Podcast appearances and mentions of Heinz Holliger

Pierre-Michel MengerCollège de FranceAnnée 2023-2024Sociologie du travail créateurColloque - Boulez : l'invention au pouvoir ? Les années 1975-1995 - Le discours boulézien sur la création musicale autour de 1980Session 1 : Penser la musique au Collège de FranceIntervenant :Jonathan GoldmanProfesseur titulaire de musicologie, Université de MontréalColloque organisé pour le centenaire de la naissance de Pierre Boulez par le Pr Pierre-Michel Menger, chaire Sociologie du travail créateur, et Nicolas Donin, professeur de musicologie à l'université de Genève.Avec le soutien de la Fondation du Collège de France et de son grand mécène LVMH.RésuméPierre Boulez a étonnamment peu écrit et parlé des compositeurs actifs au cours de la deuxième moitié du XXe siècle. Auteur prolifique, commentateur passionné de compositeurs tels que Webern, Schoenberg ou Debussy qu'il a intégrés à un récit historico-théorique développé, Boulez n'a guère cherché à théoriser les enjeux esthétiques des œuvres de son temps – celles des musiciens et musiciennes de sa génération ou plus jeunes – alors même qu'il en dirigeait et enregistrait certaines à l'époque de son enseignement au Collège de France.Il est donc éclairant de trouver dans les archives de ses leçons au Collège de France pour l'année 1980-1981, consacrée à la thématique « Automatisme et décisions », un croquis contenant des références à une vingtaine de ses contemporains, la plupart actifs au cours des années 1960 et 1970. Il s'agit d'œuvres de compositeurs aussi divers que Vinko Globokar, Heinz Holliger, Mauricio Kagel, Paul Méfano ou Dieter Schnebel, qu'il n'a pourtant jamais évoqués dans le texte de ses cours au Collège paru sous le titre Leçons de musique en 2005.Ce croquis a vraisemblablement servi à l'élaboration d'une série d'ateliers sur le thème de « Hasard et détermination » qui a eu lieu en 1982 au Centre Georges Pompidou et qui prolonge des thèmes abordés dans les cours du Collège de l'année précédente. L'étude de ce brouillon nous éclaire sur les jugements esthétiques, parfois passablement critiques, que Boulez portait sur des créateurs très différents de lui. À la lueur de cette esquisse, ses cours du Collège de France apparaissent soudain plus polémiques et engagés que ce qu'on en a généralement retenu, et leur cohérence avec ses activités de chef et programmateur ressort nettement.

Het Tweede strijkkwartet van Heinz Holliger dateert uit 2007 en is niet minder geavanceerd als het eerste. Het tweede kwartet was een opdracht van het strijkkwartet van meesterviolist Thomas Zehetmair, en werd opgedragen aan de in dat jaar honderdjarige Elliott Carter, die nog steeds nieuwe noten schreef. Als uitgangspunt dienden voor Holliger de vele heftige […]

Met Klaus Huber en Heinz Holliger dringen we nog iets verder binnen in de Zwitserse avantgarde van de jaren zestig en daarna. Hubers Eerste strijkkwartet ‘Moteti – Cantiones' bestaat uit dertien, overwegend zeer korte delen die verwijzen naar middeleeuwse technieken, zoals motetus, cantio en interventio. Hubers klankenwereld is hier menigmaal op de grens van het […]

durée : 00:59:23 - En pistes, contemporains ! du dimanche 04 février 2024 - par : Emilie Munera - Sol Gabetta et Bertrand Chamayou ont sollicité Wolfgang Rihm, Heinz Holliger ou Jörg Widman pour réagir aux romances sans paroles de Mendelssohn. Un disque brillant et engagé. Le projet de Guillaume Hermen d'aprés l'oeuvre de David Thoreau, Walden ou la vie dans les bois. C'est notre disque du soir. - réalisé par : Céline Parfenoff

SynopsisNow 18th-century opera is supposed to be a rather staid and stuffy affair. These operas invariably had happy endings, with all the messy human passion and conflicts amicably resolved by the opera's finale.But 18th-century opera could arouse some serious emotion offstage. In 1704, an 18-year-old composer named George Frideric Handel was employed as a violinist and harpsichordist in the orchestra of the Hamburg opera house. He made the acquaintance of another young composer, 23-year-old Johann Mattheson. The two became fast friends until, that is, a December performance of Mattheson's opera Cleopatra, during which Handel refused to turn over the harpsichord to Mattheson.“Hey, it's my opera, after all — move over!” Mattheson must have said, but to no avail. One thing led to another, and the result was a duel. It is said that Handel's life was saved by a button on his coat that deflected one of Mattheson's more lethal sword-thrusts.Thankfully, in the best tradition of 18th-century opera, the two reconciled on today's date in 1704, dining together and attending a Hamburg rehearsal of Handel's first opera, Almira, becoming, as Mattheson put it, “better friends than ever.”Music Played in Today's ProgramGeorge Frederic Handel (1685-1757) Oboe Concerto No. 3; Heinz Holliger, oboe; English Chamber Orchestra; Raymond Leppard, cond. Philips 454 363

 In his Éventail de musique française, Swiss oboist and composer Heinz Holliger traverses a broad selection of French works for oboe and piano in a multichromatic program of early 20th-century music. Contained in this wide-ranging recital are compositions by Ravel, Debussy, Milhaud, Saint-Saëns, Casadesus as well as Koechlin, Jolivet, and Messiaen – Holliger cultivated a personal relationship with several of the composers.Track Listing:1 Ravel: Pièce en forme de Habanera, M. 51 (Version for Oboe and Piano)2 Saint-Saëns: Oboe Sonata in D major Op. 166 / I. Andantino3 II. Allegretto4 III. Molto allegro5 Jolivet: Controversia6 Messiaen: Vocalise étude7 Messiaen: Morceau de lecture à vue8 Ravel: Deux mélodies hébraïques / No. 1, Kaddisch (Version for Oboe and Piano)9 Milhaud: Vocalise-Étude 'Air', Op. 10510 Debussy: Syrinx11 Koechlin: Le Repos de Tityre12 Jolivet: Chant pour les piroguiers de l'Orénoque13 Debussy: Petite Pièce14 Saint-Saëns: Le Rossignol (de Banville)15 Casadesus, R: Sonata Op. 23 bis / I. Allegro molto moderato16 II. Tempo di sardana17 III. Allegro vivoHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Die slowenische Dirigentin Martina Batič steht derzeit am Pult des SWR Vokalensembles. Eine kleine Konzerttournee findet am Samstag, 29. Juli in Stuttgart ihren Abschluss. In SWR2 spricht die Dirigentin über das „Elegie“ betitelte Konzertprogramm, das auch neue Werke von Toshio Hosokawa und Heinz Holliger bereithält. Sie sagt: „Musik und Kunst sind wunderbare Geschenke, die uns helfen, mit den Elegien unseres Lebens umzugehen.“ Das Konzert aus der Gaisburger Kirche wird im Live-Videostream ab 20 Uhr übertragen.

