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On 13 June, Windkraft - Kapelle für Neue Musik (Innsbruck, Austria), conducted by Joseph Bastian, will play the Fanfare to break the silence commissioned last year by the Rotterdam Philharmonic Orchestra.


Windkraft - Kapelle für Neue Musik. Foto Watzek ©


"Können wir wieder aufatmen? „Die Luft zu Atmen“ rückt im ersten Konzert des Bläserensembles Windkraft nach dem Lockown in den Fokus. [...] Eröffnet und beendet wird das Konzert mit einer Fanfare to break the silence von Mathilde Wantenaar, das erstmals in Österreich zur Aufführung kommt. Komponiert wurde das Stück für das erste Konzert in Rotterdam nach dem 1. Lockdown. [...]"




Netherlands Philharmonic Orchestra at The Concertgebouw. Photo by Melle Meivogel.


On Thursday 29 April, the Netherlands Philharmonic Orchestra conducted by Markus Poschner will broadcast a concert of music by Wantenaar, Brahms and R. Strauss, recorded at the concert hall. The orchestra opens with a work by Dutch composer Mathilde Wantenaar. In her Prélude à une nuit américaine, she combines jazzy American and sultry impressionist French. But above all, in her own words, it is ‘an unabashedly grand romantic gesture’. Top soloists Kian Soltani and Emmanuel Tjeknavorian bring out the heartwarming beauty of his music in Brahms' Double Concerto. Strauss' symphonic poem on the transition from life to death is in very good hands with Markus Poschner.


Programme

Wantenaar - Prélude à une nuit américaine for orchestra

Brahms - Double concerto

R. Strauss - Tod und Verklärung


Venue - Online

Date - do 29 apr 2021

Time - 20:30

Price - € 7,50 - € 17,50



Thea Derks was invited to the recording at the concert hall. Read more about it in her article at www.klassiekvannu.nl and/or listen to the podcast.




‘A year later than planned, Wantenaar's family opera ‘A Song for the Moon’ still premiered at the Opera Forward Festival - online. It is a delightful performance for young and old alike.


[...]


The story is vintage Toon Tellegen, funny, slightly wry and unobtrusively wise, with sharply struck characters. Wantenaar also hits the characters sharply: the braller frog with his endless outbursts, the pedantic grasshopper, the nuffy field mouse who squeaks the ‘Queen of the Night’. Wantenaar's music is bright and accessible but never predictable, spiced with a touch of Latin and a pinch of Gershwin. In the rehearsal scene, she indulged in witty quotations: Beethoven's Fifth with a wavering dissonant, the riff from Roy Orbison's ‘Pretty woman’. No wonder the moon shows a smile: A song exudes an infectious joy in everything.’


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