modern art ensemble

„Spuren“
modern art ensemble
Conrado del Rosario „Entre as Cordas e on Vento“ - im Gedenken an Matias de Oliveira Pinto für Violoncello und Klavier (UA) Zeynep Gedizlioğlu „Yol - Der Weg“ für Klarinette, Vibraphon, Violine, Violoncello und Klavier Alexandra Karastoyanova-Hermetin „Polynj“ für Violoncello, Flöte, Violine, Viola und Klavier Michael Quell „energeia aphanés“ für Flöte, Klarinette, Violoncello und Perkussion Pause Makiko Nishikaze „Fantasie-Fuge“ für Flöte, Klarinette, Violine, Viola, Violoncello und Klavier (UA, gefördert durch die Gwaertler Stiftung) Helmut Zapf „Heimat“ für Flöte, Klarinette, Violine, Violoncello und Klavier


With deep sorrow and sympathy for his family, but also in gratitude for the time spent with him, the modern art ensemble announces that Matias de Oliveira Pinto died in a traffic accident on February 4, 2025. He was a co-founder of the ensemble, gave hundreds of concerts with it all over the world and recorded radio and CD productions. The modern art ensemble would like to dedicate today's concert to the memory of Matias de Oliveira Pinto. To mark the occasion, Conrado del Rosario has composed a piece for cello and piano, “Entre as Cordas e o Vento”, which Adele Bitter and Yoriko Ikeya will play at the beginning of the concert.

“Yol - The Path” by Zeynep Gedizlioglu describes the path of a sound, but also the artistic path of the Berlin composer of Turkish descent. Born in Moscow, Alexandra Karastoyanova-Hermentin grew up in Sofia and now lives in Vienna. Her piece “Polynj” (“Mugwort”) surrounds the solo cello with the sounds of the ensemble - a work in a reduced, impressive sound language whose motifs seem to move around a mysterious core. Michael Quell's “energeia aphanés” is also on the trail of a secret: it deals with “black energy”, which plays a central role in theories about the universe. The world premiere of the program, Makiko Nishikaze's “fantasie-fuge”, is based on Bach's unfinished Fantasy and Fugue for Piano BWV 906. Nishikaze first orchestrated it for ensemble, then completed it and finally transformed it entirely into his own sound cosmos. The final piece is Helmut Zapf's composition “Heimat”, in which he asks about the localization of his person and his musical world and gives a possible answer.

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