Synopsis On today's date in 2013, a new work by a 90-year old German-born American composer and teacher named Ursula Mamlok received its premiere performance in Switzerland. Five Fantasy Pieces for oboe and strings was given its premiere by the great Swiss oboist Heinz Holliger and colleagues. Ursula Mamlok was born in Berlin in 1923 and began composing as a child. Her family was Jewish, and once the Nazis placed school music programs off limits to Jews, her family began holding musicales in their home, with Ursula writing the music. After the Crystal Night pogrom in 1938, her family left Germany, and, via Ecuador, young Ursula came to America after being offered a full scholarship to study at the Mannes School of Music in New York. She became an American citizen and began teaching most notably the Manhattan School of Music. The bulk of Mamlok's music is for small chamber ensembles, and only once she tried to create a purely electronic piece. In a 1996 interview, she confessed, “Unfortunately I have no connection to it... I put it together in the studio at Columbia in New York, but it took too long. I said, ‘I can't do this.' I'd rather use the pencil.” Music Played in Today's Program Ursula Mamlok (1923 – 2016) Five Fantasy Pieces (2012/13) Heinz Holliger, ob; Hanna Weinmeister, vn; Jurg Dahler, vla; Daniel Heaflinger, vcl. Bridge 9457

Originaire de Mont-Joli, au Bas-Saint-Laurent, Vincent Boilard est hautbois solo associé à l'Orchestre symphonique de Montréal (OSM) et chargé de cours à l'Université de Montréal depuis 2015. Bien connu sur la scène musicale classique québécoise, sa réputation d'instrumentiste et de pédagogue n'est plus à faire. Suite à ses études au Conservatoire de musique de Rimouski et Québec sous la tutelle de Philippe Magnan, il entreprend une maîtrise en interprétation à la Haute École de musique de Genève. Il s'est perfectionné auprès de grands maîtres du hautbois, tels que Roland Perrenoud, Maurice Bourgue et Heinz Holliger. Avant d'occuper son emploi à l'OSM, Vincent Boilard a gagné des postes à l'Orchestre symphonique du Jura et à l'Orchestre du Festival de Verbier en Suisse, ainsi qu'à l'Orchestre symphonique de Laval et à l'Orchestre symphonique de Sherbrooke. Même s'il mène une carrière active à l'orchestre, Vincent Boilard participe régulièrement à des concerts de musique de chambre avec ses collègues de l'OSM. Il a aussi été soliste avec les Violons du Roy, l'Orchestre symphonique de Québec, l'Orchestre symphonique de Sherbrooke et l'Orchestre symphonique de l'Estuaire, et a offert des récitals au Festival Concerts aux Îles du Bic, au Festival International du Domaine Forget et dans le cadre de sa tournée canadienne avec les Jeunesses Musicales Canada. En plus de l'entendre sur les récents enregistrements de l'OSM, on peut écouter Vincent Boilard sur son plus récent disque ‘Lumières nordiques' sous étiquette Atma. Il s'agit d'une collaboration avec le Quatuor Molinari qui met en lumière le talent de compositeurs canadiens dans des quintettes pour hautbois et quatuor à cordes. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:58:29 - Heinz Holliger - par : Aurélie Moreau - Heinz Holliger, hautboïste, chef d'orchestre et compositeur, remporte le Concours de Genève à 20 ans. Virtuose accompli, il repousse les limites de son instrument, développant des techniques d'émission du son et de maîtrise de la respiration.

Ouverture de saison pour l'ensemble Contrechamps, le 6 septembre au Victoria Hall ! Les talents multiples du chef, compositeur et hautboïste Heinz Holliger se mêleront à la voix cristalline de l'incroyable Juliane Banse dans un programme qui traverse les XIXe et XXe siècles de virtuosités en magnificences. Quant à l'artiste Matthieu Baumann, il embrasera le Victoria Hall de feux ardents et féériques, pour notre plus grand bonheur. Nous avons rencontré Serge Vuille, le directeur de l'ensemble, qui nous présente ce début de saison.

