playlist: Gaudeamus Highlight Selection playlist
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Combine: Frankfurt Youngsters + RE-FUSE

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Combine 2 concerts on the same day for a competitive price!

18.30-19.45 Frankfurt Youngsters (Theater Kikker)

20.30-21.45 RE-FUSE (Theater Kikker)

Frankfurt Younsters
Like a smart soccer club that spots and trains young talent, German Ensemble Modern also works on its future: since 2003 they have an educational programme called International Ensemble Modern Academy (IEMA). Young musicians are trained in a one-year master and obtain extensive concert experience giving more than 20 concerts a year performing 20th and 21st century repertoire. The students work closely with Ensemble Modern and various leading composers and conductors.

Tonight the ensemble is going to perform world premieres by three young female composers: Maya Verlaak from Ghent, who has worked with both IEMA and Ensemble Modern before, Genevieve Murphy from Amsterdam, and Yukiko Watanabe, who was born in Japan and currently lives and works in Austria. You will also hear a world premiere by Turkish composer Utku Asuroglu, who was nominated for the Gaudeamus Award in 2015. The young composers were selected by the European Ulysses Network and in April and August they worked with the musicians on the realisation of their works in Frankfurt.

RE-FUSE
a stage event as sound / a sound as a stage event

The Greek National Opera and Gaudeamus joined forces to create a research platform on music theatre, under the artistic coordination of Thanasis Deligiannis. The inspiring pilot team that has been put together consists of artists from various backgrounds in the fields of music, theatre and dance. They have been working as a collective via online roundtables and live workshops since the beginning of 2016, focusing on borderline topics such as the music of speech.

During Gaudeamus Music Week the RE-FUSE team will share with the audience the highlights of its research. The presentation will have a hybrid format: an open discussion with the audience about their expectations and what music theatre can be, an on-the-spot tryout of devised staged scenes, an intersection of the artists’ priorities when they want to communicate something to us on stage. How to make a dialogue among all these disciplines? How to make the audience listen to what they watch and watch to what they listen to?

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