| 20. September 2014 | ||
| 15:00 | bis | 19:00 |
As part of the “long Night of Museums and Galleries” there are music by Anja Kreysing (accordion & live electronics) and Dorothée Hahne (sound objects & live electronics) to the works of the in Münster living and working artist Tassilo Sturm.
Continue reading »
| 2. November 2014 | ||
| 13:30 | bis | 14:20 |
From 1 to 2 November 2014, the Birmingham International Recorder Festival takes place. Among the highlights of the festival can be found on the 2nd November the event ‘Performing with Electronics’ taster session with Chris Orton, who will present his interpretations of compositions für recorder and electronics in an additional concert with this program:
Hahne – dance macabre, Fabrizio de Rossi Re – Salse per Gru, Anatre, Pernici, Tortore, Colombacci, Colombi e Diversi Uccelli, Fausto Romitelli – Seascape, Giorgio Tedde – Austro, Hahne – Luscinia
Venue:
Birmingham Conservatoire
Birmingham City University
Paradise Place
Birmingham
B3 3HG
United Kingdom
| 30. August 2014 | ||
| 16:00 | bis | 16:15 |
| 17:00 | bis | 17:15 |
| 18:00 | bis | 18:15 |
ROTLICHT – The Sounds of dance
Henrietta Horn – Choreography/Dance
Dorothée Hahne – Composition/Sound
Reinhard Hubert – Light/Pixel
“ROTLICHT” is a mutually inspired play. Just as Henrietta Horn reacts to sounds and translates them into dance, the multi-instrumentalist Dorothée Hahne orientates her music around the movements of the dancer thereby enabling us to experience them acoustically – sometimes with an Alpine horn and sometimes with live electronic music. A performance located somewhere between elegance and chaos and built on unconditional trust.
Performance Parcours Internationalen Tanzmesse 2014
Venue: Weltkunstzimmer | Hans Peter Zimmer Stiftung
Ronsdorfer Str. 77a ¦ 40233 Düsseldorf
Entre: 5,- Euro
| 13. July 2014 | ||
| 05:12 |
| Titel: | commentari 3 für Blockflöte & Elektronik |
| Länge: | 06:08 Min |
| Ensemble: | Dorothee Oberlinger (Blockflöte) |
| Komponist: | Dorothée Hahne |
| Titel: | Antiphon “O Ecclesia” |
| Länge: | 04:09 Min |
| Ensemble: | Ensemble 1700: |
| Komponist: | Hildegard von Bingen |
| 10. July 2014 | ||
| 21:00 | bis | 22:00 |
| 11. July 2014 | ||
| 21:00 | bis | 22:00 |
Die Stadtkirche St. Reinoldi bittet wieder zum Tanz: 2014 bilden Tanzperformance, experimentelle Musik und die besondere Architektur des Kirchenraums einen einzigartigen Dreiklang. Die Tänzerin Henrietta Horn reagiert mit ihrem Körper auf die Klänge der Musikerin Dorothée Hahne – und umgekehrt. Es entsteht ein wechselseitiger Dialog: miteinander, mit dem Raum und vielleicht auch Ihnen und Ihrer Wahrnehmung auf den sakralen Raum. Wir möchten Sie herzlich einladen zu diesem außergewöhnlichen multimedialen Erlebnis und, wenn Sie mögen, zum regen Austausch im Anschluss.
ROTLICHT – Achtung, Aufnahme!
Henrietta Horn (Tanz) und Dorothée Hahne (Musik), Reinhard Hubert (Licht, Video)
Donnerstag, 10.7. und Freitag, 11.7.2014, 21 Uhr (Dauer: ca. 60 Minuten)
Stadtkirche St. Reinoldi, Ostenhellweg 2, 44135 Dortmund
Eintritt: 15 € | erm. 10 € Continue reading »
| 1. June 2014 | ||
| 20:00 |
Programma concerto “eLab_electroacoustic laboratory/in concert 2”
4 giugno, ore 20, Sala Benedetti-Michelangeli, Conservatorio Bolzano
| 23. May 2014 | ||
| 20:00 |
| 4. May 2014 | ||
| 22:00 | bis | 23:00 |
Music by Dorothée Hahne: “dance macabre” (Premiere Trio Version) and others
Trio KAZE dispels all memories of squeaky primary school recorders with their own, unconventional combination of medieval and Renaissance music – played on treble and contra bass recorders – and contemporary music. Together with electroacoustic composer Tobias Hartmann, who composed “Punktum” for the trio, they remix works by the late-medieval composer Johannes Ciconia using the centuries-old art of musical quotation. The interplay between electronic “non-human” sounds and pure “human” sounds produces a dynamic variety that contrasts the disconnect between traditional concert culture and young club-music culture with a creative symbiosis.
