Holly Hyun Choe - conductor, Danubia Orchestra Obuda

Autoritratto

Gregory Vajda - conductor, Danubia Orchestra Obuda

Looking At Your Soul With A Telescope

Ditta Rohmann, violoncello solo
Joanna Natalia Slusarczyk, conductor
Pannon Philharmonic Orchestra

7 April 2022
Kodaly Center, Pécs

Concerto Per Violoncello e Orchestra - Leonardo Marino

for 13 instrumentalists with obbligato oboe d'amore

Dunabia Orchestra Obuda | Sebastian Black, conductor

Budapest Music Center, Hungary | October 2023

Written for Péter Eötvös Foundation 

Sebastian Black © 2023

Like The Nightingale (2023)

Ensemble Next
Dir.: Guillaume Bourgogne

Andrea Vecchiato, flauta baja
Rina Maezawa, clarinete bajo
Vincent Alves De Palma Delia, contrabajo
Julia Sinoimeri, accordeón
Alessandro Rinaudo, percusión
Nanami Okuda, piano

Grabación del estreno
Lucas Bergeret, grabación y mix

26 - IV - 2024
Espace Maurice Fleuret - Conservatoire de Paris

Foto: Vicente Núñez

Elurra bezain isil

Ensemble Modern
(Wigmore Hall & Ensemble Modern commission)

gefährlich dünn (fragile pieces for double string quartet, 2014)

Il Settimo Girone - Uusinta Ensemble

Concerto per Violino, Violoncello e Grande Ensemble
Rachel Koblyakov - violin
Viktor Rekalo - cello
Luigi Gaggero- conductor
Ukho Ensemble

L'artificio Del Fuoco - Ukho Ensemble (Excerpts)

Melanie Rothman - oboe
Lucas Vis - conductor
IEMA Ensemble

Sul far della notte - cinque quadri per oboe e ensemble

For me breath is one of the most important primary images of music. Breath is the first sign of life as well as its final gesture.

In "The Breath of the Exhausted Time", relying on an endless wave-like rhythm of ascentions and declines, I tried to cross the boundary of the possibilities of a purely syntactical understanding of form and the idea of the breath became for me an alternative to Riemann's "tectonically-building" principles. At the basis of this composition lie not only structurally built musical material, but also the unceasingly forming sound matter itself. The appearance and evaporation of sounds, their merging into one another and condensation determine the flow of the form. In this piece I perceived musical time as "slow time". I perceived it to be a sounding metaphor of a gigantic Solaris (according to Stanislav Lemm and Andrei Tarkovsky).

The Breath of the Exhausted Time for orchestra.   Wladimir Jurowski, cond.

When I started working on the piece, I tried to imagine the sound world of the late Beethoven. It is known that he felt an excruciating roar in his ears and that with the help of a hearing aid he could only hear sounds in the low register. Because of the progressive deafness, Beethoven had to give up his work as an interpreter. Paradoxically, his last appearance as a pianist was connected with the performance of the Fourth Piano Concerto, one of Beethoven's most cheerful works. The only "shadow" in it is the short second movement, it is often interpreted as Orpheus' descent into hell. This "sound image" became a kind of impulse for my piece, which begins with the lowest notes of the piano. In the composition I repel the sound images of the second movement of the fourth piano concerto and appeal to our "inner hearing" with its selective memory and the limited frequency spectrum that determined the sound world of the late Beethoven. I imagined the piece as a kind of letter to Beethoven, and that's how it got its title.

gefährlich dünn (fragile pieces for double string quartet, 2014)

Jānis Petraškevičs

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