Roland Kluttig, born 1968 near Dresden, is one of the today's most accomplished German conductors of his generation. Associate Conductor of Stuttgart Opera from 2000-04, he made an acclaimed recording of Schoenberg's Moses und Aron with its the cast, chorus and orchestra; the numerous productions he conducted there included Nono's Al gran sole, Lachenmann's Das Mädchen mit den Schwefelhölzern and Feldman's Neither.
His current and future engagements include orchestras such as the Dresden Philharmonic, the Radio Symphony Orchestras of Stuttgart, Freiburg, Frankfurt, Berlin, Leipzig and Munich, the Deutsches Symphonieorchester and Konzerthausorchester Berlin, Residentie Orkest The Hague, Klangforum Vienna, ASKO and Collegium Novum Zurich.
He conducted the world premiere of Richard Ayres' opera The Cricket Recovers at the 2005 Aldeburgh Festival in what was named 'best production of a new opera' by The Independent'; examples of his adventurous programming include the combination of Varese's Ameriques with Frank Zappa's large scale orchestral pieces, or Haydn's Seven Last Words with Messiaen's Et exspecto ressurectionem.
Since 2008, the Asko Ensemble and Schönberg Ensemble have been united as Asko|Schönberg, a flexible group of musicians who can appear in formations of any needed size to perform twentieth- and twenty-first-century music: the music of established composers such as Ligeti, Kurtág, Stockhausen, Kagel and Andriessen, but also that of a younger generation, composers such as Michel van der Aa, Martijn Padding and Julian Anderson.
As one of the most innovative and flexible ensembles of its kind in Germany, the Frankfurt Radio Symphony Orchestra (hr-Sinfonieorchester) is celebrating its 80th anniversary in the 2009/10 season. Thanks to its extraordinarily broad repertoire and its wide range of concert and CD activities, the symphony orchestra of the German Public Radio of Hesse is now enjoying an outstanding international reputation. Experiments and discoveries both in the area of old and new music and the collaboration with top-class conductors and soloists is just as much part of its artistic profile as is the boundary-crossing Music Discovery Project, the participation in the International Conductor’s Competition Sir Georg Solti as well as numerous children and youth projects.
It was the orchestra's first conductor in 1929, Hans Rosbaud, and his emphasis on both traditional romantic repertoire and contemporary music that has forged the path the orchestra has trodden ever since. Following the end of World War II, Kurt Schröder and Winfried Zillig set about rebuilding the orchestra, but it was Dean Dixon, Eliahu Inbal, Dmitri Kitaenko and Hugh Wolff, who have established and carried on the orchestra's truly international reputation in subsequent decades. Estonian-born Paavo Järvi has been the new Chief Conductor of the Frankfurt Radio Symphony Orchestra since 2006.
MusikFabrik has been commissioning new works and performing unknown ones since 1991. It is never just a question of interpretation, but of taking new paths of development.
The Cologne-based soloist ensemble has built up a close collaboration with prominent conductors and composers: its guest list is as prominent as it is long, and includes Mark Andre, Louis Andriessen, Stefan Asbury, Sir Harrison Birtwistle, Péter Eötvös, Heiner Goebbels, Toshio Hosokawa, Mauricio Kagel, Helmut Lachenmann, Olga Neuwirth, Emmanuel Nunes, Carlus Padrissa (La Fura dels Baus), Enno Poppe, Henri Pousseur, Wolfgang Rihm, Peter Rundel, Rebecca Saunders, Karlheinz Stockhausen, Sasha Waltz and Hans Zender.
Contrary to what its name suggests, the musikFabrik does not have a boss. With its democratic base, the musicians themselves take the responsibility for making all-important decisions. This particularly applies to concert programming, which has shaped musikFabrik’s very unique profile. Their programmes consist of interdisciplinary projects that can include: live electronics, dance, theatre, film, literature, visual arts, along with chamber music and the confrontation with works using an open form and improvisation.
- MP3 DOWNLOAD£7.99
This colourful disc showcases Richard Ayres’s melodic, eclectic and theatrical style, which owes as much to the exuberance of Janacek as Kagel’s experiments: Ayres explains “I want to use consonance, dissonance, melody, texture, elephants, clouds, snowballs, anything, from any time and whenever it is needed.”
GRAMOPHONE EDITOR'S CHOICE
GRAMOPHONE CRITICS' CHOICE 2010
'There’s an exuberance, a craziness but also a real sense of an emotional rather than purely intellectual engagement that makes it such a terrific listen.' James Jolly, Gramophone
'Richard Ayres has been a prophet without honour in the UK, but NMC's new disc should redress the balance. Postmodernism without the bling!' Richard Whitehouse, Gramophone
'Some of the wackiest music this side of Charles Ives on acid.' NZ Herald
'There's no doubting that his music demands a response ... It's very strange, very quaint and in its way charmingly engaging.' The Guardian
'Would that all musical postmodernism were as intriguing and provocative as this!' Gramophone
'this is rambunctious, joyous music ... repeatedly delighting ... highly recommended' BBC Music Magazine