Trio KAZE
Anna Stegmann Blockflöten
Miako Klein Blockflöten, Violine
Yoshiko Klein Blockflöten, Tasteninstrumente Continue reading »
Vincent Lauzer | recorder
If you had heard Regina-based Artistic Director Simon Fryer announce the Women’s Musical Club of Toronto’s (WMCT) 117th concert season in 2014-2015, witnessed the enthralling performance by Montreal’s Vincent Lauzer, shared the experience with a packed Walter Hall, your faith in Toronto’s classical music scene would be doubly renewed.
The “Music in the Afternoon” series features an artful line-up of debuts by international artists, and some of Canada’s most promising up-and-coming performers.
Recorder music might not bring to mind excitement and nuance, but a listen to Vincent Lauzer—winner of the WMCT’s 2012 Career Development Award—would certainly open audiences up to some exquisite musical moments with one of the most understated instruments in western music.
The program featured works by Baroque composers Sammartini, J.S. Bach, Corelli and Vivaldi, which were rendered tastefully by the continuo ensemble with Mylène Bélanger on harpsichord, Chloe Meyeres and Tanya LaPerrière on baroque violin, Jacques-André Houle on baroque viola, and Mélisande Corriveau on baroque cello.
The ensemble was in perfect balance with the incredible nuances revealed to the deep listener. Everyone, including the ensemble, was enchanted with Lauzer’s winning personality.
The most exciting part of the concert was a selection of contemporary works written for solo recorder titled, “Minimal Music” and “Schlaflied für einen Kolibri (Lullaby for a hummingbird)” from a suite by composer Marcus Zahnhausen. In a style of music known for its deceptive simplicity, they provided a vehicle to draw out Lauzer’s breathtaking virtuosity. Playing from memory, Lauzer shined over the pieces’ densely packed lines, which were subtly shaped into a frenzy that conveyed the up-tempo work’s larger musical ideas.
The second half of the concert opened with “Meditation,” by Japanese composer Ryōhei Hirose. Lauzer played the work by invoking the sound of a Shakuhachi (Japanese flute), and then followed with the finale of the program, “Commentari III” by German composer Dorothée Hahne.
Perhaps the WMCT wasn’t the place you would expect to hear live electronics music, but it speaks greatly of its devotion to the standards set by those before us. By selecting Lauzer as their career development award winner, they demonstrate a commitment to paving the way towards a vision of the future. Lauzer is a true talent with a captivatingly delicate yet robust musicality.
There are already plans for a 2015 presentation of the award; the 10th since it was founded in 1990. Two additional runner-up prizes will be added, and the main prize will be increased from $15,000 to $20,000. If this concert was any indication, there is some impressive music making for us to look forward to from the WMCT in the seasons to come.
Learn more about their new season here and read more about the prize here.
Margaret Lam
| 24. March 2014 | ||
| 19:30 |
Chris Orton | Photo by Nathan McDowell
Program:
compositions for recorder
among others Dorothée Hahne:
“Luscinia” for soprano recorder & live electronic
Chris Orton, recorder
Venue:
Birmingham City University
Paradise Place
Birmingham
B3 3HG
United Kingdom Continue reading »
On 29th September 2013 , the winners of the year’s prizes of GWK (Society for the Advancement of the Westphalian Cultural Work Association) were awarded and honored . The musical arrangement of the festive matinee, which was presented in the KulturSchmiede Arnsberg at the ideal venue, was in the hands of this year’s winners for music, Max Volbers (recorder) and Nikola Komatina (accordion). Direct opening shone Max Volbers virtuosity and confidently with the interpretation of “commentari III” for recorder and quadraphonic live electronics , which I had composed in 2000 for Dorothee Oberlinger. Max Volbers studies recorde at the Mozarteum in Salzburg. Another highlight was the arranging of the awardees for their own occupation version of Johann Sebastian Bach’s Sonata for flute and bc G minor, BWV 1020. The GWK award to the musicians , the writer Lars Reyer and visual artists Bettina Marx , Katja Kottmann and Clemens Botho Goldbach was brought to a close with a further special contribution from Nikola Komatina, who was born in 1988 in Serbia and after his studies at the Conservatory in Vienna now stands at the Detmold Music Academy just before the completion of his accordion studies , brought the ceremony with the interpretation of the Roma song “Djurdjevdan” to a moving finale. With all the passion in his voice and playful virtuosity on the accordion Nikola Komatina presented a perfect example of how music directly and naturally cross borders, opening doors and gates. The exhibitions of art winners are open at the Kunstverein Arnsberg and in the Kloster Wedinghausen until 10th November.
