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FLUTE NEWS Flute duos in the 20th century Paul Hindemith, a formative innovator between the world wars, left important repertoire pieces for the flute, including the Canonical Sonatina for two flutes from 1924, whose dense and harsh counterpoint is characteristic of his early creative period, comparable to the Pantomime his opera Cardillac, in which two solo flutes accompany a murder scene. dedicatee of Canonical Sonatina is the Danish banker, amateur flutist and patron Paul Hagemann. John Cage, probably the most radical thinker of new music, wrote in 1935 as a student of Arnold Schönberg Three Pieces for Flute Duet, which he called »chromatic studies«. Abbreviated melodies, which develop from rows processed in contrapuntal terms, give an idea of the abstract nature of the serial music. Measured against the usual sensual flute virtuosity, the work is "anti-flute" - a year before Edgar Varèse Density 21.5 questioned the aesthetics of playing the flute in a forward-looking way. Wrote in memory of his late publisher Paolo Giordani (Suvini Zerboni). Goffredo Petrassi 1948 day Dialogo Angelico. In addition to open intervals, the sparse use of fluttering tongue and flageolets creates the sphere for this »angelic conversation«. The fact that these playing techniques were still unusual at the time the work was written admits that Dialogo Angelico a place in the history of advanced flute techniques. After the Second World War, an important flute repertoire was created in the area of tension between Far Eastern tradition and European avant-garde. The nucleus of this development was the Japanese group Jikken Kōbō, who also Toru Takemitsu belonged. Created in Paris in 1959 Mask - Continue, Incidental, whose title, as well as the stretched sounds and extreme dynamics, are reminiscent of the Japanese Noh theater, while the free use of twelve tones and serial techniques reveal the influence of Messiaen and Boulez. It is quite comparable in compositional style dialodia (1972) by the Italian composer Bruno Maderna: Condensed to two minutes, both flutes first split out of the unison into rhythmically parallel countermelodies and continue to become independent, only to become one again in a chaotic »molto irregolare« final run. Also the Korean composer Isang Yun, who lived in Berlin, moved between cultures. Without denying the Asian tradition, the inventions in the title as well as in the imitative processing of technical-musical aspects directly on J. S. Bach. Yun wrote it for two oboes in 1983, but by his own account imagined the color and modulation capabilities of flutes and consequently published a version for two flutes in 1990. »La musique doit humblement chercher à faire plaisir …« (music should give pleasure in all modesty). This often quoted requirement of Debussy comes Jean Françaix like no other and created an extensive oeuvre according to his motto "serious music without heaviness": sparkling, joyful and touching in the slow movements ... Le colloque des deux perruches (The Conversation of Two Budgies, 1989) illustrates this.
dedicated to... Dorothee Eberhardt Received accordion and piano lessons early on, later added saxophone, clarinet and violin. After studying oriental studies, philosophy and Greek philology (doctorate 1979), she received her musical training in London at Trinity College of Music (clarinet) and at Goldsmiths College (musicology and composition). She then worked in London as a composer and music teacher. In 1992 she returned to Germany and now lives near Munich. Dorothee Eberhardt's music was successful in several composition competitions and is performed internationally by renowned ensembles and soloists. Her works have been published by various publishers and can be heard on several CDs and in radio productions. EOS (Dawn) was created as a wedding present for the composer's niece and was premiered in 2015 in the registry office in Bad Aibling (near Rosenheim) by Elisabeth Weinzierl and Edmund Wächter. Each of the four movements is based on a rhythmic ostinato which – perceived unconsciously – determines the musical unity in the sense of G. W. Leibniz: “Music is the hidden mathematical activity of the soul, which is not aware that it is doing calculations.” Enjott Schneider studied music and musicology in Freiburg (Dr. phil. 1977). From 1979 to 2012 he taught as a professor at the University of Music and Theater in Munich. He wrote eight full-length operas, including Signalman Thiel and Marco Polo as well as numerous orchestral and chamber music works. His sacred music includes oratorios, organ concertos and 16 organ symphonies. In addition, about 600 film scores were created, e.g. to sleeping brother, autumn milk and Stalingrad. The places where his works are performed range from Paris, Rome, Madrid, New York and Los Angeles to Tokyo, Shanghai, Beijing and Taipei. Enjott Schneider received numerous honors. He is a member of the GEMA Supervisory Board and was its chairman from 2012 to 2017. He has been President of the German Composers' Association since 2013. RA - Ritual for 10 flutes was composed in 2017 and is dedicated to Elisabeth Weinzierl and Edmund Wächter. Inspiration