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CD/SACD
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NEOS 11730CD
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What musical means and forms can be used today when composing orchestral music? Composer Moritz Eggert poses this question in the two works of this release, which are live recordings of the world premiere performances. "Muzak" for voice and orchestra was composed in memory of David Bowie, who died in 2016. A modified version of the word "music", Muzak refers to the background music commonly played on elevators, department stores, and hotels. In "Muzak" Eggert seeks to include the entire sound world of his own time in a single composition. "Muzak" is therefore a distillation of all kinds of music, from pop music to classical repertoire, and addresses the question of whether boundaries between genres are still viable and make any sense. In "Number Nine VII: Masse" Eggert takes up the aesthetic challenge of composing a work for orchestra where all musicians play continuously without a break. Moritz Eggert - voice; Symphonieorchester des Bayerischen Rundfunks with David Robertson as conductor for "Muzak" and Peter Rundel as conductor for "Number Nine VII: Masse".
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CD
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BTL 031
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"Moritz Eggert used gentle irony to create the music for the memory chambers of Anne Sexton's existential poems: terrible, funny, strange, brilliant. Shortly before her suicide in 1974, American poet Anne Sexton wrote a series of poems in which she evoked rooms and houses filled with strange memories. The maze-like Winchester House near San Francisco, where the Winchester rifles heiress led a spiritistic existence, is just such a place. Composer/pianist Moritz Eggert has placed Sexton's inner world in juxtaposition to the labyrinthine corridors of the Winchester House, the title Wide Unclasp alluding to a Shakespeare quote written on the wall of the Winchester House ballroom: 'Wide unclasp the tables of their thoughts'. Moritz Eggert is a restless spirit, always on the lookout for new musical challenges. He has been awarded numerous prizes for his operas, ballets and works for the music theatre. The Wide Unclasp cycle of songs represents another departure for new shores, as Eggert was attracted by the idea of writing a piece devoted to an unusual theme in the context of his past work: the relationship of notation and improvisation. To this end, Eggert was able to work with an outstanding septet headed by one of the greatest new artistic discoveries of the German jazz scene in recent years: vocalist Céline Rudolph. The other names, too, speak for themselves: Steven Bernstein, musical director of the Robert Altman movie Kansas City; Sebastian Hess, master student of Rostropovich; star drummer Gerry Hemingway; guitarist Ralph Beerkircher, a master explorer of border areas, and Georg Breinschmid, a former member of the Vienna Philharmonic."
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