Roland Kluttig

Roland Kluttig has earned his reputation not only as an opera conductor but also for his unusual program conceptions of music of the baroque to the modern. Always searching for new and unusual musical combinations and concert experiences, he has the ability to create exciting concert programs and concert series. After numerous successful debuts, Roland Kluttig has worked together with well-known orchestras, including the Radio Symphony Orchestras in Stuttgart, Frankfurt, Berlin, Freiburg and Leipzig, as well as the Residentie Orkest in The Hague, the Iceland Symphony, the Klangforum Wien and the ASKO Amsterdam.
Between 2000 and 2004 Roland Kluttig was active as choir master and assistant to Lothar Zagrosek at the Stuttgart State Opera for the premiere of Morton Feldman’s Neither, and for performances of Luigi Nono’s Al gran sole, Mozart’s Don Giovanni, Verdi’s Don Carlos, and Offenbach’s The Tales of Hoffmann. His performance of Richard Ayres opera The cricket recovers at the Aldeburgh Festival was hailed by the Independent in the U.K. as “the best opera production of 2005”. He was also the principal conductor of the Crested Butte Music Festival in the United States from 2004 to 2006.
As musical director of the chamber ensemble Neue Musik Berlin (KNM), Roland Kluttig has turned the ensemble into one of the leading groups of its kind in Germany, performing works by Hanns Eisler and Iannis Xenakis together with the group in a concert series at Radialsystem V in Berlin.

> Program selection

The Golden Ratio - Music for Strings an Percussion

Purcell – 3 Siebenstimmige Fantasien und in nomines
Xenakis - Aroura für 12 Streicher
Sciarrino - Stück für Schlagquartett
Bartok - Musik für Saiteninstrumente, Schlagwerk..

In the first half of the program, various string groups, placed throughout the concert hall, perform Purcell’s seven-part Fantasies. The number of instruments increases, corresponding to the first movement of Bartok’s Music for Strings, Percussion and Celesta. At its height, or the golden ratio, the strings cut over to Xenakis’ Aurora, acting as quasi-percussive instruments. The ‘negative’ of this immediately follows in a percussion piece by Sciarrino incorporating the use of string - like scraping and rubbing sounds. To conclude, the musicians end by performing Purcell’s in nomines, in which the number of musicians declines again and returns to the original formation. The second half of the concert is a performance of Bartok’s Music for Strings, Percussion, and Celesta. Musik im Industrieraum, 2000, Duisburg, Kraftzentrale, Ensemble Resonanz, Kölner Schlagquartett.

AMERIQUE (program for symphony orchestra or chamber orchestra)

Ives - Orchestral Set Nr. 2 und other short works
Copland - Clarinet concerto or Consolation for large orchestra
Ruggles – men and mountain
Revueltas – Sensemaya or Homenaje a Garcia Lorca
Varese – Ameriques, Arcana and/or Equatorial
Zappa – Bogus Pomp

Our image of American music is either that of Gershwin and Bernstein, of Cage and Feldman, minimal music, Hollywood music, or of that by Ives and Varese. That traditional North and Latin American music in fact heavily influence it is demonstrated in this concert. Not merely a lexicon of the unknown, this concert is also an expression of special impulses initiated by the works of Ives and Varese.

ORIENT-EXPRESS

Debussy - Khamma
Ravel - Sheherazade
Scelsi - Anahit
Vivier - Buchara
Koechlin - Les heures persanes

Exoticism in European music: the program can be expanded with early examples of ‘orientalism’ found in works like Mozart’s Abduction from the Seraglio, Süssmayr’s Turkish Symphony or various similar works composed during the 19th Century.

REPERTOIRE >>

> Music

	Schoenberg: Moses und Aron
	Ayres: No.31 for Trumpet & Ensemble
	For Samuel Beckett
	Musik in Deutschland 1950-2000: Musik für Orchester
	Schnebel: Kammermusik