Highly original programmes in which the so-called ‘old’ – for which read timeless – comes up freshest in the company of the new.
—The Arts Desk
philosophy
‘Perfect mix of heart and brain’
I am often asked how I go about creating the innovative programmes that define O/Modernt’s identity. The first thing to say is that, from the outset, my focus is not on the programme per se, but on the audience and the challenge of using unusual musical connections to awaken innovative listening.
We can never hear the music of Vivaldi, Mozart or any composer from the past in the same way as it was heard for the first time. The music we hear, whether ancient or modern, local or exotic, passes through an idiosyncratic prism, unique to each of us, that is made up of every sound, every noise, every piece of music that has ever previously passed through our ears.
But – and it’s a huge but! – there are fundamental human qualities associated with music that are universally accessible. These include, for example, its emotional and healing power, its lyrical depths, and its capacity to play with rhythms to create joyful dancelike energy. And here we face a paradox: although we hear music in a historically determined way, it still manages to communicate timeless truths of human existence. This paradox drives my programming, for in every concert I put together I endeavour to invoke innately human feelings and values without undermining the beautiful idiosyncrasies that shape the acoustic prism of each and every listener.
My aim is therefore to create conditions in which audiences can engage in an active kind of listening that challenges habitual expectations and perceptions, turning the familiar into something strange, while rendering novel sounds and musical cultures uncannily accessible. For this to happen audiences must become creatively involved in what they are hearing, and this doubling of the creative effort is the key to programming memorable concerts. In this model the concert is not conceived of as a luxury gift shop selling highly polished products that the listener can walk in and buy, but as a forum in which the listener has an active part to play. To repeat the O/Modernt mantra, which adapts the words of John Cage as a way of summing up the approach: Invent the Past. Revise the Future.
Below is a selection of programmes that offer starting points for creative musical dialogues between listeners and performers. Needless to say, they only come to life in performance.
Hugo Ticciati is one of the most gifted young artistic directors that I have encountered. His interweaving of themes results in the most unexpected and joyful musical experience. It's sheer pleasure to sit through a concert put together by Hugo.
— John Gilhooly
Director, Wigmore Hall
Ticciati has reinvented the art of listening through putting together programs that challenge the boundaries between different types of music.
—Dagens Nyheter
Selected programmes
ROAMING SPIRITS
Hugo Ticciati and the O/Modernt Chamber Orchestra are joined by a stellar cast of guest artists, for a free-spirited evening of roving moods and offbeat charm. Infused with Romany allure, Roaming Spirits reinvigorates the legacy of Brahms and Bartók, complemented by arrangements of traditional Roma tunes and Boris Pigovat’s Jewish Wedding. The concert showcases O/Modernt’s characteristic mix of surprising transitions in a journey through Romantic, modernist, and folkloric landscapes of dancelike exuberance and heartfelt nostalgia.
ARTISTS
Hugo Ticciati violin | director
Christoffer Sundqvist clarinet
Miklós Lukács cimbalom
Julian Arp violoncello
O/Modernt Chamber Orchestra
PROGRAMME
Johannes Brahms (arr. Johannes Marmén) Hungarian Dance No. 1
Béla Bartók 44 Duos for 2 Violins Sz. 98 (Selection)
Roma Trad. (arr. Miklós Lukács) ‘Green is the Forest’ (Zöld az erdo)
Béla Bartók Divertimento BB 118
–intermission–
Johannes Brahms (arr. David Lundblad) Clarinet Quintet in B minor Op. 115, Adagio
Johannes Brahms (arr. Johannes Marmén) Hungarian Dance No. 4
Roma Trad. (arr. Miklós Lukács) ‘Dawn Song’ (Hajnali dal)
Béla Bartók (arr. David Lundblad) Romanian Folk Dances Sz. 56, BB 68
Boris Pigovat Jewish Wedding
Johannes Brahms (arr. Johannes Marmén) Hungarian Dance No. 5
The Fires of Love
O/Modernt portrays the anguished pleasures and pains of love in a concert that opens with Lera Auerbach’s instrumental dialogue, Sogno di Stabat Mater (‘I Dream of Stabat Mater’), reflecting on the inextinguishable torments of the grieving mother. Golfam Khayam’s Mirror Memory reconciles nostalgic hurt and a lover’s ecstatic homage in a dream of consummation. After the interval O/Modernt presents two seminal musical meditations on love: Janáček’s ‘Intimate Letters’, a quartet expressing the composer’s feelings for a married woman thirty-eight years his junior, and the glorious longing of Mahler’s Adagietto from his Symphony No. 5.
