Adriana Hölszky - five different works

Adriana Hölszky was born in 1953 in Bucharest and studied first with Stefan Niculescu before moving in 1976 to Stuttgart, where she gave concerts as a pianist and studied composition with Milko Kelemen. Today she is in great demand as a composer and teaches at the University Mozarteum Salzburg.

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Carter, Zimmermann – Cello Concertos

Elliott Carter’s compositions are metrically complex and labyrinthine in the way they are interlocked; they are impressive in their structural density and incredible virtuosity. We recognize the influences of neoclassicism and Schönbergian dodecaphony. Musical processes often happen at the same time and lead to violent contrasts. His music, for all its complexity, follows clear compositional principles: simple regular pulses derived from a cleverly thought-out layering of compressed rhythmic networks lead to so-called "metric modulation", the melodic voice-leading develops according to intervallic patterns, the harmonic course taking place in sharply circumscribed units.

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Eötvös, Zimmermann, Smolka

Peter Eötvös is one of those who set the tone in the New Music scene, not just as a composer but also as a conductor and teacher. "Cap-ko" is the homage to Eötvös' great model Bartók. That applies even to the details. Bartók’s penchant for parallel lines gave Eötvös the idea of using an instrument that makes it possible to play these parallel lines on the piano not with two hands but rather with one.

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Giacinto Scelsi - works for orchestra

Scelsi, who died on 9th August 1988 in Rome, may then as now be regarded as a discovery. In Italy he remains more or less without honour; but in Europe – dwell for a moment on the 2008 Salzburg Festival project “Continent” – and especially in Germany, the reception of his music began almost immediately and he has come to be valued as a powerful composer with deep insight.

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Mathias Spahlinger - Farben der Frühe

It took eight years to write this piece - an extraordinarily long time. The premiere of the piece commissioned by the SDR in 1997 was delayed five times before it finally took place in November 2005. In the end, Spahlinger did indeed reveal something new between the rubble of tonal organization and the new construction of an architecture of sound and noise, something that had never previously be heard in this form. By doing so, he probably created a caesura not only within his own creative work but in the production of music today as a whole.

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