The young Chinese flutist Yuan Yu has won the ICMA Discovery Award 2018. Yuan Yu is a student at the Conservatoire national supérieur de Musique et de Danse de Paris in the class of Professor Philippe Bernold, assisted by Florence Souchard-Delépine. In 2012, he won first prize in the children's section of the inaugural China Flute Association. In 2015 he was given an honorable mention at the 67th International Prague Spring Music Competition. In 2017, at the age of fifteen, he was the winner of the 7th Krakow International Flute Competition. Later in the same year, he also won first prize at the 9th Kobe International Flute Competition.He loved performing since an early age, giving his first solo recital at the age of thirteen at the Central Conservatory of Music in Beijing.Yuan receives a scholarship from the International Academy of Music in Liechtenstein, and takes part in the intensive music weeks and activities offered by the Academy. Remy Franck and Isabel Roth spoke with the young musician.

Yuan Yu
(c) Andreas Diomjanic

When did you start playing the flute?
I decided to play the flute at the age of 7. From the beginning I liked the instrument very much. I also started to play the piano, but my mother was pushing me so hard, that at the end I disliked this instrument. But, becoming older, I appreciate the piano again. Fortunately, my mother gave me more freedom with the flute, so this was easier for me. Read More →

Der Multi-Percussionist Christoph Sietzen, 'Young Artist oft he Year' der International Classical Music Awards' (ICMA), gab im Alter von 12 Jahren sein Debüt bei den Salzburger Festspielen und ist u.a. Preisträger des Internationalen Musikwettbewerbs der ARD. Seine erste Solo-CD 'Attraction', die den Titel des für ihn von Emmanuel Séjourné komponierten gleichnamigen Werks trägt, wurde mit dem 'Pizzicato Supersonic Award' ausgezeichnet. Der in Salzburg geborene Luxemburger wurde seit seinem sechsten Lebensjahr am Schlagwerk unterrichtet und studierte später Marimba bei Bogdan Bacanu, mit dem er das 'Wave Quartet' gründete. Seit 2014 unterrichtet Christoph Sietzen an der Universität für Musik und darstellende Kunst Wien. Remy Franck hat sich mit dem Musiker unterhalten.

Christoph Sietzen

Fangen wir vielleicht ganz vorne an. Wie kamen Sie zum Schlagzeug?
Im Kindergarten war ich in einer Xylophon-Gruppe und spielte auf einem kleinen Xylophon des Orff-Schulwerks. Das hat mir unglaublich viel Spaß gemacht. Und weil meine Großeltern auch beide Musiker sind, genau wie mein Onkel, war da schon eine Verbindung vorhanden. Read More →

In these days, the Gewandhausorchester Leipzig celebrates the official inauguration of Andris Nelsons as Gewandhauskapellmeister. Martin Hoffmeister met the conductor for an interview.

Andris Nelsons

Mr. Nelsons, Gewandhauskapellmeister, what do you think about this title? That´s pretty old-fashioned, isn´t it?
I have several emotions and exciting feelings about this title. On the one hand, it´s a historical title and it´s a great honor to have such a title with a great tradition from so many years ago. On the other hand, the title is quite contemporary at the same time, because the Gewandhauskapellmeister has always been influencing and participating in a lot of commissions, a lot of new works. Read More →

Austrian conductor Manfred Honeck, Music Director of the Pittsburgh Symphony Orchestra since 2008, is ICMA Artist of the Year. Musica's Nicola Cattò met the former Vienna Philharmonic viola player (his brother Rainer is still Concertmaster) in Milan at the beginning of January, after the first of three concerts devoted to a traditional Vienna New Year repertoire that got a thunderstorm of applause in the iconic Milanese theatre.

Manfred Honeck
(c) Jason Cohn

You came back to La Scala after a 20 years gap (not counting the very recent concerts with the Academy Orchestra). A programme very much connected to your musical culture, but not at all to Italian tradition, marked this comeback. How did it work?
Actually quite well, because these musicians are technically very good. Moreover, for this music you need to be a musician with taste, with good technique and a feeling for rhythm. You need a lot of rubato, many stylistic elements that la Scala orchestra is able to give. Read More →

In the category DVD Performance, this year's prize of the International Classical Music Awards (ICMA) has been awarded to Rileggendo Brahms with the Orchestra della Svizzera Italiana conducted by Markus Poschner. This OSI production with the complete Brahms Symphonies has been supported by Helsinn, the orchestra's international partner, and was published on two DVDs by Sony Classical in December 2016. The live recordings were made during the first season at the LAC Theater in Lugano. Nicola Catto has spoken with Denise Fedeli, OSI's Artistic-administrative Manager.

