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THOMAS ADÈS Piano Quintet, Op. 20 (2000)
GYÖRGY KURTÁG 6 Moments musicaux for string quartet, Op. 44 (2005)
THOMAS ADÈS “Arcadiana” for string quartet, Op. 12 (1994)
FRANZ SCHUBERT String Quartet No. 14 in D minor, Op. post. D 810 – “Der Tod und das Mädchen”
End of concert approx. 9:50 pm.
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Motive Salzburg contemporary, © Robert Mertens
02 August, 19:30
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Salzburg contemporary is sponsored by Roche
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He began making his mark on British music life from an early age: as a composer, conductor, pianist and festival director. Born in London in 1971, Thomas Adès was never tempted to dream up his music in the seclusion of an ivory tower, but sought out direct exchange with audiences and musicians alike. ‘It is better to write a note spontaneously and only think about its originality later than trying to reinvent the wheel with every piece’, he is convinced. ‘Traditional orchestras can express 100 percent of human existence, body and soul. A violin has something truthful to say today, just as it did in the 18th century.’ A practical musician in the best, most inclusive sense, Adès also actively performs his own works as well as those of selected colleagues and predecessors. It is no wonder that The Sunday Times nominated him as one of the ‘Top 100 Makers of the 21st Century’ – adding the prognosis that Adès would turn out to be ‘Britain’s new Britten’. In Salzburg, this hypothesis may be tested by attending his new opera as well as various concerts. Thus, soloist Leila Josefowicz joins the Cleveland Orchestra under Franz Welser-Möst in his three-movement violin concerto Concentric Paths, in which various circular developments converge dramatically or playfully complement each other. And in his Piano Quintet, Thomas Adès manages to undercut classical form by sophisticated layering of metres and a special dramaturgy of tempi: the result is a baffling new take on musical tradition.
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