ARTISTS
Haleh Seyfizadeh voice
Hugo Ticciati violin | director
Sascha Bota viola
Nora Thiele percussions
O/Modernt Chamber Orchestra
PROGRAMME
Lera Auerbach Sogno di Stabat Mater
Golfam Khayam Mirror Memory
(vocal lines by Haleh Seyfizadeh)
-intermission-
Leoš Janáček (arr. Hugo Ticciati) String Quartet No. 2, ‘Intimate Letters’
Gustav Mahler Adagietto from Symphony No. 5
CROSSING THE ATLANTIC
Benjamin Britten’s eclectic musical travels around Europe in his landmark Variations on a Theme of Frank Bridge Op. 10 encounter the arrangements of songs of two British artists – Radiohead and Sting. Crossing the Atlantic, the mesmerising strains of Philip Glass’s Third Symphony for nineteen solo strings find companionship with the melancholic ecstasy of Nirvana and a cool glance back to Purcell.
ARTISTS
Hugo Ticciati violin | director
O/Modernt Chamber Orchestra
PROGRAMME
Benjamin Britten Variations on a Theme of Frank Bridge Op. 10
Introduction and Theme
Variation 1: Adagio
Radiohead (arr. Johannes Marmén) I Will
Variation 2: March
Variation 3: Romance
Sting (arr. Marzi Nyman) Shape of My Heart
Variation 4: Aria Italiana
Variation 5: Bourée Classique
Variation 6: Wiener Walzer
Variation 7: Moto Perpetuo
Variation 8: Funeral March
Radiohead (arr. Johannes Marmén) Exit Music (For A Film)
Variation 9: Chant
Variation 10: Fugue and Finale
–intermission–
Philip Glass Symphony No. 3, Movement I
Nirvana (arr. Johannes Marmén) Something in the Way
Philip Glass Symphony No. 3, Movement II
Nirvana (arr. Johannes Marmén) Lithium
Philip Glass Symphony No. 3, Movement III
Henry Purcell (arr. Johannes Marmén) Cold Song (What Power art Thou?)
Philip Glass Symphony No. 3, Movement IV
Nirvana (arr. Johannes Marmén) Smells Like Teen Spirit
THE LIGHT WITHIN
A programme of works inspired by transitions and epiphanies is ushered in with the ecstatic melancholy of Pēteris Vasks’s In Evening Light, an extended meditation on our twilight years. After the interval Soumik Datta’s Awaaz is entwined with contemplative pieces by Max Richter, Jordan Hunt, and the Beatles. Awaaz (an Urdu word meaning ‘voice’ or ‘noise’) assembles verbal sherds from Hindi, Urdu, and Bengali in an emotive response to the 1947 Partition of India.
