Old and New Music for accordion and organ A & O: Eva Zöllner, accordion & Kerstin Petersen, organ
Inspired by the expressive and multicolored sound possibilities of their two “wind instruments” Kerstin Petersen and Eva Zöllner open the space between old and new music. Especially for this project they have commissioned contemporary composers to write new pieces that draw a connection to older music: the Belarusian composer Oxana Omelchuk plays with Mendelssohn’s harmony and lets it merge with jazz-sounds. Knut Müller deals with the coexistence of the two keyboard instruments in Giovanni Gabrieli’s Canzona and transmits it to his musical language. And Thomas Beimel composed his Sonata with archaic sounds of a distant time.
The integration of contemporary works into this classic context draws new connections and offers the audience an exceptionalconcert experience.
William Albright (1944-1998) Fanfare / Echo, arr. A & O
Felix Mendelssohn Bartholdy (1809-1847) from: Lieder ohne Worte, arr. A & O
Oxana Omelchuk (*1975) …die Bäume wachsen in den Himmel nicht… (2009)
Felix Mendelssohn Bartholdy (1809-1947) Sonate c-moll op. 65, arr. A & O
Thomas Beimel (*1967) Sonata (communio) (2007)
Giovanni Gabrieli (ca. 1555-1612) Canzon Sol Sol La Sol Fa Mi a 8 Knut Müller (1963)
NiN-LiL (2011) für Akkordeon & Orgel
Aurelio Bonelli (ca. 1569 – 1620) Toccata Cleopatra
Guy Bovet (*1942) ”Hamburger Totentanz”, arr. A & O
Eva Curth, harp & Eva Zöllner, accordion
play music by J.S. Bach, J. Cage, O. Frick, C. Franck and H. Zapf
„Welcome to heaven, here is your harp!“ … „Welcome to hell, here is your accordion!“.
Gary Larson ´s cartoon draws two instruments in their milieu. Eva Curth and Eva Zöllner prove that the two instruments, though very different at first glace, work very well together and take their audience on a journey through musical times.
Oliver Frick (1971): AuCONtrAIRe (2006) für Harfe und Akkordeon
John Cage (1912-1992): chess pieces (1944) Version für Harfe und Akkordeon
Thomas Stapel (1964): Notturno (2014) für Harfe, Akkordeon und Sprechstimme
J. S. Bach (1685-1750) Zwei Fugen (WTK 1) bearbeitet für Harfe & Akkordeon
Helmut Zapf (1956) : Frühling (1996) für Harfe und Akkordeon
César Franck (1822-1890) : Prélude, Fugue et Variation op 16 (1860-62)
Japanese chamber music for recorders, accordion and koto
Works by K. Harada, N. Kawakami, T. Hosokawa, K. Omura
and traditional Japanese music
Windspiel | contemporay music duo and Naoko Kikuchi
Recorder and accordion sound very similar to the traditional Japanese instruments Sho and Shakuhachi. Therefore Windspiel has been interested in exploring the potentials of sound of both ancient and contemporary Japanese music. This interest resulted in the cooperation with young composers from Japan and during the last few years a couple of new pieces for duo and also for trio with Japanese koto-player Naoko Kikuchi have been created. The pieces are combined with traditional music and the listener is envited to experience the intense sound world of Japanese sound creation.
Alternatively the programme can be performed as a duo version.
Gerald Eckert: Nen IX (2013) for recorders, accordion and koto
Kumiko Omura: in the bamboo forest (2010-11) for Recorder and 20-stringed Koto
Kengyo Yatsuhashi (17th century) song of the seasons for koto and voice
Toshio Hosokawa: Birds Fragments IIIb (1990/2003) for recorders & accordion
Noriko Kawakami: Im Traum, den das Chaos webt (2012/13) für 17-saitiges Koto und Akkordeon
Michiyo Miyagi (Gagaku): Entenraku-Variation (1894) Version für Koto, Blockflöte und Akkordeon
Duo: Toshio Hosokawa: Birds Fragments IIIb (1990/2003) for recorders & accordion
Noriko Kawakami: Das Licht der Illusion I (2008) for accordion solo
Kumiko Omura: Von Jenseits des Flusses (2006) for recorders and accordion
Gagaku (traditional Japanese) Hyojo no choshi version for accordion
Kotoka Suzuki: While Ripples enlace (2010) for alto recorder and electronic sounds
Keiko Harada: Third Ear Deaf IIb (2000) for recorders and accordion
a church concert
Works by J. Cage, G. Derbez, S. Gubaidulina, M. Lavista etc.
Windspiel | contemporary music duo
Verena Wüsthoff, recorders & Eva Zöllner, accordion
In their compositions many of today´s composers deal very personally with religious topics and traditions: Old American chorals (from the collection „The Sacred Harp“) served as musical material for John Cage´s „harmonies“, Mario Lavista composed a musical remembrance of the death, Sofia Gubaidulina refers to a psalm of the bible while Georgina Derbez uses Material from a renaissance madrigal. Sing to me of heaven offers the audience the opportunity to contemplate these ideas and to reflect their own feelings towards the central aspects of our believes. In the unique and special atmosphere of the church hall man´s questions about our provenience and destination are musically expressed.
Beat Gysin (1968): Anor (2006) for recorders, accordion and tape
The Sacred Harp (Georgia, 1886) Choral Sing to me of Heaven
John Cage (1912 – 1992) Harmony 35 (1986, Thirteen Harmonies)
Mario Lavista (1941) Ofrenda (1986) for tenor recorder
The Sacred Harp (Georgia, 1886) Choral The Lone Pilgrim
John Cage (1912 – 1992) Harmonies 15 & 42 (1986)
Jacob Obrecht (nach 1450-1505) Parce, Domine (Arr. Windspiel)
Sofia Gubaidulina (*1931) De Profundis (1978) for accordion
Josquin Desprez (um 1440-1521) In Pace (Arr. Windspiel)
The Sacred Harp (Georgia, 1886) Choral Paradise
John Cage (1912 – 1992) Harmonies 18 & 11 (1986)
Georgina Derbez (*1968) La Forca, il sparvier (2007) for recorders and accordion