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DTSTART;TZID=Europe/Paris:20260522T203000
DTEND;TZID=Europe/Paris:20260522T213000
DTSTAMP:20260525T212214
CREATED:20260519T144100Z
LAST-MODIFIED:20260519T145305Z
UID:436-1779481800-1779485400@www.ensembleneo.com
SUMMARY:Ny fredag – Sånger utan röster
DESCRIPTION:ensemble neo utforskar skärningspunkter mellan text och musik.\nNy fredag är konserter för dig som med nyfiket intresse vill utforska vår samtids nyskapande musik. Vid den här konserten möter vi ensemble neo som sedan starten för snart tjugo år sedan legat i framkant och utforskat nya sätt att skriva och tänka om musik. Ensemblen samarbetar kontinuerligt med tonsättare\, både nationellt och internationellt\, och har uruppfört över 400 verk. \nVid den här konserten med ensemble neo\, under ledning av B Tommy Andersson\, framförs musik som i flera fall har det skrivna ordet som förlaga. Tonsättare har alltid lutat sig in för att höra litteraturens viskningar\, och det skrivna ordet lyssnar efter sin egen reflektion i musik. Så länge som historier berättas och dikter skrivs\, kommer tonsättare att hitta inspiration i det skrivna ordet. Även om texterna ibland varken sjungs eller uttalas\, finns innebörderna i den klingande musiken. \nFörutom Johan Ulléns Stravinsky- och commedia dell’arte-inspirerade musik uruppför ensemble neo tre nyskrivna verk. Ett ljud som bara jag kan\, av Fredrik Hedelin\, är en fantasi över en dikt av iransk-svenska Jila Mossaed. Kim Hedås Camera (Rum) är inspirerat av den rumänske författaren Mircea Cărtărescus roman Solenoid\, där det finns ett hus med oändligt många och föränderliga rum. Tree of Water av den kinesiskfödda tonsättaren Ying Wang\, numera bosatt och verksam i Berlin\, ”är en poetisk och vacker titel som passar perfekt i det här sammanhanget”\, förklarar tonsättaren. \n***\nKom en stund innan\, stanna kvar – baren med dryck och tilltugg är öppen både före\, under och efter konserten. \nProgram\nJohan Ullén The accidental triumphs of Pulcinella\, prince of everything\, 20 min\nFredrik Hedelin Ett ljud som bara jag kan (uruppförande)\, 10 min\nKim Hedås Camera (uruppförande)\, 11 min\nYing Wang LEVØVEL (uruppförande)\, 20 min \nMedverkande\nB Tommy Andersson dirigent \nSara Hammarström flöjter\nMagnus Holmander klarinetter\nMårten Landström piano\nMagdalena Meitzner slagverk\nBrusk Zanganeh violin\nDamon Taheri viola\nMats Olofsson cello
URL:https://www.ensembleneo.com/event/ny-fredag-sanger-utan-roster/
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DTSTART;TZID=Europe/Paris:20241117T160000
DTEND;TZID=Europe/Paris:20241117T173000
DTSTAMP:20260525T212214
CREATED:20240516T102530Z
LAST-MODIFIED:20240517T073729Z
UID:417-1731859200-1731864600@www.ensembleneo.com
SUMMARY:Between Tides - Kungliga Musikhögskolan Stockholm
DESCRIPTION:Toshio Hosokawa – Stunden-Blumen (2008) 14’\ncl\, vln\, vlc\, pi \nThe work\, dedicated to Momo Kodama whose name in Japanese means “peach”\, allows Toshio Hosokawa to continue his cycle on the time of flowers. After Silent Flowers (string quartet)\, Lotusblume (mixed choir)\, Blossoming (string quartet)\, Stunden-Blumen takes up the theme of ikebana\, Japanese floral art. Cut just after blooming\, the flowers express a “hidden death”\, they die with the flow of time: an expression of beauty and its decline\, of the sadness experienced in the face of the brevity of life. \n“It is the blossoming of beauty before returning to nothingness… In the same way\, sounds emerge from nothingness before returning there. I therefore tried to express the beauty of the newborn sound and its short life. Music must be able to render this ephemeral passage of sounds and not be a construction intended to resist time or to counter it. (Toshio Hosokawa) \nMusic of the moment\, which here avoids any idea of sterile waiting\, whose sources are found in the strength of Japanese tradition. Stunden-Blumen\, with the same formation as the Quartet pour la fin du Temps\, wants to be\, in a way\, the mirror of Messiaen’s work: “Contrary to the end of time\, I would like to create a piece which would imply “the beginnings of time » or its “origins”. By taking as a starting point a sustained note which forms the matrix of the piece\, a harmony between yin and yang is established\, and the tension between the two will produce the “sound flower” and the “song”. » \nHosokawa\, with Stunden-Blumen\, offers an elegy of nature\, made of poetry and silence. The work is also inspired by a tale by Michael Ende\, Momo und die Stundenblumen\, which reveals the place where time was born. A thief stole it and Momo