Jean-Baptiste Lully, Overture to Le Bourgeois gentilhomme (arr. Th. Escaich)
Johann S. Bach, Fugue in G Major (a la Gigue), BWV 577
Belá Bártok, Romanian Folk Dances (arr. Th. Escaich)
Jehan Alain, Variations on a Theme by Clement Janequin
Nicolas de Grigny, Récit de tierce en taille
Theirry Escaich, Evocations I and II
Maurice Duruflé, Toccata from Suite for Organ, Op. 5
Improvisation - Dance suite
Composer, organist and improviser Thierry Escaich is able to combine these three profiles in a unique manner, binding them inextricably together to reflect his rich inner world. An ambassador of the great French school of improvisation, four-time recipient of the Victoires de la Musique award and 2020/21 resident organist of the Dresden Philharmonic, Escaich is equally impressive as a brilliant performer of a stylistically diversified repertoire that blends early and contemporary, folk and sacred music, or an inspired composer whose unique, highly personal style covers a broad spectrum of forms and genres.
Presented under the evocative title Mirror Dances, the evening’s programme takes us on a thrilling musical journey. Pairing the elaborate grandeur of the Baroque style with contemporary pieces, it is interspersed with the organist’s own compositions and masterful improvisations.
In Thierry Escaich's work there are no works of youth but the eternal youth of a work which is being built before our eyes with sincerity like a maturity in constant evolution.
Ircam – Center Pompidou, 2016
I want to go to the end of my struggles, without worrying about wanting to be original.
Thierry Escaich, organ
13,00 | 15,00 | 18,00 | 22,00 EUR
11,00 EUR * * EUR for younger than 25 and older than 65, as well as pensioners, discounted prices for the lowest seat category
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Sašo Vollmaier, piano; Tine Grgurevič aka Bowrain
Two of Slovenia’s most prominent pianists in two interconnected solo recitals
I continue. To develop my own sound and expression.
No less intensely than with my previous solo project, "Vollmaier: Kind of Laibach," in which I explored my own limits of volume. This time, I'm venturing into its opposite. The brutal power of silence, the predefined motives and themes and following another impulse all give shape to an unusual sound journey full of tension, as well as beauty and clarity of moment.
I'm leaving the dynamics open. Since I chose and carved out my career as a piano player and composer, I've again found myself in a world that hovers between the past and the future.
Balancing the necessity for self-criticism and the incessant quest for the excellence of the succeeding tone. The piano offers a means of expression, light and darkness. I am well familiar with the effect of sound produced in Gallus Hall, and I am taking on this challenge again soon.
It's a battle. It's passion, life, and yes, a moment that has neither beginning nor end. It disappears when I become aware of it. This moment is replaced by sound, it settles in the hall, in the ear and on other things. And stays.
Performing as a solo pianist on stage is liberating and frightening at the same time. Music comes as magic but is able to stay for ages as a piece of art. It is about confidence and trust - to stand for every transition that happens from imagination through composition and song writing to the final performance. And it is about believing – the pressure and promise of the music to stop the time and mind for just a moment…
The past eighteen months of lockdowns and closures of public life took from me what I thought was my main point of being a musician – performances, concerts, events and audiences - but it also gave me something that changed my perception of me as a piano player and performer. I was forced to stop and to reflect – is that all that is?
During the first lockdown, I was often imagining myself back in the beginning of 2020, when everything looked “normal”. To my last solo concert in Birmingham, and my biggest composed concert with 14 musicians in Ljubljana. I felt lost and alone with too much time and no options to perform on stage, no options to share my work. I was spending endless hours in the studio – I started singing, writing songs - I became more emotional but also political – I was moving from ballads to protests, from loneliness to mass gatherings, I was trying to open up my new horizons in the new dark reality.
It's summer 2021 and everything seems like it went back to normal. The promises are coming back – I receive and accept invitations to perform, even though I fear it a little bit – the truth is I had to adapt and transform to a studio musician. And the Gallus hall is certainly not an intimate studio! It was the hall where I played in my childhood dreams and it will be the place where I will have to go out and translate into music my emotions that filled up my emptiness in the last year…it is where I will have to play as nothing has changed, as everything has changed...
Ludwig van Beethoven, Piano Concerto No. 2 in B-flat Major, Op. 19
Joseph Haydn, Symphony No. 93 in D Major, Hob. I/93
Ludwig van Beethoven, Piano Concerto No. 1 in C Major, Op. 15
Over the past decade, Sir András Schiff, insightful musician known for the masterful and intellectual approach he brings to each masterpiece he performs, one of the finest interpreters of the German piano repertoire and founder of the Cappella Andrea Barca, has been exploring the authentic sound of the fortepiano. Sir Schiff confesses that his initial views on the instrument have been wrong and today praises the transparency and natural equilibrium of the fortepiano.
Sir Schiff, whose many honours include the International Mozarteum Foundation’s Golden Medal (2012), the Royal Philharmonic Society’s Gold Medal and a Knighthood for Services to Music, performs the dual role of soloist-conductor with great proficiency.
In 2018, he accepted the role of Associated Artist with the Orchestra of the Age of Enlightenment, complementing his interest in performing on period keyboard instruments. An ensemble seeking to break stereotypes of what it means to be a classical musician, OAD is an innovative and forward-thinking ensemble that playfully combines free-spirited risk-taking with deep scholarship.
