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Respighi's La bella dormente nel Bosco (The Sleeping Beauty in the Wood)

On December 19, the French premiere of La bella dormente nel bosco in Colmar.
When Dec 19, 2014
from 08:00 PM to 10:00 PM
Where Colmar
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On December 19, the French premiere of La bella dormente nel bosco, an
Written for Vittorio Podrecca's puppet theatre company, Teatro dei Piccoli, La bella dormente nel bosco was first staged at the Teatro Odescalchi in Rome in 1922. Respighi revised the score in 1933 for a larger orchestra and adapted the work for mime performed by children. Orchestre Philharmonique de Strasbourg will perform this final version in Colmar in December and then in Strasbourg, Paris and Mulhouse in January. The libretto has been translated into French for this production.opera by Ottorino Respighi (1879-1936), will be performed at the Théatre Municipal in Colmar. The libretto, by Gian Bistolfi, is based on Charles Perrault's fairy tale, The Sleeping Beauty in the Wood. The work reveals Respighi's compositional versatility and sharp sense of humour, shifting between extreme sincerity and subtle parody. In three short acts, he intertwines elements of the comic, the fantastic and the sentimental, and presents natural sounds of birdsong, several dance forms and dramatic moments for spoken voice.

 

 

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Guo in Taipei

She Huo by Guo Wenjing for the first time in Taiwan.
When Dec 12, 2014
from 07:30 PM to 08:30 PM
Where Taipei
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On December 12  the Nieuw Ensemble will perform, for the first time in Taiwan, She Huo for ensemble by Guo Wenjing. The concert will take place in Taipei at the Taipei National Concert Hall.

 

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Marco Stroppa's premieres

Canadian premieres for Marco Stroppa in Toronto.
When Dec 09, 2014 08:00 PM to
Dec 11, 2014 09:00 PM
Where Toronto
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On December 11, New Music Concerts will present the Canadian premieres
of two pieces by guest composer Marco Stroppa at the Music Gallery in Toronto. Conductor Robert Aitken will lead the ensemble in From Needle’s Eye, for trombone, double wind quintet and percussion, with trombonist Benny Slutchin, and …of Silence for saxophone and chamber electronics, with saxophonist Wallace Halladay.
A few days prior, on December 9 the New Music Ensemble, a student group at the Royal Conservatory, will perform the Canadian premiere of Stroppa’s élet…fogytiglan under the baton of Brian Current. The concert will take place at the Richard Bradshaw Amphitheatre at the Four Seasons Centre for the Performing Arts as part of the Free Concert Series.

 

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Orfeo. Flebile queritur lyra by Silvia Colasanti

On December 8 French premiere of Silvia Colasanti’s Orfeo. Flebile queritur lyra in Arpajon (France).
When Dec 08, 2014 08:00 PM to
Dec 12, 2014 09:00 PM
Where Arpajaon and Macerata
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On December 8, the Paris Mozart Orchestra, under the direction of Claire Gibault, will perform the French premiere of Silvia Colasanti’s Orfeo. Flebile queritur lyra at the Lycée René Cassin in Arpajon as part of the orchestra’s social and education programme. The project consists of a tour of 16 concerts in the high schools of Paris’s banlieue through April 2015. Colasanti’s Orfeo is a melologue for speaker and ensemble on a text drawn from Ovid’s Metamorphoses. Recited by Suliane Brahim, the text has been translated into French for this project by Myriam Tanant. Following the tour of schools, the orchestra will present a number of performances in Paris, open to the general public.
Colasanti offers the following description of her work: “Orfeo. Flebile queritur lyra is a ‘concert’ for voice and ensemble, with a calibrated alternation between music and words. The music has a very intense dramaturgic function,  expressing a primordial state of thought, when thought is not yet thinking, but still feeling. At certain points the sounds amplify the meaning of the text or underline certain features. At others they come to express something that is not spoken. For this reason, at times the music lives together with the word, and at others it is alone.”
The Paris Mozart Orchestra will take Orfeo in Italy as well, at Macerata (Teatro Lauro Rossi) on December 12. For the occasion the text will be recited into Italian by the actress Maddalena Crippa.