Denise Fedeli
(c) D.Vass

How and when this project devoted to the Brahms Symphonies was born?
In May 2013 in Munich, when I was setting up our future collaboration with our new Music Director Markus Poschner. Both we wanted to begin with a great project, articulated over several concerts, to be realized during the opening season of the LAC, Lugano’s new concert hall. Read More →

Line Adam ist eine der vielseitigsten belgischen Komponistinnen. Im Gegensatz zu vielen ihrer Kollegen bricht sie eine Lanze für eine zeitgenössische Musik, die von jedermann verstanden und ohne große Schwierigkeiten auch gehört werden kann. Aber auch darüber hinaus hat Line Adam noch viel Interessantes zu erzählen. Alain Steffen hat die Komponistin im belgischen Huy getroffen.

Line Adam
(c) Guy Werner

Line Adam, was bedeutet es, heute Komponistin zu sein? Haben sich die Herausforderungen nach vielen Jahrhunderten Musik eigentlich verändert?
Ich denke, die eigentlichen Herausforderungen sind noch immer die gleichen. Jeder Komponist, egal ob er vor dreihundert Jahren gelebt hat oder eben heute lebt, hat primär das Bedürfnis, sich musikalisch auszudrücken. Wie er das tut, welchen Weg er wählt, das ist ihm dann überlassen. Read More →

It's a long and sometimes difficult, yet at the end very successful history: 150 years ago C.F. Peters published the first volume of their Green Series, which rapidly became famous and thus, as Edition Peters, the hallmark of the company which was created in 1800 when the Vienna-educated composer and conductor Franz Anton Hoffmeister (1754-1812) entered into partnership with the organist Ambrosius Kühnel (c. 1770-1813) to establish a Bureau de Musique in Leipzig. Its activities included the sale of instruments – supplying, amongst others, Goethe and Beethoven – and the publishing of books and sheet music.

Among the earliest publications were collections of Haydn’s string quartets, and of Mozart’s quartets and quintets. With a 14-volume set of the clavier works of J. S. Bach (then a nearly forgotten name), the company undertook one of publishing history’s earliest ‘complete edition’ projects. As early as 1802, the firm also succeeded in acquiring a set of piano and chamber works from Beethoven, together with his First Symphony and the B-flat major Piano Concerto. Read More →

In January 2017, Austrian conductor Manfred Honeck took over the Czech Philharmonic’s subscription concerts because of the poor health of the orchestra’s chief conductor, Jiri Belohlavek. Among his concerts was a performance of Bohuslav Martinu’s The Epic of Gilgamesh which was also recorded and released by Supraphon. Here is an interview which the label contributes to Pizzicato's editorial.

Manfred Honeck
(c) Felix Broede

It was your very first encounter with the score of The Epic of Gilgamesh. Was it just an assignment or was it a joy?
I have been familiarising myself with Czech music step by step. I received my education in Vienna, which involves learning the old classics – by Mozart, Beethoven, Schubert, Brahms, Mahler, Bruckner … Then Dvorak appeared … My first contact with Czech music was through Antonin Dvorak, followed by Bedrich Smetana and Leos Janacek. And then Bohuslav Martinu. Read More →

Barbara Hannigan
(c) Raphael Brand

Barbara Hannigan, auf dem Programm, mit dem Sie momentan auf Tournee sind, stehen Werke von Luigi Nono, Arnold Schönberg, Alban Berg und George Gershwin. Und bei allen steht eine Frauenfigur im Mittelpunkt.
In der Tat dreht sich das Programm um vier Frauengestalten, wobei allerdings für mich Lulu die Zentralfigur ist, der sogenannte dramatische Kern, auf den sich alle anderen Werke beziehen, resp. von dem sie inspiriert werden. Read More →

Im Konzert zum 25. Gründungstag des Luxemburger Kammerorchesters 'Estro Armonico' wird am 26. November im Luxemburger Konservatorium eine neue Komposition von Luc Grethen aufgeführt, 'Endless Moving'. Pizzicato-Mitarbeiter Uwe Krusch hat sich mit dem Komponisten über sein Schaffen unterhalten.

Luc Grethen

Luc Grethen, Ihr Kompositionsverzeichnis reicht mehr als dreißig Jahre zurück. Zumindest von der Anzahl der Kompositionen her betrachtet waren die letzten 15 Jahre deutlich produktiver als die frühen Jahre. Wie ist das zu erklären, mussten Sie erst Ihren Stil erarbeiten?
Meinen persönlichen Stil habe ich Anfang 2000 entwickelt und von dem Moment an ging das Komponieren viel einfacher und schneller von Hand. Dazu kommt, dass vor dieser Zeit Familie und Arbeit absolute Priorität hatten, so dass wenig Zeit zum Komponieren blieb. Read More →

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