How universal is the sound of a trumpet? Could there be some primal musical
experience when we blow into some kind of mouthpiece-with-resonator, one
that pops up in related forms of all kinds over the world? Marco Blaauw will
use these questions to explore the range of forms his instrument can take on
in Global Breath, a lively and varied collection of solo works with electronics.
All the big names on earth today have written music for Blaauw’s virtuoso talents
as a soloist and as a member of Ensemble Musikfabrik. We’re already collectively
holding our breaths in anticipation of so much excellent honking!
Co-presentation Concertgebouw Brugge
Important focus for Marco Blaauw has always been to further develop the trumpet, it’s playing technique, and to initiate new repertoire. Blaauw works in close collaboration with composers of our time. Many works have been written especially for him, including compositions by Peter Eötvös, Wolfgang Rihm and Rebecca Saunders.
Servian composer Milica Djordjević graduated composition in Belgrade, where she also finished studies of Sound and Music Recording and Production as well as specialized training in electronic music. She finished postgraduate specialist studies in composition in Strasbourg. She is now based in Berlin.
Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation (USA). Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). In 2022, he was awarded the Pulitzer Prize in Music for his composition Voiceless Mass.
Ayanna Witter-Johnson is a multi-talented singer, songwriter, pianist and cellist. She has a phenomenal mastery for seamlessly crossing the boundaries of classical, jazz, reggae, soul and R&B. “As a second-generation Jamaican born in Britain, my music is a body of work that represents, celebrates and pays homage to my ancestral heritage, culture and identity,” she explains herself.
Japanese-born composer Dai Fujikura was fifteen when he moved to the UK. Fujikura works with artists from many different music genres such as experimental pop and improvisation, and he often composes in direct communication with them. His works have been conducted and played by artists internationally such as Pierre Boulez, Peter Eötvös, Martyn Brabbins and Jean-Guihen Queyras.
Could there be some primal musical experience when we blow into some kind of mouthpiece-with-resonator?