Gerne möchte ich Sie auf das neue Jahresprogramm des Münchner Kammerochesters aufmerksam machen.
Neben einer Vielzahl von programmatisch interessanten Konzerten, widmet sich das MKO am 17. Dezember 2015 auch wieder einem Werk Karl Amadeus Hartmanns: der 4. Symphonie für Streichorchester.
Dieser Link führt Sie direkt zum Saisonprogramm, das dem Thema “Isolation” gewidmet ist:
Loading...
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.
Karl Amadeus Hartmann’s message of humanism:
Simplicius Simplicissimus in its UK premiere at London’s Independent Opera at Sadler’s Wells
On November 11, 2016 Karl Amadeus Hartmann’s opera “Simplicius Simplicissimus” will celebrate its British premiere at the Independent Opera at Sadler’s Wells. The sublime Britten Sinfonia – conducted by Timothy Redmond – will be playing. For the first time, the Grimmelshausen opera will be sung in an English language version created by the internationally renowned director David Pountney.
It is directed by the young British director Polly Graham, who visited Munich with her set designer Nate Gibson as a guest of the Karl Amadeus Hartmann-Gesellschaft in preparation for this production. In detailed discussions with the artistic director and managing director Andreas Hérm Baumgartner as well as Richard Hartmann, she informed herself about the genesis of the work and, among other things, about the deliberate use of Jewish themes, quotations of ostracized and forbidden artists as a warning message in the sense of a comprehensive humanism. Hartmann began composing the opera in 1934 and in it he offensively proclaimed a political and social upheaval. Due to the beginning of the German Wehrmacht’s campaign in France, the world premiere and radio broadcast by Belgian Radio in Brussels unfortunately was cancelled in 1940. Up to this point, Hartmann had continued to believe in an “awakening” of the German population in National Socialist Germany and the associated overthrow of the terror regime. He also lets his play end on the plot level with a victorious revolution of the enslaved peasants over their oppressors and the ruling class, but musically and dramaturgically he counteracts this with the quiet and slowly spoken words of the speaker: „Zeit des Entsetzens, Jahrzehnte des Grauens“ [“Time of horror, decades of horror”]. A silently fading last sound of the deep gong follows.
There is no question that Karl Amadeus Hartmann wanted the social revolution in the play (Thirty Years’ War) as well as in his contemporary parallel reality of the Third Reich and promoted it in various ways. Through the interpretation on the text and music level, which counteracts the apparent victory, he simultaneously addresses the question of the means by which this should be done. The main figure Simplicius Simplicissimus, who by apparent naivety was able to preserve the “Seelenschatz” [“Treasure of soul”] and thus became the topos of humanism par excellence, is spared by the victorious peasants only because he is considered too low: „Du Wurm bist nicht wert, dass man den Arm gegen dich aufhebt“ [“You worm are not worthy to have your arm raised against you”]. If a new era is justified by the disregard for human dignity and respect for others is trampled underfoot, if renewed violence is the new currency, then this novelty must be radically rejected or at least met with enormous mistrust.
Andreas Hérm Baumgartner
Further performances will take place on November 15, 17 and 19, 2016.
Information page of the Independent Opera at Sadler’s Wells:
https://www.independentopera.com/productions/simplicius-simplicissimus
The director also reports about her visit to the Hartmann Society in her blog:
https://www.independentopera.com/blog/entry/2016-director-fellow-polly-graham-visits-munich-ahead-of-simplicius-rehears
Karl-Amadeus-Hartmann-Gesellschaft e.V.
Invitation to the Ordinary General Meeting 2016
On Thursday, November 10, 2016, at 6 PM on the premises of the Karl Amadeus Hartmann Society
Franz-Joseph-Str. 20, 80801 Munich
Agenda:
With the Austrian Thomas Larcher, „einer der prägnantesten kompositorischen Persönlichkeiten der Musikszene“ [“one of the most incisive compositional personalities of the music scene”](NMZ) encounters Hartmann’s work, exposes himself to it, reflects, traces references and lets the listener participate in his individual world of experience. In a singularly composed program, Larcher and his instrumental soloists Francesco Dillon (cello) and Emanuele Torquati (piano) create a kaleidoscope of different perspectives and modes of perception, allowing one to experience Hartmann’s early piano pieces anew.
