Welcome to Boulangerie 2018/2019!
Our concert series combines concert and salon together and builds a bridge between the traditional chamber music repertoire and the music of today. Each event is dedicated to a contemporary composer who is present during the concert and talks with us about his work and life – the focus here is not musicological analysis, but a personal conversation about the music. To conclude the evening, bread and wine is offered after in a relaxed atmosphere and the audience has the opportunity to talk with us and our guest.

We are looking forward to welcoming you to our next Boulangerie!

Karla, Birgit & Ilona
Boulanger Trio

2018 – 2019 SEASON

Friday, 28 September 2018, 8 pm
Berlin, Konzerthaus

Boulangerie with Friedrich Cerha

Friedrich Cerha, 6 Inventions for violine and cello (2005/2006)
Paul Juon, Litaniae, Tone poem in c sharp minor, op. 70
Friedrich Cerha, 5 Stücke for clarinet, cello and piano (1999/2000)
Boulanger Trio
Guests: Friedrich Cerha, Andreas Schablas (clarinet)

© Manu Theobald

Saturday, 29 September 2018, 7 pm
Hamburg, Elbphilharmonie

Boulangerie with Friedrich Cerha

Friedrich Cerha, 6 Inventions for violine and cello (2005/2006)
Paul Juon, Litaniae, Tone poem in c sharp minor, op. 70
Friedrich Cerha, 5 Stücke for clarinet, cello and piano (1999/2000)
Boulanger Trio
Guests: Friedrich Cerha, Andreas Schablas (clarinet)

Friedrich Cerha

Despite my age, I am always searching for new things. The path on which I search leads back to me. Thus, it is also about finding new sides of myself. The intense experience of music is a way into one’s own being – also for the listener.

Composer Friedrich Cerha, born in Vienna in 1926, has long been considered one of the most important Austrian composers of our time. In 1958, he founded the Vienna-based ensemble die reihe. Cerha directed die reihe, an ensemble comprised of gifted soloists, for decades. In 1960 and 1961, Cerha composed a work that became central to his compositional output – a cycle entitled Spiegel. In 1979, he completed Berg’s three-act opera Lulu, a work which garnered him international attention.

Friedrich Cerha has spent much of his career delving into various 20th century musical styles, such as twelve-tone technique, neoclassicism, and serial music. He has also maintained an interest in replicable emotional developments, which permeate both his orchestral and chamber works.

Music-theatre has also played an important role in Cerha’s compositional output. For example, Cerha created a version of Spiegel that included movement groups, lights, and objects. Soon after this he wrote the music-theatre piece Netzwerk. In the late 1970s, Cerha became highly interested in Bertolt Brecht’s Baal and produced a work of the same name that grappled with the relationship between the individual and society. This work was followed by Der Rattenfänger (1984-1986) and Der Riese vom Steinfeld (1997). His most important orchestral works include Langegger Nachtmusik III and Impulse.

Over the past several years he has produced multiple solo concertos, such as his Concerto for Violin and Orchestra (2004), Concerto for Soprano Saxophone and Orchestra (2003/2004) and Concerto for Clarinet and Orchestra (2009). Cerha’s Concerto for Percussion and Orchestra premiered in autumn 2009 (Martin Grubinger, Mozarteumorchester Salzburg). This was followed by premieres of several other orchestral works such asInstants (WDR Symphonieorchester), Like a Tragicomedy (BBC Philharmonic Orchestra) and, during the Wiener Festwochen 2010, Kammermusik für Orchester (ORF Radio Symphonieorchester).

Both the Salzburg Biennial and the Wien Modern Festival had a main focus on Friedrich Cerha’s music in their 2011 programs, the year of the composer’s 85th birthday. Several premieres during this season were another evidence of Cerha’s unbroken creativity.Following the premiere of Paraphrase über den Anfang der 9. Sinfonie Beethovens in October 2011, which was featured in the opening concert of a large Beethoven-cycle at the Gewandhaus Leipzig, the Neue Vocalsolisten premiered his work Zwei Szenen at the ECLAT Festival for New Music in Stuttgart.

The Tonkünstler Orchestra Niederösterreich is opening its 2012/2013 concert season with a new orchestral work by Cerha. Four out of Elf Skizzen (Eleven Sketches) are due to be premiered in three concerts. In June 2013, the Munich Staatstheater am Gärtnerplatz, in cooperation with the Volksoper Vienna, will premiere Friedrich Cerha’s newest Opera Der Präsident, which will also be performed in Austria.

In addition to his active compositional life, Friedrich Cerha taught at the Hochschule für Musik in Vienna until 1988. His students included Georg Friedrich Haas and Karlheinz Essl. Friedrich Cerha is a recipient of the Grand Austrian State Prize, a member of the European Academy of Arts and Sciences, and an officer of the Order of Arts and Letters. The Biennale di Venezia awarded Cerha with the Golden Lion for his life’s work in 2006. Friedrich Cerha was honoured with the 2012 Ernst von Siemens Music Prize, known as the “Nobel Prize of Music”, which he received in June 2012 at a musical ceremony in Munich.

