Martin Haselboeck © Meinrad Hofer
Martin Haselböck, Orgel
Sunday
10
November
2024
20:00 – ca. 21:15
Großer Saal
Performers
Martin Haselböck, Orgel
Programme
Arnold Schönberg
Variationen über ein Rezitativ op. 40 (1941)
Zwei Fragmente aus der Sonate für Orgel (1941)
Ernst Krenek
Orga-Nastro op. 212 für Orgel und Tonband (1971)
György Ligeti
Volumina (1961–1962)
Gladys Nordenstrom-Krenek
Signals from nowhere (1981)
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Zugabe:
Ernst Krenek
Boreas (Four Winds-Suite op. 223) (1975)
Note
In Kooperation mit Wien Modern
Freie Platzwahl
Dieses Konzert wird im Rahmen einer Kooperation zwischen der Wiener Konzerthausgesellschaft und Wien Modern, Verein für neue Musik veranstaltet. Weitere Informationen zur Datenverarbeitung bei Kooperationsveranstaltungen, Speicherdauer und Ihren Rechten finden Sie in unserer
Datenschutzerklärung.
Subscription series
Orgel
Festival
Wien Modern 37
Presented by
Wiener Konzerthausgesellschaft
Modern classics
Martin Haselböck, who celebrates his 70th birthday this November, is present in international musical life in many different ways. After studying organ in Vienna and Paris with Jean Langlais and composition with Friedrich Cerha, among others, he gained a great reputation as an organist early on and was awarded international competition prizes. As a Viennese court organist, his interest in classical church music was the beginning of his intensive work as a conductor. In 1985, Martin Haselböck founded the Wiener Akademie orchestra, which performs in concert halls and opera productions all over the world. He is also in demand internationally as a guest conductor. In his organ recital at the Wiener Konzerthaus, Martin Haselböck presents a program that focuses on modern music and the classics of modernism: A late work by jubilarian Arnold Schönberg opens the evening, followed by compositions by Ernst Krenek and his wife Gladys. The centerpiece of the concert is Ligeti's »Volumina« from the 1960s, in which the composer explored completely new playing techniques on the manuals and in the pedals as well as the form of clustering and ventured into previously unknown spheres of sound shading.