"Brahms, the Progressive" was the title Arnold Schönberg gave to his homage to his great mentor. He did, indeed, create his 12-tone compositional principle by drawing on developing variations in Brahms’ "Klarinettenquintett." In Jazz the clarinet was the preferred solo instrument before the saxophone came; Strawinsky, for example, composed his “Ebony Concert” (1945) for Benny Goodman when in American exile. As early as 1940, and while incarcerated as prisoner of war, Olivier Messiaen had composed his epochal work “Quatour pour le fin du temps” for clarinet and string quartet. Since this time, the playing technique of the clarinet has undergone a rapid development, for example, in works ranging from Stockhausen, Boulez, Rihm and Widmann. The clarinet player Nina Janßen, member of the Ensemble Modern, will give an impressive demonstration of the extended possibilities of the clarinet in the workshop and final concert at the ZKM_Cube together with the Ensemble for New Music of the Music Academy of Karlsruhe.

Bernard Parmegiani "De natura sonorum for electronic"
Edgar Varèse "Intégrales"
Pierre Boulez "Dialogue de l’ombre double" für Klarinette und Live-Elektronik
Igor Stravinsky "Symphonie pour instruments à vent"
Marc André "IV3 for solo clarinet"
Mauricio Kagel "10 Märsche um den Sieg zu verfehlen"

Soloist: Nina Janßen
Director: Prof. Gérard Buquet

Organization / Institution

ZKM