20.09.2013 – LAUBACH
HESSENBRÜCKENMÜHLE Ensemble „Fontana di Musica“ beendet 11. Konzertsaison
Das ausgezeichnete Ensemble „Fontana di Musica“: Christian Handschke, Elisabeth Wirth, Elina Albach und Christoph Urbanetz. Foto: Schuette
(hgs). Mentor Dr. Holger von Paucker blickte in seiner Begrüßung zum Abschlusskonzert der 11. Konzertsaison im Konzertsaal des Kulturdenkmals Hessenbrückenmühle auf ein erfolgreiches Jahr zurück.
Mit dem Auftritt des 2009 in Berlin gegründeten und vielfach ausgezeichneten Ensembles „Fontana di Musica“ mit Elisabeth Wirth (Blockflöte), Christian Handschke (Barockvioline), Christoph Urbanetz (Viola da Gamba) und Elina Albach (Cembalo) wurde am Ende noch einmal ein Konzert geboten, das mit unterschiedlichen Klangbildern alter und neuer Meister zu begeistern wusste. Das junge Ensemble beschäftigt sich mit der historischen Aufführungspraxis des 17. und 18. Jahrhunderts und ist bestrebt, den Geist und Esprit dieser vergangenen Zeit wieder aufleben zu lassen. Die Musiker wollen deutlich machen, dass es sich hierbei nicht um alte oder veraltete Musik handelt, sondern um eine Energiequelle, aus der man heute wie damals schöpfen kann.
Das Programm unter dem Motto „Bianca e Oscura“ begann mit einem Stück aus dem Fluyten-Lusthof für Blockflöte solo, „Engels Nachtegaeltje“, von Jakob van Eyck (1590-1657), einfühlsam vorgetragen von Elisabeth Wirth. Es folgten kleinere Kompositionen von Jean-Féry Rebel (1660-1741) und Marais Marais (1656-1728). Im Konzert g-Moll „La Notte“ RV 439 von Antonio Vivaldi (1678-1741) stellte das Quartett seine immense Homogenität unter Beweis. Besonders großen Beifall erntete das Stück „Commentari III 1999“ der jungen Komponistin Dorothée Hahne (*1966). Die Zuhörer beeindruckte vor allem das zeitweise gleichzeitige Spiel zweier Flöten.
Einfache Melodien
Georg Friedrich Händels (1685-1759) Triosonate d-Moll HWV 386c für Flöte, Violine und Basso Continuo wurde vollmundig mit großem Ausdruck vorgetragen, wobei vor allem das Andante beeindruckte. Die von einfachen Melodien geprägten Ausschnitte aus dem „Tierkreis“ von Karlheinz Stockhausen (1928-2007) mit Skorpion/Mars, Waage/Venus in einer Version für Barockinstrumente, Jungfrau/Merkur und Löwe/Sonne waren ebenfalls für das Quartett in seiner Interpretationsfähigkeit zugeschnitten.
Von einem unbekannten Komponisten (Anonymus) erklang als längstes Stück Contrapunctus sopra la Baßgaylos d´Altr „Wie schön leuchtet der Morgenstern“ in unnachahmlicher Klangfülle. Nach dem Schlussstück, dem Pariser Quartett e-Moll Nr. 12 von Georg Philipp Telemann (1681-1767), forderte der lang anhaltende Applaus des begeisterten Publikums das Ensemble zu einer Zugabe heraus, die mit dem dritten Satz aus der Händelsonate erfüllt wurde.
Quelle: Gießener Anzeiger 20.09.2013
Kingston (CA): Solo Virtuoso Recorder with Electronics – Vinzent Lauzer
Venue: Isabel Bader Centre for Performing Arts, 390 King St W, Kingston, ON K7L 2X4, Kanada, Telefon:+1 613-533-2424