must fight to find this lost place. \nWith the “Flowers of the Hours”\, we find the composer’s favorite themes: fragility\, the birth of sound\, the ephemeral\, waiting (often on a single note) and the contemplation of nature. \n\nPierre Boulez – Derive 1 (1984) 6’\nfl\, cl\, vln\, vlc\, pi\, vib \nAlongside the composition of Repons\, Pierre Boulez created several short pieces for small ensembles which exploit certain ideas that arose during the gestation of this large-scale work. \nDérive is based on the proliferation of a simple harmonic structure: a series of six chords which are permuted and which each contain the six notes of the cryptogram of William Glock\, to whom the piece is dedicated\, then six transpositions forming an inverted cryptogram. \nIn this work\, resonance plays a central role: the piano actually holds all the notes of the lowest octave throughout the piece\, allowing the notes to sound more freely and with a greater richness of harmonics. . The ornamental and melodic figures intersect in a climate of jubilation until an elided and abrupt ending. \n\nMisato Mochizuki – Intermezzi I (1998) 8′\nfl\, pf \nThe cycle « Intermezzi » was inspired by Roland Barthes’ (1915-1980) theory of  ‘fragmented discourse’. Many of his books are written in this form : without any predetermined order of argumentation\, various themes are successively thought through and thus unimagined associations develop while reading. This rhethorical form epitomises the simultaneity of various layers of thought\, the mutual collision and densification of concepts. On permanently shifting ground\, the attentive reader has no choice but to generate a new type of synthesis. Gradually\, through the use of small thought-prompts\, a unified view is prepared ; it is accomplished precipitously\, and crystallises in a novel perspective. Parhaps\, this is\, an elegant way of grasping the unfathomable by comprehensibly accumulating the multiplicity of its manifestations. In the way my music is perceived\, I am seeking a similar experience and that disengages me from any strict planning of the form and the technique of composition. My musical ideas have the appearance of improvisation\, of a non-calculated process and my music only becomes meaningful in the very moment of events unfolding. \n« What! By lining up fragments in a sequence\, no organizational structure would be possible ? Oh yes it would : the fragment is like the idea  oc the cycle in music (Bonne Chanson\, Dichterliebe): every piece stands by itself\, and yet it is never anything but an insert between its neighbouring pieces. The work itself is made of nothing but that which is outside of the text. It is maybe Schumann who\, better than anybody else (before Webern)\, understood and put into practice this aesthetic of the fragment. He called the fragment the « intermezzo ». In his compositions he more and more frequently wrote intermezzi : ultimately everything he wrote was interspersed. But between what and what ? What does it mean to have a sequence exclusively consisting of interruptions ? » \n« There is an ideal type to the fragment: a high degree of condensedness\, not of thought or wisdom or truth (as in the maxim) but of musicality. ‘Tone’\, something that is articulated or sung\, a statement\, is to be juxtaposed to ‘development’: sonoroity must be supreme. There is no cadence in Webern’s Short Pieces: how masterfully he manages to be concise. » \n« Writing in fragments: in that case\, the fragments are like boulders lined up on the circumference of the circle : I lay myself out all around\, my little universe is all piecework\, and at the centre: what? »\n(Excerpts from « Roland Barthes par Roland Barthes») \n« Intermezzi I » consists of seven brief fragments\, musical ideas which are arranged in an imaginary circle. I wanted to see how an emotion could spring from such patchwork. The interpreters whisper a series of words taken from Roland Barthes : Incidents (mini-textes plis\, haïkus\, notations\, jeux de sens\, tout ce qui tombe\, comme une feuille)  [Incidentals (mini-texts\, folds\, haikus\, annotations\, puns\, fall\, leaves)] \n\nTour Takemitsu – Between Tides (1993) 14’\nvln\, vlc\, pi \nBetween Tides is one of the last pieces that Toru Takemitsu (1930–1996) based on water imagery\, an important feature of his music throughout his career. Rhythmically undulating phrases suggest the movement of tides and lend an improvisatory and narrative feel to the work. The harmonic language of the composition seems to draw from a stunning blend of influences\, including neo- Romantic tertian harmonies and more complex sonorities reminiscent of Duke Ellington or French composer Olivier Messiaen\, two prime influences on Takemitsu’s music. \n\nBetsy Jolas – Femme le soir (2018) 20’\nvlc\, pi \n• Lulling\n• Songeries\n• Shall we…\n• Et toi\, la bas…?