Andreas Schablas

Andreas Schablas, clarinet, was born in Muerzzuschlag (Styria). He studied at the local Johannes Brahms School of Music and at the Music Universities in Graz and Vienna, principally with Johann Hindler; additional studies with Peter Schmidl, Alfred Prinz and Kurt Daghofer.

He gained prizes in numerous competitions, was a finalist in the 1992 EBU competition for young musicians in Brussels, and was awarded scholarships by the Vienna Symphony and the Vienna Philharmonic.

For several years he was principal clarinetist in the Vienna Chamber Orchestra, playing as a guest in various Austrian and German leading orchestras. He has been a member of the Salzburg Mozarteum Orchestra since 1999.

Andreas Schablas is a member of the oenm (Austrian Ensemble for New Music), and promotes contemporary composition with his comprehensive repertoire for clarinet and bass clarinet. He has a long-standing association with the Altenberg Trio in Vienna, and has performed with Christian Altenburger, Ernst Kovacic, Johannes Meissl, Herbert Kefer, Thomas Selditz, Franz Bartolomey, Patrick Demenga, Reinhard Latzko, Heinrich Schiff, Markus Schirmer, Stefan Vladar, Eggner Trio, Aron Quartett, and Hugo Wolf Quartett.

Andreas Schablas is solo clarinet player of the “Bavarian State Orchestra Munich”.


Sunday, 9 December 2018, 7 pm
Hamburg, resonanzraum St. Pauli

Boulangerie, dedicated to Bernd Alois Zimmermann

Bernd Alois Zimmermann, Présence. Ballet blanc en cinq scènes (1961)
with Matti Klemm (Speaker)
Boulanger Trio
Guest: Prof. Bernhard Kontarsky

Bernd Alois Zimmermann

It is of greater significance that Zimmermann possessed a much higher differentiated musical perception and awareness than most of the composers of his time, that he was able to compose intensively ‘heard-through’ cantilenas and that he had a highly sensitive feeling for when to stand still and then continue, when to pause, when to surprise and when to consolidate. (Karlheinz Stockhausen)

Bernd Alois Zimmermann was born on 20 March 1918 in Bliesheim near Cologne. He attended the Salvatorianer College Steinfeld in der Eifel from1929 to 1936. After having passed his Abitur [higher education entrance examination], he initially commenced a primary teacher training course in 1937, but transferred a year later to the Hochschule für Musik in Cologne to study school music, music theory and composition with Heinrich Lemacher and Philipp Jarnach. In 1939, Zimmermann was drafted into military service and returned from the front three years later due to illness. He then completed his musical studies in 1947 with the music teacher examination. In 1948, Zimmermann first attended the Darmstadt Summer courses for new music, coming into contact with Wolfgang Fortner und René Leibowitz; at the same time, his Concerto for Orchestra (2nd version 1948) was first performed in Darmstadt. For financial security, Zimmermann arranged light and film music in the 1950s and composed music for school radio programmes. Zimmermann was elected as the president of the German section of the IGNM in 1956, but relinquished the post a year later after having been unsuccessful in uniting the composers of the older and younger generations. In the early summer of 1957, he was the first German composer to receive a scholarship for the Villa Massimo in Rome where he began work on the opera Die Soldaten. From 1957 onwards, he supervised a composition class and seminar for film and radio music at the Musikhochschule in Cologne. The composer devoted the final years of his life to work on the Requiem for a young poet which was given its first performance in 1969. On 10 August 1970, Zimmermann took his own life in Groß-Königsdorf near Cologne.

Although the size of his musical oeuvre is relatively small, Zimmermann occupies a key position in the history of German post-war music. He not only immersed himself in serial music and the strict concept of the Darmstadt avant-garde, but also combined these influences in a highly original manner with elements of jazz and quotations from historical compositions, thereby intriguingly anticipating the core concepts and techniques of so-called post-modernism. Zimmermann’s oeuvre includes compositions for orchestra – a Symphony (2nd version, 1953), a variety of ballet works and solo concertos – vocal works, chamber music and solo literature and electronic magnetic tape music. The Requiem for a young poet (1967/1969) can be viewed as a showcase for Zimmermann’s compositional development. The work is scored for large-scale forces including narrator, soloists, three choirs, electronic sounds, orchestra, jazz combo and organ. The texts selected by the composer range from political speeches, reports and liturgies to poems by Majakowski, Joyce, Pound, Camus, Schwitters und Bayer. The boundaries of the oratorio are pushed back towards the direction of radio play, reportage and features.