Si en 17 minutos pudiera mostrarte cómo mejorar la velocidad (y calidad) de tu articulación en los próximos 30 días o menos... ¿te interesaría saber cómo? Entonces Regístrate aquí y Accede Ahora a esta Clase Gratuita para descubrir cómo mejorar tu articulación En el episodio de hoy, tenemos como invitado a Sérgio Fernandes Pires, Clarinete Solista de la Orquesta Winterthur Musikkollegium en Suiza y concertista internacional. Sérgio Fernandes Pires es uno de los clarinetistas más prometedores y artísticamente activos de su generación. Ha sido ganador y finalista en varios prestigiosos concursos internacionales. Como solista, ha tocado con grandes orquestas como la Filarmónica de Bremen, Chamber Orchestra de Basel, Musikkollegium Winterthur, Basel Symphonic Orchestra, interpretando obras de Mozart, Stamitz, Weber, Rossini, Penderecki, Danzi y Nielsen. Además de su actividad como solista, es el clarinete solista de la Orquesta Winterthur Musikkollegium desde el año 2016 y actualmente está en periodo de trial para el puesto de Clarinete Principal en la London Symphony Orchestra. Sérgio ha grabado 5 CD´s y ha colaborado con artistas como Michael Collins, Heinz Holliger, Felix Renggli, François Benda, Sarah Wegener, entre otros... Como músico de cámara ha tocado con destacados músicos como Emmanuel Pahud, Radovan Vlatkovic, Michael Collins, Heinz Hollinger, Valentin Erben, Felix Renggli, Emmanuel Ceysson y muchos otros. Ha participado también en algunos de los festivales más importantes del mundo, como el European Music Campus en Austria, BBC Proms en Inglaterra, Holstein Festival en Alemania, Isang-Yun Festival en Corea y el Festival Bozen en Italia. Desde muy joven, Sérgio a colaborado con diferentes orquestas en Europa y alrededor del mundo y ha compartido escenario con grandes artistas. Para saber más sobre Sérgio, leer su biografía completa, su agenda de conciertos y escuchar sus grabaciones, podéis visitar su web aquí: www.sergio-pires.com. En este episodio hablaremos de... Sus inicios con la música y por qué eligió el clarinete Los profesores que más influyeron en su formación Sus estudios en Basilea con François Benda y por qué decidió estudiar allí con él Concursos Internacionales y de cómo preparar de forma efectiva el repertorio en este tipo de concursos Por qué es importante desarrollar el hábito de aprender a tocar las obras de memoria y cómo influye en la interpretación La primera vez que compartió escenario con músicos tan grandes como Simon Rattle o Emmanuel Pahud La grabación de sus 5 CD´s y las diferencias principales y cosas a tener en cuenta a la hora de hacer una grabación en directo o en estudio Su trabajo y día a día en la Orquesta Winterthur Musikkollegium como clarinete solista Su primera experiencia tocando en orquesta. (Gira en Asia). Periodo de trial en la London Symphony Orchestra Y de muchas cosas más... Y ahora déjame preguntarte algo: Si en 17 minutos pudiera mostrarte cómo mejorar la velocidad (y calidad) de tu articulación en los próximos 30 días o menos... ¿te interesaría saber cómo? Entonces Regístrate aquí y Accede Ahora a esta Clase Gratuita para descubrir cómo mejorar tu articulación

In Heinz Holligers zweiter großer Oper "Lunea" geht es um das langsame Dahinsiechen von Nikolaus Lenau. Er war ein Weltschmerz-Lyriker aus dem frühen 19. Jahrhundert. Jetzt ist die Oper auf CD erschienen. Heinz Holliger dirigiert selbst die Philharmonia Zürich und die Basler Madrigalisten. Die Solopartien sind prominent besetzt, unter anderem mit Christian Gerhaher und Juliane Banse. Trotzdem ist diese CD keine leichte Kost, meint unser Kritiker Thorsten Preuß.

Während der Pandemie wird Künstler*innen von allen Seiten mitgeteilt, dass sie Ihr Selbstbild hinterfragen und innovativ in Sachen Formate und Struktur nach vorne schauen, Lösungen finden und marktfähiger sein sollten. Dies betrifft sowohl die Institutionen als auch die Freien Künstler*innen. Mit dem Intendanten der Deutschen Staatsphilharmonie Rheinland- Pfalz, Beat Fehlmann sprechen wir heute, an welchen Schnittpunkten in der Kultur überhaupt ein Hebel zur Veränderung angesetzt werden kann. Wir fragen uns, wie wir Tradition bewahren und gleichzeitig ehrlich Veränderung generieren können. Wir versuchen herauszubekommen, was Innovation in der Kunst, welche seit Jahrhunderten aus Tradition gewachsen ist, überhaupt bedeutet? Reden wir über das hundertste neue Vermittlungsformat oder müssen wir nicht grundsätzlich über Aufgaben, Haltungen und zeitgemäßen Umgang mit sowohl dem Publikum als auch den Mitarbeiter*innen sprechen? Was würde eine Veränderung oder Neuaufstellung denn künstlerisch oder ganz pragmatisch in der Administration und Logistik bedeuten? Beat Fehlmann ist seit September 2018 Intendant der Deutschen Staatsphilharmonie Rheinland-Pfalz in Ludwigshafen. Zuvor hatte der gebürtige Schweizer die Intendanz der Südwestdeutschen Philharmonie in Konstanz inne, die auf Stationen bei der Kammerphilharmonie Graubünden und der Philharmonie der Nationen folgte. Beat Fehlmann besitzt Musikhochschulabschlüsse in den Fächern Klarinette, Dirigieren und Komposition sowie einen Executive Master in Arts Administration der Universität Zürich. Nach einer Assistenz für Heinz Holliger beim Collegium Novum Zürich begann eine intensive Tätigkeit als Gastdirigent verschiedener Orchester und Ensembles. Für sein kompositorisches Schaffen wurde er mehrmals ausgezeichnet und als Klarinettist verfolgte er überwiegend Projekte mit experimentellem Charakter. Seit einigen Jahren konzentriert sich Beat Fehlmann auf administrative Tätigkeiten und bildete sich dafür an der Universität Zürich, der German Graduate School und dem King's College in London fort. Seit 2020 unterrichtet er zusätzlich an der Hochschule für Musik und Darstellende Kunst Frankfurt das Fach Orchestermanagement. 2022 wurde sein Engagement mit dem Kulturpreis der deutschen Orchester ausgezeichnet. WIR: Beat Fehlmann: https://www.staatsphilharmonie.de/de/Beat-Fehlmann Staatsphilharmonie Rheinland-Pfalz: https://www.staatsphilharmonie.de/de/ Frauke Meyer: https://www.fraukemeyer.art/ Susanne Petridis: https://www.die-marktfrau.com/ Wenn Ihr Feedback, Anmerkungen oder Themenanregungen habt, meldet Euch bei Susanne unter susanne@die-marktfrau.com oder bei Frauke unter post@fraukemeyer.art Die jeweiligen Podcastfolgen werden alle zwei Wochen am Freitag ab 15 Uhr hörbar sein. D.h. die nächste Folge könnt Ihr ah dem 01.07.22 hören.

