you must be a man, to be eligible for the Ernst von Siemens music prize in question, as in advanced age and thus, all doubts as to the venerability sublime, that seemed to be an iron rule and has been criticized in the past few years, is becoming stronger. Twenty-five of four times the prize has been awarded to date, first in 1974, to Benjamin Britten, the one and only Time he went to a musician. Anne-Sophie mutter was awarded to him in 2008. A fairly devastating balance sheet that is now corrected with an important decision. Rebecca Saunders will be awarded this year, the 250,000-Euro prize, the “Nobel prize of music”, she is the first composer in the history of the award (you will be amazed about it again and again) and, incidentally, a relatively young award winner, at least in comparison to their predecessors, which had exceeded the sixty, seventy, or eighty most of the time. Rebecca Saunders is 51 years old, was born in London and lives in Berlin.
With great elegance
Female, young, extremely – so that the categories would be dealt with, not to mention the Board of Trustees of the Ernst von Siemens music prize values has made categories with the decisions of the past few years. Fast but to the composer himself, and the fact that your choice, quite apart from everything already Mentioned, is a good decision. Because of Saunders’ works, often composes for instruments in a small ensemble to a Duo or Solo, open to the listener in an unusually direct way. And yet, he is hardly done with you: Because there is so much to discover. To experience about two years ago, as part of the Musikfest Berlin is the largest factory for the world premiere: “Yes”, for soprano and nine instruments, a good hour-long piece, the Saunders, the monologue of Molly Bloom from James Joyce’s “Ulysses” to the starting point.
With great elegance, you built it as a constantly changing sound sculpture in the middle of the handset itself was: the architecture of The chamber music hall of the Berlin Philharmonie, distributed to the musicians on the gallery and Oriel cells around it. It was not only the room, but to the attempt to demoralize the sound subtly and to deepen his perspective. The foreground, middle ground, Background, the parameters, the account of Saunders in their ensemble pieces carefully. Moving Hörlandschaften can arise, which is also in the Abrupt and Aggressive (which happens not infrequently in the pieces of the outwardly very calm-looking composer) nor logical, and organ appear in its construction.