ARTISTS
Hugo Ticciati director | violin
Soumik Datta sarod
Sukhvinder Singh ‘Pinky’ tabla
O/Modernt Chamber Orchestra
PROGRAMME
Johann Sebastian Bach ‘Contrapunctus I’ from The Art of Fugue BWV 1080
Peteris Vasks Concerto No. 2 (‘In Evening Light’)
–intermission–
Max Richter On the Nature of Daylight
Soumik Datta (arr. Jordan Hunt) Awaaz ‘Migrant Birds’
The Beatles (arr. Johannes Marmén) ‘Blackbird’ from The White Album
Soumik Datta (arr. Jordan Hunt) Awaaz ‘1947’
Jordan Hunt Misremembrance
Wojciech Kilar Orawa
Soumik Datta (arr. Jordan Hunt) Awaaz ‘Awaaz’
The Beatles (arr. Johannes Marmén) ‘Across the Universe’ from The White Album
THE ALCHEMY OF YEARNING
The raw energy of Beethoven’s Grosse Fuge Op. 130 springs from an impossible ambition to transcend the limits of the human condition – the alchemy of yearning framed as pure musical form. At the other end of the spectrum is the spiritual search for salvation that shapes the sound worlds of Hildegard von Bingen and Arvo Pärt, in which the promise of eternity is achingly real. Between these poles, Golijov’s Tenebrae and Dessner’s Aheym rediscover hope and home in moments of utter darkness and alienation, while Pablo Casals’s Song of the Birds expresses a profound yearning for peace and a return to nature.
ARTISTS
Hugo Ticciati violin | director
Anders Paulsson soprano saxophone
O/Modernt Chamber Orchestra
PROGRAMME
Hildegard von Bingen (arr. Johannes Marmén) Vos flores rosarum
Arvo Pärt Fratres
Osvaldo Golijov Tenebrae
Pablo Casals Song of the Birds
–intermission–
Henry Purcell (arr. Johannes Marmén) Hear my Prayer
Ludwig van Beethoven Grosse Fuge Op. 133
Arvo Pärt Silouan’s Song (‘My Soul Yearns After the Lord’)
Bryce Dessner Aheym (‘Homeward’)
Ludwig van Beethoven String Quartet in B-Flat Major Op. 130, Cavatina
VIVALDI ROCKS
According to musicologist Richard Taruskin, the best way to understand the excitement of an original Vivaldi performance at the Pietà in Venice is to attend a modern rock concert. O/Modernt has taken Taruskin at his word by fusing Vivaldi with the music of Metallica, Muse, and Dream Theater. Vivaldi’s concertos are spectacularly reimagined to include the vibe of a Hammond organ, variations of Vivaldi’s La follia (‘musical madness’) in the style of Van Halen, and Metallica guitar solos played on an amplified bassoon.
ARTISTS
Hugo Ticciati director | violin
Bram van Sambeek bassoon
Rick Stotijn double bass
Marijn Korff de Gidts percussion
Sven Figee hammond organ
PROGRAMME
Antonio Vivaldi Concerto for 2 Celli in G minor RV 531
Metallica (arr. Marijn van Pooijen) Orion
Metallica (arr. Bram van Sambeek) Pulling Teeth
Dream Theater (arr. Marijn van Prooijen) Octavarium Part 1
Antonio Vivaldi La follia Op. 12, No. 1
–intermission–
Antonio Vivaldi Concerto in G minor Op. 8, No. 2 RV 315, ‘Summer’ from Four Seasons
Sergey Akhunov Der Erlkönig for Viola and String Orchestra
Muse (arr. Charlie Piper) Symphony Exogenesis Part 1, Overture
Antonio Vivaldi Concerto in F minor Op. 8, No. 4 RV 297, ‘Winter’ from Four Seasons
Muse (arr. Charlie Piper) Symphony Exogenesis, Part 2 and 3, Cross-Pollination and Redemption
Dream Theater (arr. Marijn van Prooijen) Octavarium Part 2
COSMIC SPACES
Arvo Pärt’s invocations of transcendence use rudimentary musical strategies to transport us to cosmic spaces. We arrive there by placing our trust in the Estonian sage, who places his trust in God and pure maths. Operating beyond the bounds of ego, Xennakis’s Rebonds B harnesses similarly elemental forces to plot the rhythmic tensions that make up the cosmic pulse. But cosmic spaces confront us with conflicting emotions. Josquin infused a universe of numbers with the poetry of love – the consolations of worshipping the Blessed Virgin and a thousand regrets for a love that failed. Conversely, like a character waiting for Godot, Berio’s Sequenza V poses the simplest of existential questions: Why? As for Sting, his deceptively simple responses encompass the poignant practicalities of whatever works and the sacred geometry of chance.