Thomas Larcher, born in 1963, grew up in Tyrol and studied composition and piano in Vienna. Already during his studies he became known as a pianist in the field of classical and contemporary music. He played with conductors such as Claudio Abbado, Pierre Boulez and Franz Welser-Möst and worked closely with composers such as Heinz Holliger, Olga Neuwirth and Isabel Mundry. Larcher is considered one of the most important and at the same time most interesting voices among contemporary composers. In his works, Larcher shows himself to be a border crosser of styles, who consciously walks alongside the orthodox paths of the so-called avant-garde. What they have in common is a rich musical texture, which creates a variety and variability of sound language.
Emanuele Torquati is regarded as one of the leading pianists, who is admired worldwide for his poetic and passionate music-making. The New York Times referred to him as „a thoughtful musician and a champion of contemporary music.“ He is assisted by Francesco Dillon, an outstanding cellist whose repertoire and style of interpretation are characterized by a high degree of openness, intensity and originality. He is equally at home as a soloist in the world’s great concert halls and as a guest of the most important international orchestras.
An event of the © Karl Amadeus Hartmann-Gesellschaft e. V., sponsored by Stiftung Bayerischer Musikfonds, Stiftung Künstlerische Musikpflege and LfA Förderbank Bayern.
Following the intention of Karl Amadeus Hartmann, the “Podium of Young Composers” is a platform that enables selected young composers to create a programmatic evening. Following in the footsteps of the great time diagnostician Karl Amadeus Hartmann, works are created that consciously seek an artistic examination of the realities of our lives today.
Thus Elena Tarabanova draws on her personal experience of the terrorist attacks of 2013 in Volgograd, traces references of human consciousness to untouched nature and contrasts this with a musical psychogram of a soul suffering in the world. Severin Dornier, on the other hand, directs our attention to the aesthetics of earlier art epochs and traces the present in narrative attitude and sound language through the moment of a “look back to the front”.
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 Stiftung Bayerischer Musikfonds.
Dedicated to Karl Amadeus Hartmann’s (1905-1963) artistic friendship with the Jewish painter and stage designer Maria Luiko (1904-1941), the event concept consisting of concert, lecture, round table and exhibition on April 27, 2016 not only presents a cross-section of Maria Luiko’s artistic work (on loan from the Jewish Museum Munich), which was brutally ended by her deportation and execution in 1941. It also allows the audience to relive a special moment in Hartmann’s life and œuvre: his encounter with Jewish music. This programme – exemplary through-composed and thus emphatically exposing Hartmann’s intentions – includes works for solo violin by Erwin Schulhoff, Berthold Goldschmidt, Paul Ben-Haim and Karl Amadeus Hartmann. In his isolation as an inner emigrant in National Socialist Germany, Hartmann sought international solidarity with allies in spirit in each of his works, whether through the use of forbidden texts and melodies or with the help of Jewish songs. Especially the use of the Jewish song “Elijahu hanavi” in all compositions written during the years 1933 to 1945 became Hartmann’s lament for the extermination of the Jewish people, but was also representative of the persecution of all opponents of the regime. The first traces of Jewish melismas can already be found in his early work in 1927, the year in which three of the evening’s compositions were written.
The exhibition is supplemented by a selection of Maria Luiko’s letters with the Jewish-Christian bridge builder Schalom Ben-Chorin, who was born in Munich in 1913 and belonged to Maria Luiko’s circle of friends until his emigration to Jerusalem (1935). The selection gives visitors a vivid insight into the everyday life of the Jewish artist in National Socialist Munich (on loan from the Munich City Archive). A short introductory lecture by art historian Diana Oesterle and an in-depth discussion between violinist Ingolf Turban and Andreas Hérm Baumgartner (artistic director hartmann21, conductor) will round off the concert on the opening evening.
An event of the © Karl Amadeus Hartmann-Gesellschaft e.V.
Februar 1, 2017, 20.00 Uhr, KAHG
Breakout Ensemble, #Listen#Out
Works by Mauricio Kagel, Katharina S. Müller, Hans-Henning Ginzel, Jacopo Salvatori and Samuel Penderbayne Katharina S. Müller (violin), Hans-Henning Ginzel (violoncello) and Jacopo Salvatori (piano)
—
May 3, 2017, 20.00 Uhr, KAHG
„Podium junger Komponisten“, Lieder in der Fremde [“Podium of Young Composers”, Songs in Foreign Lands]
Concert and discussion with Caio de Azevedo, Alexander Mathewson, Claas Krause, Henning Ginzel, Tom Smith, Hao Wu and young performers; selection and supervision during the rehearsal process by Moritz Eggert (cooperation with the Munich University of Music and Drama) and Andreas Hérm Baumgartner (conductor, artistic director, discussion leader)
—
May 16, 2017 (Exhibition until 18 October 2017), 20.00 Uhr, KAHG
Alexander Lonquich – Grenzgänge [“Crossing borders”]: Karl Amadeus Hartmann and Robert Schumann
Concert with graphics by Alfred Hrdlicka
Concert, talk, exhibition, lecture; with Alexander Lonquich (piano) and Andreas Hérm Baumgartner (moderator)
—
October 18, 2017, 20.00 Uhr, KAHG
Thomas Zehetmair and Ruth Killius
Concert with discussion; Thomas Zehetmair (violin), Ruth Killius (viola) and Andreas Hérm Baumgartner (moderator)
Works by Karl Amadeus Hartmann, Nikos Skalkottas, Bohuslav Martinů, Heinz Holliger and Giacinto Scelsi.