\n• Mots de sable\n• Qui parle?\n• Sing Maria!\n• Bonjour \nThe great lied tradition entered my musical life many years ago thanks to my mother\, a native of Louisville (KY)\, who had\, among other gifts\, a beautiful voice and was sent to Berlin to study singing in 1912. \nI was myself still in my teens when I started accompanying her and thus discovered very early the rich lied repertoire which has since nurtured a good part of my thoughts on vocal music. Over the years I became interested in the way this repertoire had notably influenced instrumental music and began studying its favorite form: the cycle. I have thus written so far several such sets\, featuring various solo instruments with orchestra or piano. \nFollowing the tradition\, my own cycles often have a general title and I have recently started to indicate sub-titles as well\, for their power of suggestion in the absence of a sung text.\nComposed in 2017-18\, Femme le soir was premiered at the Reid Hall in Paris on the December 3rd by Anssi Karttunen and Nicolas Hodges to whom the piece is dedicated. (Betsy Jolas) \n\nMaurice Ravel – Pavane pour une infante défunte arr. 7’\nfl\, cl\, vln\, vlc\, pi\, perc \nFrom his student days until the years between the World Wars\, Maurice Ravel habitually attended the elegant and stylish salon of Princess Edmond de Polignac (1865-1943). She was an American\, whose maiden name was Winnaretta Singer\, and she became heir to the Singer sewing machine fortune. She was also a noted patron of the arts. It was this princess who commissioned Ravel to write his six-minute piano piece\, Pavane for a Dead Princess. Ravel played the Pavane for the first time in 1899\, and overnight it launched his reputation. The piece became extremely popular\, and the composer orchestrated it in 1910. \nThe wording of Ravel’s title was regrettable\, and he frequently had to explain that the piece is not a cortège for a recently deceased princess. The real sense of it is actually “a princess out of the past.” Characteristic of Ravel\, he grew hypercritical of the piece. In 1912\, having to review a concert on which the Pavane had been programmed\, he wrote: \nI no longer see its good points from such a distance. But\, alas\, I perceive its faults very clearly: the glaring influence of Chabrier and the rather poverty-stricken form! The remarkable interpretation of this incomplete and unoriginal work contributed\, I think\, to its success. \nWe may disagree.
URL:https://www.ensembleneo.com/event/between-tides-kungliga-musikhogskolan-stockholm/
ATTACH;FMTTYPE=image/jpeg:https://www.ensembleneo.com/wp-content/uploads/2024/05/Tsunami_by_hokusai_19th_century-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20241115T190000
DTEND;TZID=Europe/Paris:20241115T203000
DTSTAMP:20260525T212214
CREATED:20240516T102422Z
LAST-MODIFIED:20240517T073820Z
UID:415-1731697200-1731702600@www.ensembleneo.com
SUMMARY:Between Tides - Västerås konserthus
DESCRIPTION:Hosokawa – Stunden-Blumen (2008) 14’\ncl\, vln\, vlc\, pi \nThe work\, dedicated to Momo Kodama whose name in Japanese means “peach”\, allows Toshio Hosokawa to continue his cycle on the time of flowers. After Silent Flowers (string quartet)\, Lotusblume (mixed choir)\, Blossoming (string quartet)\, Stunden-Blumen takes up the theme of ikebana\, Japanese floral art. Cut just after blooming\, the flowers express a “hidden death”\, they die with the flow of time: an expression of beauty and its decline\, of the sadness experienced in the face of the brevity of life. \n“It is the blossoming of beauty before returning to nothingness… In the same way\, sounds emerge from nothingness before returning there. I therefore tried to express the beauty of the newborn sound and its short life. Music must be able to render this ephemeral passage of sounds and not be a construction intended to resist time or to counter it. (Toshio Hosokawa) \nMusic of the moment\, which here avoids any idea of sterile waiting\, whose sources are found in the strength of Japanese tradition. Stunden-Blumen\, with the same formation as the Quartet pour la fin du Temps\, wants to be\, in a way\, the mirror of Messiaen’s work: “Contrary to the end of time\, I would like to create a piece which would imply “the beginnings of time » or its “origins”. By taking as a starting point a sustained note which forms the matrix of