Works by Albright, Backman, Britten, Dowland, Globokar, Kad\u0142ubowska, Monteverdi, Podgaiskaja and others.<\/p>\n\n\n\n
CREDITS:
Natasha Lopez, soprano
Cassio Caponi, baritone
Matyas Houf, recorder
Guillermo Gonz\u00e1lez, alto flute
Veronica Shtykar, saxophone
Kasia Kadlubowska, drums
Vanessa Porter, drums
Olga Belarus, violin
Hugo Rannou, cello
Johanna Ehlers, double bass
Maria Stange, harp
Niels Pfeffer, lute
Manuel Dahme, harpsichord
Alex Waite, piano
Mijam Laetitia Haag, organ
TRIO vis-\u00e0-vis:
Natasha L\u00f3pez, soprano; Guillermo Gonz\u00e1lez, alto flute; Hugo Rannou, cello<\/p>\n\n\n\n
PROGRAM:
Claudio Monteverdi (1567 – 1643) “Pur ti miro” – Aria from “La incoronazione di Poppea”
Natasha Lopez – soprano; C\u00e1ssio Rafael Caponi – baritone; Manuel Dahme – Harpsichord<\/p>\n\n\n\n
Greeting Dr Regula Rapp, Rector of the HMDK Stuttgart<\/p>\n\n\n\n
John Dowland (1563-1626) Pavane Lachrymae (Pavane of Tears)
Matyas Houf, recorder
Gottfried Finger (1660 – 1730) “A Ground”
Matyas Houf, recorder; Niels Pfeffer, lute; Johanna Ehlers, double bass<\/p>\n\n\n\n
12 episodes from Hans-Joachim Fuss’ diary of memories<\/p>\n\n\n\n
Olga Podgayskaya (1981) “The missing Thunder” for violin and organ
Olga Belarus – violin, Mirjam Laetitia Haag – organ<\/p>\n\n\n\n
Heidemarie Roth, Chairwoman of the Stuttgart Peace Prize Foundation\/Die AnStifter<\/p>\n\n\n\n
William Albright (1944-1998) La follia nuova: A lament for Giorgio Cacioppo
Veronika Shtykar – alto saxophone, Alex Waite – piano<\/p>\n\n\n\n
Katarzyna Kad\u0142ubowska (*1987) Theia (2021)
Kasia Kadlubowska, vibraphone<\/p>\n\n\n\n
Vinko Globokar (*1934) ?Corporel (1985)
Vanessa Porter<\/p>\n\n\n\n
Katarzyna Kad\u0142ubowska (*1987) Generations (2016) playing time
Example: A fragment from the book Die Wolfsfrau by Clarissa Pinkola Est\u00e9s, read by Johanna Maria Zehnedner
Kasia Kad\u0142ubowska, vibraphone, kalimba, voice and loop station<\/p>\n\n\n\n
Christine Fischer, Director of Music of the Centuries in Stuttgart<\/p>\n\n\n\n
Benjamin Britten (1913-1976) “Interlude” from: Ceremony of Carols op. 28 (1943) Maria Stange, harp<\/p>\n\n\n\n
Viktoriia Vitrenko, Chair of the InterAKT Initiative<\/p>\n\n\n\n
Catharina Backman (*1961) – Vestigios (de tus\u2026) on a text by Natasha L\u00f3pez (2018\/2019, composition commission for the TRIO vis-\u00e0-vis)
TRIO vis-\u00e0-vis: Natasha L\u00f3pez, soprano; Guillermo Gonz\u00e1lez, alto flute; Hugo Rannou, cello<\/p>\n\n\n\n
There is a in the foyer
AMNESTY INTERNATIONAL INFORMATION STAND<\/p>\n\n\n\n
For corona-related reasons, we cannot hold the concert without admission and seat tickets. Therefore we have to charge all visitors a reduced entrance fee of 5 \u20ac. We ask that you donate the difference to the usual full admission price of \u20ac5 (or more) at the exit to the work of Amnesty International.<\/p>\n\n\n\n
Project FREE MASHA
by Nikola Lutz and Belarusian activists<\/p>\n\n\n\n
For the given occasion, the FREE MASCHA project group wants to create a public place of identification for activities related to Maria Kalesnikava in Stuttgart, which will contribute to the permanent visibility of the topic with a joint work of art by Nikola Lutz and other artists and can be the starting point and location for events in various formats. Initial talks with the city of Stuttgart have taken place and aroused interest. The availability of a suitable location is currently being checked. The project also includes an internet platform which, in addition to the documentation of the processual artwork on site, will also have an overall calendar on which all events related to Masha are made accessible regardless of the respective organizers. The aim of the project is to continue to draw public attention to Masha despite the expected long period of time.<\/p>\n\n\n\n