 

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A memoria d'eco by Matteo Franceschini

World premiere for A memoria d'eco on 5 December in Brussels.
When Dec 05, 2014
from 08:00 PM to 09:00 PM
Where Brussels
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As part of the commemorations for the 100th anniversary of the outbreak of World War I, the Orchestre National de Belgique and the music department of the Palais des Beaux-Arts have commissioned Matteo Franceschini to write A memoria d’eco. The world premiere will be performed on 5 December in Brussels under the direction of Dima Slobodeniouk.
In his presentation of the work, the composer (after offering some thoughts on the role of music in the period of the war) explains the compositional idea underlying ‘his homage’ to the Great War:
”There are many written testimonies that allow us to recount the First World War, but, by contrast, very few – indeed, hardly any – ‘sound documents’ have come down to us… Music was often used to escape from the violence of the front or, for those who were not at the war, from everyday life. And so there was military, funeral, and patriotic music certainly, but also popular songs, café music and satirical songs about life. All of these served the purpose of enabling people to momentarily forget about the difficulties they were enduring - it was a matter of necessity. In A memoria d’eco, I wanted to evoke the sudden passage from everyday life - from the universe of the common man - to a ‘dark’ world dramatically permeated by sounds. Among the countless costs of war is silence. Nonetheless, even at a distance from the front, a ‘new music’ - an obsessive and suffocated chorale - lives in people’s hearts. Silence takes on a utopian role - it becomes a sort of vision - an image and a voice of hope for the future.”

 

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Italian premiere for Battistelli’s Eudousi

The Italian premiere of Giorgio Battistelli’s Eudousi, for baritono and ensemble will be performed on November 30 in Rome.
When Nov 30, 2014
from 09:00 PM to 10:00 PM
Where Rome
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The Italian premiere of Giorgio Battistelli’s Eudousi, for baritono and ensemble will be performed on November 30 in Rome at the Filarmonica Romana (Sala Casella) by the baritone Carlo Miccioli and the Roman Vlad Ensemble under the direction of Gabriele Bonolis.
Eudousi (They sleep/Dormono), commissioned and performed for the first time by the Ensemble Orchestral Contemporain in 2012, is based on a fragment of the Greek lyric poet Alcman, who lived in Sparta in the second half of the 7th Century B.C.
Battistelli uses the Italian translation by Giovanni Pascoli while leaving some words in the original Greek as a reminder of the ancient past. The famous fragment describes in a highly suggestive manner a nocturnal scene and the sleep in which all the elements of nature are immersed. The instruments express musically the infinitely subtle shades of Alcman’s words, and the instrumental part, participating in the rite of evocation and contemplation of the night, has the formal structure of a nocturne.

 

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La vita immobile by Marco Stroppa

World premiere for Marco Stroppa’s La vita immobile for string quartet (complete version)
When Nov 29, 2014
from 07:00 PM to 08:00 PM
Where Huddersfield
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World premiere for Marco Stroppa’s La vita immobile for string quartet (complete version) next November 29. The Arditti Quartet will perform the composition in Huddersfield, St. Paul’s Hall, as part of the Huddersfield Contemporary Music Festival.

 

 

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Portuguese premiere for Azio Corghi’s De paz e de guerra

The Portuguese premiere of the Azio Corghi’s De paz e de guerra will be performed in Lisbona.
When Nov 15, 2014
from 09:00 PM to 10:00 PM
Where Lisbona
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The Portuguese premiere of the Azio Corghi’s cantata for choir and orchestra De paz e de guerra will be performed in Lisbona, on 15 November,  by the Orquesta Sinfonia Portuguesa and the Coro do Teatro Nacional de São Carlos under the direction of João Paulo Santos. The performance is part of the concert season organised by the Teatro Nacional de São Carlos in Lisbon in commemoration of the 100th anniversary of the beginning of World War I. The cantata, commissioned by the Accademia di Santa Cecilia, was first performed in Rome in 2003: it is based on a poem of the same name by the Portuguese Nobel prize winner José Saramago, one of the most intense poems in the poet’s 1966 collection Poesie possibili. Corghi and Saramago had already confronted the theme of peace and war – regrettably forever current and impelling – in other works (the opera Blimunda and the music drama Divara), but in De paz e de guerra Corghi, fascinated “by the sound of the words and the harmony of the phonetic juxtapositions”, has used the text of the original Portuguese for the first time. In the piece, which is rich in musical symbolism, there is a culmination on the word war, when the notes are positioned on the staff to form an atomic mushroom cloud while the hope for peace delicately carries the notes towards a higher plane.