the piece\, a harmony between yin and yang is established\, and the tension between the two will produce the “sound flower” and the “song”. » \nHosokawa\, with Stunden-Blumen\, offers an elegy of nature\, made of poetry and silence. The work is also inspired by a tale by Michael Ende\, Momo und die Stundenblumen\, which reveals the place where time was born. A thief stole it and Momo must fight to find this lost place. \nWith the “Flowers of the Hours”\, we find the composer’s favorite themes: fragility\, the birth of sound\, the ephemeral\, waiting (often on a single note) and the contemplation of nature. \nPierre Boulez – Derive 1 (1984) 6’\nfl\, cl\, vln\, vlc\, pi\, vib \nAlongside the composition of Repons\, Pierre Boulez created several short pieces for small ensembles which exploit certain ideas that arose during the gestation of this large-scale work. \nDérive is based on the proliferation of a simple harmonic structure: a series of six chords which are permuted and which each contain the six notes of the cryptogram of William Glock\, to whom the piece is dedicated\, then six transpositions forming an inverted cryptogram. \nIn this work\, resonance plays a central role: the piano actually holds all the notes of the lowest octave throughout the piece\, allowing the notes to sound more freely and with a greater richness of harmonics. . The ornamental and melodic figures intersect in a climate of jubilation until an elided and abrupt ending. \nMisato Mochizuki – Intermezzi I (1998) 8′\nfl\, pf \nThe cycle « Intermezzi » (I for flute and piano ; II for solo koto ; other pieces will follow) was inspired by Roland Barthes’ (1915-1980) theory of  ‘fragmented discourse’. Many of his books are written in this form : without any predetermined order of argumentation\, various themes are successively thought through and thus unimagined associations develop while reading. This rhethorical form epitomises the simultaneity of various layers of thought\, the mutual collision and densification of concepts. On permanently shifting ground\, the attentive reader has no choice but to generate a new type of synthesis. Gradually\, through the use of small thought-prompts\, a unified view is prepared ; it is accomplished precipitously\, and crystallises in a novel perspective. Parhaps\, this is\, an elegant way of grasping the unfathomable by comprehensibly accumulating the multiplicity of its manifestations. In the way my music is perceived\, I am seeking a similar experience and that disengages me from any strict planning of the form and the technique of composition. My musical ideas have the appearance of improvisation\, of a non-calculated process and my music only becomes meaningful in the very moment of events unfolding. \n« What! By lining up fragments in a sequence\, no organizational structure would be possible ? Oh yes it would : the fragment is like the idea  oc the cycle in music (Bonne Chanson\, Dichterliebe): every piece stands by itself\, and yet it is never anything but an insert between its neighbouring pieces. The work itself is made of nothing but that which is outside of the text. It is maybe Schumann who\, better than anybody else (before Webern)\, understood and put into practice this aesthetic of the fragment. He called the fragment the « intermezzo ». In his compositions he more and more frequently wrote intermezzi : ultimately everything he wrote was interspersed. But between what and what ? What does it mean to have a sequence exclusively consisting of interruptions ? » \n« There is an ideal type to the fragment: a high degree of condensedness\, not of thought or wisdom or truth (as in the maxim) but of musicality. ‘Tone’\, something that is articulated or sung\, a statement\, is to be juxtaposed to ‘development’: sonoroity must be supreme. There is no cadence in Webern’s Short Pieces : how masterfully he manages to be concise. » \n« Writing in fragments: in that case\, the fragments are like boulders lined up on the circumference of the circle : I lay myself out all around\, my little universe is all piecework\, and at the centre: what? »\n(Excerpts from « Roland Barthes par Roland Barthes») \n« Intermezzi I » consists of seven brief fragments\, musical ideas which are arranged in an imaginary circle. I wanted to see how an emotion could spring from such patchwork. The interpreters whisper a series of words taken from Roland Barthes : Incidents (mini-textes plis\, haïkus\, notations\, jeux de sens\, tout ce qui tombe\, comme une feuille)  [Incidentals (mini-texts\, folds\, haikus\, annotations\, puns\, fall\, leaves)] \nMisato Mochizuki \nTour Takemitsu – Between Tides (1993) 14’\nvln\, vlc\, pi \nBetween Tides is one of the last pieces that Toru Takemitsu (1930–1996) based on water imagery\, an important feature of his music throughout his career. Rhythmically undulating phrases suggest the movement of tides and lend an improvisatory and narrative feel to the work. The harmonic language of the composition seems to draw from a stunning blend of influences\, including neo- Romantic tertian harmonies and more complex sonorities reminiscent of Duke Ellington or French composer Olivier Messiaen\, two prime influences on Takemitsu’s music. \nBetsy Jolas – Femme le soir (2018) 20’\nvlc\, pi \n• Lulling\n• Songeries\n• Shall we…\n• Et toi\, la bas…?\n• Mots de sable\n• Qui parle?\n• Sing Maria!\n• Bonjour \nThe great lied tradition entered my musical life many years ago thanks to my mother\, a native of Louisville (KY)\, who had\, among other gifts\, a beautiful voice and was sent to Berlin to study singing in 1912. \nI was myself still in my teens when I started accompanying her and thus discovered very early the rich lied repertoire which has since nurtured a good part of my thoughts on vocal music. Over the years I became interested in the way this repertoire had notably influenced instrumental music and began studying its favorite form: the cycle. I have thus written so far several such sets\, featuring various solo instruments with orchestra or piano. \nFollowing the tradition\, my own cycles often have a general title and I have recently started to indicate sub-titles as well\, for their power of suggestion in the absence of a sung text.\nComposed in 2017-18\, Femme le soir was premiered at the Reid Hall in Paris on the December 3rd by Anssi Karttunen and Nicolas Hodges to whom the piece is dedicated. (Betsy Jolas) \nMaurice Ravel – Pavane pour une infante défunte arr. 7’\nfl\, cl\, vln\, vlc\, pi\, perc \nFrom his student days until the years between the World Wars\, Maurice Ravel habitually attended the elegant and stylish salon of Princess Edmond de Polignac (1865-1943). She was an American\, whose maiden name was Winnaretta Singer\, and she became heir to the Singer sewing machine fortune. She was also a noted patron of the arts. It was this princess who commissioned Ravel to write his six-minute piano piece\, Pavane for a Dead Princess. Ravel played the Pavane for the first time in 1899\, and overnight it launched his reputation. The piece became extremely popular\, and the composer orchestrated it in 1910. \nThe wording of Ravel’s title was regrettable\, and he frequently had to explain that the piece is not a cortège for a recently deceased princess. The real sense of it is actually “a princess out of the past.” Characteristic of Ravel\, he grew hypercritical of the piece. In 1912\, having to review a concert on which the Pavane had been programmed\, he wrote: \nI no longer see its good points from such a distance. But\, alas\, I perceive its faults very clearly: the glaring influence of Chabrier and the rather poverty-stricken form! The remarkable interpretation of this incomplete and unoriginal work contributed\, I think\, to its success. \nWe may disagree.
URL:https://www.ensembleneo.com/event/between-tides-vasteras-konserthus/
ATTACH;FMTTYPE=image/jpeg:https://www.ensembleneo.com/wp-content/uploads/2024/05/Tsunami_by_hokusai_19th_century-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20241114T190000
DTEND;TZID=Europe/Paris:20241114T203000
DTSTAMP:20260525T212214
CREATED:20240516T101617Z
LAST-MODIFIED:20240517T073923Z
UID:410-1731610800-1731616200@www.ensembleneo.com
SUMMARY:Between Tides - Scenkonst Sörmland
DESCRIPTION:Hosokawa – Stunden-Blumen (2008) 14’\ncl\, vln\, vlc\, pi \nThe work\, dedicated to Momo Kodama whose name in Japanese means “peach”\, allows Toshio Hosokawa to continue his cycle on the time of flowers. After Silent Flowers (string quartet)\, Lotusblume (mixed choir)\, Blossoming (string quartet)\, Stunden-Blumen takes up the theme of ikebana\, Japanese floral art. Cut just after blooming\, the flowers express a “hidden death”\, they die with the flow of time: an expression of beauty and its decline\, of the sadness experienced in the face of the brevity of life. \n“It is the blossoming of beauty before returning to nothingness… In the same way\, sounds emerge from nothingness before returning there. I therefore tried to express the beauty of the newborn sound and its short life. Music must be able to render this ephemeral passage of sounds and not be a construction intended to resist time or to counter it. (Toshio Hosokawa) \nMusic of the