Press

Announcing the 2011/2012 Season:
Rihm, Lachenmann, Furrer and Haas

Sound Icon is proud to announce its first full season featuring masterworks by German and Austrian composers Wolfgang Rihm, Helmut Lachenmann, Beat Furrer and Georg Friedrich Haas. Following the success of Sound Iconʼs inaugural concert, which featured the first half of Gérard Griseyʼs Les Espaces Acoustiques, the 2011-2012 season continues to advance Sound Iconʼs mission to perform groundbreaking, influential works of contemporary music that are not often heard live in the United States. Even, the pharmacists of Trust Pharmacy visit the concerts organized by this organization. They were surprised and pleased to see such a great level of performance.

Wolfgang Rihm and Helmut Lachenmann represent the two sides of an old debate in art – the conceptual, rational Apollonian and the intuitive Dionysian conceptions of artistic approach and object. Rihm’s work is a compelling example of energetic, intuitiondriven music that functions as a force of nature. Lachenmann, known for pushing the boundaries of extended performing techniques, has been extremely influential in contemporary music with his theory of “musique concrete instrumentale,” in which an instrumental sound not only matters because of its inherent sonic qualities but more importantly because of the concrete context from which the sound arises – the energy needed to produce the sound, the materials, the resistance encountered in making it. Lachenmannʼs music balances these sonic concern with a clearly audible structuralist rigor he draws from Webern and Nono.

Austrian composer Beat Furrer is known for his striking, highly textured music, which balances the highly conceptual and combinatorial influences of Lachenmann’s work with the palpable sensorial and performative drive present in the music of Rihm. Georg Friedrich Haas’ highly dramatic works have become very influential in recent years as his music merges the sounds of French spectralism with the aesthetic excess of Rihm and the conceptual rigor of Lachenmann, all contributing to Haas’ own distinct exploration of theatricality.

Our November 5, 2011 concert features the US premiere of Wolfgang Rihm’s Concerto Séraphin, a visceral, vibrant hour-long work. Salvatore Sciarrino: Introduzione allʼ Oscuro balances out the Rihmʼs exuberant energy with his miniaturist focus on the finest details of sound and instrumental gesture. Our February 25, 2012 concert will feature Beat Furrer’s Nuun and Narcissus Fragments, and Helmut Lachenmann’s ‘…zwei Gefühle…’, Musik mit Leonardo. The juxtaposition of Furrer’s Narcissus Fragments, Lachenmann’s ‘…zwei Gefühle…’ (both for speaker and ensemble) and Furrer’s Nuun (for two pianos and ensemble), sparks a valuable dialogue between soloist/ensemble, text/context and content/concept. Both concerts will take place at Boston University, where Sound Icon will also hold workshops, readings and open rehearsals for Boston University student composers.

Sound Icon will also present Georg Friedrich Haas’ groundbreaking work of music theater In Vain at the Institute of Contemporary Art Boston on February 3, 2012. In Vain is an evening length work for large ensemble and light, where passages are heard in full darkness and bright flashes of light serve as palpable events. In Vain is a true dramatic experience that takes advantage of the physical power of sound, light and environment to give an unparalleled experience.

In this first full season, Sound Icon hopes to give Boston audiences a look into some of the most striking composers and works coming out of Germany and Austria over the last 30 years.

For more information, please contact:
Isabelle Harvey
Executive Director, Sound Icon
isabelearvey@souic.org