Other Worlds
Special sounds by Ligeti, Feldman, Ketting and a world premiere by Beat Furrer
David Robertson has a keen sense of what different contemporary composers need. He leads the Concertgebouworkest in unearthly works by Ligeti and Feldman, Ketting’s propelling Pas de deux, a world premiere by Beat Furrer and Spanish Renaissance music.
The mysterious and seductive sound worlds of György Ligeti and Morton Feldman have become modern classics.
Concert programme
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György Ligeti
Atmosphères
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Cristóbal de Morales
Zaín from 'Lamentaciones'
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Beat Furrer
Sechs Gesänge (commission)
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-- interval --
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Otto Ketting
Pas de deux
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Morton Feldman
Coptic Light
Performers
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David Robertson
conductor
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Cantando Admont
choir
About this concert
David Robertson has made frequent guest appearances with the orchestra since 1995. Contemporary music plays a central role in his broad repertoire. Robertson feels as none other that all composers have their own individual language and need their own approach. The mysterious and seductive sound worlds of Ligeti’s Atmosphères and Morton Feldman’s Coptic Light have become modern classics.
Similarly, the Dutch composer Otto Ketting, who died in 2012, bridged the gap between the avant-garde and wider audiences without making concessions. At an early age, he stunned audiences with his propelling, jazzy Pas de deux.
The Swiss-Austrian Beat Furrer embarks on a completely new adventure with each of his compositions. That’s why it’s impossible to predict how his first work for the Concertgebouworkest will sound. We do know that he’s using early sixteenth-century texts in which the Spanish Jesuit Bartolomée de las Casas appeals against the demise of Indian cultures. An appropriate lament composed by his contemporary and compatriot Cristóbal de Morales also features on the programme.
The world premiere of Beat Furrer’s Sechs Gesänge has been made possible with the support of Pro Helvetia.
Dates and tickets
About this concert
David Robertson has made frequent guest appearances with the orchestra since 1995. Contemporary music plays a central role in his broad repertoire. Robertson feels as none other that all composers have their own individual language and need their own approach. The mysterious and seductive sound worlds of Ligeti’s Atmosphères and Morton Feldman’s Coptic Light have become modern classics.
Similarly, the Dutch composer Otto Ketting, who died in 2012, bridged the gap between the avant-garde and wider audiences without making concessions. At an early age, he stunned audiences with his propelling, jazzy Pas de deux.
The Swiss-Austrian Beat Furrer embarks on a completely new adventure with each of his compositions. That’s why it’s impossible to predict how his first work for the Concertgebouworkest will sound. We do know that he’s using early sixteenth-century texts in which the Spanish Jesuit Bartolomée de las Casas appeals against the demise of Indian cultures. An appropriate lament composed by his contemporary and compatriot Cristóbal de Morales also features on the programme.
The world premiere of Beat Furrer’s Sechs Gesänge has been made possible with the support of Pro Helvetia.