WildKat PR Welcomes “Haydn 2032”

WildKat PR is very excited to introduce our newest client: The “Haydn 2032” project.

Idolised by Stendhal, admired by Mozart and celebrated by the music world is the composer Joseph Haydn. But who is he today? What are the musical means of expression, the, images and words to describe a composer whose work can be heard every day in concert halls around the world, whose creations have been recorded hundreds of times and whose life seems to have been impeccably researched?

Haydn 2032 is a unique conceptual art project that will realise the performance and recording of all 107 Haydn symphonies by the composer’s 300th anniversary in 2032.

Every year, the orchestras “Il Giardino Armonico” and “Kammerorchester Basel” will perform a further set of Haydn’s symphonies in different venues in Europe. Each concert performance is a modern interpretation of the concert settings of the 18th century to include lectures, photography exhibitions, talks and culinary events. In May 2015, these events will take place in Berlin, Eisenstadt and Basel. Each concert cycle is recorded on historical instruments for the first time and released on CD (label “Outhere”). Works by Haydn’s contemporaries and musical models, such as Gluck, W.F. Bach, Porpora and Kraus, will be positioned alongside Haydn’s symphonies in order to embed them in a wider historical context. Limited edition books will complete the thematical series, including a CD, images and texts by well-known contemporary authors and photographers.

02_HAY15_FB front page WildKat PR heißt “Haydn 2032″ willkommen

Wir freuen uns sehr, unseren neuesten Kunden, das „Haydn 2032” –Projekt, vorzustellen.

Vergöttert von Stendhal, bewundert von Mozart und gefeiert von der ganzen Musikwelt ist der Komponist Joseph Haydn. Aber wer ist er heute? Welche musikalischen Ausdrucksmöglichkeiten, Bilder und Worte können für einen Komponisten, dessen Arbeit jeden Tag in Konzertsälen auf der ganzen Welt erklingt, dessen Werke hunderte Male aufgezeichnet wurden und dessen Leben nahezu vollkommen erforscht wurde, gefunden werden?

Haydn 2032 ist ein einzigartiges künstlerisches Projekt, das die konzeptionelle Aufführung und Einspielung aller 107 Haydn-Symphonien bis zum 300. Geburtstag des Komponisten im Jahr 2032 verwirklichen möchte.

Jedes Jahr werden die Orchester „Il Giardino Armonico” und das „Kammerorchester Basel” eine weitere, thematisch zueinander passende Konzertreihe an Symphonien an unterschiedlichen Orten in Europa präsentieren. Jedes Konzert stellt eine moderne Interpretation der Konzertsituation des 18. Jahrhunderts dar, sodass die musikalische Aufführung von Vorträgen, Fotoausstellungen, Diskussionen und kulinarischen Köstlichkeiten umrahmt wird. Im Mai 2015 finden diese multimedialen Aufführungen in Berlin, Eisenstadt und Basel statt. Die einzelnen Konzertreihen werden zusätzlich auf historischen Instrumenten eingespielt und auf einer CD (Label „Outhere”) veröffentlicht. Werke von Haydns Zeitgenossen und musikalischen Vorbildern wie Gluck, W. F. Bach, Porpora und Kraus werden Haydns Symphonien ergänzen und in einen größeren historischen Kontext einbetten. Eine limitierte Buchedition wird die thematische Verwobenheit der einzelnen Kunstformen nochmals verdeutlichen und vervollständigen. Hier sind CD sowie Fotografien und Texte von bekannten zeitgenössischen Autoren und Fotografen enthalten.

(Written on February 27, 2015 )

If you look back at our daily news page on our website, it is not an exaggeration when I say that in the last few weeks almost every day there has been a news story about Sir Simon Rattle. Everyone has had their say on the concert hall rumours and now it is time for WildKat PR to add to the debate with our take on the whole issue.

I have always liked Simon Rattle, maybe it is because my grandparents, who live in Birmingham, are regulars at the Symphony Hall and talked about him when he was at the CBSO, maybe it is his musicianship, or maybe it is our mutual love for Mahler. Either way, I would love to see him back in London after he leaves his post as Principal Conductor of the Berlin Philharmonic in 2018. But what of his concert hall demands? It is generally accepted that London lacks a world class concert hall in terms of acoustics when compared to the likes of Amsterdam’s Concertgebouw and Berlin’s Philharmonie. It seems a bit of an oxymoron to have our prestigious orchestras housed in halls that have been described as a ‘complete joke’ by some musicians in terms of acoustics and backstage facilities. So, Rattle’s suggestion is not entirely unreasonable in this sense.

