The German composer Moritz Eggert is currently working on two multi-movement cycles in which he examines the role of the soloist.

Master and Servant: I. Master

Master and Servant, created for the percussionist Konstantyn Napolov and the Orkest De Ereprijs, is a two-movement percussion concerto, whose first part was premiered with great success at the novembermusic festival in s’Hertogenbosch. Eggert is concerned here with the evolution of ensemble structures, which over the centuries has generated hierarchies of “masters” (maestros or music directors) and “servants” (the tutti musicians). The solo concerto as a hybrid form of this concept nowadays often introduces situations in which two “masters” have equal status: one (the conductor) “dominates” the soloist, while the soloist “dominates” the ensemble. In both movements of Master and Servant, one part explores the ”master” aspect of the soloist, while the other makes him a “servant” of the ensemble. However, the work exists in a virtual “wild space”: in the real world the roles would always need to be renegotiated.

Composer's note

Classical music is an art form in which the concept of hierarchy is deeply ingrained. From the free-form musical ensembles of the Renaissance to the civil servant-like structure of contemporary orchestras music has come a long way of establishing a structure of ‘masters’ (maestros or musical directors) and ‘servants’ (the tutti musicians). Even though in the best moments these hierarchies are transcended by the mutual will to create an extraordinary musical experience, the many #metoo-and abuse of power scandals of the classical music world show that these structures also create a lot of problems.

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Score of Master and Servant: I. Master

Promethea: Triumph und Tragödie

The five-movement work Promethea was written for Elisabeth Kufferath, one of the few major international soloists able to switch easily between violin and viola. Here Moritz Eggert creates a link between the myth of Prometheus, who deals with powerful forces without regard for the consequences, and Mary Shelley’s ideas about the creation of a living, thinking artificial being. The first two movements were written for the Hamburg Camerata, movements three and four for the Hanover Chamber Orchestra. The conclusion of the work is planned for 2024-25.

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Score of Promethea: Triumph und Tragödie