Donnacha Dennehy: Land of Winter Alarm Will Sound & Alan Pierson

• Donnacha Dennehy (b. 1970): Land of Winter:
• 1 Dennehy: Land of Winter: I. December 03:58
• 2 Dennehy: Land of Winter: II. January 05:33
• 3 Dennehy: Land of Winter: III. February 02:14
• 4 Dennehy: Land of Winter: IV. March 05:08
• 5 Dennehy: Land of Winter: V. April 06:00
• 6 Dennehy: Land of Winter: VI. May 03:11
• 7 Dennehy: Land of Winter: VII. June 06:30
• 8 Dennehy: Land of Winter: VIII. July 03:27
• 9 Dennehy: Land of Winter: IX. August 04:44
• 10 Dennehy: Land of Winter: X. September 05:29
• 11 Dennehy: Land of Winter: XI. October 05:56
• 12 Dennehy: Land of Winter: XII. November 03:33
• Total Runtime 55:43

Info zu Donnacha Dennehy: Land of Winter

Das neue Werk „Land of Winter“ des irischen Komponisten Donnacha Dennehy, das von dem 20-köpfigen Ensemble Alarm Will Sound unter der Leitung des Dirigenten Alan Pierson aufgeführt wird, erforscht die Nuancen der irischen Jahreszeiten anhand von zwölf miteinander verbundenen Abschnitten, die für die Monate des Jahres stehen.

Dennehy über seine Komposition: „Die Römer nannten Irland ‚Hibernia‘, das ‚Land des Winters‘. Sie glaubten fest daran, dass die bewohnte Welt im Nordwesten mit diesem Land endete, das keinen Sommer kannte... Was die Jahreszeiten hier am deutlichsten voneinander abgrenzt, ist die sich verändernde Qualität des Lichts – von den kürzeren Tagen mit grauem oder eisigem Licht im Winter bis zum wärmeren, aber launenhaften Licht der Sommertage, die zur Sonnenwende fast bis Mitternacht reichen. Dieses Spiel zwischen Licht und Zeit gefällt mir und ist die wichtigste Inspiration für das Stück.“

„Strukturell ist das Stück in zwölf ‚Monate‘ unterteilt, die nahtlos ineinander übergehen. Es beginnt im Dezember und endet Ende November – bevor im Winter alles wieder von vorne beginnt“, fährt Dennehy fort. „Die Sonnenwenden und Tagundnachtgleichen werden musikalisch durch Obertöne übersetzt, die über das gesamte Ensemble verteilt sind und so verschiedene Schattierungen von Farbe und Schatten im Klangraum erzeugen.“

Donnacha Dennehys „fesselnde“ (The Guardian) und „betörend schöne“ (The New Yorker) Musik wurde bereits auf Festivals und in Konzertsälen auf der ganzen Welt aufgeführt, darunter die Carnegie Hall, das Barbican, das MusikFest Berlin, das Muziekgebouw, die Wigmore Hall, das Royal Opera House, das BAM, das St. Ann's Warehouse, das Kennedy Center in Washington D.C. und viele andere.

Alarm ertönt:
Erin Lesser, Flöte
Michelle Farah,Oboe
Amy Advocat, Klarinette
Elisabeth Stimpert, Klarinetten
Michael Harley, Fagott und Kontrafagott
Nicolee Kuester, Horn
Tim Leopold, Trompete
Michael Clayville, Posaune
Matt Smallcomb, Schlagzeug
Chris Thompson, Schlagzeug
John Orfe, Klavier
Courtney Orlando, Violine
Clara Kim, Violine
Matt Albert, Viola
Stefan Freund, Violoncello
Miles Brown, Bass
Daniel Neumann, Tontechniker
Alan Pierson, Dirigent und künstlerischer Leiter

Alarm Will Sound
is a 20-member band committed to innovative performances and recordings of today’s music. They have established a reputation for performing demanding music with energetic skill. Their performances have been described as “equal parts exuberance, nonchalance, and virtuosity” by the Financial Times of London and as “a triumph of ensemble playing” by the San Francisco Chronicle. The New York Times says that Alarm Will Sound is “one of the most vital and original ensembles on the American music scene.”

With classical skill and unlimited curiosity, Alarm Will Sound takes on music from a wide variety of styles. Its repertoire ranges from European to American works, from the arch-modernist to the pop-influenced. Alarm Will Sound has been associated since its inception with composers at the forefront of contemporary music, premiering pieces by John Adams, Steve Reich, David Lang, Michael Gordon, Aaron Jay Kernis, Augusta Read Thomas, Derek Bermel, Benedict Mason, and Wolfgang Rihm, among others. The group itself includes many composer-performers, which allows for an unusual degree of insight into the creation and performance of new work.

Alarm Will Sound is the resident ensemble at the Mizzou International Composers Festival. Held each July at the University of Missouri in Columbia, the festival features eight world premieres by early-career composers. During the weeklong festival, these composers work closely with Alarm Will Sound and two established guest composers to perform and record their new work.