Heinz Holliger's “dream opera” Lunea (2017), subtitled Lenau-Szenen in 23 Lebensblättern [Lenau scenes in 23 leaves from a life], with a libretto by Händl Klaus, is the Swiss composer's most complex piece of music theatre to date. It is also a work that continues the sequence of biographical ‘portraits' delineated in Holliger's remarkable recordings.Purchase the music (without talk) at:Holliger: Lunea (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson).

durée : 00:59:39 - Luis Tinoco réunit ses oeuvres de chambre - par : Emilie Munera - Emilie et Rodolphe vous on préparé un petit tour d'horizon des nouveautés et cette semaine, nous écoutons la musique de Luis Tinoco mais également celle de Heinz Holliger, Ondrej Adamek et Alireza Farhang. En Pistes, contemporains ! - réalisé par : Céline Parfenoff

Eine CD von Christian Gerhaher und Heinz Holliger - vorgestellt auf NDR Kultur.

En Venecia, un día como pero en 1740 Antonio Lotti, destacado compositor del barroco tardío italiano, cumplía 73 años y fallecía. Contemporáneo de J.S. Bach su música curiosamente conserva un espíritu más cercano al Renacimiento. Sus óperas fueron brillantes, muy innovadoras y atrevidas armónicamente; y además de éstas, escribió música sacra y cantatas para voz solo con cuerdas y continuo. También compuso una variedad inusual de piezas cortas para dos o más cantantes. Hoy escucharemos de este maestro, de su Concierto en La mayor para oboe d'amore y cuerdas, el Affettuoso de manos de Heinz Holliger en el oboe acompañado de la I musici.

Episode 61 Radio Stockhausen Playlist Karlheinz Stockhausen, “Kurzwellen,” side 1 from Kurzwellen (1970 Deutsche Grammophon). This is the Radio Bremen performance from the original 2-LP recording dated May 5, 1968. Composed, mixed, and electronics (filters and mixers), Karlheinz Stockhausen; Electronium, shortwave radio, Harald Bojé; Tamtam, shortwave radio, Alfred Alings, Rolf Gehlhaar; Piano, shortwave radio, Aloys Kontarsky; Electric Viola, shortwave radio, Johannes G. Fritsch. 23:25 Karlheinz Stockhausen, “Spiral Für Einen Solisten” (1970) from Siebengesang/Spiral Für Einen Solisten (1971 Deutsche Grammophon). Composed and directed and mixed by Karlheinz Stockhausen; Oboe, shortwave radio, Heinz Holliger. Recorded at Tonstudio Max Lussi, Basel, Switzerland, October 1970. A little klezmer music with the shortwave plus some creative vocalizations by oboe soloist Holliger. “Spiral (1968) für einen Solisten. Events received by a soloist on a (short-)wave radio are imitated, transformed and transcended.” This is an interpretation that often sticks closely to imitating the sounds heard on the shortwave, an approach often avoided (admittedly) by Stockhausen's regular troupe of musicians, despite the composer's suggestions for doing so. This interpretation stands out in this regard. 15:45 Karlheinz Stockhausen, “Stockhausen - Beethoven - Op. 1970” side B from Opus 1970 (1970 Deutsche Grammophon). Composed and mixed by Karlheinz Stockhausen; Piano, Aloys Kontarsky; Elektronium, Harald Bojé; Tam-tam, Rolf Gehlhaar; Electric viola, Johannes G. Fritsch; Tone Production Associate, Otto-Ernst Wohlert. This special version of Kurzwellen, sometimes known as Kurzwellen mit Beethoven-Musik, Stockhoven-Beethausen and released as Opus 1970, was produced for the bicentenary of Beethoven's birth in 1970. Following on the heels of his ensemble work for Kurzwellen (1968) and his use of shortwave tape collages in Hymnen (1969), Stockhausen substituted four tape collages of recorded Beethoven works for the shortwave radios of Kurzwellen. The recorded tapes retained shortwave sounds to simulate the real-time reception on radios. His ensemble used the same performance practices as they had for Kurzwellen but replaced the live shortwave radios with sounds they picked up from the montages on tape. They were each asked to respond to the tape collages as they would radio transmissions, choosing to tune-in and out as they wished. 25:33 Karlheinz Stockhausen, “Spiral - Version Elektrochord,” from Spiral/Wach/Japan/Pole (1973 Die Stimme Seines Herrn). Elektrochord, Schalmal, Japanische Bamboo flute], shortwave radio (KW-Empfänger, Péter Eötvös; mixer and potentiometer, Karlheinz Stockhausen. This album includes two versions of Spiral, one by Peter Eotvos and the other by Harald Boje. The Boje version uses the Electronium alone wth a shortwave receiver while this version uses an Electrochord, a shawm, a Japanese bamboo flute, and a shortwave receiver. The Electrochord in question is actually a combination of instruments consisting of a Hungarian zither with 15 strings along with an EMS VCS-3 synthesizer. The sounds of the zither are picked-up by two contact microphones and fed through the synthesizer for modification, for example filtering and ring modulation. This is one of the first instances I can find of someone from Stockhausen's performing group using a synthesizer other than the accordion-like Electronium. This Electrochord should not be confused with the organ-like instrument of the same name invented in the 1930s in Germany. The composer later purchased a very large EMS model 100 synthesizer for the WDR studio. 16:03 Background Music Thom Holmes, “Love Thump” (2015) for shortwave and processed sounds. 11:62 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations. More information about Stockhausen's shortwave radio era with a breakdown of the compositions and recordings can be found in this extensive article by Ed Chang. While you are there, check out his other “chapters” of analysis.  

durée : 00:57:20 - Heinz Holliger, hautboïste et chef d'orchestre (5/5) - Internationalement reconnu, Heinz Holliger figure parmi les plus grands hautboïstes de la seconde moitié du 20ème siècle, à l'aise dans le répertoire classique comme dans la création contemporaine. Chef d'orchestre accompli, le musicien suisse est aussi compositeur et grand pédagogue..

durée : 00:56:21 - Heinz Holliger, hautboïste et chef d'orchestre (4/5) - Internationalement reconnu, Heinz Holliger figure parmi les plus grands hautboïstes de la seconde moitié du 20ème siècle, à l'aise dans le répertoire classique comme dans la création contemporaine. Chef d'orchestre accompli, le musicien suisse est aussi compositeur et grand pédagogue..

durée : 00:57:30 - Heinz Holliger, hautboïste et chef d'orchestre (3/5) - Internationalement reconnu, Heinz Holliger figure parmi les plus grands hautboïstes de la seconde moitié du 20ème siècle, à l'aise dans le répertoire classique comme dans la création contemporaine. Chef d'orchestre accompli, le musicien suisse est aussi compositeur et grand pédagogue..

durée : 00:57:54 - Heinz Holliger, hautboïste et chef d'orchestre (2/5) - Internationalement reconnu, Heinz Holliger figure parmi les plus grands hautboïstes de la seconde moitié du 20ème siècle, à l'aise dans le répertoire classique comme dans la création contemporaine. Chef d'orchestre accompli, le musicien suisse est aussi compositeur et grand pédagogue..

durée : 00:56:52 - Heinz Holliger (1/5) - Internationalement reconnu, Heinz Holliger figure parmi les plus grands hautboïstes de la seconde moitié du 20ème siècle, à l'aise dans le répertoire classique comme dans la création contemporaine. Chef d'orchestre accompli, le musicien suisse est aussi compositeur et grand pédagogue...

