Renaissance
© ThorstenKrienke
The works brought together in this programme engage in a distinctive dialogue with a distant past, whether intimate, historical, or musical.
In Drawing, Toshio Hosokawa returns to the primordial experience of birth, exploring the primitive sensations that precede our entry into the world. With Lamento, Jörg-Peter Mittmann evokes, as if in a dream and amidst mysterious sonic landscapes, the crystalline shadow of Lamento della Ninfa by Claudio Monteverdi, whose resonances travel through time like a lingering memory. Dufay Fragmente I, a kind of “composed interpretation” by Isabel Mundry — to borrow the term coined by Hans Zender — takes us back to the dawn of the Renaissance. By highlighting the contrasts between old and new, distant and near, familiar and strange, the composer reinterprets and appropriates songs by Guillaume Dufay in order to reveal new sonic perspectives.
Through these three perspectives, the past emerges not as a fixed inheritance, but as a living material that continues to nourish contemporary creation.
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For many listeners, the Highland bagpipe remains inseparable from its cultural roots and traditions. Yet for the Breton musician Erwan Keravec, the instrument also represents a gateway to unexplored musical territories. A piper, composer and pioneering improviser, Keravec has devoted his career to expanding the horizons of the bagpipe, revealing its remarkable potential far beyond its customary setting.
The piano accompanied Mozart throughout his life from early childhood, when he performed in public across Europe. His keyboard works often resonate with those written for larger ensembles or for the operatic stage, serving as a genuine laboratory for new ideas. In the eighteenth century, however, the piano sounded quite different from modern instruments.