Rattle Picture

Photo: Sipa Press / Rex Features

However, as Ivan Hewett commented in The Times, it is not that the acoustics in London are bad, others are just better. Just talking about acoustics only provides one part of the story and does not take into account the psychological factors when listening to a performance: the emotions we feel and pictures the music conjures up. We do not want the acoustic question to veil the actual music. There is a special something about our concert halls in London which implants itself when you come to a concert here: their history, the grandeur of the building itself and the thrill of who else has performed on that stage. Can you imagine the Proms anywhere else other than the Royal Albert Hall? Pageantry and tradition is something the UK has perfected and our existing concert halls are a part of this.

There is a political side to all of this too. I must admit that part of me agrees with Jessica Duchen, that much of George Osborne’s commitment to a ‘feasibility study’ is probably General Election talk to get us all on side. With the economy still in a tight spot, spending however many millions on a new concert hall is not sensible. Indeed, Charlotte Higgins argued that if we need to spend any money on a new music venue in London, it needs to be a Glyndebourne-esque space for the crisis stricken English National Opera.

And then there is the question of its location. Where in central London is both available and suitable?

As much as I would love to see Sir Simon back in London, building a whole new concert hall seems hard to justify in these times especially when some say the acoustic argument is exaggerated. Spending the money on music education instead sounds like a better idea. If, after May, the new government uphold this enthusiasm then perhaps the idea will be taken more seriously but, how likely this is is left to be seen.

Rattle Blog Pic

Illustration: Robert G Fresson

 

(Written on February 25, 2015 )

Radio 4′s Front Row hosted a very interesting debate yesterday morning addressing questions such as: are artists owed a living by the state? What is the place of art in our lives? Is culture always a middle class luxury? And, do politicians ever take culture seriously? Hull’s Truck Theatre was the location, a suitable choice seeing as it is the 2017 City of Culture, and the panel was made up of a variety of different voices which ensured a lively debate: playwright Richard Bean, economist Philip Booth, sociologist Dr Tiffany Jenkins and dancer Deborah Bull, amongst others and audience interjections.

Throughout the programme, the discussion returned to the idea of what the purpose of arts and culture is. The case was made that the arts are beneficial to people both health-wise and in society whilst also attracting economic benefits. Of the nearly £4 billion of public money spent on culture every year, this puts £77 billion back into the economy. Equally, Rosie, the representative from the City of Culture scheme argued that through it, 1,300 more jobs in Hull would be created and attract big business. Economist Philip Booth contested this point saying that whilst there had been no research into the relationship between investment and culture, there had been such investigations into sport and this had shown that there is no connection between sport and the level of economic investment.

Moving past the economic arguments, cultural commentator Ekow Eshun argued that the point of the arts was not to please everyone but rather to prompt people to ask questions about life, existence and to challenge themselves.

An interesting angle discussed was from a school’s perspective. Whose responsibility are the arts? Headteacher Kevin McCallion from Brooksbank School noted that the accountability measures that Ofsted and league tables set out do not include the arts: English, Maths and Science, understandably, are prioritized. The Warwick Commission’s recommendation that schools cannot be marked as ‘outstanding’ without evidence of the school providing an excellent cultural education would just render the arts another tick box for schools.

Despite all of these expert opinions, I think that one of the pupils in the audience, Emma, touched upon one of the most important purposes of the arts: ‘it builds me up as a person.’ Giving space to creativity and performance in schools develops self-confidence in young people and builds the skills needed for employment: giving presentations, talking to clients and being articulate are among many desirable qualities that are developed through the arts. Deborah Bull backed this up: many of today’s jobs are about creatively solving problems so cultivating creativity in schools, especially, will create better doctors, scientists, politicians…

Nodding to this year’s General Election, journalist Martin Bright, said that he was worried that we would have no department of culture at all after May; the arts have no political traction. Predictably, Philip Booth, believed that the state should not intervene in the arts and even went as far to say that Great Britain would be culturally richer if this was the case. To this, Deborah replied, that we would not necessarily be richer, the cultural landscape would just look different: we would see a lot more of the standard repertoire and much less of new, contemporary works.

The state certainly has a role to play in funding the arts; it would aid the continuation of new repertoire, and the arts are a large part of our national identity. However, with many sectors vying for money and claiming their area is beneficial and deserving of government money, it is also vital that any funds are also supported privately.

To the future government of the United Kingdom, please consider the arts in your budget. Aside from all the economic, health, social and employability arguments, quite simply, life would be boring without them.

You can catch up with the whole debate here.

UK City of Culture 2017

 

(Written on February 24, 2015 )

Tomorrow afternoon Richard Birkin will be performing at the Apple Store on Regent Street.