Bernardo Alviz was born and raised in Bogota, Colombia.  He started his music studies at the age of 17 and holds a Bachelor's degree from the Universidad Javeriana in Bogota as well as a Bachelor's and Master's degree from the Hochschule für Musik Hanns Eisler Berlin in Germany. Bernardo is a passionate performer of contemporary music and has performed in some of the most renowned festivals including the Lucerne festival in 2017 with Heinz Holliger and Mathias Pintcher as chief conductors; as principal bass with the Solistenensemble Kaleidoskop at the Donaueschingen Musiktagen in 2017 as well as at the Rainy Days music festival in Luxembourg 2014; as principal bass of the Staatskapelle Berlin during the Infektio! Music festival in Berlin in 2016; and as principal bass with the Mahler Chamber Orchestra at the Malmo International Chamber music festival 2016 in Sweden.   We talk about growing up in Colombia, his training in Germany, meeting his wife Phoebe Russell, and their subsequent move to Australia, and getting established as a bassist there.  We also dig into his struggles with a performance injury and the mystery surrounding it, the struggles and discoveries that have come from it, and his move into teaching a large studio of young bassists and doing a PHD in composition.   Enjoy, and be sure to check out Bernardo’s website to learn more about this work!   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 80+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress.  Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool.  Organize, focus, and reflect on your practice – motivating you to increase retention in less time.  Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion theme music by Eric Hochberg

Eigentlich wollte er Trommler werden. Aber der Vater meinte, ein Trommler in der Familie sei genug. Also lernte er Piccolo. Was ursprünglich eine Qual war und nicht gelingen wollte, entwickelte sich schliesslich zur Leidenschaft. Und heute ist Kevin Klapka einer von Basels besten Pfeifer. Dennoch ist Kevin Klapkas Musikbezug viel breiter als bloss die Fasnachtsmusik. Er reicht von Pink Floyd, die er als Zehnjähriger noch live erlebt hat, über die späten Beatles bis hin zu Jazz und Klassik. Manchmal reist er sogar – oder reiste, als das noch möglich war – nach Berlin oder Wien, nur um sich Konzerte der Philharmoniker oder des Concentus Musicus anzuhören. Trotzdem bleibt das Piccolo Kevin Klapkas Hauptinstrument, auf dem er sich auch ausdrücken kann. Und so spielt er jetzt nach vielen Jahren der Zusammenarbeit mit dem mittlerweile verstorbenen Musiker, Komponisten und Fasnachtserneuerer Bernhard «Beery» Batschelet, der Organistin Susanne Doll und anderen nicht nur die komplexesten Fasnachtskompositionen bis hin zu Werken von Heinz Holliger, sondern schlicht alles, was man auf dem Piccolo spielen kann. Wie viel das ist, und was sonst noch alles zählt in der Musik und im Leben, erzählt der Instrumentenbauer (Piccolo natürlich) und Piccolospieler Kevin Klapka am Tag vor dem leider abgesagten Basler Morgenstreich seinem Gastgeber Michael Luisier.

Paul Celan (1920-1970) schrieb Gedichte «nach Auschwitz» und zerbrach an der Überlebensschuld. Der Lyriker und Mystiker zählt zu den meistvertonten Dichtern deutschsprachiger Weltliteratur. Eine Spurensuche durch 50 Jahre Musikgeschichte. Am 23. November 1920 kam Paul Celan als Paul Antschel in Czernowitz im damaligen Grossrumänien zur Welt. Seine Eltern wurden Opfer der Shoah, er selbst entkam der Deportation durch Zwangsarbeit. Die Überlebensschuld prägte Leben und Schreiben, seine Lyrik fand 1955 erstmals in die neue Musik. Was fasziniert Komponisten an Celan und wie gelingt es, das enigmatische Pathos der Gedichte zu transformieren? Das berühmteste Gedicht (Todesfuge) ist ein Denkmal für Celans Mutter und sorgte in der Lesung vor der Gruppe 47 für einen Skandal. Erstmals griff Walter Keller auf Todesfuge zurück (1955), später etwa Tilo Medek (1966), Violeta Dinescu (1993) und die deutsche Punkband Slime (1994). Corinne Holtz streift mit dem Musikwissenschafter Roman Brotbeck unterschiedliche Positionen. Darunter den sprachlosen Psalm von Heinz Holliger sowie Tenebrae von Aribert Reimann, Harrison Birtwistle und Jacques Wildberger.

durée : 00:10:33 - Disques de légende du mardi 13 octobre 2020 - Le hautboïste Heinz Holliger et le pianiste Alfred Brendel enregistrent en 1979 les œuvres pour hautbois et piano de Robert Schumann, pour le label Philips.

durée : 01:58:28 - Relax ! du mardi 13 octobre 2020 - par : Lionel Esparza - Holliger twist ! Deux heures avec le grand musicien suisse Heinz Holliger : hautboïste, compositeur et chef d'orchestre, il a quasiment tout accompli en musique, en soliste, en musique de chambre ou à l'orchestre, et dans tous les répertoires, du baroque au moderne, en passant par le classique... - réalisé par : Antoine Courtin