moment\, which here avoids any idea of sterile waiting\, whose sources are found in the strength of Japanese tradition. Stunden-Blumen\, with the same formation as the Quartet pour la fin du Temps\, wants to be\, in a way\, the mirror of Messiaen’s work: “Contrary to the end of time\, I would like to create a piece which would imply “the beginnings of time » or its “origins”. By taking as a starting point a sustained note which forms the matrix of the piece\, a harmony between yin and yang is established\, and the tension between the two will produce the “sound flower” and the “song”. » \nHosokawa\, with Stunden-Blumen\, offers an elegy of nature\, made of poetry and silence. The work is also inspired by a tale by Michael Ende\, Momo und die Stundenblumen\, which reveals the place where time was born. A thief stole it and Momo must fight to find this lost place. \nWith the “Flowers of the Hours”\, we find the composer’s favorite themes: fragility\, the birth of sound\, the ephemeral\, waiting (often on a single note) and the contemplation of nature. \nPierre Boulez – Derive 1 (1984) 6’\nfl\, cl\, vln\, vlc\, pi\, vib \nAlongside the composition of Repons\, Pierre Boulez created several short pieces for small ensembles which exploit certain ideas that arose during the gestation of this large-scale work. \nDérive is based on the proliferation of a simple harmonic structure: a series of six chords which are permuted and which each contain the six notes of the cryptogram of William Glock\, to whom the piece is dedicated\, then six transpositions forming an inverted cryptogram. \nIn this work\, resonance plays a central role: the piano actually holds all the notes of the lowest octave throughout the piece\, allowing the notes to sound more freely and with a greater richness of harmonics. . The ornamental and melodic figures intersect in a climate of jubilation until an elided and abrupt ending. \nMisato Mochizuki – Intermezzi I (1998) 8′\nfl\, pf \nThe cycle « Intermezzi » (I for flute and piano ; II for solo koto ; other pieces will follow) was inspired by Roland Barthes’ (1915-1980) theory of  ‘fragmented discourse’. Many of his books are written in this form : without any predetermined order of argumentation\, various themes are successively thought through and thus unimagined associations develop while reading. This rhethorical form epitomises the simultaneity of various layers of thought\, the mutual collision and densification of concepts. On permanently shifting ground\, the attentive reader has no choice but to generate a new type of synthesis. Gradually\, through the use of small thought-prompts\, a unified view is prepared ; it is accomplished precipitously\, and crystallises in a novel perspective. Parhaps\, this is\, an elegant way of grasping the unfathomable by comprehensibly accumulating the multiplicity of its manifestations. In the way my music is perceived\, I am seeking a similar experience and that disengages me from any strict planning of the form and the technique of composition. My musical ideas have the appearance of improvisation\, of a non-calculated process and my music only becomes meaningful in the very moment of events unfolding. \n« What! By lining up fragments in a sequence\, no organizational structure would be possible ? Oh yes it would : the fragment is like the idea  oc the cycle in music (Bonne Chanson\, Dichterliebe): every piece stands by itself\, and yet it is never anything but an insert between its neighbouring pieces. The work itself is made of nothing but that which is outside of the text. It is maybe Schumann who\, better than anybody else (before Webern)\, understood and put into practice this aesthetic of the fragment. He called the fragment the « intermezzo ». In his compositions he more and more frequently wrote intermezzi : ultimately everything he wrote was interspersed. But between what and what ? What does it mean to have a sequence exclusively consisting of interruptions ? » \n« There is an ideal type to the fragment: a high degree of condensedness\, not of thought or wisdom or truth (as in the maxim) but of musicality. ‘Tone’\, something that is articulated or sung\, a statement\, is to be juxtaposed to ‘development’: sonoroity must be supreme. There is no cadence in Webern’s Short Pieces : how masterfully he manages to be concise. » \n« Writing in fragments: in that case\, the fragments are like boulders lined up on the circumference of the circle : I lay myself out all around\, my little universe is all piecework\, and at the centre: what? »\n(Excerpts from « Roland Barthes par Roland