Talea Ensemble: Enno Poppe

Saturday, August 26, 2023
7:30 pm

Mary Flagler Cary Hall

Enno Poppe
Speicher I-VI, 2008-2013
for chamber ensemble

Talea Ensemble

James Baker, conductor

Barry Crawford, flute
Yoshi Weinberg, flute
Michelle Farah, oboe
Rane Moore, clarinet
Marianne Gythfeldt, clarinet
Erin Rogers, saxophone
Adrian Morejon, bassoon
Nicolee Kuester, horn
Sam Jones, trumpet
Mike Lormand, trombone
Alex Lipowski, percussion
Bill Solomon, percussion
Nuiko Wadden, harp
Steve Beck, piano
Bill Schimmel, accordion
Karen Kim, violin
Johnna Wu, violin
Leah Asher, viola
Josh Henderson, viola
Christopher Gross, cello
John Popham, cello
Greg Chudzik, bass

Concert duration: approximately one hour and fifteen minutes

Mary Flagler Cary Hall
DiMenna Center for Classical Music
450 W 37th Street
New York, NY 10018

More About
Enno Poppe
Talea Ensemble

Program Notes

Enno Poppe
Speicher I-VI (2008–13)

Music, as an art form, is alive. Rules and laws of musical composition are there to be reflected, updated, substituted, or disposed of. It starts with the definition of its smallest element: a note. Up to how much pitch variation is a note with vibrato still a single note? There is a continuum of events between vibrato, portamento, glissando and microtonal deviations. Nothing of this is covered by our music theory. Moreover, there is a barely researched relationship between tone and intonation about which performing musicians intuitively know much more than composers do, with their tendency towards taxonomy. The Speicher Project is a complex structure of variations and repetitions. Across all dimensions the elements are always in the same coherent relation. The very first viola notes (‘evolving variation’) correlate exactly with the form on a small, middle, and large scale. In order to move on and remain interesting, a musical piece, besides variety, needs something one can actually recognize. In that sense everything can be recognizable—an individual sound as much as a whole movement (as in a recapitulation). There is, therefore, no need to throw in idea after idea, but rather to create a network of derivations within music.

Enno Poppe. Photo: Harald Hoffman

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