At 7:15pm composer Richard Birkin performs his new EP ‘Songs for Spoken Words’ in its entirety. Joined by the Iskra Quartet, the performance will include the live debut of the Rubato platform, developed by Richard and software developer Tom Armitage. Everyone in the audience with an internet capable phone can view the synchronised images and words to view and read along with the instrumental performance.

Make sure to reserve your place online to get the best seat!

For up-to-date information about Richard Birkin make sure to head to his twitter page.

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(Written on February 23, 2015 )

We recently caught up with Nicole Wilson, the Founder of Musical Orbit, a new and exciting online service which provides online one-to-one lessons with top principal orchestral musicians as well as free webinars and masterclasses. Watch as she tells us about the inspiration behind the website and how she sees it developing in the future!

Keep up to date with Musical Orbit through their website, Facebook and Twitter.

(Written on February 19, 2015 )

With the voting currently open for the annual Classic FM Hall of Fame, we in the WildKat PR London office took some time to talk about our three choices and why we love them so much. Counted down over the Easter weekend, we’ll all definitely be tuning in to see where our favourites come! Alluding to the regular battle between Ralph Vaughan Williams’ The Lark Ascending and Rachmaninov’s 2nd Piano Concerto, we also did our own poll to see which would win. Watch our vlog to find out…

Make sure you cast your own vote here

(Written on February 13, 2015 )

WildKat PR is pleased to welcome the New York Concert Artists and Associates (NYCA) to our roster. We will be working with them on an exciting series of recitals, entitled ‘The Berlin Debuts’, where various talented international musicians make their premiere performances in Germany at the prestigious Berlin Philharmonie.

Recognising that artists are commonly subject to pressure from many angles such as the public and funding restrictions, Artistic Director and Founder, pianist Klara Min, wanted to create a platform where artists could be themselves and maintain artistic integrity and originality. Inspired by Schumann’s Davidsbund, the belief that in every situation, the ultimate artistic decisions are the domain of the musicians themselves, Klara founded NYCA in 2008 with the intention of replicating this idea in a modern context.

NYCA is led ‘by musicians for musicians and the musical public’ and regular meetings are held to discuss each other’s concerts and projects whilst also striving to help each other with any available resources. Klara also ensured that a priority to help musicians communicate more directly to the general public sat at the heart of the organisation. NYCA strive to forge dynamic connections between all areas of the music industry: musicians, managers, presenters, concert halls and also to promote young artists through NYCA’s own concert series, such as the one WildKat PR is working on.

The series will span through March and April and will then continue in October 2015 and spring 2016. Korean pianist Junghee Ryu, on the 16th March, will perform a programme including Mozart’s Piano Sonata no.15 and Schumann’s Fantasie op.17. Ryu already has an impressive CV, having played with the New York Sinfonietta and the Bulgarian Varna Philharmonic Orchestra. Sunhwa Park will perform a recital of favourites from Chopin, Beethoven, Mozart and Debussy on the 13th April. She has won prizes at numerous competitions such as the American Protégé International Competition of Romantic Music and the World Times Competition. To round off the season, Sarah Chan, who has also won many awards such as New York’s Carnegie Emerging Artist Award, will bring us Debussy, Ravel, Albéniz, Turina and Chopin.

Keep an eye on the website for more information about the artists and visit these websites to purchase tickets to The Berlin Debuts.

Junghee Ryu

Sunhwa Park

Sarah Chan

Die New York Concert Artists (NYCA) präsentieren: The Berlin Debuts

WildKat PR heißt die New York Concert Artists and Asociates (NYCA) als neue Kunden willkommen. Wir werden mit ihnen an einer spannenden Konzertreihe arbeiten, die mit dem Titel „The Berlin Debuts” in der renommierten Berliner Philharmonie stattfinden. Dabei werden mehrere talentierte internationale Musiker auftreten, die das erste Mal in Deutschland auf der Bühne zu sehen sind.

Die Pianistin Klara Min, Intendantin und Gründerin der Organisation, erkannte, dass Musiker in ihrer künstlerischen Entwicklung häufig von verschiedensten Einflüssen, wie zum Beispiel öffentlichem und finanziellem Druck, gehemmt werden. Um dem entgegen zu wirken, gründete sie NYCA als Plattform, die Künstlern die Möglichkeit gibt, sie selbst zu sein und ihre künstlerische Integrität und Originalität zu erhalten. Klara gründete NYCA im Jahr 2008. Inspiriert durch Schumanns Davidsbund wollte sie seine Idee, dass endgültige künstlerische Entscheidungen in jeder Situation bei dem Künstler selbst liegen, in einen modernen Kontext übertragen.