ARTISTS
Hugo Ticciati director | violin
Jörgen van Rijen trombone | Jess Gillam saxophone
Evelyn Glennie | Johan Bridger percussions
PROGRAMME
Hildegard von Bingen (arr. Johannes Marmén) Vos flores rosarum
Arvo Pärt Fratres
Josquin de Prez (arr. Johannes Marmén) Ave Maria
Luciano Berio Sequenza V
Arvo Pärt Vater Unser
Albert Schnelzer Apollonian Dances (‘Adolescent Apollo’)
Arvo Pärt Darf ich …
–intermission–
Arvo Pärt Silouan’s Song
Josquin de Prez (arr. Johannes Marmén) Mille regretz
Sting (arr. Marzi Nyman) Practical Arrangement
Arvo Pärt Mein Weg
Iannis Xenakis Rebonds B
Sting (arr. Marzi Nyman) Shape of my Heart
Arvo Pärt Cantus in Memoriam Benjamin Britten
HENRY & HARRY | POTTER & PURCELL
Purcell’s Dido portrays an exceptionally complex human being wrestling with conflicting passions. As the chorus sings when Dido’s fate is sealed: ‘Great minds against themselves conspire / And shun the cure they most desire.’ Approaching Dido via the magical universe of Harry Potter, O/Modernt transposes the seventeenth-century narrative into a modern-day mythical context in order to close the gap between the world of Purcell’s opera and our own. Further adding to the reimagined textures of Purcell are works by Erkki-Sven Tüür and György Ligeti, together with Sting’s Shape of My Heart and the last movement of Symphony Exogenesis by the rock band Muse.
ARTISTS
Hugo Ticciati director | violin
Danielle de Niese mezzo-soprano
Frederick Long bass-baritone
VOCES8 Scholars
PROGRAMME
Henry Purcell Dido and Aeneas Z 626
–interspersed with–
John Williams (arr. Michael Story) Selections from Harry Potter film music
Henry Purcell Fantasia upon One Note Z 745
Erkki-Sven Tüür Action – Passion
György Ligeti Passacaglia ungherese
Sting Shape of My Heart
Muse ‘Redemption’ from Symphony Exogenesis
MILESTONES
The year 2021 marked thirty years since the death of Miles Davis, fifty since that of Igor Stravinsky, and 500 since the passing of Josquin des Prez. This trio of composers, justly celebrated for their transformative energy, stand shoulder to shoulder in a concert that forges musical connections across time, space, and genre. From his early work with Charlie Parker, via his 1950s quintets and later experiments with jazz-rock and fusion, Miles Davis repeatedly reinvented his music by taking it back to its roots. Revisiting the past in a different way, Stravinsky sought to renew the art music of the nineteenth century by injecting it with the primitivist syncopations heard in his explosive Rite of Spring. Josquin, who famously made himself ‘the master of the notes, which must do as he wills’, also shunned contemporary musical orthodoxy. O/Modernt brings together three composers who not only changed the way we hear the music of their times – they changed the way we hear music itself.
