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Tag: Iannis Xenakis

'EXCLUSIVE: Kurt Gottschalk's Chamber Dispatches from Ostrava Days 2015

Ostrava, a smallish Czech city of some 300,000 people about 10 kilometers from the Polish border, hosts the biennial Ostrava Days, a small festival, itself, but with audiences usually numbering a couple hundred. Both city and fest think big. In recent years, Ostrava has seen a remarkable amount of development via commerce and construction, as well as a laudable push to renovate the industrial facilities if its mining past into theaters, galleries and other art spaces. For its part, Ostrava Days is oriented toward big music--the 2015 edition even featuring a night of works for three orchestras--all the while making room for smaller-scale compositions.
By Kurt Gottschalk

  • 'EXCLUSIVE: Kurt Gottschalk's Orchestral Dispatches from Ostrava Days 2015

    While the biannual Ostrava Days in the Czech Republic features, primarily, a wide array of post-1950 solo and small ensemble pieces, it is, at its heart, a symphonic endeavor--founded and curated by Czech composer/conductor Petr Kotik. Over the course of nine expansive nights in August, running this year from the 21st to the 29th, the festival hosted three different orchestras, and all three together on the first night. The Ostrava-based Janáček Philharmonic Orchestra and resident ensemble Ostravská Banda did plenty of heavy lifting over the course of the fest, with the Miners Band from Stonava (a brass group from that nearby town in coal-mining Moravia) joining them on opening night.
    By Kurt Gottschalk

  • 'London Sinfonietta Presents 'Spectrum of Sound,' World Premiere of Mica Levi's 'Greezy'

    The London Sinfonietta will present a two-part series titled “Spectrum of Sound,” exploring the advances in sonic manipulation. The first part of the series will feature the world premiere of Mica Levi’s -- famed for her work on the film "Under the Skin" starring Scarlett Johannson -- new work "Greezy." Other pieces include works by Iannis Xenakis, Claude Vivier and Georg Friedrich Haas.
    By Jaime Prisco
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