Any new album by Vladimir Ashkenazy is cause for celebration and attracts worldwide attention. First as a pianist and latterly as a conductor in a performing career of over six decades, Ashkenazy was recognized early on as having all the virtues of a great performer: musicianship, intellectual perception, technical perfection and musical instincts that never failed to make his fingers say something. He has an individual but expressive conducting technique, but he made the transition to the podium with complete success during the late 70s and early 80s, and his orchestral recordings are now as numerous as his piano albums, and the best of them as masterly.
Although the repertoire for which he is best known focuses on Beethoven and the Romantic era, Ashkenazy has often performed music of our own time, and quite remarkably he has chosen to conduct a double concerto for viola, clarinet and strings by Francesco Antonioni.
PULS, a new choregraphic project by Simone Sandroni will be staged in April and May 2020 at Bielefeld Opera.
The choreography will feature Choréia, a new full-scale composition performed live, for choir, three electric guitars and electronic music, with texts by Plato and Augustinus.
After the success in 2017 of Liebe, Furcht und andere Dissonanzen, based on Macchine Inutili, the Bielefeld Opera commissioned a new full-scale ballet to be premiered in April 2020.
Back to the roots: in Pulse, Simone Sandroni traces the archaic magic of dance that moved people long before the spoken word began to determine our communication. When did people dance and why? Who shared the dancing together, what did it do to those involved? Dancing created community and mediated security in almost all ancient cultures, the ritual structured everyday life and gave identity in a mysteriously powerful way. Dancers merged into one big whole, their dance was not only an expression of personal well-being, but also a mirror of the social environment.
On this basis, choreographer Simone Sandroni and composer Francesco Antonioni tell about the phases of human life and are looking for an original form of movement that deliberately eludes today's choreographic categories. This corresponds to the inseparable interaction of dance and music, which also begins at the origin: breathing sounds, body percussion and randomly improvised sounds have created a layer of sound that in turn has an effect on the choreography. Their beguiling vibrations always seek contact with the vibrating force that, according to indigenous peoples, holds and animates the world and all its components. Simone Sandroni translates this spiritual idea into the atmosphere of a rock concert with choir and electric guitars, light and sound. The old image of the constantly rotating "life wheel" is conjured up, the archaic meets the present and gives an idea of what has always motivated people to move and dance.
Whatch the trailer of Liebe, Furcht und andere Dissonanzen
As the memory of it
for 4 percussions
Nothing's so beautiful as the memory of it
Gathering light as glass does,
As glass does when the sundown is on it
and darkness is still a thousand miles away
From a poem of Charles Wright came the inspiration for a new piece, commissioned by the Blow Up Percussion group.
World premiere on Sept. 20 @ 6 PM
Cerimoniali Ritmici – Blow Up Percussion
Fondazione Caetani, via delle Botteghe Oscure, 32, Roma
See the promo video below
5 Oct. 2019 – 8:30 PM
As the memory of it
Per quattro percussionisti
Blow Up Percussion
Le forme del suono
Conservatorio «Ottorino Respighi»