Barthes») \n« Intermezzi I » consists of seven brief fragments\, musical ideas which are arranged in an imaginary circle. I wanted to see how an emotion could spring from such patchwork. The interpreters whisper a series of words taken from Roland Barthes : Incidents (mini-textes plis\, haïkus\, notations\, jeux de sens\, tout ce qui tombe\, comme une feuille)  [Incidentals (mini-texts\, folds\, haikus\, annotations\, puns\, fall\, leaves)] \nMisato Mochizuki \nTour Takemitsu – Between Tides (1993) 14’\nvln\, vlc\, pi \nBetween Tides is one of the last pieces that Toru Takemitsu (1930–1996) based on water imagery\, an important feature of his music throughout his career. Rhythmically undulating phrases suggest the movement of tides and lend an improvisatory and narrative feel to the work. The harmonic language of the composition seems to draw from a stunning blend of influences\, including neo- Romantic tertian harmonies and more complex sonorities reminiscent of Duke Ellington or French composer Olivier Messiaen\, two prime influences on Takemitsu’s music. \nBetsy Jolas – Femme le soir (2018) 20’\nvlc\, pi \n• Lulling\n• Songeries\n• Shall we…\n• Et toi\, la bas…?\n• Mots de sable\n• Qui parle?\n• Sing Maria!\n• Bonjour \nThe great lied tradition entered my musical life many years ago thanks to my mother\, a native of Louisville (KY)\, who had\, among other gifts\, a beautiful voice and was sent to Berlin to study singing in 1912. \nI was myself still in my teens when I started accompanying her and thus discovered very early the rich lied repertoire which has since nurtured a good part of my thoughts on vocal music. Over the years I became interested in the way this repertoire had notably influenced instrumental music and began studying its favorite form: the cycle. I have thus written so far several such sets\, featuring various solo instruments with orchestra or piano. \nFollowing the tradition\, my own cycles often have a general title and I have recently started to indicate sub-titles as well\, for their power of suggestion in the absence of a sung text.\nComposed in 2017-18\, Femme le soir was premiered at the Reid Hall in Paris on the December 3rd by Anssi Karttunen and Nicolas Hodges to whom the piece is dedicated. (Betsy Jolas) \nMaurice Ravel – Pavane pour une infante défunte arr. 7’\nfl\, cl\, vln\, vlc\, pi\, perc \nFrom his student days until the years between the World Wars\, Maurice Ravel habitually attended the elegant and stylish salon of Princess Edmond de Polignac (1865-1943). She was an American\, whose maiden name was Winnaretta Singer\, and she became heir to the Singer sewing machine fortune. She was also a noted patron of the arts. It was this princess who commissioned Ravel to write his six-minute piano piece\, Pavane for a Dead Princess. Ravel played the Pavane for the first time in 1899\, and overnight it launched his reputation. The piece became extremely popular\, and the composer orchestrated it in 1910. \nThe wording of Ravel’s title was regrettable\, and he frequently had to explain that the piece is not a cortège for a recently deceased princess. The real sense of it is actually “a princess out of the past.” Characteristic of Ravel\, he grew hypercritical of the piece. In 1912\, having to review a concert on which the Pavane had been programmed\, he wrote: \nI no longer see its good points from such a distance. But\, alas\, I perceive its faults very clearly: the glaring influence of Chabrier and the rather poverty-stricken form! The remarkable interpretation of this incomplete and unoriginal work contributed\, I think\, to its success. \nWe may disagree.
URL:https://www.ensembleneo.com/event/between-tides/
LOCATION:Scenkonst Sörmland\, John Engellaus Gata 3\, Eskilstuna\, Eskilstuna\, 63361\, Sweden
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DTSTART;TZID=Europe/Paris:20240423T130000
DTEND;TZID=Europe/Paris:20240426T140000
DTSTAMP:20260525T212214
CREATED:20240215T233057Z
LAST-MODIFIED:20240216T094218Z
UID:378-1713877200-1714140000@www.ensembleneo.com
SUMMARY:Workshop with composer students at Luleå University of Technology\, Piteå School of Music
DESCRIPTION:Since its start in 2007 ensemble neo has been an important part of the students in composition at Luleå University of Technology\, Piteå School of Music and each year we have had workshops with them rehearsing and commenting on their music and in the end of the week premiered their music. We hope to continue this important work for many years ahead. This spring we will work with them April 23-26 with a concluding lunch concert on Friday the 26th at 12.30.