ARTISTS
Hugo Ticciati violin | director
Nils Landgren trombone | vocals
Gwilym Simcock piano | arranger
Robert Ikiz percussion
Jordi Carrasco-Hjelm double bass
PROGRAMME
Josquin des Prez (arr. Johannes Marmén) Ave Maria ... virgo serena
Miles Davis (arr. Gwilym Simcock) ‘Selim’ from Live-Evil
Igor Stravinsky Three Pieces for String Quartet
Josquin des Prez (arr. Johannes Marmén) Mille regretz
Miles Davis (arr. Gwilym Simcock) ‘Recollections’, ‘Sivad’ and ‘In a Silent Way’ from Bitches Brew
–intermission–
Igor Stravinsky Concerto in D (‘Basle’)
Josquin des Prez Une mousque de Biscays
Miles Davis (arr. Gwilym Simcock) ‘Little Church’, ’So What’ from Live-Evil and Kind of Blue
Josquin des Prez La plus des plus
Miles Davis (arr. Gwilym Simcock) ‘All Blues’ from Kind of Blue and selections from Live-Evil
MESSIAH RAPPED
With their dramatic contrasts and intense colours, Handel’s ultra-modern English oratorios took eighteenth-century London by storm. His audiences were also engaged by the commentaries on contemporary social and political life embedded in the Old Testament stories that inspired Handel’s librettists. The most famous oratorio of them all is Handel’s Messiah. Highlighting modern-day themes, O/Modernt’s Messiah takes us back to the future. Beat poet Baba Israel and his crew improvise lyrics in response to Handel’s words and music, entering into an emotional and spiritual dialogue with the sacred texts, and stressing their relevance for today. Haunting poetic beauty and brilliant vocal pyrotechnics combine as Baba Israel reflects on Messiah with an urgency and power that invites us to look again at the world we live in.
ARTISTS
SOPHIE KLUSSMANN soprano
KATIE BRAY mezzo-soprano
GWILYM BOWEN tenor
FREDERICK LONG bass
BABA ISRAEL beat poet
SVANTE HENRYSON electric bass
BRITTA VIRVES piano
JOHAN RAMSAY LÖFCRANTZ percussion
PETTERI PITKO harpsichord
KARL NYHLIN lute
LEO FLORIN accordion
VOCES8 SCHOLARS ENSEMBLE
Hannah Dienes-Williams, soprano
Ruby Skilbeck, soprano
Daiana Aksamit, alto
Merel-Magali Cox, alto
Joe Taylor, tenor
Thomas Mottershead, tenor
Harry Mobbs, bass
Gus Perkins, bass
LILLA AKADEMIEN CHAMBER CHOIR
O/MODERNT CHAMBER ORCHESTRA
O/MODERNT NEW GENERATION ARTISTS
HUGO TICCIATI director
RE/CONCEPTIONS
After the Annunciation, Mary visits her elderly cousin, Elizabeth, who is miraculously pregnant with John the Baptist. As Mary approaches, the unborn child leaps in Elizabeth’s womb, and she greets Mary with the time-honoured words: ‘Blessed art thou among women, and blessed is the fruit of thy womb.’ Called upon to deal with epoch-making events, both for herself personally and for all humanity, Mary replies to Elizabeth in song form. She intones the Magnificat, which is perhaps the earliest Christian hymn. Invoking the origins of the Christian musical tradition, O/Modernt and VOCES8 perform Marian hymns by Vivaldi, Rachmaninov, and Tavener, together with works by Pärt and Vasks that reach beyond words to realms of pure spiritual sound. The sacred dimension also finds mesmerising form in the shaping rhythms of Manu Delago’s virtuoso hangdrum.
ARTISTS
Hugo Ticciati director | violin
Manu Delago hangdrum
VOCES8
PROGRAMME
John Tavener ‘Mother of God, here I stand’
Antonio Vivaldi Magnificat RV610
Manu Delago Wandering Around
Arvo Pärt Nunc Dimittis
–intermission–
Arvo Pärt Silouan's Song
Pēteris Vasks Lonely Angel
Sergey Rachmaninov ‘Bogoroditse Devo’
Manu Delago Circadian
John Tavener ‘Mother of God, here I stand’
UNSUNG HEROINES
Stories of women from around the world
A concert devoted to the musical identities of women from many times and places is sparked by the fact that the first named composer in the history of Western music was a woman – Hildegard von Bingen, whose Vos flores rosarum is transformed into a wordless arrangement for strings. A tapestry woven from the often neglected voices of women from South America includes Marcelo Nisinman’s Gaia Tango, commissioned by O/Modernt, which seeks out the roots of motherhood. The city of Buenos Aires is a recurring leitmotif in this concert, notably in some ingenious arrangements of Astor Piazzolla’s Estaciones Porteñas (the ‘Four Seasons of Buenos Aires’), and a performance of the vocal centrepiece of his tango opera, María de Buenos Aires. Punctuating the emotional fireworks are the Judeo-Spanish tones of the Sephardic lullaby Nani Nani, and the contemplative sinuosity of Dobrinka Tabakova’s The Patience of Trees.
