RECORDINGS
Three trios and a quartet with clarinet/bass clarinet, trombone, violoncello and piano.
In this cycle, an attempt is made to extract various “subjects” from certain “friction states” (especially on a rhythmic level) given in the compositional material (in the specific context, I understand subject here as a kind of “objet trouvé” which has become the subject of a compositional statement as a result of an individualization process). Rhythmic models of varying complexity are superimposed and sequences rich in contrast in their “semantic quality” are selected from them. - Simeon Pironkoff
Date of recording: 08.05.2019, Livemitschnitt
Venue of recording: Arnold Schönberg Center, Vienna
Title: Haiku
Composer: Wolfgang Suppan
Title: Linien IV
Composer: Alexander Stankovski
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Title: con moto
Composer: Gerald Resch
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Title: Polynj für Violoncello solo und vier Instrumente
Komponistin: Alexandra Karastoyanova-Hermentin
Cello: Johanna Kotschy-Appel
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Title: The saddest red for accordion and string quartet
Composer: Sidney Corbett
Accordion: Alfred Melichar
Date of recording: 03.03.2022, live recording
Venue of recording: Arnold Schönberg Center, Vienna
Title: 1:3:1
Komponistin: Julia Purgina
Title: 5 Mauer-Fragmente: I. Montaru 3b
Komponistin: Mayako Kubo
Title: 5 Mauer-Fragmente: II. Tante Vera zum 86. Geburtstag
Komponistin: Mayako Kubo
Title: 5 Mauer-Fragmente: III. Für L.
Komponistin: Mayako Kubo
Title: 5 Mauer-Fragmente: IV. Die Mauer
Komponistin: Mayako Kubo
Title: 5 Mauer-Fragmente: V. Die Berliner Luft
Komponistin: Mayako Kubo
Title: Cicadamania
Composer: Dora Cojocaru
Title: Etüde Nr. 4 op. 54 Nr. 4
Composer: Zdzislav Wysocki
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Title: Etüde Nr. 123 op. 78 Nr. 15
Composer: Zdzislav Wysocki
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Title: Quartett V
Composer: Wladimir Pantchev
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Date of recording: 03.10.2018, Livemitschnitt
Venue of recording: Arnold Schönberg Center, Vienna
Title: Les îles des nombres II
Composer: Thomas Wally
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Title: KIC 8462852
Composer: Charris Efthimiou
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Title: El Arpa Verde
Composer: Jaime Wolfson
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Title: Pablos Galerie
Composer: Erik Freitag
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Title: Errobi-2
Composer: Ramon Lazkano
Date of recording: 24.04.2018, live recording
Venue of recording: Arnold Schönberg Center, Vienna
Recording manager: Florian Rosensteiner
Sound engineer: Andreas Karlberger
A recording by the Austrian Broadcasting Corporation (Radio Österreich 1).
Title: Kammermusik Nr. 16
Composer: Dietmar Hellmich
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Title: Kúkeri (Märchen)
Composer: Wladimir Pantchev
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Title: Totenklage op. 22p bis
Composer: René Staar
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Title: Pezzo Caotico Trittico op. 77
Composer: Zdzislav Wysocki
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Title: 60mal Sigrid Wiesmann op. 14/8 für Celesta und Klavier
Composer: René Staar
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Date of recording: 19.04.2024
Venue of recording: Arnold Schönberg Center, Vienna
Soloists: Alfred Melichar (accordion) & Stefan Neubauer (clarinet)
Date of recording: 17.05.2017
Venue of recording: Arnold Schönberg Center, Vienna
Soloist: Alfred Melichar, accordion (alfredmelichar.com)
The work was commissioned by the Ensemble Wiener Collage and is dedicated to this outstanding ensemble in a spirit of friendship. I wanted to include the accordion, which has now established itself in the newest and most diverse areas of musical expression and has even become a cult instrument, in my compositional considerations and to present its fascinatingly individual sound world accordingly. This task suited me very well, as I have always felt drawn to forms of concertante content since the beginning of my compositional activity, in order to face the particular challenge of a musical partnership, to be confronted with an overabundance of creative possibilities, to extract perspectives for my own actions and to express them in individual forms. The term "solo concerto" has evidently been somewhat discredited since 1945, and it seems to be moving away from its original content again and again, choosing solo instruments as the primary carriers of musical events, placing them at the center, assigning them tasks that can only be solved in this or that way by this or that instrument. Transitional phases and the questioning of established norms have always aroused my particular curiosity, and it is less strange than initially assumed that concert pieces in which there is no longer any talk of "concertare", of soloists competing for the virtuoso's palm, can also exude a fascination that emanates from the instrumentalist and his playing, and not least from his instrument. This directs the inquiring eye anew to the instrumental and its perhaps still hidden secrets. The composition consists of four movements, which are only separated from each other by short general pauses. Apart from a cadenza dedicated to the soloist, the events are characterized by rich musical forms, by a variety of dialogues, of instruments and groups among themselves, as well as of the instruments with the soloist. The dualism - here solo instrument, here ensemble - has thus been abolished; the musicians have to a certain extent been transferred from the role of opponents to that of equal partners. It is a multifaceted network of instrumental relationships, from individual actions to the bundling of complex contrapuntal and harmonic layers of experience, a pluralistic sound, alternating in density and continuity, a flexible fabric of transparent delicacy as well as block-like solidity. My aim was to arrive at formations, at figures that are ultimately and solely defined by their musical reality, to transcend the explainable, the sayable, the somehow identifiable, where the organized, even tonal, impulsively rhythmic or dance-like leads over into the living unity of the musical organism, into its contradictorily uniform growth.
Date of recording: 18.04.2024
Venue of recording: Arnold Schönberg Center, Vienna
Soloist: Stefan Obmann, trombone (tromboneattraction.com/so)
As a movement for a future trombone concerto, Ian Bousfield and the Küchlquartett created the work "... in lichten Fernen ... ein traumhaft Glänzen" op. 22k bis, inspired by a poem by Gustav Mahler to his wife Alma. This piece, which is available in two versions (the first for trombone and string quartet, the second for trombone and string orchestra), begins with an agitated monologue by the trombone and repeatedly leads to formal sections in which the trombone dominates or plays alone. Bousfield's idea of rearranging the material into a solo trombone piece was an obvious one. Compared to his model with string quartet, however, the piece appears completely different because the main emphasis is now on an ironic parody of the trombone's nervous solo passages - which is where the title of this short solo piece comes from. - René Staar
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Date of recording: 17.05.2017
Venue of recording: Arnold Schönberg Center, Vienna
CDs
Music by Schönberg, Cerha, Wysocki, Staar and Stankovski.
Friedrich Cerha
Concertino für Violine, Akkordeon und Kammerorchester
Zdzisław Wysocki
Etüden für Kammerensemble
René Staar
Das wachsende Schloss für Violine Solo und Kammerensemble
Alexander Stankovski
Spiegel-Maske-Gesicht für 6 Instrumente
10 years Ensemble Wiener Collage. Recording of the jubilee concert
Anton Webern
Quartett Op. 22
René Staar
Aus den Gemini-Duos: A1, A8, A9
Eugene Hartzell
Kammersymphonie
Ernst Krenek
O Lacrimosa Op. 48
René Staar
Zwei Lieder nach Else Lasker-Schüler
Erik Freitag
Triaphonie I
Karl Kohn
Roconnaissance
Friedrich Cerha
3. Streichquartett