Constantly striving to set new impulses in the examination of Karl Amadeus Hartmann’s \u0153uvre and \u2013 in keeping with his spirit \u2013 to promote young composers, we were able to offer the Karl Amadeus Hartmann Composition Prize for the first time this year. In order to achieve a higher programmatic density, not only instrumental and temporal, but above all content-related conditions were attached to the call for proposals. Thus the composition to be premiered enters into a stringent connection of the greatest possible coherence with the framework of the evening. We are very pleased to introduce you to the new prize winner Jingyu Jang and to premiere the awarded work “Omega”.
\nBesides him, the second composer of the evening \u2013 Jos\u00e9 Mar\u00eda S\u00e1nchez-Verd\u00fa, one of the most renowned composers of our days \u2013 will also be present and enrich our composer’s discussion. “Born in the extreme south of Spain (Al-Andaluz), the history, literature, mysticism and music of this territory fascinate me. The Mediterranean (Mare nostrum) as a space of encounters, movements, searches, exchanges, cultures and religions, but also of catastrophes, war and death” says the composer. The Mediterranean Sea represents for him the connection of the European with the Arab-Moorish world. S\u00e1nchez-Verd\u00fa seeks and finds a correspondence between Arabic poetry, calligraphy and architecture in his own musical aesthetics: ornamentation embedded in strict structure. “There are very filigree patterns that are developed in a geometric way through a surface, so that they can no longer be traced. You can only see the figure as a whole.”
\nAlthough only completed in 1945\/46, Karl Amadeus Hartmann’s second string quartet still recalls the horrors of the Nazi era and the war. It is no coincidence that the motif of the slow introduction of the first movement is reminiscent of the Jewish Eliyahu hanavi quotation, presented as the instrumental extreme of a lament initially led by the violoncello to the soprano. This form closes with an allusion to the whole tone sequence in Alban Berg’s violin concerto with the characteristic, latently resonant Bach chorale text “Es ist genug” [“It is enough”]. But what follows, described by the composer as “extremely lively and very energetic”, is the groundbreaking feat of a new beginning!<\/p>\n
An event of the \u00a9 Karl Amadeus Hartmann-Gesellschaft e. V., sponsoreed by Bayerische Staatsministerium f\u00fcr Wissenschaft und Kunst, Kulturreferat der Landeshauptstadt M\u00fcnchen, LfA F\u00f6rderbank Bayern and Bezirk Oberbayern.<\/p>\n","protected":false},"excerpt":{"rendered":"
Constantly striving to set new impulses in the examination of Karl Amadeus Hartmann’s \u0153uvre and \u2013 in keeping with his spirit \u2013 to promote young composers, we were able to offer the Karl Amadeus Hartmann Composition Prize for the first time this year. In order to achieve a higher programmatic density, not only instrumental and […]<\/p>\n","protected":false},"author":11,"featured_media":14670,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1082,1313],"tags":[],"class_list":["post-15252","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general","category-hartmann21-en"],"acf":[],"yoast_head":"\n