ARTISTS
Hugo Ticciati director | violin
Luciana Mancini mezzosoprano
Marcelo Nisinman bandoneon
Julian Arp cello
Johan Bridger percussions
PROGRAMME
Hildegard von Bingen (arr. Johannes Marmén) Vos flores rosarum
María Grever Alma mia
Dobrinka Tabakova The Patience of Trees for violin, percussion and strings
Eladia Blázquez Sin Piel
–intermission–
Tarquinio Merula Ninna Nanna
Astor Piazzolla (arr. Leonid Desyatnikov) Estaciones Porteñas, Verano & Invierno Porteño
Chabuca Granda María Landó
Marcelo Nisinman ‘Gaia’s Tango’ for violoncello, bandoneon and strings
Sephardic Lullaby Nani Nani
Antonio Tarragó Ros Maria Va
Astor Piazzolla Maria de Buenos Aires, ‘Yo soy María’
Krishna Nagaraja Swedish Marian Lullaby
SOLO BACH ENDLESSLY ENCIRCLED
Hugo Ticciati violin
A dialogue between the timeless solo works of Bach and an array of contemporary composers (including Pärt, Berio, Stravinsky, Kurtág, Clarke, and Miyoshi) is presented as a series of improvisations by Hugo Ticciati. The exact order and even the choice of works is decided in the moment of performance, with the only constant (playing the role of a Baroque theme or ‘ground’) being a return to the familiar counterpoint of Bach.
O/MODERNT MAXED OUT
Max Richter’s Recomposed - Vivaldi’s Four Seasons (2012) isolates and overworks selections of melodic and rhythmic material from Vivaldi’s iconic original, instilling it with a minimalist sensibility. The intoxicating result is a revised musical flow that mingles with and displaces Vivaldi’s driving rhythms and tonal strategies of tension and release. Interweaving Richter’s Vivaldi with recomposed music by a choice selection of medieval, Renaissance, and Baroque composers, O/Modernt adds layers of feeling and dynamism that maximise the multivalent exchange between old and new. Works by composers including Pérotin, Machaut, Gibbons, Byrd, Gesualdo, Purcell, and Bach are recomposed by Erkki-Sven Tüür, Anders Hillborg, Nico Muhly, Jordan Hunt, Sauli Zinovjev, and Johannes Marmén.
PROGRAMME
Max Richter Recomposed - Vivaldi’s Four Seasons
Interwoven with recompositions of the following originals by Erkki-Sven Tüür, Anders Hillborg, Nico Muhly, Jordan Hunt and Johannes Marmén
Pérotin Viderunt Omnes
Guillaume de Machaut Messe de Nostre Dame
Josquin de Prez Ave maria virgo serena
William Byrd Diligis Dominum
Orlando Gibbons The Silver Swan
John Dowland Time Stands Still
Carlo Gesualdo Moro lasso, al mio duolo
Henry Purcell Cold Song
Johann Sebastian Bach Ich ruf zu dir
TRANSFIGURATION
Celebrating the power of virtuoso strings, this concert explores interwoven strands of silence, stillness, and change. Bach’s Concerto in D minor for Two Violins treats the principal instruments as joint soloists, sharing musical ideas and alternately taking centre stage. A note of poignant acquiescence characterises the Largo, in which intricate musical patterns achieve an exalted stasis. The ‘clean slate’ of Pärt’s Tabula Rasa is the mind of the listener, freed from self-imposed spatial and temporal restraints, and thus transported to an eternal present.