Heinz Holliger interessieren vor allem die Grenzen von Sprache, Klang und Leben als Mensch und als Musiker. Er ist Komponist vieler Bühnenwerke, schreibt für Stimmen, Orchester, Kammerensembles und Instrumentalsolisten. Klangsinnlichkeit und größtmögliche Klarheit bestimmen seine Arbeit als Dirigent, Schätze entdecken und Neue Musik verbreiten möchte Heinz Holliger mit seiner Oboe. (Produktion 2017)

On today’s date in 2013, a new work by a 90-year old German-born American composer and teacher named Ursula Mamlok received its premiere performance in Switzerland. “Five Fantasy Pieces” for oboe, violin, viola, and cello, was given its first performance by the great Swiss oboist Heinz Holliger and colleagues. Ursula Mamlok was born in Berlin in 1923, and began composing as a child, studying piano and composition. Her family was Jewish, and once the Nazis placed school music programs off limits to Jews, her family began holding musicales in their home, with Ursula writing the music. After the “Crystal Night” pogrom in 1938, her family left Germany, and, via Ecuador, young Ursula came to America after being offered a full scholarship to study at the Mannes School of Music in New York. She became an American citizen and taught for many years at various schools, most notably the Manhattan School of Music, where she taught for four decades. All the while she continued to compose, and described her own music as follows: “My main concern is that [it] should convey the various emotions in it with clarity and conviction. It interests me to accomplish this with a minimum of material, transforming it in such multiple way so as to give the impression of ever-new ideas that are like the flowers of a plant, all related yet each one different.” The bulk of Mamlok’s music is for small chamber ensembles, and only once she tried to create a purely electronic piece. In a 1996 interview, she confessed, “Unfortunately I have no connection to it … I put it together in the studio at Columbia in New York, but it took too long. I said, ‘I can’t do this.’ I’d rather use the pencil.” Late in her life, in her 80s, Mamlok returned to Berlin, where she wrote her last works, including her “Five Fantasy Pieces.” She died there in May of 2016 at age 93.

On today’s date in 2013, a new work by a 90-year old German-born American composer and teacher named Ursula Mamlok received its premiere performance in Switzerland. “Five Fantasy Pieces” for oboe, violin, viola, and cello, was given its first performance by the great Swiss oboist Heinz Holliger and colleagues. Ursula Mamlok was born in Berlin in 1923, and began composing as a child, studying piano and composition. Her family was Jewish, and once the Nazis placed school music programs off limits to Jews, her family began holding musicales in their home, with Ursula writing the music. After the “Crystal Night” pogrom in 1938, her family left Germany, and, via Ecuador, young Ursula came to America after being offered a full scholarship to study at the Mannes School of Music in New York. She became an American citizen and taught for many years at various schools, most notably the Manhattan School of Music, where she taught for four decades. All the while she continued to compose, and described her own music as follows: “My main concern is that [it] should convey the various emotions in it with clarity and conviction. It interests me to accomplish this with a minimum of material, transforming it in such multiple way so as to give the impression of ever-new ideas that are like the flowers of a plant, all related yet each one different.” The bulk of Mamlok’s music is for small chamber ensembles, and only once she tried to create a purely electronic piece. In a 1996 interview, she confessed, “Unfortunately I have no connection to it … I put it together in the studio at Columbia in New York, but it took too long. I said, ‘I can’t do this.’ I’d rather use the pencil.” Late in her life, in her 80s, Mamlok returned to Berlin, where she wrote her last works, including her “Five Fantasy Pieces.” She died there in May of 2016 at age 93.

Wandelen door de muziek van Bach is soms als wandelen in een spiegelpaleis. Dezelfde muziek duikt soms in geheel andere gedaanten op. Zo zijn van het Clavecimbelconcert, BWV.1059, maar 9 maten bekend, maar is het werk herkenbaar in de opening van een cantate, en in een Hoboconcert en… Johann Sebastian Bach, Concert voor klavecimbel en strijkorkest BWV.1059 (fragment), Alena Cherny (piano), Orchester Le Phenix Johann Sebastian Bach, Cantate BWV.35 ‘Geist und Seele wird verwirret’; Sinfonia, Bach Collegium Japan olv Masaaki Suzuki, Masaaki Suzuki (orgel) Johann Sebastian Bach, Concert voor hobo en strijkorkest BWV.1059R, Heinz Holliger (hobo), Camerata Bern olv Erich Hobarth

King Crinson, Ecm, Kim Kashkashian, Betty Olivero, Heinz Holliger, Stefano Scodanibbio, Eleni Marandrou, Jan Garbarek

King Crinson, Ecm, Kim Kashkashian, Betty Olivero, Heinz Holliger, Stefano Scodanibbio, Eleni Marandrou, Jan Garbarek

King Crinson, Ecm, Kim Kashkashian, Betty Olivero, Heinz Holliger, Stefano Scodanibbio, Eleni Marandrou, Jan Garbarek

durée : 01:59:13 - Relax ! du vendredi 04 octobre 2019 - par : Lionel Esparza - Au programme aujourd'hui : l'exploration d'un coffret paru récemment dédié au pianiste tchèque Rudolf Firkušný, le portrait du hautboïste, chef d'orchestre et compositeur suisse Heinz Holliger, et enfin, un disque de légende consacré à Alfred Deller et son Music for a While. - réalisé par : Antoine Courtin

Bekannt wurde er als Oboist. Ebenso ist er ein bedeutender Komponist. Und nicht zuletzt hat er sich auch als Dirigent einen Namen gemacht. Der Schweizer Heinz Holliger reiht sich ein in die Traditionslinie Mendelssohns, Mozarts, Beethovens: universal begabt, universal unterwegs. Am 21. Mai wird er 80 Jahre alt.

