KARL AMADEUS HARTMANN – CENTER

Following the intention of Karl Amadeus Hartmann, the “Podium junger Komponisten“ [“Podium of Young Composers”] is a platform that enables selected young composers to create a programme for an entire evening and to compose temporally comprehensive works for it. Following in the footsteps of the great contemporary diagnostician Karl Amadeus Hartmann, works are created especially for this concert that consciously seek an artistic examination of today’s “realities of life”. The portrait concert focuses on works by the Armenian Arsen Babajanyan and the Georgian Ovanes Ambartsumian. Both understand literature as a source of inspiration for their works. Thus verses of love and the harsh realities of Armenian poet Hovhannes Tumanyan’s life are directly set to music for voice, while William Shakespeare’s 30th sonnet serves exclusively as the intellectual foundation for a purely instrumental composition.

An event of the © Karl Amadeus Hartmann-Gesellschaft e. V. in cooperation with the Hochschule für Musik und Theater München, sponsored by Kulturreferat der Landeshauptstadt München, Anja Fichte Stiftung, Theodor-Rogler-Stiftung and LfA Förderbank Bayern.

With the violinist Thomas Zehetmair, one of the most outstanding and exciting musicians encounters Hartmann’s work, exposes himself to it, reflects, traces references and, as an interpreter, lets the listener participate in his individual world of experience. In a singularly composed programme, Zehetmair, together with violist Ruth Killius, creates a kaleidoscope of different perspectives and modes of perception and in this way allows one to experience Hartmann’s musically progressive Second sonata for violin solo in a new way, which is radically border-crossing in its tonal language. After Bach and Reger, it was probably only Hartmann who succeeded in giving the violin such an unusually complex polyphony.
The theme of the artistic sublimation of human borderline experiences brackets together the concerts of the 2017 season. In the Sonata for solo viola from 1955 Bernd Alois Zimmermann dealt with the death of his daughter in the same year. In reference to Alban Berg’s violin concerto, he dedicated the work: „… an den Gesang eines Engels“ [“… to the song of an angel”]. The final section of the composition quotes the chorale “Gelobet seist Du Jesu Christ” [“Praise be to You, Jesus Christ”]. Zimmermann described the piece accordingly as a chorale prelude. In this sense, the preceding sections can be understood as a gradual crystallization and condensation of the chorale theme that emerges in its pure form towards the end of the work.
In Bohuslav Martinus’ “Three Madrigals” and Gideon Klein’s “Duo im Vierteltonsystem”, violin and viola now meet and relate to each other in a variety of ways – sometimes as equal partners, sometimes as the upper and lower sides of a page, or as an object and its shadow. Within the Three Madrigals, composed in 1947 in American exile, a playful humour is at work. Alongside and in the middle of the game, however, a deep sadness is also felt, recalling songs and dances from the past. What can no longer be sung and danced, can still be played. Gideon Klein finally composed his “Duo im Vierteltonsystem” in 1940 during his studies in Prague with Alois Hába, the founder of micro-interval composition and long-time companion of Karl Amadeus Hartmann.

An event of the © Karl Amadeus Hartmann-Gesellschaft e. V., sponsored by Staatsministerium für Bildung und Kultus, Wissenschaft und Kunst and Stiftung Künstlerische Musikpflege.

#Listen#Out will cooperate from 2018 on with the big and over Munich well known concert series hartmann21!