Webern continued his search for post-tonal musical structures in Fünf Sätze, which takes a crystalline form, such that each part idiosyncratically expresses the shape of the whole. The fifth and longest movement strains into life, achieving an eruption of fervour before retreating into silence. Schoenberg’s Verklärte Nacht, based on a poem of the same name, depicts a nocturnal forest, where a woman tells her lover that she is pregnant by another man. Picturing the splendours of the ambient universe and the ministering light of the moon, Schoenberg’s setting endorses the man’s assertion that the couple’s love will transfigure the child and make it their own.
ARTISTS
Hugo Ticciati violin | director
Alina Ibraghimova violin
PROGRAMME
Johann Sebastian Bach Concerto in D minor for 2 Violins BWV 1043
Arvo Pärt Tabula Rasa
–intermission–
Anton Webern Fünf Sätze Op.5
Arnold Schoenberg Verklärte Nacht Op. 4
VIENNESE WALTZ, SLAVIC MELANCHOLY & HUNGARIAN FLAIR
Incorporated into the String Quintet in G Major, one of Brahms’s most cosmopolitan and optimistic compositions, are the strains of Viennese waltzes, Slavic melancholy, and virtuoso Hungarian gypsy music. This concert dives deeper into those worlds in a programme featuring works by Dvořák, Strauss, Kodály, Bartók, and Ligeti. Brahms’s lifelong friend, the violinist Joseph Joachim, complained that the opening of the quintet needs three cellists in order for it to be heard. Joachim’s wish is fulfilled in Johannes Marmén’s arrangement for string orchestra, when our three O/Modernt cellists take to the stage. The orchestral arrangement is particularly fitting for this piece, which grew from Brahms’s sketches for an unwritten fifth symphony.
ARTISTS
Hugo Ticciati violin | director
Cornelia Beskow soprano
O/Modernt Chamber Orchestra
PROGRAMME
A suite combining
Zoltán Kodály Hungarian Folk Music (Selection)
Béla Bartók Village Scenes Sz. 78 (Selection)
Béla Bartók 44 Duos for 2 Violins Sz. 98
György Ligeti Baladă și joc (‘Ballad and Dance’)
Antonín Dvořák (1841–1904) Gypsy Songs Op. 55
No. 1 ‘My song sounds of love’ (Ma pisen zas mi laskou zni)
No. 6 ‘Wide sleeves’ (Siroke rukavy)
No. 4 ‘Songs my mother taught me’ (Kdyz mne stara matka)
No. 5 ‘The string is tuned’ (Struna naladena)
Johann Strauss (arr. Anton Webern) Schatzwalzer Op. 418
–intermission–
Antonín Dvořák Cypresses B. 11, No. 11 ‘Often my heart broods in anguish’ (Mé srdce často v bolesti)
Johannes Brahms (arr. Johannes Marmén) String Quintet in G Major Op. 111
KALEIDOSCOPIC SOUNDS
The wildness of Albert Schnelzer’s Apollonian Dances, pervaded by Dionysian ecstasy, and the melodic displacements of Gene Koshinski’s Caleidoscópio for 5-octave marimba mark the outer limits of a concert devoted to multiplicity. O/Modernt presents a vast variety of criss-crossing sonic worlds that cover the full spectrum of dynamic opposites, from serenity, nostalgia, and transcendence to full-blooded intellectual and rhythmic frenzy. The theme is encapsulated in the image of the kaleidoscope: a constantly changing succession of captivating forms.
ARTISTS
Hugo Ticciati director | violin
Evelyn Glennie percussions
Caroline Pether violin
Alexander Mihai Bota viola
Julian Arp cello
Alexander Jones double bass
PROGRAMME
Henry Purcell Chacony in G
Nebojsa Zivkovic Fluctus
Gene Koshinski Caleidoscópio
Vincent Ho Nostalgia
Arvo Pärt Da pacem domine
Ludwig van Beethoven Grosse Fuge Op. 133
–intermission–
Peteris Vasks ‘Meditation’ from String Quartet No. 4
Emmanuel Witzthum The Trace of Echoes*
Albert Schnelzer Apollonian Dances
Pablo Casals Song of the Birds
*Commissioned by Out of the Box Festival