERTO
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
MUSSORGSKY ORIGINAL ORCHESTRATIONS
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
L’HISTOIRE DU SOLDAT
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
Beethoven: Opus 110
INFO Luigi Enrico Rossi in memoriam PRODUCTION CREDITS Pianist: Pedro AlcaldePiano: Steinway 517.045Production: Sender Freies Berlin (SFB)Production director: Jürgen PetzingerRealization director: Wolfgang HoffSound engineers: Wolfgang Zülch and Peter AvarSound editor: Ricarda MolderDate: 8/1995 – 9/1996 BEETHOVEN LATE PIANO WORKS Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score […]
KURTÁG: DIARY ENTRIES
INFO Luigi Enrico Rossi in memoriam PRODUCTION CREDITS Pianist: Pedro AlcaldePiano: Steinway 517.045Production: Sender Freies Berlin (SFB)Production director: Jürgen PetzingerRealization director: Wolfgang HoffSound engineers: Wolfgang Zülch and Peter AvarSound editor: Ricarda MolderDate: 8/1995 – 9/1996 BEETHOVEN LATE PIANO WORKS Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score […]
KURTÁG: L’HOMME
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
ÉCHAPPEMENT DOUBLE
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.
BACH: FINISTERRAE
Brahms said that when he played Beethoven he lost all his individuality: he “already had enough to do” just following the directions of the score. In fact, a score by Beethoven always resembles a drawing that makes visible what is essentially conceptual.