—
November 17, 2017, 20.00 Uhr, KAHG
“Podium of Young Composers”, Part II
The International Karl Amadeus Hartmann Society mourns the death of its founding member Pierre Boulez. With Pierre Boulez, the music world has lost not only a conductor and composer with a voice all of his own, but also one of its most important and in many ways formative personalities.
How close he felt to Karl Amadeus Hartmann became clear during his last appearance at musica viva on September 30, 2011 at Munich’s Prinzregententheater, which featured a magnificent performance of Boulez “Pli selon pli”. He never tired of referring in interviews and personal conversations to his beginnings as a composer and conductor and his first musica viva concerts, emphasizing Hartmann’s formative role. Thinking of Karl Amadeus Hartmann and Munich always warmed his heart. The impulses Boulez received from Hartmann and the idea of a platform for the freedom of thought, the freedom of art and for the social responsibility of art, which took shape in musica viva, were manifold.
In his usual modest but sustainable way of “acting” in the background and quietly pulling strings, Hartmann implemented an idea in 1960 and recommended Pierre Boulez for Bayreuth. Interestingly enough, this was combined with a very concrete recommendation for the work, which was finally followed in exactly the same way in 1966. In a letter to Wieland Wagner dated June 10, 1960 Karl Amadeus Hartmann wrote:
“I would like to draw your attention very briefly to a real artist who will certainly be considered for the Bayreuth Festival one day. It is Pierre Boulez, who is an outstanding composer, music writer and conductor, probably unique in his universality. I could imagine that he would be particularly suitable for ‘Parsifal’. This is just a little advice from my side.”
Parsifal was to become his first work in Bayreuth, the Jahrhundertring 1976 (directed by Patrice Chéreau) his masterpiece, with which he set a milestone in the history of interpretation.
Thus on September 30, 2011 in the musica viva a first circle closed, which is now completed on January 5, 2016.
(AHB)
Further links:
Pierre Boulez – Nachruf von Alexander Kluge (Spiegel online)
Zum Tode von Pierre Boulez – von Reinhard Brembeck (SZ)
Reaktionen auf den Tod von Pierre Boulez (Die Welt online)
Sprengmeister der Moderne – von Frederick Hanssen (Tagesspiegel)
Zum Tod von Pierre Boulez – Lucerne Festival Academy, Videos (NMZ)
On January 7, a seminar of the Musicological Institute of the Ludwig-Maximilians-Universität took place in the rooms of the Karl-Amadeus-Hartmann-Gesellschaft at 2 PM –
it was dedicated to the topic “Institutions and Festivals of New Music”. The second part of the seminar dealt with Karl Amadeus Hartmann and musica viva. Prof. Dr. Wolfgang Rathert as well as Andreas Hérm Baumgartner, the director of the Karl Amadeus Hartmann Society, described to the twelve students of musicology the early days and the basic ideas of the musica viva concert series founded by Hartmann, which still exists today and is dedicated to contemporary music. They ranged from the 1920s, more precisely from the concert series “Die Juryfreien” founded by Hartmann (per se his first field of experimentation, in which he also included literature and the fine arts), through Hartmann’s compositional work and his attitude during the years of National Socialism, to his early death in 1963.
Karl Amadeus Hartmann – with his attitude of refusing to be appropriated by the Nazis and his all the more active role abroad – sought in each of his works international solidarity with allies in spirit and put a concrete message ot it. Be it through the use of forbidden texts and melodies or with the help of Jewish songs. Especially the use of the Jewish song “Elijahu hanavi” in all compositions written between 1933 and 1945 became Hartmann’s lament for the extermination of the Jewish people and the persecution of all opponents of the regime. Andreas Hérm Baumgartner used historical events – such as the Seizure of control, the enactment of the Nuremberg Laws, the November Pogroms and the beginning of the war – for illustration and showed Hartmann’s compositional reaction in musical examples.
Reload document 
Open in new tab