NYCA wird organisiert „von Musikern für Musiker und die musikalische Öffentlichkeit“ und in regelmäßigen Treffen wird über Konzerte und Projekte diskutiert und sich gegenseitig geholfen. Klara legt großen Wert darauf, dass die Organisation Musikern hilft direkter mit der Öffentlichkeit zu kommunizieren. NYCA strebt danach, dynamische Verbindungen zwischen allen Bereichen der Musikindustrie zu knüpfen: Musiker, Manager, Konzerthallen und Labels, und junge Künstler in eigenen Konzertreihen zu fördern, wie zum Beispiel die Konzertreihe in Berlin an der WildKat PR gerade arbeitet.

Die Konzertreihe findet ab März bis April diesen Jahres statt und wird im Oktober 2015 und Frühling 2016 weitergeführt. Die koreanische Pianistin Junghee Ryu wird am 16. März ein Programm aus Mozarts Klaviersonate Nr. 15 und Schumanns Fantasie Op. 17 aufführen. Ryu hat einen beeindruckenden Lebenslauf vorzuweisen, sie spielte bereits mit der New York Sinfonietta und dem Bulgarian Varna Philharmonic Orchestra. Sunhwa Park spielt in ihrer Aufführung die beliebtesten Stücke von Chopin, Beethoven, Mozart und Debussy am 13. April. Sie hat bereits Preise bei namhaften Wettbewerben wie dem Protégé International Competition of Romantic Music und der World Times Competition gewonnen. Zum Abschluss der Reihe gibt Sarah Chan ihr Programm aus Debussy, Ravel, Albéniz, Turina and Chopin. Sie ist ebenfalls mehrfache Preisträgerin und hat unter anderem den New York’s Carnegie Emerging Artist Award gewonnen.

Auf der Website von NYCA finden Sie mehr Informationen über die Organisation und die Künstler.

Tickets für „The Berlin Debuts” erhalten Sie hier.

Junghee Ryu

Sunhwa Park

Sarah Chan

NYCA Carnegie Debut Recital Audition winner - Javor Bracic - Carnegie Weill Recital Hall-2

Carnegie Debut Recital Audition winner – Javor BracicCarnegie Weill Recital Hall

 

(Written on February 13, 2015 )

WildKat PR are pleased to be working with the young and talented violinist Asi Matathias. Asi did his first ever performance with the Israel Philharmonic Orchestra at the age 14 under the baton of Zubin Mehta, who was so impressed by Matathias’ musical maturity at such a young age that he invited Asi back to play for the next season. Concert-goers can hear this sophistication beyond years at another debut of his this month: at the Berlin Philharmonic and Carnegie Hall’s Zankel Hall in New York.

His recital programme will take the audience through the history of the key repertoire for violin and piano: Brahms and Beethoven via Strauss and Takemitsu. We will hear all the experience he has accumulated over the past ten years, during which he has performed concerts throughout Europe, the USA and Asia and played in some of the most prestigious concert halls and with some of the best conductors of our time.

Also a keen chamber musician, Asi has collaborated with the likes of Yefim Bronfman and Kirill Gerstein at festivals such as Vienna’s FestWochen Festspiele, and the Jerusalem International Chamber Music Festival.

Having begun playing the violin when he was only 6 years old, he has studied with Chaim Taub, Aaron Rosand and David Nadien. He currently is a student of Pinchas Zukerman in New York. Prior to this, he was enrolled at Vienna’s Universität für Musik und darstellende Kunst where he was the youngest student ever to have been accepted.

Asi’s debuts promise to be exciting milestones in his career which is already developing well and flourishing.

Book tickets to the concert here.

Pinchas Zukermans Protegé, Asi Matathias, debütiert in Berlin und New York

Das Team von WildKat PR freut sich über die Zusammenarbeit mit dem jungen und talentierten Geiger Asi Matathias. Seinen ersten Auftritt hatte der Künstler bereits im Alter von 14 Jahren mit dem Israel Philharmonic Orchestra unter der Leitung von Zubin Mehta, der so begeistert von der musikalischen Reife bei einem so jungen Alter war, dass er Asi bereits für die folgende Saison wieder einlud. Konzertbesucher können nun eine über Jahre gereifte Verfeinerung seines Violinenspiels bei einem weiteren Debüt in diesem Monat in der Berliner Philharmonie und der Zankel Hall der Carnegie Hall in New York erleben.

