Pegnitzschäfer sound concepts

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The Pegnitzschäfer-Klangkonzepte are a Nuremberg ensemble for new music and interdisciplinary art projects.

history

In 1981 the ensemble was named Neue Pegnitzschäfer. Association for new music and seldom played music founded in Nuremberg. The first chairman was the violinist Ulf Klausenitzer , further founding members were the dramaturge Heiner Eckardt-Meneghelli, the horn player Wilfried Krüger and the drummer Hermann Schwander. The name Neue Pegnitzschäfer was chosen based on the tradition of the Pegnesian Order of Flowers ; At the ensemble's first concert in March 1982, an aria from the Seelewig by Harsdörffer and Staden was heard as a homage . Later the name was changed to KlangKonzepteEnsemble der Neue Pegnitzschäfer , and in 2014 to Pegnitzschäfer-Klangkonzepte .

Wilfried Krüger has been the ensemble's artistic director since 1986. He initiated scenic and multimedia projects, regular appearances in the theater in the garage in Erlangen and in the Nuremberg Tafelhalle (from 1987), a discussion concert with Oskar Sala (1988) and the invitation to the exhibition Degenerate Music into Germanic, reconstructed by Albrecht Dümling and Peter Girth National Museum (1989/90).

Since 2001 the ensemble has organized a series of concerts and performances in the New Museum in Nuremberg . Guests and partners of the ensemble were Christiane Edinger , Moritz Eggert , Christian Gabriel, Werner Heider , Stefan Hippe , Elizabeth Kingdon , Irene Kurka , Siegfried Mauser , Monika Teepe , Stephan Wunderlich , Hans Rudolf Zeller , Radoslaw Szarek and others.

The composer Klaus Hashagen was the long-time honorary president of the ensemble .

Honors

World premiered works

  • Dieter Buwen : Centers / Peripheries for chamber ensemble (13 players, 2011), Kanne Blumma for soprano and ensemble (7 players, 2014)
  • Martin Daske (music), Alexandra Rauh (choreography), Beate Terfloth (colored light composition): written in great fear (2004/05). Mixed media performance. Texts: Unica Zürn
  • Christian Gabriel: Crucifixion (2010) for 4 horns and saxophone; Hitler must go (2015, Georg Elser -Jazz-Oratorio based on an idea concept by Wilfried Krüger)
  • Klaus Hashagen: Six Corniatures (1997) for horn and ensemble
  • Hans-Joachim Hespos : spink (1993). Dark scene for nonet ( Heckelphon , bass sarrusophone , bass clarinet , horn  / Wagnertuba , bass saxophone , Cimbasso , Sousaphon , bass , technicians), Videolen, wings and timpani
  • Eva-Maria Houben : from the flying leaves of a traveling french horn player (2013)
  • Wilfried Jentzsch : Paysage FLG (84) for flute and electronics
  • Peter Kiesewetter : Tagelieder (1982/85) for soprano, horn and piano. Texts: Diepold von Hohenburg , Wolfram von Eschenbach
  • Hans Kraus-Hübner : Paraphrase on the Mastersingers of Nuremberg for 3 brass instruments (2015)
  • Hans Kraus-Hübner (music) / Michaela Moritz (libretto): Liebesfluch. The Sister's Scream (2011). Opera sketch
  • Andreas Kunstein : 10 epigrams, arranged for accordion by Marko Kassl (2014); 3 pieces for bass clarinet and piano (2013)
  • Horst Lohse : The adventures of the beautiful Mahan . Ballet (1st version, 1979/80), with piano for 4 hands and percussion (2 players); Prelude of Spring (2000) for violin, horn and harp (based on the picture of the same name by Hans Hofmann ); La siesta del tropico (1988/2006; text: Rubén Darío ) for voice, clarinet, accordion and percussion; Double farewell (2009) for quintet
  • Horst Lohse (music) / Michael Herrschel (libretto): Sabelita scenes (2010/11). Opera sketch
  • Karsten Neumann, Dieter Trüstedt and Wilfried Krüger: voyage de café (2008) for laptop , soundtrack , voice, horn and coffee maker
  • Manfred Niehaus : I think of Nuremberg ... (1982) for violin, horn and piano
  • Karola Obermüller (music) / Gabriele Strassmann (libretto): Carbon monoxide (2006). Musical theater piece
  • Michael Obst : The Wind (2000) for violin, horn and live electronics
  • Kurt Dietmar Richter : Gesänge des Andreas Gryphius (2003) for soprano, horn and harp
  • Jorge Rotter: Music for Brass (2000)
  • Rainer Rubbert : Extraits (2008) for clarinet / horn / bassoon
  • Andreas Schäfer (music) / Klaus Missbach (text) / Wilfried Krüger (idea): … rush out of the disco and horrified passers-by ask whether they are German (1991). Concert debates for voices and ensemble
  • Franz Schillinger : Veränderliche Langsamkeiten III (2002) violin, horn and live electronics; 13 apostatic sequences (2003) for horn, organ and electronics, Chroma II and III (2003) for guitar; Environment for 3 keyboards
  • Roland Schmidt: The juggler. Eulenspiegelei (2000) for brass trio
  • Christoph Staude : Codex (2001) for soprano and 7 instrumentalists (Text: from the Nuremberg Codex of the IPPNW , 1947)
  • Gerhard Stäbler : accordingly (2010). Unfolded quartet for horn solo and action groups with skateboards , concrete mixers and vacuum cleaners (ad libitum)
  • Walter Steffens : Revue der Neuen Wilden (1991) for ensemble (based on pictures by Helmut Middendorf , Salomé , AR Penck and Elvira Bach )
  • Uwe Strübing : In-Orzismus (2000) for speaker, horn, 2 trumpets, 2 trombones and percussion
  • Knut Vaage : Someone Sinfonietten (2014)

reception

“Now Rothko Chapel, one of the most important works of music of the 1970s, was the focus of this Nuremberg All- Feldman program by the Pegnitzschäfer: the museum lobby was totally overcrowded, the 'sound concepts' are clearly the leading format for new music in Nuremberg become. "

- Uwe Mitsching, 2014

literature

Web links

Individual evidence

  1. ^ Susette Clausing: The new Pegnitz shepherds. Promising start with plays from and around Nuremberg . Nürnberger Zeitung , March 6, 1982
  2. ↑ Uwe Mitsching: Wehen des Kunstgeistes. “Pegnitzschäfer” are reminiscent of the painter icon Mark Rothko. Nürnberger Nachrichten , April 8, 2014.