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Maerzmusik-Festival : albatrosses on the Danube

The hall is half empty? So a nonsense – the hall is half full! To see how many people are interested in all the latest New music that lifts the mood. A colorful

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Maerzmusik-Festival : albatrosses on the Danube

The hall is half empty? So a nonsense – the hall is half full! To see how many people are interested in all the latest New music that lifts the mood. A colorful mixture of people came on Thursday to the concert hall, young Aficionados in addition to curious Mature listeners, you might as goodbye the next day, in a Brahms Concerto. A utopia seems to be realized here: that art can not only bring a layer, but really the whole of society together, at least for two hours.

March music-in-chief Berno Odo Polzer has apparently responded to last year's allegations that his Festival would lose in Performances and Lectures. And a "real" concert with a large orchestra, the konzerthausorchester under the direction of Peter Rundel and works by three composers, live from German radio transmitted. More a stage for New music.

a Shimmering string tremolo, the new sound impressions by Tappsen on the harp corpus or Swiping the strings with the frog, and electronics: Ashley Fures "Bound to the Bow", 2016 premiere, devises a state of condensed energy, and the swelling to go down, and threatening, as if there's something trapped that wants to get out. The explanatory text suggests at least the following: a caged Albatross you should associate, wet, flight broken wings, useless Flutter.

ascending and descending pitch lines

Directly following a world premiere, "was there a Swan?" by Juste Janolyte. Static, static as the piece in front of it, with the cross, and descending pitch lines, the organ (Martin Knizia) provides a tinge of Shrill. A musical representation of the constellation of the Swan in the programme booklet. It is not entirely clear whether the strong Similarity of the two pieces is desired. Both of them are area-of-sound works, such as musical equivalents of Elfriede Jelinek's text surfaces that act, both of which are inspired by poetic texts, in which birds play a role, ultimately, both are music. The Chance to contrast is lost.

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Maerz music Festival in 2019, From the hum of the present

Ulrich penis

The Olga Neuwirth. The Austrian actually had a late, current, ancient, in "Clocks without Hands" (2015) plunges you deep into a memory that threatens to lose it at the same time: the grandfather she knows only from photos, the Childhood in the Sunny light of the Danube. A metronome is ticking, but not continuous, and plenty of quotes: March music scraps, Big Band, hymn, a chorale. Neuwirth is risking significantly more than their colleagues, at the limit of the Physical sound to the limits. At the same time, she explores the aesthetics resulting of another Austrian, Gustav Mahler (whose 100. Date of death you have to write the piece originally would have) and whose 1. Symphony – which, incidentally, list the RSB on Sunday, also in the concert hall. After a very back – view kick-off- focus theme this year is "story" – March music with this concert, but still in the present. The Festival ends with "The Long Now" this Saturday from 19 clock, in the power plant: 30 + hours of music, without a break. Presence can sometimes take a really long time.

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