 

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Riccardo Nova, homage to Fausto Romitelli

When Nov 15, 2014
from 08:30 PM to 10:00 PM
Where Milan
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The 2014 Milano Musica Festival, this year dedicated to Fausto Romitelli, has commissioned a new work from Riccardo Nova. The piece, Yagé Howl for ensemble and electronics, will be performed by Repertorio Zero at the Piccolo Teatro Studio Melato on November 15.
Nova was a close friend of Romitelli and recalls that one of the projects they would have liked to undertake was to compose a piece together. Their idea was to combine what was at the time Nova’s fondness of polyrhythm and Romitelli’s harmonic ”deformation”. Romitelli’s Professor Bad Trip, which arose out of his reading of the works written by Henri Michaux under the effect of drugs, has inspired the writing of Yagé Howl (Yagé is a brew with hallucinogenic properties), which aspires to be that desired joint work. In the piece Nova gives great importance to the realisation of the ‘harmonic deformation’, produced above all by two keyboards for which the composer has elaborated and programmed a complex network of 26 different tunings.

 

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World premiere of Fabio Nieder in Cologne.

The world premiere of Fabio Nieder’s Thümmel oder die Verlöschung des Wortes. Der Anfang. Die Mitte. Das Ende.
When Nov 15, 2014
from 08:00 PM to 09:00 PM
Where Cologne
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On 15 November in Cologne as part of the WDR concert program Musik der Zeit, the Rundfunkchor Köln under the direction of Rupert Huber will perform the world premiere of Fabio Nieder’s Thümmel oder die Verlöschung des Wortes. Der Anfang. Die Mitte. Das Ende for mixed choir, three accordionists and three percussionists. The work was commissioned by the WDR. For the occasion we interviewed the composer.

The title of this piece refers to Thümmel, the main character in your opera, a project you have been working on for many years now. Who is Thümmel?

Viktor von Thümmel, also known in Trieste as Vito Timmel, was a painter born in Vienna in 1886. His father was a German aristocrat and his mother a Friuli aristocrat. He studied in Vienna, at the time the capital of the Empire, and in Trieste, then Vienna’s port and one of the richest cities in Austria. His tragic life led him to drink excessively, and in the end alcoholism drove him to self-destruction. In fact, he spent the last years of his life in the Trieste mental asylum and died there in 1949. His extraordinary painting technique was for a certain period reminiscent of the style of Gustav Klimt, but von Thümmel himself was a visionary, and his paintings are extremely original!In the years of his enforced confinement in the mental asylum he continued to draw with whatever he could find: tiny sheets of graph paper, a pen. He drew his dreams. Every drawing contains a text in ungrammatical Italian (Thümmel didn’t know Italian well, which was normal in Trieste at the time) in which he includes the contents of the dream, the date, and a dedication to the Trieste painter of Greek nationality Cesare Sofianopulo. There are several hundreds of these drawings. So, to reply to your question, Thümmel/Timmel is an ordinary human being, just like many others, and as such he is … simply “marvellous,” as he used to define the walks in his dreams!

Can you tell how this project came into being and how it is progressing?

By looking at those extraordinary drawings! Every drawing is an entire world, a complete and self-contained vision, even though in each one of these little pictures the same elements recur obsessively: a shoe, a dead friend, his deceased wife, the planet “Saturnio”, streets, bricks and, of course, the “marvellous walks”, as he called them. In 2000 Claudio Magris wrote a libretto for me which since then I have used only in part. I composed the first scene of Thümmel in 2001. What’s involved is the scenic/musical realization of the original drawing that pictures Thümmel’s flight to Saturnio in the company of an extra-terrestrial with claws in place of hands! The world premiere of the piece was performed by the Neue Vocalsolisten Stuttgart at the Milano Musica Festival in 2006.

To what extent is Thümmel tied to Central Europe?

Thümmel/Timmel lived mainly in Trieste. This city, which was Austrian for six centuries, was the quintessence of Habsburgian Central Europe. So Thümmel is an expression of this culture, which was a Slavic, German, Hungarian, Ladin, Istro-venetian, and Dalmatian mixture.

How much have Thümmel’s drawings, his paintings influenced your writing, if they have?

The drawings Thümmel did in the mental asylum don’t appear to show any trace of his original style. Here, instead, he seems to draw like a child. The poverty he endured in life (He lived as a vagrant in Trieste’s old city, doing oil paintings in exchange for a glass of wine.) and in his later years in the asylum (All he had were tiny sheets of graph paper and a pen.) have influenced the overall conception of my work. The majority of the scenes correspond to drawings he made in the mental asylum. Others are my own inventions inspired by Thümmel’s world. My music here is “rudimentary music”. For instruments I also use broken radios, frying pans, shoes, chairs, and, naturally, accordions, here a symbol of a simple humanity, that of the popular festival, poor, grim, and anguished. The child-like quality too of Thümmel’s late “style,” if we can use that term, is present in the texts, in the child-like way of singing, in the apparent simplicity of the content of some scenes. In actual fact Thümmel expresses himself in six voices of different ranges which sing both in unison and individually. This opera of mine is made up of visions like the images in a magic lantern: fleeting, almost framed, blocked in the vacuum of an immobile temporality, just like the checked drawings of the Trieste painter. You have talked about the various scenes of the opera – some already performed - that will make up the framework of the work.