The event concept consisting of a concert, lecture and exhibition with Alexander Lonquich, which is dedicated to the subject of “Grenzgänge”, would like to invite the audience to experience border crossings of a special kind: both Karl Amadeus Hartmann’s piano sonata “27. April 1945” and Robert Schumann’s eighteen-part cycle “Davidsbündlertänze” each deal with human border experiences. Composed in the last days of the war before the final collapse of the “Third Reich”, Hartmann’s Piano sonata concludes the canon of compositions with which he tirelessly opposed and worked on National Socialism since 1927. Although Karl Amadeus Hartmann was regarded as the rising star in the composer’s heaven at the beginning of the 1930s, he rigorously refused to be appropriated by the totalitarian regime and went into internal emigration, while as a composer he sought to speak abroad all the more eloquently. He is therefore perceived in the world as the German antifascist composer par excellence, who was not only actively involved in resistance circles, but also took a loud and generally understandable stand with his music. In all his compositions written during the years of National Socialism, Hartmann attempted to convey his message of boundless humanity independent of political systems to the outside world by constantly including Jewish melodies, which became the ciphers of lamentation and accusation, as well as music and text quotations of ostracized and forbidden artists. The Jewish Passover song Eliyahu Hanavi, which he used in all his works and which became a cipher for Jewish culture for him, plays a central role here.
In the sonata “27. April 1945”, the melody once again gains special relevance. It is precisely in the knowledge of the significance of the theme in the genesis of this work that it becomes clear what this sonata is about: the population of Jewish origin almost exterminated by the Holocaust, but also the dissidents and opponents of the regime whom Hartmann saw passing by on 27 April 1945 in the death march of concentration camp prisoners from Dachau. The concert is facetted by graphics by the Austrian sculptor Alfred Hrdlicka, whose work obeys the credo “Aufdeckung statt Flucht“ [“Disclosure instead of flight”], seeks the wound in the everyday and – like Hartmann and Schumann – appeals to the viewer’s capacity for empathy.
The Kafkaesque “Trois Études blanches” by Wilhelm Killmayer, who celebrates his 90th birthday this year, complete the programme.

An event of the © Karl Amadeus Hartmann-Gesellschaft e. V., sponsored by Staatsministerium für Bildung und Kultus, Wissenschaft und Kunst and Stiftung Künstlerische Musikpflege.

In keeping with Karl Amadeus Hartmann’s intention, the “Podium of Young Composers” provides a platform that enables selected young composers to arrange an entire evening programmatically and to compose temporally comprehensive works for it. Following in the footsteps of the great time diagnostician Karl Amadeus Hartmann, works are created especially for this concert that consciously seek an artistic examination of today’s “realities of life”.
In Lieder in der Fremde, the human voice is now for the first time at the centre. The Jewish Passover song Eliyahu Hanavi will play a special role here. In all his compositions between 1933 and 1945, Hartmann attempted to convey his message of boundless humanity, independent of political systems, to the outside world by constantly incorporating this Jewish melody, which had become the cipher of lamentation and accusation.
The composers of the evening, who come from the most diverse continents, pick up where they left off, both musically and in terms of content, and in this way shape their own songs abroad. An in-depth discussion of the composers with Olena Garmash and the artistic director of the concert series Andreas Hérm Baumgartner (conductor) will round off the evening.

An event of the © Karl Amadeus Hartmann-Gesellschaft e. V. in cooperation with the Hochschule für Musik und Theater München, sponsored by Kulturreferat der Landeshauptstadt München, Anja Fichte Stiftung, Theodor-Rogler-Stiftung and LfA Förderbank Bayern.

We feel particularly committed to the mission and intention of Karl Amadeus Hartmann to promote young, highly talented composers and performers and to introduce them to the humanistic and socio-political dimensions of his works. Within the framework of our new series of events, hartmann21, this request is now to be taken into account. In 2016/2017, renowned instrumentalists and composers such as Thomas Zehetmair (violin), Ruth Killius (viola), Francesco Dillon (violoncello), Alexander Lonquich (piano), Emanuele Torquati (piano) as well as Thomas Larcher (composer) will deal with Hartmann’s work in singularly “composed” programmes.
Following the intention of Karl Amadeus Hartmann, the “Podium of Young Composers” is a new platform that enables two selected young composers to create a programmatic programme for an entire evening and to compose temporally comprehensive works for it. The second portrait concert focuses on the South Korean composer Hankyeol Yoon and Jakob Stillmark, a native from Feldafingen. Following in the footsteps of the great time diagnostician Karl Amadeus Hartmann and referring thematically to the other events of the KAHG, works will be created especially for this concert, which consciously seek an artistic examination of today’s “realities of life”. In his works, Stillmark addresses inner restlessness as a symptom of our stimulus-flooded world, whereas Yoon gets to the bottom of the linguistic quality and linguistic ability of music. An in-depth conversation between the two composers and the artistic director of the concert series Andreas Hérm Baumgartner and Olena Garmash will round off the evening.

An event of the © Karl Amadeus Hartmann-Gesellschaft e. V. in cooperation with the Hochschule für Musik und Theater München, sponsored by Anja Fichte Stiftung, Theodor-Rogler-Stiftung und LfA Förderbank Bayern.