Luciano Berio\u2019s \u201cSequenza V for Trombone\u201d (1966)\u2014already performed in December 2025 at the same venue, but this time in remembrance of the trombonist Andreas Roth, who recently passed away\u2014was as engagingly, entertainingly, and flawlessly performed as the last time, again by Matsuura Yoshiki. (This time, however, without makeup.) <\/p>\n
Equally entertaining, with a special choreography along eight music stands, is the piece \u201cGround for Two Bassoons\u201d (undated, probably fresh) by Diethelm Zuckmantel. Along a succinct drone motif, its late-Renaissance\/early Baroque vibes are highly enjoyable.<\/p>\n
Krzysztof Meyer\u2019s \u201cQuintet for Flute, Oboe, Clarinet, French Horn, and Bassoon\u201d (2025) isn\u2019t quite to my taste. Its decidedly \u201cclassical\u201d Neue Musik approach neither invents the wheel nor doesn\u2019t want to, and Meyer stressed\u2014in the preceding conversation with Uwe Sommer-Sorgente\u2014that it\u2019s meant first and foremost as a piece \u201cfor the pleasure of making music.\u201d<\/p>\n
Karin Hau\u00dfmann\u2019s \u201cFour Movements for Accordion, Cello, and Ensemble\u201d (2020) on the other hand, is spell-binding\u2014with a terrifically deployed dynamic range; engaging interplay between the soloists, the soloists and the ensemble, and individual instruments from the ensemble; and four distinct movements that come together for a coherent whole.<\/p>\n
Except for Berio, who died in 2003, all composers were in attendance. The musical performances were, as always, impeccable. For Hau\u00dfmann\u2019s piece, the notabu.ensemble neue musik was conducted by Thomas Brezinka.<\/p>\n
Na h\u00f6r’n Sie mal IV<\/a> \ud83c\udfb5 The drawback of new pieces in live concerts is you can listen to them only once.<\/p>\n<\/a>","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6054","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-archive","7":"h-entry","8":"hentry"},"_links":{"self":[{"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/posts\/6054","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/comments?post=6054"}],"version-history":[{"count":30,"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/posts\/6054\/revisions"}],"predecessor-version":[{"id":6375,"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/posts\/6054\/revisions\/6375"}],"wp:attachment":[{"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/media?parent=6054"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/categories?post=6054"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/betweendrafts.com\/justdrafts\/wp-json\/wp\/v2\/tags?post=6054"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nTonhalle D\u00fcsseldorf, Trautvetter-Br\u00fcckner-Saal, February 25, 2026<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"