Berlin Counterpoint offers Sound Signs.
“Creativity has something playful, and this playfulness is at the forefront of New Music,” – York Höller.
Music has always been contemporary and new art has always been divisive enough to cause an uproar. That is basis of this program. In a non-chronological order, the listeners meet five composers who have created something that was unusual, which today has not only found its place in the repertoire, but lays down a path for its further development.
Handel’s Overture HWV 336 was originally rejected because the Italian audience demanded a new overture, and he had written this in French style. Louise Farrenc, whose sextet was the very first work ever composed for our full instrumentation, should be celebrated as a prophet. Who knows what we would do today, had she not indulged herself in our weird and wonderful world of piano and winds.
Samuel Barber’s Summer Music deserves it’s place as the best wind quintet, purely because it is so unusual, and this is precisely why we felt there was no choice other than to include it on our debut CD.
The program title comes from York Höllers Sextet, Klangzeichen (Sound Signs), a work dedicated to Israeli and Palestinian children as a call for peace in the Middle East, and premiered in Jerusalem in 2003. Each piece in this program could be seen as a poster child for playful experimentation, which has been focus of all five composers.
Works on the Sound Signs program include:
Georg Friedrich Händel, Overture in D Major HWV 336
Samuel Barber, Summer Music
York Höller, Klangzeichen
Francis Poulenc, Trio for oboe, bassoon and piano FP 43
Louise Farrenc, Sextet Op. 40