„How to respond to Clara Schumann?“ That is the question for fellow composer Charlotte Seither, 146 years younger than Schumann. There’s no question of looking backwards for her.

Dieter Ammann’s „Piano Concerto“ receives its premiere in August in London. The initiative for the work came from the pianist Andreas Haefliger. In working on the piece the composer pushed forward into the open bar by bar.

Following the success of his new opera “Violetter Schnee” at the Berlin Staatsoper, Beat Furrer has new projects in sight.

Over several years the Swiss composer has complemented the Jena Philharmonic’s Mahler cycle with his own companion pieces. For each concert Scartazzini has written a symphonic movement, and with each Mahler performance these new movements join together to form a large-scale orchestral work. The beginning was Torso in October 2018. Like this, Epitaph also draws on a lyric text by Rainer Maria Rilke.

As the first work of serialism in the 1950s Jean Barraqué’s „Sonate pour piano“ combines the new idiom with the idea of the grand form. Heribert Henrich’s edition is a truly pioneering piece of work. For the very first time, the musical text of a piece of serial music has been edited based on a critical evaluation of the primary sources and is now made available to performers.

Schnee, kosmische Kälte: In Beat Furrers neuer Oper „Violetter Schnee“ sind fünf Menschen in einem Haus auf dem Weg in unbekanntes Terrain. Am 13. Januar 2019 wird sie an der Berliner Staatsoper uraufgeführt.

Contrasts between the metallic sound of the piano and the ensemble define Matthias Pintscher’s work for the Barenboim-Said Akademie and its founder.