durée : 01:58:44 - Raretés mozartiennes ; Carte Blanche à la musique de chambre d'Eric Tanguy - par : Jean-Baptiste Urbain - ## Prélude à l'après-midi : Raretés mozartiennes _**OEuvres de Wolfgang Amadeus Mozart :**_ _Abendempfindung K. 523_ Peter Schreier, ténor / Konrad Rogossnig, guitare Berlin Classics _Allegro pour clarinette et quatuor à cordes en si bémol majeur K. 516c_ Martin Fröst, clarinette / Janine Jansen et Boris Brovtsyn, violons / Maxim Rysanov, alto / Torleif Thedéen, violoncelle BIS _Sonate pour basson et violoncelle en si bémol majeur K. 292 : II. Andante_ Alexandre Heller, basson / Yo Yo Ma, violoncelle Sony Classical _Quatuor pour hautbois, violon, alto et violoncelle en fa majeur K. 370 : III. Rondeau_ Heinz Holliger, hautbois / Orlando Quartet Philips _Allegro pour quintette à cordes en si bémol majeur K. 514a_ The Nederlands Solistenensemble Emergo Classics _Adagio en ut mineur et Rondo en ut majeur K. 617 pour harmonica de verre, flûte, hautbois, alto et violoncelle : II. Rondo_ Bruno Hoffman, harmonica de verre / Aurèle Nicolet, flûte / Heinz Holliger, hautbois / Karl Schouten, alto / Jean Decroos, violoncelle Philips ## Le concert : Autour de la musique de chambre d'Eric Tanguy **Avec [Eric Tanguy](https://erictanguy.wordpress.com/a-propos/)** **[Quatuor Hanson](https://www.quatuorhanson.com/) :** Anton Hanson, violon Jules Dussap, violon Gabrielle Lafait, alto Simon Dechambre, violoncelle {% image e082e339-a22e-43fc-a7ff-62f48fa236b1 %} **[Suzana Bartal](https://suzanabartal.com/),** piano **[Laura Holm](https://www.laura-holm.com/),** soprano **[Pierre Génisson](http://www.pierregenisson.com/),** clarinette {% image be6e1684-5b55-4a9e-93ed-4652cb1d6e7d %} **[Trio Sora](http://triosora.com/fr/accueil) :** Pauline Chenais, piano Magdalena Geka, violon Angèle Legasa, violoncelle _**OEuvres d'Eric Tanguy :**_ _Quatuor à cordes n° 2 I. Animé / II. Très lent / III. Très vif_ Quatuor Hanson _Nouvelle Etude pour piano_ Suzana Bartal _Cercle pour soprano et piano_, sur un poème d’[Alexandra Soumm](https://www.alexandrasoumm.com/) Laura Holm et Suzana Bartal _Passacaille pour piano_ Suzana Bartal _Lacrymosa pour clarinette et piano_ Pierre Génisson et Suzana Bartal _Trio pour piano et cordes_ Trio Sora _**Enregistré en public au Studio 106 le mercredi 20 décembre 2017**_ - réalisé par : Laurent Lefrançois

Tom Klaassen oriënteert zich op het komende Festival Oude Muziek.

Am 5. und 6. Dezember 2016 tritt die deutsche Geigerin Veronika Eberle mit dem Bayerischen Staatsorchester unter Leitung von Heinz Holliger in München auf. Auf dem Programm stehen neben Schumann und Debussy auch das Erste Violionkonzert von Bartók. Im Gespräch mit BR-KLASSIK erzählt die Solistin, welche Geschichte hinter dem Violinkonzert - das erst in den 50er Jahren uraufgeführt wurde - steckt.

Geneviève Strosser (Viola) | Jürg Dähler (Viola) | Muriel Cantoreggi, Viola | The Hilliard Ensemble

Heinz Holliger (Oboe) | Anita Leuzinger (Violoncello) | Anton Kernjak (Klavier)

Lucie Skeaping talks to members of the Hilliard Ensemble as they celebrate their 40th anniversary, and plays a selection of their many recordings. The Hilliard Ensemble established a reputation as an early music ensemble with a series of successful recordings in the 1980s, but it was when they began also to focus on new music that the world began to sit up and take notice. The 1988 recording of Arvo Pärt's "Passio" began a fruitful relationship with the Estonian composer, and the group has recently commissioned other composers from the Baltic States, including Veljo Tormis and Erkki-Sven Tüür, adding to a rich repertoire of new music from Gavin Bryars, Heinz Holliger, John Casken, James MacMillan, Elena Firsova and many others. The Hilliard Ensemble's popularity crossed musical boundaries when their collaboration with the Norwegian Saxophonist Jan Garbareck sent their ECM recording "Officium" soaring up both classical and pop charts in several countries. Equally at home with Perotin, Palestrina and Pärt, the four members of the Hilliard Ensemble describe some of the many musical experiences they have had in concert halls and recording studios around the world, and select some of their favourite tracks from their extensive CD catalogue.