Alarm Will Sound may be heard on fifteen recordings, including including For George Lewis | Autoshchediasms, their most recent release featuring music of Tyshawn Sorey; Omnisphere, with jazz trio Medeski Martin & Wood; a collaboration with Peabody Award-winning podcast Meet the Composer titled Splitting Adams; and the premiere recording of Steve Reich’s Radio Rewrite. Their genre-bending, critically acclaimed Acoustica features live-performance arrangements of music by electronica guru Aphex Twin. This unique project taps the diverse talents within the group, from the many composers who made arrangements of the original tracks, to the experimental approaches developed by the performers.

In 2016, Alarm Will Sound in a co-production with Opera Theatre of St. Louis, presented the world premiere of the staged version of Donnacha Dennehy’s The Hunger at the BAM Next Wave Festival and the Touhill Performing Arts Center. Featuring Iarla O’Lionárd (traditional Irish singer) and Katherine Manley (soprano) with direction by Tom Creed, The Hunger is punctuated by video commentary and profound early recordings of traditional Irish folk ballads mined from various archives including those of Alan Lomax.

In 2013-14, Alarm Will Sound served as artists-in-residence at The Metropolitan Museum of Art. During that season, the ensemble presented four large ensemble performances at the Met, including two site-specific productions staged in museum galleries (Twinned, a collaboration with Dance Heginbotham and I Was Here I Was I, a new theatrical work by Kate Soper and Nigel Maister), as well as several smaller events in collaboration with the Museum’s educational programs.

In 2011, at Carnegie Hall, the group presented 1969, a multimedia event that uses music, images, text, and staging to tell the compelling story of great musicians—John Lennon, Karlheinz Stockhausen, Paul McCartney, Luciano Berio, Yoko Ono, and Leonard Bernstein—striving for a new music and a new world amidst the turmoil of the late 1960s. 1969’s unconventional approach combining music, history, and ideas has been critically praised by the New York Times (“...a swirling, heady meditation on the intersection of experimental and commercial spheres, and of social and aesthetic agendas.”)

Alarm Will Sound has been presented by Carnegie Hall, Lincoln Center, (le) Poisson Rouge, Miller Theatre, Brooklyn Academy of Music, the Kitchen, the Bang on a Can Marathon, Disney Hall, Kimmel Center, Library of Congress, the Walker Arts Center, Cal Performances, Stanford Lively Arts, Duke Performances, and the Warhol Museum. International tours include the Holland Festival, Sacrum Profanum, Moscow’s Art November, St. Petersburg’s Pro Arte Festival, and the Barbican.

The members of the ensemble have also demonstrated our commitment to the education of young performers and composers through residency performances and activities at the Community Music School of Webster University, Cleveland State University, University of Colorado at Boulder, University of Missouri, Eastman School of Music, Dickinson College, Duke University, the Manhattan School of Music, Harvard University, New York University, and the Massachusetts Institute of Technology.

Alan Pierson
has been praised as "a dynamic conductor and musical visionary" by the New York Times, "a young conductor of monstrous skill" by Newsday, "gifted and electrifying" by the Boston Globe, and "one of the most exciting figures in new music today" by Fanfare. He is the Artistic Director and conductor of the acclaimed ensemble Alarm Will Sound which has been called "the future of classical music" by the New York Times and "a sensational force" with "powerful ideas about how to renovate the concert experience" by the New Yorker.

Mr. Pierson served for three years as the Artistic Director and conductor of the Brooklyn Philharmonic. The New York Times called Pierson’s leadership at the Philharmonic "truly inspiring," and The New Yorker's Alex Ross described it as “remarkably innovative, perhaps even revolutionary.” Pierson has also appeared as a guest conductor with the Los Angeles Philharmonic, the Chicago Symphony Orchestra, the Hamburg Symphony Orchestra, L.A. Opera, the London Sinfonietta, the Steve Reich Ensemble, the Orchestra of St. Luke's, Carnegie Hall's Ensemble ACJW, the Tanglewood Music Center Orchestra, the New World Symphony, and the Silk Road Project, among other ensembles. He is Principal Conductor of the Dublin-based Crash Ensemble, co-director of the Northwestern University Contemporary Music Ensemble, and has been a visiting faculty conductor at the Indiana University Jacobs School of Music and the Eastman School of Music. He regularly collaborates with major composers and performers, including Yo Yo Ma, Steve Reich, Dawn Upshaw, Osvaldo Golijov, John Adams, Augusta Read Thomas, David Lang, Michael Gordon, Donnacha Dennehy, La Monte Young, Iarla Ó Lionáird, and choreographers Mark Morris, John Heginbotham, Akram Khan and Elliot Feld.

Mr. Pierson received bachelor degrees in physics and music from the Massachusetts Institute of Technology, and a doctorate in conducting from the Eastman School of Music. He has recorded for Nonesuch Records, Cantaloupe Music, Sony Classical, and Sweetspot DVD.

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