URL:https://www.ensembleneo.com/event/workshop-with-composer-students-at-lulea-university-of-technology-pitea-school-of-music/
LOCATION:Acusticum Piteå\, Kunskapsallén 14\, Piteå\, Sweden
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BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20240419T190000
DTEND;TZID=Europe/Paris:20240419T210000
DTSTAMP:20260525T212214
CREATED:20240215T233553Z
LAST-MODIFIED:20240215T233722Z
UID:382-1713553200-1713560400@www.ensembleneo.com
SUMMARY:ensemble neo at URUK-fest
DESCRIPTION:Fredagen den 19 april och lördagen den 20 april fylls Folkoperans lokaler med ett varierande program av nutida musik presenterat av Uruppförandeklubben (URUK). Föreningen som består av en mängd tonsättare\, musiker och konstnärer inom nutida konstmusik har sedan starten 2001 uruppfört över 250 verk. \n\nFredag 19 april\, Folkoperans salong\n19.00 – 21.00 (inkl. paus) \nFredagens konsert med flera uruppföranden är en hyllning till den nutida musiken. Medverkar gör ensemble neo (tidigare Norrbotten NEO)\, vokalensemblen VoNo under ledning av Lone Larsen\, samt den nystartade duon Mårten Landström på piano och Magdalena Meitzner på slagverk. \nProgram T.B.A
URL:https://www.ensembleneo.com/event/ensemble-neo-at-uruk-fest/
LOCATION:Folkoperan\, Hornsgatan 72\, Stockholm\, 11821
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BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20240324T170000
DTEND;TZID=Europe/Paris:20240324T183000
DTSTAMP:20260525T212214
CREATED:20240215T160251Z
LAST-MODIFIED:20240215T234031Z
UID:365-1711299600-1711305000@www.ensembleneo.com
SUMMARY:Svensk Musikvår
DESCRIPTION:Svensk Musikvår 2024-03-24 kl. 17.00 Musikaliska\, Stockholm\nPROGRAM\nJenny Hettne – As they flutter about (2023) 10’ baskl + elektronik \nKim Hedås – Under Luften (2002) 12’ altfl\, baskl\, vla\, vlc \nDjuro Zivkovic – Citadel of Love (2019/20) 35’ fl\, kl\, pi\, slv\, vln\, vla\, vlc \n  \nFredrik Burstedt – conductor \nSara Hammarstöm – flute\nRobert Ek – clarinet\nMårten Landström – piano\nDaniel Saur – percussion\nBrusk Zanganeh – violin\nDamon Taheri – viola\nNick Shugaev – cello \nAs they flutter about (2023) – Jenny Hettne\nJenny Hettne arbetar innovativt och gärna i nära samarbete med musiker där hon utforskar musikens klangliga möjligheter. Hon komponerar för såväl orkester som mindre besättningar\, ibland i kombination med elektronik. Hennes akustiska musik är starkt influerad av elektroakustisk musik och vice versa. Stycket As they flutter about för basklarinett och elektronik är komponerat i nära samarbete med och tillägnat klarinettisten Robert Ek. Musiken startar i basklarinettens djupaste register\, i ett statiskt ljudlandskap av knappt skönjbara variationer\, lätt böljande eller försiktigt skorrande. I styckets andra del expanderar rörelserna; vibrerar\, fladdrar och skimrar. Solisten och den elektroniska stämman fungerar som en duo där de ibland byter funktion med varandra: speciella tekniker på instrumentet skapar en närmast elektronisk klang medan obearbetade klarinettinspelningar hörs i den elektroniska stämman. \nUnder Luften (2002) – Kim Hedås\nDovt och mörkt i klangen eller en annan sorts intensitet och lyster? Jag fick lust att höra dessa fyra instrument tillsammans\, ge plats för deras speciella klangfärger. Den första idén var att skriva en sorts fyrkantig musik\, där uttrycken var mycket återhållna. Den sista idén var att låta musiken bli som den ville\, spräckligare och friare med det fyrkantiga som fond. Under luften är musik om det som kanske inte syns men som hela tiden pågår under tiden\, under jorden\, under luften. \nCitadel of Love (2019/20) – Djuro Zivkovic\nTills du lär känna dig själv genom ödmjukhet och andlig visdom är ditt liv ett slit och svett. Att lära känna sig själv betyder att du måste bevaka dig omsorgsfullt från allt utanför dig; det betyder uppskov från världsliga bekymmer och granskning av samvetet. Och sedan sjunker plötsligt en slags superrationell gudomlig ödmjukhet över själen\, som ger ånger och tårar av brinnande samvetskval till hjärtat\, du kommer att fyllas med en annorlunda\, obeskrivlig berusning – berusning av samvete – och kommer att gå in i djupet av ödmjukhet. ”När du inser att berömmelse\, nöje\, överflöd och välstånd inget värde har\, eftersom det endast betyder död och förfall\, förstår du också det världsligas fåfänglighet och riktar i stället blicken mot det gudomliga. Då ska du också klara allt som verkligen existerar och höja dig över smärta och njutning. Omvandlad till ett heligt tabernakel uppgår du i kärlekens citadell.” \n\nNikitas Stithatos\, från Om Tingens inre natur (Filokalia)
URL:https://www.ensembleneo.com/event/svensk-musikvar/
LOCATION:Musikaliska\, Nybrokajen 11\, Stockholm
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