The Orchestra of the Age of Enlightenment combines exemplary musicianship with a commitment to faithfully representing the composer’s intentions, style and spirit.
Sir András Schiff
Schiff is one of the least demonstrative of pianists, yet he can conjure up almost out of nowhere a huge dynamic scale and variation in tonal colour. With him there are no smudges and certainly no scurrying or scampering. And his pedalling is one of the best in the business.
Alexander Hall, 2020
Claude Debussy, La mer (The Sea), three symphonic sketches for orchestra, L 109
Maurice Ravel, La Valse, a choreographic poem for orchestra
Igor Stravinsky, The Rite of Spring, pictures from pagan Russia in two parts
Winner of the prestigious 2007 European Cultural Foundation Award and a pan-European talent pool, Gustav Mahler Jugendorchester is probably the most important heritage of a visionary artist, the great conductor Claudio Abbado. GMJO is an idealistic project that ensures the future of Europe's cultural heritage by investing into the next generation.
The orchestra’s talented musicians absorb the knowledge of some of the most distinguished musical names, including Myung-Whun Chung – who, alongside Abbado and Muti, is part of the elite trio of two-time winners of the Premio Abbiati for Best Conductor (1988, 2015).
Underscored by French composers, the evening’s programme gives prominence to the stylistic break between legendary composers whose music pays homage to the past whilst staying oriented towards the future.
Technically at the top of the game and motivated from ponytail to pinky; ability and willingness in ready harmony at a level and consistency that cannot be expected from all but a handful of top-notch orchestras.
Jens F. Laurson, 2017
Chung’s podium demeanour eschews all flamboyance. His attire is tidy, his movements are neat, clear and unexaggerated.
David Karlin, 2020
Solist: Lise Davidsen, soprano
György Ligeti, Melodien, for orchestra
Richard Strauss, Four Last Songs, for soprano and orchestra, Op. posth.
Pyotr Ilyich Tchaikovsky, Symphony No. 4 in F minor, Op. 36
One of the world’s oldest ensembles, the Bergen Philharmonic Orchestra traces its history far back into the 18th century and is recipient of the prestigious Gramophone’s Orchestra of the Year Award (2020). The illustrious figures that have led the orchestra throughout its rich history include Grieg, Lutosławski, Penderecki..., and currently Edward Gardner. Winner of the 2008 Royal Philharmonic Society Award for Best Conductor and the Laurence Olivier Award for outstanding achievements in opera, Gardner will assume the position of principal conductor of the London Philharmonic Orchestra in September 2021.
The orchestra’s reputation for stylistic diversity is reflected in the evening’s programme: Strauss’s late Romanticism is combined with the mellifluous Russian symphony and Ligeti's expanded sound flow.
Four Last Songs, the apotheosis of its composer’s life and work and his own epitaph, will be rendered by the rising star Lise Davidsen, who won Female Singer of the Year at the 2021 International Opera Awards.
Davidsen’s soprano has a brighter gleam and greater expansiveness than that of any other singer to have emerged on to the opera scene in the last decade. Erica Jeal, 2021
The orchestra sounded remarkably good, with solid woodwind playing, a warm, homogenous string sound and beautiful horn playing.
Aksel Tollali, 2018
Gardner marshalled his forces superbly, pointing at slight shifts in timbre or accenting in each repeat and expertly weighting the dynamics.
David Karlin, 2020
Janez Matičič: Trans
Pierre Boulez: Notations I–IV in VII
Edgard Varese: Amériques
George Gershwin: Lullaby
Klub Lili Novy, 25 May 2022, post-concert gathering with Janez Matičič and the performers, accompanied by a selection of superb Slovenian wines.
Solist: Yaron Deutsch, electric guitar
Vito Žuraj: Fanfare da caccia
Vito Žuraj: Api-danza macabra
Stefan Prins: undercurrent – concerto for electric guitar and orchestra
Helmut Lachenmann: My Melodies
Klub Lili Novy, 13 April 2022, post-concert gathering with Vito Žuraj and the performers, accompanied by a selection of superb Slovenian wines.
Solist: Anna Tifu, violin
Nina Šenk: Spreminjanje – premiere performance
Hans Werner Henze: Il Vitalino raddoppiato
Luciano Berio: Sinfonia
Klub Lili Novy, 24 November 2021, post-concert gathering with Nina Šenk and the performers, accompanied by a selection of superb Slovenian wines.
Sae Lee, piano
Cécile Lartigau, ondes Martenot
Olivier Messiaen: Turangalîla-Symphonie
Klub Lili Novy, 20 October 2021, post-concert gathering with the performers, accompanied by a selection of superb Slovenian wines.
Luka Juhart, accordion
Branko Završan, narrator
Piia Komsi, soprano
Michael Riessler, contrabass clarinet
Vinko Globokar, improviser
Boris Ostan, narrator
Vinko Globokar: Vrnitev Odisejevega sina – premiere performance
Vinko Globokar: Eksil 3 – Življenje emigranta Edvarda
Klub Lili Novy, 22 September 2021, post-concert gathering with Vinko Globokar and the performers, accompanied by a selection of superb Slovenian wines.