Mannschaftskompositionen

im Rahmen der “Stadion der Träume”

Programm

Signs, game and messages, György Kurtág

Mirrors, Kaija Saariaho

Histoire du Soldat, Igor Stravinsky (Satz I & Satz II)

Pause

Mannschaftskompositionen im Rahmen der EM 2024 "Stadion der Träume“ in Leipzig

Run, Annette Schlünz (*1964)

4_2_4, Richard Plate (*2004)

Crescent, Lixing Ding (*1996)

Freundschaftsspiel, Silas Geiert (*2010)

Attesa interrotta, Antonio Macaretti (*1982)

Abduzioni ipercodificate, Irene Rosetti (*1996)

„broyé“ Stylianos Dimou (*1988)

11x11, Ardian Gega (*1990)

Je de ballon, Lou Gitz (*2009)

Rush, Alexander Khubeev (*1986)

Dribbeln, Rino Murakami (*1995)

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Ensemble Tempus Konnex

Klavier *Special Guest*: Prof. Rolf-Dieter Arens

Flöte: Delphine Roche

Klarinette: Emanuel Dantscher

Violine: Mariana Hernández

Violoncello: Ella Jarrige

Leiterin des Ensembles: JiYoun Doo

Photo credit: Stefan Thielicke

broyé (2024)
for alto flute, clarinet, violin, and cello

”broyé”, a composition for flute, clarinet, violin, and cello, explores the fascinating concept of musical deconstruction, drawing inspiration from the world of football and the idea of a replay. The title, which means "crushed" or "broken" in French, reflects the core idea of the piece: the disintegration and reassembly of musical ideas.

In football, a replay serves as a critical tool to analyze, deconstruct, and understand key moments of the game. Similarly, “broyé” delves into the realm of repetitive and recursive structures, where motifs and themes are introduced only to be subsequently fragmented and transformed. Just as a replay isolates specific actions to provide deeper insight, the composition isolates and examines musical elements, breaking them down into fundamental components and recontextualizing them within the evolving texture of the ensemble.

Listeners will encounter patterns that emerge and dissipate, creating a sense of both stability and unpredictability. The interplay between the instruments evokes a dialogue where ideas are stated, deconstructed, and reborn in new forms. This cyclical nature mirrors the recursive structures inherent in the piece, where the end of one phrase often signals the beginning of another iteration, each time slightly altered and redefined—much like reviewing a football play from different angles to gain a fuller understanding.

”broyé” invites the audience to engage with the music on a deeper level, challenging conventional perceptions of coherence and form. It is a journey through the fragments of sound, where each broken piece contributes to the intricate mosaic of the whole, much like how each replayed moment contributes to the comprehensive narrative of a football match.