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Ensemble Ascolta: Plus Minus

Foto Ensemble Ascolta ©Hyou-Vielz

Directory

    Karlheinz Stockhausen: Tierkreis (1974-1975) 25'‎
    Karlheinz Stockhausen: Klavierstück No. 9 (1954-1961) 10'‎
    Alberto Posadas: Anklänge an Stockhausen (2017) 9'‎
    Ming Tsao: Plus Minus (2012-13) - Realization of Karlheinz Stockhausen’s Plus Minus n. 14 (1963, 1974) 32’

Performers

    Ensemble Ascolta
    Andrea Nagy, clarinet
    Markus Schwind, trumpet
    Andrew Digby, trombone
    Erik Borgir, violoncello
    Florian Hoelscher, piano
    Anne-Maria Hoelscher, accordion
    Hubert Steiner, electric and acoustic guitars
    Julian Belli, Lucas Gérin, Boris Müller and Vanessa Porter, percussion

    Catherine Larson-Maguire, conductor
    • Saturday 26 February 19:30
  • €15
  • Hall 2 Oriol Martorell
  • Sampler Series

Karlheinz Stockhausen is one of the key figures of twentieth century ‎music, a pioneer in pushing the boundaries of musical technique in the post-war ‎period. A tireless developer of new musical forms, including electronic music, “intuitive ‎music”, spatialisation and the use of serial techniques to control all the parameters of sound, ‎his influence led to an almost theological approach to the art of composition.‎

Supported by:

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Sessions and tickets

Saturday

26 February 2022
Time:
19:30
Price:
€15

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      Program

      His works are entirely individual and unmistakeable, with universal appeal ‎based on two guiding principles in the treatment of sound: the omnipresent concept of unity ‎and the neutralisation of confrontations.  Sampler Sèries continues the retrospective begun last season with three key works, milestone pieces that are recognised as twentieth century classics and precursors of an unsurpassed legacy.
      The programme's main work, Plus minus, is central to Stockhausen’s repertoire. A "polyvalent process composition", the music is self-generated in a very strict framework of polarities and combinations, catalogued in a total of seven pages and seven layers. The length of the piece and the instruments used are open, left to the performers’ discretion. For this realisation of the work, the composer Ming Tsao has developed his own metaserial version, using seven pages and two layers.

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