Home Tag Archives: #2024-4

Tag Archives: #2024-4

Special: The Arts & Ecology

Comments Off on Special: The Arts & Ecology
2,031
In artistic endeavours, much like it is with other pursuits, urgent issues pertaining to climate change are more and more often coming to play a central role. Artists’ approaches to this theme are myriad.

“Nature is often just the medium”

Comments Off on “Nature is often just the medium”
846
Tanja Elisa Glinsner is not only a successful composer but also a conductor and mezzo-soprano. She frequently performs or conducts her own works on renowned stages in Austria and abroad. Among her compositions, many—though not all—are based on themes relating to the natural world.

Eco(musico)logy

Many of us, if asked to say whether ecology and musical work have anything to do with each other, would probably answer in the affirmative without much hesitation. And in conversations with colleagues, one notices just how urgently current the associated debate is.

Alumni in Focus: wienerwald festival

Comments Off on Alumni in Focus: wienerwald festival
355
Three performance programme graduates, one idea: it was in 2023 that Manuel Egger, Magdalena Pramhaas, and Sabrina Reheis-Rainer joined forces to found the wienerwald festival [Vienna Woods Festival], a series of events that unite music with nature in unique concert formats at interesting locations.

In Search of Exciting New Concert Formats

Comments Off on In Search of Exciting New Concert Formats
207
For the 2024/25 winter semester, the Sounding Visions Award—conferred by the International Society for Contemporary Music (ISCM) in cooperation with the mdw—has set out in search of exciting new concert formats.

Early Stage Researchers: Performers as Commissioners of New Music

Comments Off on Early Stage Researchers: Performers as Commissioners of New Music
529
It all began a few years ago with a clarinet concerto by the American composer Aaron Copland (1900–1990). My eye was caught by the words at the very top of the page: “For Benny Goodman”. Was Copland friends with the swing icon? Did they work together? Or did the composer simply admire Goodman (1909–1986) as a musician?
123Page 1 of 3