Thrilled to participate in a Composer Slam once more! Saturday, March 9, will see me performing two of my solo piano compositions in the chamber hall of Die Glocke Bremen, presented by the incomparable Simon Kluth. Get ready for an exciting and multifaceted line-up, also featuring appearances by Lenka Zupkova, Hauke Scholten, Tonio Geugelin, and Ehsan Ebrahimi. Looking forward to traveling to beautiful Bremen again!
As a composer, I occasionally show a certain predilection for idiosyncratic combinations of instruments. This applies, for example, to my four-part duo cycle At the Forest Verge for guitar and marimba, which will be premiered on Wednesday, March 6, 7:30 pm, in a faculty concert at Ljubljana Academy of Music. Many thanks to percussionist Petra Vidmar and guitarist Izidor Erazem Grafenauer for staging my music in Slovenia for the first time!
The latest issue of Neue Zeitschrift für Musik (#1 / 2019) features an article and interview by Anna Schürmer on the relationship of social media and contemporary music, with noteworthy statements by Moritz Eggert, Johannes Kreidler, Irene Kurka, and Martin Tchiba, and also including a few thoughts on digital communication and publication from my humble perspective. Thanks for providing the platform!
The recent press coverage of Daniel Barenboim‘s leadership style is somewhat surprising to me. An article in VAN Magazin implicitly claims to reveal truths or new ›insights‹ into Berlin’s classical music scene, while other commenters play down the issue, purport that the discussion has only just begun, or even defend Barenboim in the sense of an outdated cult of genius. However, I am pretty sure that anybody involved with Staatsoper Unter den Linden, Staatskapelle Berlin, or Barenboim-Said Akademie could tell similar stories as anonymously reported in VAN. It is obvious here that somebody possesses too much power—but the main problem is not Barenboim himself but the system that empowered him, provided him with enormous amounts of money, paid court to him for decades, and allowed him to take control of three public institutions. Barenboim must doubtlessly be blamed for creating suppressive working conditions and for establishing feudalistic structures in his environment. Still, the responsibility for these maldevelopments lies with the German government and Berlin Senate who continue to afford an alleged world-class conductor at any cost, as a beacon figure to make the Staatsoper great again. The current criticism seems fair enough, but is pointless as long as large parts of Berlin’s cultural politics hinge so much on Barenboim. His case is only a symptom of the corrupted classical music business which appears, in institutions as well as in education, essentially based on hierarchy, authority, and exercise of power.