What’s involved are pieces for various types of performance groups (chamber music, choral, orchestral). And you have written these pieces having in mind a precise collocation in the structure, even if for the moment they are autonomous. How do you think it will be possible to realize the opera as a whole?

My Thümmel is a modular opera, making provision for variation in accordance with the specific performing conditions of any given situation, be it a conventional opera house or spaces of any kind, museums, gasometers, etc. The scenes can be mounted and dismantled at will, just as the overall length of the work too can vary considerably. Certain scenes have been conceived almost as installations and others as caricaturized opera scenes. Others still are visions without a name! But an opera house would nonetheless be an ideal location, not least because I imagine the whole structure of the theatre serving as the performance space: the stage, the stalls, the lower galleries, the upper galleries, even the foyer, the bar and … the loos (Don’t laugh, or rather, do, for this is a “rudimentary” opera that strips human beings bare…!). But in the final result all sorts of spaces would be feasible: on the ideal plane (by way of the very conception of this work of mine) I invite directors, painters, playwrights, etc. to work with me! What’s involved is a huge challenge, in the sense that Thümmel is not fixed, finite; he has to live out his cycles of deaths and rebirths, on each occasion in a different place. What’s involved is a call for imagination and human creativity!

How close are you to Thümmel?

Thümmel has accompanied me for the last 14 years of my life. This symbiosis has even resulted in my rediscovering a lost painting of Thümmel in Trieste’s old city!

This piece was commissioned by the WDR. And it is not the first commission that you have received from the orchestra.

In fact, this is the third commission I’ve received from Harry Vogt at the WDR in Cologne. The first one in 2005 was conceived to commemorate the 70th birthday of Helmut Lachenmann, and it was a piece written for Ensemble Recherche in Freiburg; the second in 2011 was a vast piece for piano, accordion, concert percussion, orchestra, and choir; and finally this year’s work. All three pieces are scenes from my Thümmel.

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Franceschini recalls Riccardo Zandonai

World premiere of a new piece by Matteo Franceschini in Rovereto.
When Nov 14, 2014
from 08:45 PM to 10:00 PM
Where Rovereto
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On November 14, as part of the celebrations to inaugurate the reopening of Teatro Zandonai in Rovereto, the Haydn Orchestra of Bolzano and Trento, under the direction of Giacomo Sagripanti, will perform the world premiere of a new piece commissioned from Matteo Franceschini: Ritratto di scena, a homage to the composer’s fellow Trentino citizen Riccardo Zandonai, of whom Franceschini says: “In Zandonai, the melodic line of the singing must no longer be sought ‘amongst the voices’ but within the orchestra, in the ‘uninterrupted continuity’ of the musical discourse.  I also consider the voice as the theatrical instrument par excellence; the moment you put a voice on stage that speaks, sings or whispers, you produce theatre.” Franceschini thus identifies as a central element of Ritratto di scena “ a melodic flow, protagonist of a smooth passage of transformation. I was interested in working on the process of becoming, on the tension and the need to arrive at the decisive focal point: to make the orchestra sing. …Following Zandonai’s principle of ‘symphonic opera’, …the ‘voice’ of the orchestra travels through Zandonai’s compositional texture, touches the many facets of his poetics, and paints a ‘portrait of a scene’”

 

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D’eau et de pierre in Chicago

D’eau et de pierre by Gérard Grisey will have its American premier.
When Nov 14, 2014
from 08:00 PM to 09:00 PM
Where Chicago
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D'eau et de pierre for two instrumental groups by Gérard Grisey will have its American premier next November 14. The Ensemble 20+ will be conducted by Michael Lawanski in Chicago at the DePaul University, Concert Hall.

 

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World premiere of Casale’s Questo è un gruppo e pace

The Milano Musica Festival will feature a new work by Emanuele Casale, commissioned for the festival.
When Nov 13, 2014
from 08:30 PM to 10:00 PM
Where Milan
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The Milano Musica Festival will feature a new work by Emanuele Casale, commissioned for the festival and to be performed by the mdi ensemble on  November 13 at the Piccolo Teatro Studio. Having already abandoned in his recent compositions a predilection for abstract titles, the composer is now toying with the nonsensical, giving to the new piece the title Questo è un gruppo e pace (This is a Group and Peace) for piano, string trio and electronics. In a fragmented plan the instruments conduct a lively dialogue among themselves, while the electronics, as well as participating in the dialogue with its peculiar timbre, also function as a “clarifying element, something that serves to reveal more clearly the connections, gestures and rhythms of the piece” notes the composer.

