“Splendour” could stand as the heading for Matthias Pintscher’s last composition in his “Shirim” cycle, which now receives its premiere as a complete work. As the fourth part and conclusion of his Shirim cycle, Matthias Pintscher has set the third chapter of the Song of Solomon for baritone, chorus and orchestra. In this, there is mention of splendour, the entrance of King Solomon himself, of the costliness of the treasures and robes, the shimmering gold swords of his accompanying retinue

Ľubica Čekovská has composed “Liberte” for mezzo-soprano, chorus and orchestra for the 30th anniversary of the Velvet Revolution on 17 November 1989 in Bratislava. Recollections of the largely peaceful transition from socialism to democracy in Czechoslovakia thirty years ago are full of ambivalence for the Slovak composer.

It might seem audacious to venture to place any piece of music alongside the gigantic symphonic creations of Gustav Mahler. And yet this is the essence of the commission from the Jena Philharmonic and its Music Director Simon Gaudenz for the composer Andrea Scartazzini. A short, self-contained orchestral work has been composed to complement each of the Mahler symphonies, each relating to Mahler’s music and intellectual world.

Almost fifty years after the first edition of Bohuslav Martinů’s 4th Piano Concerto „Incantation“, Bärenreiter-Verlag is publishing new material based on the Critical Complete Edition.

The clarinet as representative of the human voice, chorus and symphony orchestra as sounding spaces: with these resources Miroslav Srnka is on the search for truth in our digital world.

„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.

In the few months since its first performance at the BBC Proms in London, Dieter Ammann’s “Piano Concerto (Gran Toccata)” has already been performed several times – in Taipei, Boston and Helsinki – each time to astonished and enthusiastic audiences. The pianist Andreas Haefliger is soloist and initiator of the concerto. With stupendous virtuosity, he is central to the series of performances of the work. Following the American and Finnish premieres, conductor Susanna Mälkki now conducts the German premiere on 9, 10 and 12 January 2020 with the Munich Philharmonic. (photo: Dieter Ammann and Andreas Haefliger after the world premiere in August in the Royal Albert Hall, London; photo: Chris Christodoulou)