Harrison Birtwistle Ordine dei libri

The composition is characterized by a single, 29-minute sentence that unfolds in a unique manner. It draws inspiration from the title of an essay collection by Robert Maxwell, a friend of the composer. Birtwistle intentionally avoids excessive precision in each voice, a common critique of post-Schoenberg serial music. His imaginative approach remains free from mathematical constraints, resulting in a turbulent, scherzo-like, and intricately layered piece. The relationship between soloists and orchestra is explored in new and brilliant dimensions, showcasing Birtwistle's ongoing concern for this dynamic.

The interplay between a soprano and a female speaker creates a dynamic and evolving relationship in this 15-minute work. Each performer expresses their text in distinct musical tempos, leading to spontaneous interruptions and revisited themes. This engaging dialogue gradually builds an expressive landscape that transcends its brief duration, showcasing the depth and complexity of their interaction.

The author talks openly to the distinguished writer and critic Fiona Maddocks, offering rare insights into the challenges, uncertainties and rewards which have shaped his life and work since childhood, and which remain with him today as he enters his ninth decade.

Set against the backdrop of 1970s Scotland, the narrative explores Sir Harrison Birtwistle's reflections on the impact of centuries of Presbyterian prohibition on the island of Raasay's musical culture. Despite the challenges, he discovers remnants of this heritage and endeavors to revive its spirit in "The Tree of Spirits." The work highlights the resilience of music that survived in a hostile environment, emphasizing the importance of oral tradition in preserving cultural identity amidst adversity.

The Oboe Quartet by Birtwistle was composed over two years, from 2009 to 2010, and initially premiered only in parts. Its world premiere as a complete work took place at the Witten Days for New Chamber Music in May 2011, showcasing the piece's innovative structure and contemporary significance within the chamber music repertoire.

Set against the backdrop of late 1970s Scotland, the book explores Sir Harrison Birtwistle's efforts to revive the spirit of native musical culture, stifled by centuries of Presbyterian prohibition. Through "The Tree of Spirits," Birtwistle seeks to uncover and celebrate the remnants of this music that survived in a hostile environment, where performances were banned and traditions were passed down orally. The work reflects a deep appreciation for the resilience of cultural expression amidst adversity.

Composed for renowned musicians Lisa Batiashvili (violin), Adrian Brendel (cello), and Till Fellner (piano), this piece premiered in April 2011 in Celle. It showcases a blend of instrumental mastery and collaborative artistry, highlighting the unique contributions of each performer. The work promises to engage audiences with its intricate melodies and rich harmonies, reflecting the talents of its distinguished interpreters.

The gods look down and laugh...David Harsent's retelling of the myth of the Cretan Minotaur has a powerful slant: it considers the inner world of the Minotaur himself, and suggests a dark and compelling reason for Ariadne's intense relationship with Theseus.The Minotaur, imprisoned in the labyrinth, inhabits a narrow, pitiless world. He does not fully comprehend the duality of his physical nature as half-bull, half-man; only in sleep and, ultimately, in death does his human side become evident. Ariadne, too, is conscious of being imprisoned: she logs to escape from Crete, a place that serves only to remind her of an unbearable personal history in which her father's hubris has been the cause of her mother's sin against nature and the resultant birth of her monstrous half-brother.Ariadne hopes that, with the help of the Oracle, she will enable Theseus to find a way out of the labyrinth should he survive his encounter the Minotaur. She believes this will give her power over Theseus and persuade him to take her back with him to Athens. Both she and Theseus see the Minotaur as scapegoat and deliverance. In this cat's-cradle of deviousness, cruelty, loss and betrayal, none is innocent, though none is wholly to blame. Harsent's haunting version brings an original interpretation to this well-known story.