was the Sun King RA, the oldest of the Egyptian gods. Sparkles of the sun, ritually repeated worship phrases and oriental melodies color this composition. Jean Luc Darbellay studied clarinet in his native city of Bern, supplemented by composition studies with Cristóbal Halffter and Dimitri Terzakis and master classes with Klaus Huber and Heinz Holliger. He was Edison Denisov's assistant and attended seminars in Paris with Pierre Boulez. In 1992 he worked with John Cage in Perugia and played basset horn in the premiere of György Kurtágs Curriculum vitae. His wide range of works is performed all over the world. He received composition commissions a.o. by Radio Suisse Romande, by MDR, by Radio France for the Présences Festival and the Philharmonia Zurich. In 2010 the Swiss premiere of the requiems at the Lucerne Festival. He was compositeur en residence at the Orchester de Chambre de Lausanne as well as at the festival »Les sommets musicaux de Gstaad«. Darbellay was the founding president of the Schweizer and a board member of the International Society for New Music. His work is published by Ricordi and Musica Mundana. The French state honored him as Chevalier des Arts et des Lettres. Waves: »Every musical project awakens certain associations in the composer. Just thinking about the flute reminds me of my ›filiation musicale‹: Syrinx and Prelude by Debussy, Three Songs from William Shakespeare and epitaph by Stravinsky, that flute quartet by Edison Denisov and memorial by Boulez. Waves are created by compression and rarefaction of matter. Especially in connection with water, this results in a wide variety of optical and acoustic phenomena. The short pieces are ›homages‹ both to the composers who shaped me and to the Wa(echter)-We(inzierl) duo.« Bernd Redman, born in Bamberg, studied composition, music theory and school music in Munich and Mannheim as well as musicology at the universities of Munich and Salzburg (doctorate 1998) after graduating from the Musisches Gymnasium in Niederaltaich. A stay at the Cité des Arts in Paris followed the master class with Dieter Acker. After teaching assignments in Munich and Salzburg, he received a professorship for improvisation and composition at the Cologne Music Academy in 1999 and a professorship for music theory and ear training in Munich in 2005. In 2011 he became Vice President of the University of Music and Theater Munich and in 2014 its President. Bernd Redmann's diverse compositional oeuvre ranges from solo pieces to chamber music and orchestral works to spatial compositions that combine instrumental and vocal timbres. His music theater The hunted premiered in 2010 at the Theater Bremen. Numerous pieces are available on CD or radio recordings. Gardens segregated was created at the turn of the year 2017 / 2018. Secret gardens in inaccessible courtyards of southern castles or in other enchanted corners nourish mystical plants of extraordinary shape, color and effect. The seven miniatures transform their appearance and scents into different sound atmospheres. The energetic medium is the iridescent timbre and forms of movement of the flutes, from the gentle breath to the hissing puff of air, from the faint, abysmal sound of the bass flute to the glaringly sharpened sonic power in the treble – and between the extremes a world of flowing transitions and shades, color contrasts and metamorphoses. Erwin Koch-Raphael, born in Kempen (Lower Rhine), lives in Bremen. In addition to studying sound engineering, he studied composition with Isang Yun in Berlin, which he supplemented with Iannis Xenakis and Franco Donatoni in Paris. Following an invitation from the Korean section of the ISCM, Koch-Raphael spent an extended period of study in South Korea in 1979. From 1996 to 2015 he taught at the Bremen University of the Arts as a professor of composition and music theory. He was a member and co-founder of the Bremen performance group »ganZeit« and in 1990 worked as a lecturer on the RESPONSE project in Frankfurt am Main with the Ensemble Modern and the London Sinfonietta. In 1991, the Center for Art and Media Karlsruhe (ZKM) awarded one of the first project grants to Koch-Raphael, who worked there for a year at the Institute for Music and Acoustics. composition no. 71 (tartans. variations) was premiered in Bremen in 2012 by Elisabeth Weinzierl, Edmund Wächter and Eva Schieferstein. The piece is based on impressions from a trip to Scotland. The music reflects Scottish dances and songs in an abstract form, but also the line patterns (tartans) of Scottish kilts, which are reminiscent of paintings by Piet Mondrian. The heterogeneous variations are closely interwoven: the theme at the beginning is followed by 14 short variations in which different aspects, structural characteristics or motifs of the previous variation or theme are processed. Nicholas Brass, born in Lindau, composes chamber music and symphonic works. His music is played at national and international new music forums. He has received commissions from various festivals and radio stations, including several from Bavarian Radio for the concert series musica viva. In recent years, Brass has increasingly devoted himself to music theater (Ruhrtriennale 2015: earth diver). In 2018 there was a new production of at the Staatsoper Unter den Linden in Berlin summer day after the drama A summer day by Jon Fosse (UA 2014 at the Munich Biennale for Contemporary Music Theater). Experienced as a commission from the Bavarian State Opera for the 2018 Opera Festival The Passersby premiered in Ludger Engels' production. Brass is a member of the Bavarian Academy of Fine Arts and the Sudeten German Academy of Sciences and Arts. Many of his works have been published by NEOS. »For several years I have repeatedly written miniatures for different duo formations, mostly for musician couples. So the series title fit Love dialogues, which I had in mind even before I had written the first piece. There are 'love dialogues' between accordion and piano, guitar and violin, Alpine and Chinese zither, two clarinets, etc. There is also a soliloquy for piano and a 'threesome' for oboe, clarinet and trumpet. The Dialoghi d'amore XI for two flutes Elisabeth Weinzierl and Edmund Wächter are dedicated in cordial friendship.« Johannes X. Schachtner After studying composition and conducting as well as scholarship stays in Bamberg and Paris, lives near Munich as a freelance conductor and composer. His work is performed by internationally renowned soloists such as Julia Fischer, Julius Berger, Adrien Boisseau, Maximilian Hornung and the conductor Ulf Schirmer. He received numerous commissions for compositions, e.g. by the Munich Biennale for Contemporary Music Theater, the Kronberg Academy Festival and the Leopold Mozart Violin Competition (compulsory piece). For his work, which is documented on CDs and in radio recordings, Johannes X. Schachtner was awarded e.g. was awarded the Music Promotion Prize of the City of Munich and the Bavarian Art Promotion Prize. For five years he was the artistic director of the Munich aDevantgarde festival and also initiated highly acclaimed projects in the field of contemporary music. He is the musical director of the youth ensemble for new music in Bavaria (JU[MB]LE). »Lessons natten II refers to the novel hours (Nearing Night) by the Swedish writer Carl-Henning Wijkmark, with whom I was able to spend a year as a fellow at the Villa Concordia in Bamberg. The first version of this ›elegy‹ was written in 2010 for two oboes and cor anglais – shortly after reading the novel, which describes dying from the first-person perspective. The version for seven flutes was written the following year for the Munich flute ensemble.« Volker Nickel, born in Augsburg and trained there at the Leopold Mozart Conservatory and at the Hochschule für Musik und Theater in Munich, developed a contrapuntal and formally discontinuous musical style based on cantus-firmus-like periods and a varying montage technique. Nickel's work has received many awards, including with the sponsorship award of the Ernst von Siemens Music Foundation and a scholarship at the Cité Internationale des Arts in Paris. The Sonatina for flute duo are based on daytime poems by Joseph von Eichendorff and text excerpts by Arno Schmidt. The starting point is Eichendorff Tomorrow. A counterpoint follows, based on counterpoints from the 15th and early 16th centuries. The Noon - quasi improvisando - is differentiated by the change of the second flute to the bass flute. The Evening is a rondino with two couplets. While the first couplet is only a short episode developed from the refrain, the counterpoint reappears in the second couplet, from which the Night unfolded. Unfolding time is also the basic idea of this composition, which was commissioned by Dr. Richard Stanzel was created and premiered in 2017 by Elisabeth Weinzierl and Edmund Wächter. Max Beckschaefer, born in Münster, studied organ, piano, violin and choral conducting at the Richard Strauss Conservatory in Munich and church music and composition in the master class of Wilhelm Killmayer at the Musikhochschule. After a scholarship stay at the Villa Massimo in Rome, he taught music theory at the Munich University of Music and Theater (deputy professorship) and since 2001 at the University of Music in Augsburg-Nuremberg and Nuremberg. Among his awards are a scholarship for the Centro Tedesco di Studi Veneziani, the Music Promotion Prize of the City of Munich and commissions for compositions for the Munich Biennale for contemporary music theater, Klangspuren of the Bavarian State Orchestra, Musica Viva Ingolstadt, the Bavarian Academy of Fine Arts and the Dresdner Kreuzchor. Several CDs with vocal and chamber music by Max Beckschäfer have been released. The Trio with Haydn II was composed in 2009, in the 200th year of Haydn's death, in two versions: for flute, bassoon and piano (Tea with Haydn) and in the Haydn occupation of the London trios for two flutes and cello. The playfully light piece is a series of variations on the Menuet al Rovescio (Menuet in crab form) from the Piano Sonata in A major Hob. XVI:26. The eight variations are different in character, but rarely leave the home key of A major. The trio pays homage to a philanthropic, witty composer who is still close to us today. Elisabeth Weinzierl and Edmund Waechter program:
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