Appetizer Konzerte

Join us for a captivating musical journey with the exceptional Yshani Perinpanayagam at our first Appetizer Concert. With a background as both a musical director and a multi-genre pianist, Perinpanayagam brings a wealth of experience and creativity to her performances. Trained as a pianist from a young age, she has honed her skills across a diverse range of musical genres, from classical to contemporary. Her career has taken her to venues from Wigmore Hall to the London Palladium, Huddersfield Contemporary Music Festival to the Barbican Mime Festival, and to work with artists from the Philharmonia to Nina Conti. Her repertoire features works by composers ranging from the Baroque brilliance of Rameau to the contemporary complexity of Philip Venables, and from the lush romanticism of Rachmaninoff to the avant-garde explorations of Messiaen. As the musical director of The Faggots and Their Friends Between Revolutions, Perinpanayagam seamlessly intertwines the realms of music and theatre, weaving together evocative soundscapes that enhance the narrative and emotional depth of the performance.

Join us for a special lunchtime treat with the Wild Up as they offer an open rehearsal of Julius Eastman's famous minimalist piece Crazy N****r.  Eastman, an African American, queer and politically active composer, pianist and performer, is sometimes described as the enfant terrible of the 1970s-80s American avant-garde. Delve into the captivating sounds of Eastman's music, known for its bold experimentation and boundary-pushing compositions. Led by conductor and composer Christopher Rountree, Wild Up brings a fresh perspective to classical music, infusing it with passion and innovation. In this intimate setting, Elizabeth Cline, a member of the ensemble, will provide insights into the unique qualities of Eastman's music and its significance in the contemporary classical scene. Don't miss this rare opportunity to witness the inner workings of a groundbreaking piece and experience the magic of Wild Up up close. 

Programme:

Louis Andriessen - Overture to Orpheus
Hanna Kulenty - E for E
Ton Bruynèl - Chatarra 
Jacob ter Veldhuis - Zuchten van Rameau
Karol Nepelski - Variations on global crowd
Peteris Vasks – Kantate

Embark on a musical journey through time and space with harpsichordist Gośka Isphording at our appetizer concert. Renowned for her virtuosity and versatility, Isphording brings a wealth of experience to her performances, drawing from a diverse musical background that spans classical, contemporary, and experimental genres. In this special interactive format, audience members will have the opportunity to get up close and personal with the harpsichord, experiencing its rich, resonant sound firsthand. Her dynamic programme will showcase the instrument's versatility, ranging from Baroque masterpieces like Joseph-Nicolas-Pancrace Royer’s La Marche des Scythes to contemporary compositions, including musical selections for Jan Martens' dance piece, Futur Proche.

The internationally acclaimed opera singer Adrian Angelico, who takes on the main role in Eline Arbos Haugtussa, gives a taste of the fusion of music styles present in the piece: weaving together Edvard Griegs romantic music and Norwegian folk music. Angelico’s gender fluidity brings a special dimension to the character who struggles with being an outsider. Drawing from their own Sami roots, and a master of many genres, Angelico brings a programme with yoik songs – traditionally chanted a cappella, reverberating in the Turbinenhalle.

In this special lunch time concert, Thomas Maedowcroft, responsible for the musical arrangements of the production of Pferd Frisst Hut, gives us a taste of his current work. He continues to demolish courtesy in this latest installment of Alleinunterhaltung mit Alleinunterhalter, an ongoing piece that lovingly operates as a searing, defeatist commentary on the political economy of music. Incorporating the starkness and humour typical of Maedowcroft’s music and its place between contemporary classical and abstract pop, the piece employs a combination of drum machines, keyboards and analogue tape to engage with the thorny issue of ‘the value of music in its endless proliferation’.