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Zurich Meets New York: A Festival of Swiss Ingenuity to Present Live Music & Silent Films, 5/16

Related: David Rubenstein Atrium, Lincoln Center,
Zurich Meets New York: A Festival of Swiss Ingenuity to Present Live Music & Silent Films, 5/16

Zürich Meets New York: A Festival of Swiss Ingenuity presents Collegium Novum Zurich: Live Music & Silent Films on Friday, May 16, 7 p.m. at the David Rubenstein Atrium at Lincoln Center. Featuring music by Carola Baukholt, Hanns Eisler, Erik Satie, and Iris ter Schiphorst.

A fixture of the Swiss music scene since 1993, the 20-piece new music ensemble Collegium Novum Zurich makes its U.S. debut at the David Rubinstein Atrium at Lincoln Center, performing over short silent film masterpieces. The evening will feature original and new soundtracks to Dada classics, some of Hanns Eisler's best documentary scores, and the U.S. premiere of Iris ter Schiphorst's composition for the American avant-garde film of Edgar Allan Poe's story, The Fall of the House of Usher.

David Rubenstein Atrium at Lincoln Center is located on Broadway between 62nd and 63rd Streets. Admission is free. RSVP required: ZHNY.eventbrite.com.

Program:
Jörg Schneider, trumpet
Jonathan Stockhammer, conductor

Carola Bauckholt: Ghosts Before Breakfast (2008)
Film by Hans Richter (1928)
In 1927, Hans Richter was asked by the Gessellschaft Fur Neu Musik in Berlin to create a film with composer Paul Hindemith for their annual festival of music in Baden-Baden. Featuring a number of seemingly arbitrary images, the German Dadaist animated short utilizes stop motion for some of its effects and live action for others. The Nazis destroyed Hindemith's original soundtrack as " degenerate art", but new audio tracks have been created since, including the featured one by acclaimed German composer Carola Bauckholt.

Iris ter Schiphorst: The Fall of the House of Usher (2014) U.S. Premiere
Film by James Sibley Watson, Jr. and Melville Webber (1928)
The Fall of the House of Usher is the most renowned and technically accomplished work of the American avant-garde cinema which rose in the 1920s.The world premiere of German composer Iris ter Schiphorst's new score took place at the Museum für Gestaltung in Zurich in March 2014.

Erik Satie: Entr'acte cinématographique (1924), arr. by Andrew Digby (2007)
Film by René Clair (1924)
Entr'acte was made as an intermission piece for the Ballets Suédois production of the 1924 Dada theater work, Relâche. The ballet's director, Francis Picabia, gave René Clair a short scenario around which to build the film, and Erik Satie composed an original score to accompany it, but the finished work is "pure" cinema-the individual shots and the connections between them resulting in what Clair described as "visual babblings." The film includes cameo appearances by Francis Picabia, Erik Satie, Man Ray, and Marcel Duchamp.

Hanns Eisler: Fourteen Ways of Describing the Rain, Op. 70 (1941)
For the film Rain by legendary Dutch director Joris Ivens (1929)
Fourteen Ways of Describing the Rain was commissioned by the Rockefeller Foundation's Film Music Project and was premiered for Arnold Schoenberg's 70th birthday in Los Angeles in 1944. With it, Hanns Eisler returned to the twelve-tone method he had abandoned in Berlin. The chamber suite based on the film score was one of Eisler's favorite works and is considered a masterpiece of the genre.

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