 

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Lombardi in Berlin

The double publication Musik-Konzept n.164-165 recently come out and dedicated to Luca Lombardi will be presented in Berlin on November 11.
When Nov 11, 2014
from 07:00 PM to 08:00 PM
Where Berlin
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The double  publication  Musik-Konzept n.164-165 recently come out and dedicated to Luca Lombardi  will be presented at  the Berlin Italian Culture Institute, on November 11. The issue features various texts among them the ones by Hans-Klaus Jungheinrich, Gerhard R.Koch, Caroline Ehman. The composer, F.C. Delius, Norbert Miller, Dieter Schnebel e Ulrich Tadday will take part in the launch of the publication. Flute works by Lombardi will be performed by Roberto Fabbriciani, during the meeting.

 

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...of Silence in Parma

Italian premiere of Marco Stroppa’s …of Silence
When Nov 08, 2014
from 08:30 PM to 10:00 PM
Where Parma
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On November 8 will take place the Italian premiere of Marco Stroppa’s …of Silence for saxophone and chamber electronic. The composition will be performed in Parma, Casa della Musica Concert Hall, as part of the Traiettorie Festival, by Claude Delangle saxophone and Marco Stroppa chamber electronic.

 

 

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Gervasoni: a new version of Descdesesasf 

Descdesesasf, Trio-rito for violin, viola, cello and external sounds (1995/2013) will be premiered, in a new version with electronics.
When Nov 08, 2014
from 06:00 PM to 07:00 PM
Where Venice
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Descdesesasf, Trio-rito for violin, viola, cello and external sounds (1
995/2013) will be premiered, in a new version with electronics, on November 8 at Conservatory in Venice. The work is a homage to Robert Schumann and Paul Celan. The compositional material has been drawn from Warum? (Why?), the third piece of Schumann’s Fantasiestücke op. 12, in which the motif (formed by the notes Des, C, Des, Es, As, F) returns repeatedly without receiving a response. The subtitle, which brings together in an anagram ‘trio’ and ‘rito’, alludes to the highly theatrical nature of the piece. In fact, the three musicians (members of the Ex-Novo Ensemble, with live electronics realised by Alvise Vidolin) do not limit themselves to a musical performance but also bring to the stage a poem by Celan (drawn from Atemwende), which, never becoming song, constitutes an estranging presence.

 

 

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The critical edition of Les Martyrs

The critical edition of Gaetano Donizetti’s Les Martyrs, will have its world premiere (as concert performance).
When Nov 04, 2014
from 07:00 PM to 10:30 PM
Where London
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The critical edition of Gaetano Donizetti’s Les Martyrs, opera in 4 acts, will have its world premiere (as concert performance), sung in French with English surtitles, on November 4 in London. Sir Mark Elder will conduct the Orchestra of the Age of Enlightenment and the Opera Rara Chorus at The Royal Festival Hall, south Bank Centre. Flora Willson is the editor of the critical edition.

 

 

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La sabbia del tempo in Buenos Aires

Argentinian premiere on October 26 for Fausto Romitelli’s La sabbia del tempo.
When Oct 26, 2014
from 08:00 PM to 09:00 PM
Where Buenos Aires
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Argentinian premiere on October 26 in Buenos Aires for Fausto Romitelli’s  La sabbia del tempo, for flute, clarinet, violin, viola, cello and keyboard. The composition will be performed by the Sonorama Ensemble at the Antigua Biblioteca Nacional, Guastavino Hall.

Primes Seventeen in Reggio Emilia

Riccardo Nova’s Primes Seventeen will have its world premiere next October 26.
When Oct 26, 2014
from 06:00 PM to 08:00 PM
Where Reggio Emilia
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Riccardo Nova’s Primes Seventeen, for perucssions and electric guitar will have its world premiere next October 26. Simone Beneventi, percussions and Flavio Virzì, electric guitar will perform the composition in Reggio Emilia, Palcoscenico of the Ariosto Theatre, as part of the Aperto Festival 2014.

 

 

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Le noir de l’étoile in Vilnius

National premiere of Gérard Grisey’s Le noir de l’étoile in Vilnius.
When Oct 24, 2014
from 07:00 PM to 08:00 PM
Where Vilnius
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National premiere of Gérard Grisey’s Le noir de l’étoile for 6 percussionists, magnetic tape and acoustic pulsations on October 24  in Vilnius. The composition will be performed by the Percussions de Strasbourg, as part of the Gaida Festival.

 

 

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