Zimmermann developed the concept of “pluralistic tonal composition” with the Sonata for cello solo (1960) and the Dialogues for 2 pianos and orchestra (2nd version, 1965). The superimposition of a variety of metres and rhythms produces a box form with differing time levels; quotations were also added. In the opera Die Soldaten (1957-1965), the technique of simulation was the central starting point (“sphericity of time”). The literary text, the play by J.M.R. Lenz, already splits open the unity of space and time: the various plot lines run parallel to each other. Zimmermann left the text of the play almost unaltered – elements of the text are additionally superimposed in a collage technique. The planned first performance of Die Soldaten in 1960 was initially postponed as the work was considered to be unplayable. The opera finally experienced its premiere at the Städtische Bühnen in Cologne in 1965: a sensational success which has continued up to the present day.

Zimmermann received a number of prizes, including the north Rhine-Westphalia Grand Art Prize (1960) and the Art Prize from the City of Cologne (1966). In 1965, Zimmermann was appointed as a member of the Academy of the Arts in Berlin.

Matti Klemm

Saturday, 16 March 2019, 8 pm
Hamburg, Elbphilharmonie

Boulangerie with winners of the composer’s competition

Boulanger Trio


Monday, 18 March 2019, 8 pm
Berlin, Radialsystem V

Boulangerie with winners of the composer’s competition

Boulanger Trio

We thank our sponsors:

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Rondo, Ausgabe 2/2018

Boulanger Trio: Brückenschläge

Ein Artikel von Guido Fischer

Im Klassikbetrieb machen sich Konzerthausmanager, Soziologen und Pädagogen am laufenden Band Gedanken darüber, mit welchen Strategien und Events man gerade jüngeres Publikum „abholen“ kann. Noch komplizierter wird es, wenn zeitgenössische Musik ins Spiel kommt. Da gehen bei vielen immer noch reflexartig die Klappen runter. Seit 2012 schaffen es diese drei Musikerinnen aber tatsächlich, die Neugier für avancierte Klänge derart zu wecken, dass ihre etwas anderen Salon-Konzerte regelmäßig blendend besucht und oftmals ausverkauft sind. „Boulangerie“ haben die drei Damen des Hamburger Boulanger Trio ihre Konzertreihe getauft.

Und das Erfolgskonzept ist im Grunde denkbar einfach. Für jede „Boulangerie“ wird ein zumeist namhafter Komponist eingeladen, mit dem man sich über seine Arbeit und nicht zuletzt über ein von ihm mitgebrachtes Stück unterhält. Und weil das Boulanger Trio stets den Bogen von der Tradition in die Gegenwart schlagen will, lädt das Ensemble seinen Gast zudem ein, sich ein oder zwei Werke aus dem riesigen Klaviertrio-Repertoire auszusuchen. Auf Wunsch etwa des in Kuba geborenen Komponisten Jorge E. López, der in der April-„Boulangerie“ im Mittelpunkt stehen wird, stellt das Boulanger Trio dem López-Opus jeweils ein Klaviertrio von Haydn und Schostakowitsch zur Seite.

Auch über eine solche Konzertdramaturgie gelingt es dem Boulanger Trio, die berühmtberüchtigten Berührungsängste vor musikalisch scheinbar allzu Sperrigem abzubauen. „Wir hatten ein geselliges Konzertformat im Sinn, bei dem es gerade durch die persönliche Begegnung mit einem Komponisten auch zu einem lebendigen Austausch mit dem Publikum kommen soll“, so Cellistin Ilona Kindt. Vorbild für dieses Konzertformat war ein Musiksalon, den die berühmte Namenspatronin des Trios, die französische Komponistin und Lehrerin Nadia Boulanger, ab den 1920er Jahren in Paris jeden Mittwoch veranstaltete.

Schon längst zieht die „Boulangerie“ aber nicht nur in Hamburg und Berlin mittlerweile ein Stammpublikum an, sondern seit einiger Zeit auch im Wiener Musikverein. Und die Liste der eingeladenen Komponisten liest sich durchaus wie ein Who´s Who der Neuen Musik. So waren Toshio Hosokawa, Johannes Maria Staud, Kaija Saariaho sowie der österreichische Altmeister Friedrich Cerha bereits zu Gast.

Nun also trifft man auch in Wien (22. April) auf Jorge E. López, der einer der interessantesten Komponisten der Gegenwart ist. Die Werke des in Kalifornien ausgebildeten und seit 1991 in Oberkärnten lebenden Musikers werden auf großen Festivals wie den Donaueschinger Musiktagen und den Salzburger Festspielen aufgeführt und wurden vielfach ausgezeichnet. Und der das Boulanger Trio ungemein bewundernde Wolfgang Rihm meinte einmal über seinen Komponistenkollegen: „Wenn der Begriff des Originellen – ja sogar des Originals – noch etwas bedeutet, dann wird er von Jorge E. López verkörpert.“ Ein eigenes (Klang-)Bild kann man sich nun bei der kommenden „Boulangerie“ machen. Und wer nach dem Konzert vielleicht von den Musikerinnen und dem Komponisten noch Näheres erfahren will, der kann dies traditionell bei Baguette und einem Gläschen Wein tun.