Cosmos Stockhausen 5

Pierre-Laurent Aimard

Stockhausen

Sun, 09.09.11.00No. 18346

Kirchensaal MaiHof

Tickets as from Mon, 5 March 2018 | 12.00 (UTC + 1)


20% discount on three different concerts in the “Cosmos Stockhausen” series



Please book a wheelchair ticket under t +41 (0) 41 226 44 80 (10 a.m. to 5 p.m.)

Summer Festival

17.08.-16.09. 2018

 

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    09.

    Sep

    Sunday
    11.00

    Kirchensaal MaiHof

    Cosmos Stockhausen 5

    Pierre-Laurent Aimard

    Karlheinz Stockhausen (1928–2007)
    Piano Pieces I-XI

    A milestone indeed: Karlheinz Stockhausen’s Klavierstücke (Piano Pieces) are a mountainous massif of new music, especially the early Numbers I to XI, which were composed in the 1950s and 1960s. Stockhausen characterized them as “drawings,” because he could focus here “on the possibilities of an instrument, a player with his ten fingers and two feet,” and in this concentrated framework could address fundamental compositional problems. Stockhausen explored unusual ways of playing and echo nuances, sampled overtone effects by having keys muted and then struck, and went far beyond conventional pianism. “The sounds ricochet from the top to the bottom of the piano, as if the instrument were a pinball machine,” observes the American music critic Alex Ross. And the French pianist Pierre-Laurent Aimard, who worked closely with Stockhausen for years, remarks: “In each of his Klavierstücke, Stockhausen develops a new parameter. He experimented constantly, radically, and systematically from piece to piece.” 

    Pierre-Laurent Aimard

    The French pianist Pierre-Laurent Aimard, who was born in 1957 in Lyon, studied at the Paris Conservatoire with Yvonne Loriod and in London with Maria Curcio. He also took part in the analysis seminars led by Pierre Boulez at IRCAM in Paris and in clas-ses with György Kurtág in Budapest. In 1973 Aimard won the Messiaen Prize in Royan, and ever since then he has been considered the authoritative performer of this composer’s works. When Boulez founded the Ensemble intercontemporain in 1976, he appointed Aimard as its solo pianist. He has premiered many important compositions since then, including Répons by Boulez, several of Ligeti’s Etudes, and, in October 2014, Harrison Birtwistle’s piano concerto Sweet Disorder. As a soloist and chamber musician he has also continued to perform the “traditional” repertoire as part of well-designed programs featuring an unusual dramaturgy. In 2007 Aimard was a focus at LUCERNE FESTIVAL as “artiste étoile”; in recent years he has also had residencies with the Berlin Philharmonic and at the Konzerthaus in Vienna, Carnegie Hall, the Cité de la Musique in Paris, the Alte Oper in Frankfurt, the Tanglewood Festival, and the Southbank Centre in London. He has served as Artistic Director of the Aldeburgh Festival since 2009. In the 2014-15 season Aimard is concertizing with the DSO Berlin, the London Philharmonic, the Boston Symphony Orchestra, and the Philharmonia Orchestra; with Tamara Stefanovich he will present Boulez’s complete works for piano to celebrate that composer’s 90th birthday. Aimard has won many awards, including the Diapason d’Or and the Choc du Monde de la Musique for his account of Bach’s Art of the Fugue. His recording of The Well-Tempered Clavier (Book I) was released in the summer of 2014. Aimard holds professorships at the Academy of Music in Cologne and at the Paris Conservatoire.

    LUCERNE FESTIVAL (IMF) debut on 23 August 1979 in Oiseaux exotiques by Messiaen, with Miltiades Caridis conducting the Swiss Festival Orchestra.

    October 2014

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    The “Stockhausen Package”
    20% discount on three different concerts in the “Cosmos Stockhausen” series