Interview with Jesus Trujillo (RTVE, Radio Clásica), in spanish / Entrevista con Jesus Trujillo ("La Darsena, Radio Clasica), en español

Here is the link to the interview for “La Darsena” on RTVE Radio Clásica with Jesus Trujillo (in spanish). Staring 1h10’55’’ into the program. For the list of musical excerpts see below.

http://www.rtve.es/alacarta/audios/la-darsena/darsena-baldur-brnnimann-26-02-19/5017686/

Estuve hablando con Jesus Trujillo de Radio Clásica, sobre la relación de repertorio clasico y contemporaneo , sobre la situacion actual de la escena de musica clasica y sobre mi pasado, presente y futuro. La entrevista empieza en 1h10’55’’ del programa.

http://www.rtve.es/alacarta/audios/la-darsena/darsena-baldur-brnnimann-26-02-19/5017686/

Los extractos musicales del programa:

1. Grace Williams (1906 - 1977) - Ballads for orchestra (1968)  BBC Symphony Orchestra / Baldur Brönnimann   - TRACK 3 “Allegro moderato alla Canzone” 4'47

2. Alexander Lokshin - Sinfonia No 4 (1968) - Basel Sinfonietta / Baldur Brönnimann - grabado en directo por SRF Suiza 21/10/2018   18’33’', extracto

3. György Ligeti - Melodien (1971) - Ensemble Bit20 / Baldur Brönnimann - BIS 2209 SACD  - Track 7, extracto

4. Joly Braga Santos - Sinfonia No 4 (1950) 4to movimiento  - Orquestra Sinfonica do Porto Casa da Musica / Baldur Brönnimann  - grabado en directo en Casa da Musica  30/11/ 2018, extracto

5.. Maurice Ravel - La Valse (1920) - Orquestra Sinfonica do Porto Casa da Musica / Baldur Brönnimann - grabado en directo en Casa da Musica  30/11/ 2018, extracto

Liza Lim's "How Forests Think", with Wu Wei and ICE at the Mostly Mozart Festival (Lincoln Centre) 2017

Lincoln Center's Mostly Mozart Festival 2017

conductor: Baldur Brönnimann | Sheng : Wu Wei International Contemporary Ensemble

Liza Lim: How Forests Think

Composer's Notes: How Forests think reflects on the work of anthropologist Eduardo Kohn who writes about forest ecologies as the 'living thought' of human and non-human selves. Each of these selves may have its own subjectivity, creating the world with its own registers of knowledge, sensation and meaning. These selves organize into communities: in ancient forests, a stump may be kept alive for centuries by the surrounding trees through underground fungal networks that nourish the old connections and keep a song going. One might think of a forest as a choir or certainly as an ensemble. Stories, dreams and thoughts inhabit multiple forms in a living matrix; they ask us to look beyond our limited human gaze and limited human time-span. How Forests think is music made from assemblages of instruments whose qualities are like tendrils looking for places on which to clasp and entangle themselves. Its forms are emergent, like plants growing toward light and water; like mycelial strands entwining with tree roots in a co-evolving internet of plant-life. The music emerges out of criss-crossing conversations patterned like roots, vines, fungal networks; or like airborne, insect and animal-borne cross-pollinations (the breath, the buzz, the scratch, the love songs), where one thing looks for best fit with another. The Chinese sheng is an instrument with a 4,000-year old lineage, and Wu Wei has been instrumental in developing the 37-pipe sheng for contemporary music. The cluster of bamboo tubes is activated by the musician's breath vibrating internal reeds, making flutters traditionally associated with the mythical phoenix that rises from the ashes of its own funeral pyre. There is something intensely organic in how the interactions between breath and reed and bamboo pipe create a flowering of sound that may not be completely predictable - one hears a trace of the wind in the forest. Neither the wind nor any weather, nor growing things can be completely controlled, contained or resisted - there is a tempest of forces that dwells in the forest. That tempest is also a song in us. —Liza Lim

The 18/19 season

Highlights of the 2018/19 season include a return to the Seoul Philharmonic, and debuts with the Orchestre Philharmonique de Luxembourg in the orchestra’s Rainy Days contemporary music festival, with Staatskapelle Weimar, Norwegian Radio Orchestra, the orchestras of Valencia, Galicia and Asturias, and with Tapiola Sinfonietta (Finland). I will also be Artistic Director of the 2019 Avanti! Festival in Finland.

And apart from that, there are many projects with my friends and colleagues in Porto and Basel. See you, soon!