Sein Konzertprogramm führt das Publikum durch die Geschichte der berühmtesten Werke für Violine und Piano: Von Brahms und Beethoven über Strauss und Takemitsu. Das Publikum wird die Erfahrungen, die Matathias in den letzten Jahren bei Aufführungen in Europa, USA und Asien gesammelt hat, hören können. Er spielte in den besten Konzertsälen der Welt und mit den bedeutendsten Dirigenten unserer Zeit. Darüberhinaus hat Asi als begeisteter Kammermusiker bereits mit Größen wie Yefim Bronfman und Kirill Gerstein bei international bekannten Festivals wie den Wiener Festwochen und dem Jerusalem International Chamber Music Festival zusammengearbeitet.

Seit er mit sechs Jahren angefangen hat Geige zu spielen, wurde er von Chaim Taub, Aaaron Rosand und David Nadien auf seinem Weg begleitet. Aktuell studiert er bei Pinchas Zukerman in New York. Davor war er an der Universität für Musik und darstellende Kunst in Wien immatrikuliert, wo er als jüngster Student seit der Gründung der Universität aufgenommen wurde.

Asis Debüts versprechen spannende Meilensteine in seiner bereits aufstrebenden Karriere zu werden.

Buchen Sie hier Tickets für das Konzert.

Asi

(Written on February 12, 2015 )

Upholding the playing style of great violinists past, Dunja Lavrova has released her debut solo album My Dusty Gramophone, which promises a nostalgic trip back in time. Launching at OSO Arts Centre in Barnes on 20th February, Dunja will showcase works from the album as well as violin miniatures that didn’t quite make it on the record.

Nodding to the 20th century style of violinists such as Jascha Heifetz and David Oistrakh, My Dusty Gramophone has been recorded using vintage equipment and analog mastering. As well as using the intimate technique of placing the microphone as close to the violin’s sound-hole as possible, all of the pieces have been recorded in live takes, giving a more authentic feel. Dunja also plays a 1914 G.Pedrazzini violin with wound-gut strings.

Born in Russia, Dunja moved to the UK aged 13 to attend the Yehudi Menuhin School upon being awarded a full scholarship. At the age of 10 she entered her first competition, the Mravinsky Competition in St Petersburg, and was awarded a special prize. Subsequently, by the age of 11, she toured Germany and Peru, made appearances on Russian and Peruvian National Television, performed alongside St Petersburg’s leading orchestras and won a special prize at the Shostakovitch Competition in Hannover. In 2004 Dunja was named Young Artist of the Year at the Arts Club which led to a private benefactor presenting her with a 1914 G.Pedrazzini violin. Upon graduating from the Royal College of Music she was presented with the Tagore Gold Medal by HRH Prince Charles in 2010.

Dunja’s debut solo album with Solo Musica My Dusty Gramophone is available to buy on Amazon and download from iTunes now.

Dunja will also be holding an album launch concert on 20th February 2015, 7:30pm at OSO Arts Centre in Barnes.

For more information you can visit Dunja’s website, as well as following her on Facebook and Twitter.

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(Written on February 10, 2015 )

Innovative virtuoso violinist Eric Silberger is the latest addition to WildKat PR’s roster. A protégé of Lorin Maazel, Silberger is already the recipient of many prestigious awards including: the XIV International Tchaikovsky Competition and the Michael Hill International Violin Competition in 2011.

Having been described as ‘spine-tingling…astonishing’ (The Guardian), Eric is well known for his unconventional performances and new approach to playing both in terms of geography and technology. In 2014, Eric performed the first ever violin recital inside a volcano as an imaginative reaction to the disruption to flights the ash cloud from Iceland’s Eyjafjallajökull caused to him and many others, back in 2010. Eric also seeks to synchronise new digital techniques with the established classical music industry and began to do this by using a GoPro camera to record video footage of himself playing in order to provide the audience with a performer’s viewpoint.

Eric also has a strong entrepreneurial spirit, from which he co-founded the chamber group Castleton Chamber Players, which regularly performs at the Castleton Festival. As well as this, he has established his own online business, Jukubox.

Silberger began his musical education at five years old and went on to study at the Juilliard School. He upholds a busy international touring schedule and he has performed at some of the world’s most prestigious concert halls such as Carnegie Hall and The Moscow International House of Music, amongst others. He has also played with the likes of the Chamber Orchestra of the Mariinsky Theatre and the Cincinnati Symphony Orchestra. That he is making time in 2015 to perform in Europe (Spain, Denmark and the UK) is a real treat and this rare opportunity is not to be missed.

Follow Eric on his website, Twitter and Facebook pages.

eric-silberger-plays-violin-inside-a-volcano-1401186378-article-1Eric Silberger at Iceland’s Thrihnukagigur volcano. Photo: Classic FM

(Written on February 5, 2015 )