This week's Contrabass Conversations episode features the second half of our interview with double bassist Guy Tuneh, conducted over a distance of thousands of miles. It was a real pleasure to get to sit down and chat with Guy--he's a warm, intelligent, and passionate individual, and these traits come through in his speaking just like they do in his bass playing. You can visit him online at www.guytuneh.com. You will also get a chance to hear the great jazz bassist Brian Bromberg perform and hear some bass playing from L.A. bassist Nam Chi Vu. Enjoy! Guy D. Tuneh dedicates his work to challenging the traditional role of the bass player, and to stretching the limits of bass-playing. Beyond approaching the double bass literature from a new direction, these goals are achieved by performing music which until now was considered impossible to perform on this instrument. For example, he was the first bass player to ever perform an un-transcribed version of the Tchaikovsky’s Rococo Variations in concert, achieving a higher standard of technical and artistic level. Guy Tuneh set a landmark in double bass performing - to be the first Bass-Solist to ever perform an un-transcribed version of the Elgar cello concerto and Villa Lobos Fantasia for Cello on bass in concert and to be the first Bass-solist to perform first time ever an un-transcribed version of the both Beethoven F and G Violin Romances on double bass in concert, Paganini's Cantabile in D, Capriccio Nr. 9 as an un-transcribed version and an un-transcribed version of Mozarts Rondo C-Major for Violin, Sonata KV 301 for Violin in G and Mahlers Lieder eines fahrenden Gesellen for low voice on double bass as well. Guy Tuneh has set a personal goal to combine passion, personality, character, and unique technique, in his approach to music performance. Aiming at winning over wide and diverse audiences, he constantly seeks new challenges. Coming from a deep and intense personal involvement, his performances attempt to deliver strong massages to the audience and result in intense, captivating, and awe-inspiring experiences. Guy D. Tuneh has been studying in Germany and Switzerland and performing internationally, Mr.Tuneh has been active as a solo performer and chamber musician. Having begun as a violin student at the age of 6, he was drawn to the tone color of the double bass, joining Michael Klinghoffer's bass studio at the S. Rubin Academy of Music at Tel Aviv University. Later, he continued his bass studies under Barbara Sanderling at the Hochschule Für Musik "Hanns Eisler" in Berlin, which followed a Solo Artist Diploma at the Music Academy Basel in Switzerland. Additionally, he took master classes with Yoan Goilav, Gary Karr and Miloslav Gajdos. Guy Tuneh's orchestra performances included engagements as a principl bassist with the Berliner Kammeroper, Mendelssohn Players Berlin, Ensemble "Echo" of the Deutsche Staatsoper Berlin, and the West-Eastern Divan Orchestra (Winner of ECHO–Klassik AWARD 2006 & ECHO-Klassik AWARD 2007) under Daniel Barenboim. These performances, which included chamber music collaborations with Mr. Barenboim were recorded for the ORF (National Austrian Public Service) at the Salzburg Festival and at the Lucerne Festival, along with many other performances on German radio and TV. He also performed with Theater Erfurt, Solistes Européens Luxembourg, with the NDR (North German Radio Orchestra - Hannover) and Ensemble Modern. As an orchestra bassist Mr. Tuneh performed under such distinguished conductors as Kurt Sanderling, Zubin Mehta, Sir Simon Rattle, Nicolas Harnoncourt and Pierre Boulez. Winner of a Villa Musica Scholarship, Guy Tuneh has performed all over Germany as a Soloist and as a chamber musician to great acclaim, and participated in Solo and chamber music performances recorded by the (Southwest German Radio). These performances included collaborations with members of Ensemble Villa Musica. Mr. Tuneh participated at festivals such as the "Verbier Festival", "Festival di Musica d'Insieme di Sessa Aurunca", "Fètes musicales en Touraine", "Busan Maru International Music Festival" and the "Internationales Bodenseefestival". Guy Tuneh's performances as a solo performer and chamber musician included collaborations with Vesselina Kasarova, Natalia Gutman, Rainer Kussmaul, Heinz Holliger, Ensemble-Modern, The Baltic Guitar Quartet, The Berlin Chamber Orchestra, Kammersolisten der Deutschen Oper Berlin, Ensemble Les Dissonances and other distinguished musicians. Mr. Tuneh maintains an active double bass teaching career, giving master classes world wide. Learn more at guytuneh.com.

Guy D. Tuneh dedicates his work to challenging the traditional role of the bass player, and to stretching the limits of bass-playing. Beyond approaching the double bass literature from a new direction, these goals are achieved by performing music which until now was considered impossible to perform on this instrument. For example, he was the first bass player to ever perform an un-transcribed version of the Tchaikovsky’s Rococo Variations in concert, achieving a higher standard of technical and artistic level. Guy Tuneh set a landmark in double bass performing - to be the first Bass-Solist to ever perform an un-transcribed version of the Elgar cello concerto and Villa Lobos Fantasia for Cello on bass in concert and to be the first Bass-solist to perform first time ever an un-transcribed version of the both Beethoven F and G Violin Romances on double bass in concert, Paganini's Cantabile in D, Capriccio Nr. 9 as an un-transcribed version and an un-transcribed version of Mozarts Rondo C-Major for Violin, Sonata KV 301 for Violin in G and Mahlers Lieder eines fahrenden Gesellen for low voice on double bass as well. Guy Tuneh has set a personal goal to combine passion, personality, character, and unique technique, in his approach to music performance. Aiming at winning over wide and diverse audiences, he constantly seeks new challenges. Coming from a deep and intense personal involvement, his performances attempt to deliver strong massages to the audience and result in intense, captivating, and awe-inspiring experiences. Guy D. Tuneh has been studying in Germany and Switzerland and performing internationally, Mr.Tuneh has been active as a solo performer and chamber musician. Having begun as a violin student at the age of 6, he was drawn to the tone color of the double bass, joining Michael Klinghoffer's bass studio at the S. Rubin Academy of Music at Tel Aviv University. Later, he continued his bass studies under Barbara Sanderling at the Hochschule Für Musik "Hanns Eisler" in Berlin, which followed a Solo Artist Diploma at the Music Academy Basel in Switzerland. Additionally, he took master classes with Yoan Goilav, Gary Karr and Miloslav Gajdos. Guy Tuneh's orchestra performances included engagements as a principl bassist with the Berliner Kammeroper, Mendelssohn Players Berlin, Ensemble "Echo" of the Deutsche Staatsoper Berlin, and the West-Eastern Divan Orchestra (Winner of ECHO–Klassik AWARD 2006 & ECHO-Klassik AWARD 2007) under Daniel Barenboim. These performances, which included chamber music collaborations with Mr. Barenboim were recorded for the ORF (National Austrian Public Service) at the Salzburg Festival and at the Lucerne Festival, along with many other performances on German radio and TV. He also performed with Theater Erfurt, Solistes Européens Luxembourg, with the NDR (North German Radio Orchestra - Hannover) and Ensemble Modern. As an orchestra bassist Mr. Tuneh performed under such distinguished conductors as Kurt Sanderling, Zubin Mehta, Sir Simon Rattle, Nicolas Harnoncourt and Pierre Boulez. Winner of a Villa Musica Scholarship, Guy Tuneh has performed all over Germany as a Soloist and as a chamber musician to great acclaim, and participated in Solo and chamber music performances recorded by the (Southwest German Radio). These performances included collaborations with members of Ensemble Villa Musica. Mr. Tuneh participated at festivals such as the "Verbier Festival", "Festival di Musica d'Insieme di Sessa Aurunca", "Fètes musicales en Touraine", "Busan Maru International Music Festival" and the "Internationales Bodenseefestival". Guy Tuneh's performances as a solo performer and chamber musician included collaborations with Vesselina Kasarova, Natalia Gutman, Rainer Kussmaul, Heinz Holliger, Ensemble-Modern, The Baltic Guitar Quartet, The Berlin Chamber Orchestra, Kammersolisten der Deutschen Oper Berlin, Ensemble Les Dissonances and other distinguished musicians. Mr. Tuneh maintains an active double bass teaching career, giving master classes world wide. Learn more at guytuneh.com.