The bustling Parisian streets just before darkness, when the city turns into a sombre scenery. The noise of nightlife. Reality and dream merge: images forlorn and places long lost emerge in the night.
Other-worldly music comes with the morning light. Driving to the suburbs. All that is left of the romance is rancour. Tense discussions. Back to the city, among the taxi horns and blue French sky. Between the exuberant mood, our protagonist, full of melancholy, looks back.
Erwin Schulhoff Hot Sonate
Ursula Mamlok Rückblick
Paul Hindemith Sonate
Aftab Darvishi A Thousand Butterflies (commissioned for Duo M/P)
Arvo Pärt Spiegel im Spiegel
George Gershwin An American in Paris
This program is about physical immigration and immigration of the creative imagination. Seen from another perspective, it is a program around the idea of home, searching for home and homecoming. Schulhoff and Gershwin crossed to the opposite coasts of Atlantic to find a new musical vocabulary. In the case of Paul Hindemith and Ursula Mamlok, however, they had to seek refuge to the US because their lives where in danger under the Nazi regime. Arvo Pärt’s Spiegel im Spiegel radiates the feel-ing that home is not merely a geographical concept, but an in-nermost state that cannot be taken away.
Lilith & Lulu
William Bolcom Lilith
Nadir Vassena Nocturnes I and II
Sam David Wamper Portrait of Lilith (Faces of a woman) (commissioned by Duo M/P)
Alban Berg Vier Stücke Op. 5
Alban Berg excerpts from Symphonische Stücke aus der Oper Lulu
This concert takes place in the darkness of the night. The American composer William Bolcom transforms the saxophone into the seductive song of a woman, the growl of a wild animal or the shriek of a monster. These are the sounds of Lilith, the beautiful woman who was hurt and returns as a demon seeking revenge. Lilith was the ancient archetype of the femme fatale. The supernatural femme fatale Lilith returns as the human Lulu.
“God created her for evil and for havoc, To snare us and seduce us, to infect us
And to destroy us, never leaving finger prints.”
This is how she is called upon stage in Alban Berg’s last opera. Characterized as a “human snake” or an “innocent murderess”, Lulu is formed and corroded by modern psychology and civilization, bound for self-destruction. The saxophone will imitate her song.
This concert is meant to be followed from beginning to end as an hour-long musical story. The works by Bolcom and Berg will be coupled with music by Nadir Vassena and the young Dutch composer Sam David Wamper.