Young Composers’ Forum
In cooperation with the Bavarian Academy of Fine Arts
On the initiative of and in cooperation with the Bavarian Academy of Fine Arts, the Ernst von Siemens Music Foundation has established the Young Composers’ Forum. Within this framework, a young composer is to be presented with a commissioned composition. As curator of the concert, the selected artist will also develop the programme for the premiere with music of the 20th and 21st centuries in consultation with the Academy’s Music Department. The project serves to promote young talent as well as to expand the repertoire for contemporary music.
Further information:
badsk.de
Young Composers’ Forum 2024: Minzuo Lu
12 December 2024, 7 pm
Bavarian Academy of Fine Arts, Lecture Hall, Munich
Programme:
Words of welcome: Nikolaus Brass
Moderation: Salome Kammer
Xiaoyong Chen (*1955)
Diary VI (2019)
for piano
Krzysztof Penderecki (1933–2020)
Duo concertante (2010)
for violin and double bass
Caroline Shaw (*1982)
Limestone & Felt (2012)
for violoncello and viola
Minzuo Lu (*1991)
Solitario (2021)
for string trio
Salome Kammer in conversation with Minzuo Lu and Sophie Lücke
Wolfgang Rihm (1952–2024)
Walzer für Klavier zu 4 Händen (1979–1988), selection
Anna Thorvaldsdottir (*1977)
Shades of Silence (2012)
for violin, viola, violoncello and piano
Minzuo Lu (*1991)
Ihr, Monolog (2024)
for violin, violoncello, double bass and piano (world premiere of the commissioned work)
I. Die Göttin der Liebe und Schönheit
II. Mona Lisa
III. „Das Ringen um das Überqueren, aufgeschreckt fliegen Möwen und Reiher auf“
IV. Sie fällt in den Abgrund der Schönheit
V. Und dann war Stille
The ensemble der/gelbe/klang will perform:
Nina Takai, violin
Alba Gonzáles i Becerra, viola
Katerina Giannitsioti, violoncello
Sophie Lücke, double bass
Marco Riccelli, piano
MINZUO LU (*1991 in Shanghai, China) is a composer and artist who currently lives in Karlsruhe. She has learnt Chinese calligraphy, Western drawing, painting and piano since she was young. She studied composition in the soloist exam with Prof. Wolfgang Rihm at the University of Music in Karlsruhe. Prior to this, she completed a bachelor’s degree with Prof. Huang Lü at the Shanghai Conservatory, followed by a master’s degree with Prof. Xiaoyong Chen at the Hamburg University of Music and Theatre. She has created almost 40 works, eight of which have won prizes at various international composition competitions in the USA, Canada, China, Austria, Italy, Portugal and Poland.
The Munich-based ensemble der/gelbe/klang is dedicated to the music of today in its entire aesthetic spectrum, curious, keen to experiment and always in search of contemporary forms of expression. Founded in 2020, it quickly became an important protagonist of new music in Germany. Recordings were made for Bayerischer Rundfunk and the NEOS label. For ZDF/ARTE, der/gelbe/klang recorded Olav Lervik’s music for F. W. Murnau’s silent film classic Nosferatu – A Symphony of Horror. Guest appearances have taken the orchestra to the IMPULS Festival for New Music in Saxony-Anhalt, France, Austria and Switzerland. The ensemble has been able to engage Vladimir Jurowski, Pierre-André Valade and Vimbayi Kaziboni as guest conductors, and Emilio Pomàrico is a guest in the current season. A number of works have been written for the ensemble, including compositions by Anahita Abbasi, Vykintas Baltakas and Valerio Sannicandro. In 2021, der/gelbe/klang was awarded the Bayerischer Kunstförderpreis.
der/gelbe/klang is also active in music theatre, including a regular collaboration with the Bavarian Theatre Academy August Everding. Following the scenic cycle Dichterliebe by Christian Jost and the children’s opera Die Gänsemagd by Iris ter Schiphorst, the chamber opera 4.48 Psychose by Philipp Venables was on the programme in 2023.
Direct contact with composers of the younger and youngest generation is fundamentally important to the ensemble. The interpretation of key works of the 20th century is also part of the musicians’ self-image. The development of cross-genre projects is also central, especially the combination with visual elements, be it light, performance, video or completely new approaches.
Such an expansion of the concert concept is essential for the new Munich ensemble – this conviction also led to the choice of the name der/gelbe/klang, after Wassily Kandinsky’s ingenious concept of a holistic ‘stage composition’.