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Jörg Widmann

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Jörg Widmann
Widmann in 2006
Born (1973-06-19) 19 June 1973 (age 51)
Munich, Germany
Education
Occupations
  • Clarinetist
  • composer
  • conductor
  • academic teacher
Years active1990–present
EraContemporary
Organizations
Notable work
FamilyCarolin Widmann (sister)
Awards
Websitewww.joergwidmann.com Edit this at Wikidata

Jörg Widmann (German: [ˈjœʁk ˈviːtman] ⓘ; born 19 June 1973) is a German composer, conductor and clarinetist. In 2023, Widmann was the third most performed living contemporary composer in the world. Formerly a clarinet and composition professor at the University of Music Freiburg, he is composition professor at the Barenboim–Said Akademie. His most important compositions are the concert overture Con brio, the opera Babylon, an oratorio Arche, Viola Concerto, Kantate and the trumpet concerto Towards Paradise. Widmann has written musical tributes to Classical and Romantic composers. He was awarded the Bavarian Maximilian Order for Science and Art in 2018 and the Bach Prize of the Free and Hanseatic City of Hamburg in 2023. He was Gewandhaus Composer of the Gewandhaus Orchester Leipzig and Composer in Residence for the Berlin Philharmonic.

Early life and education

[edit]

Widmann was born on 19 June 1973 in Munich, the son of a physicist and a teacher. His sister is the German classical violinist Carolin Widmann.[1] He first took clarinet lessons in 1980.[2] Four years later he became a composition student of Kay Westermann.[2] Widmann attended the secondary school Pestalozzi Gymnasium [de] in Munich.[a][4] He later studied composition with Hans Werner Henze, Wilfried Hiller in Munich and Heiner Goebbels, Wolfgang Rihm in Karlsruhe.[5]

He studied as a clarinetist at the Hochschule für Musik und Theater München with Gerhard Starke (1986–1997, Meisterklassendiplom 1997)[6] and at the Juilliard School in New York City with Charles Neidich (1994–1995, Advanced Certificate 1995).[2][7] He furthered his studies at the Hochschule für Musik Karlsruhe (1997–1999).[5][2]

Career

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Academic teacher

[edit]

From 2001 to 2015, Widmann taught clarinet as a professor at the University of Music Freiburg.[2] From 2009 to 2015, Widmann was a part-time Professor of Composition, succeeding Mathias Spahlinger, at the Institute for New Music at the University of Music Freiburg.[2][8][9] Since 2017, Widmann holds the Edward Said Chair in Composition at the Barenboim–Said Akademie, Berlin.[10]

Clarinetist

[edit]

As a soloist, Widmann has performed with major orchestras in Germany and abroad, including the Vienna Philharmonic Orchestra and Munich Philharmonic Orchestra, under conductors like Valery Gergiev, Christoph von Dohnányi, Sylvain Cambreling and Kent Nagano.

He has premiered several clarinet concerti dedicated to him: in 1999 through "musica viva", he played Music for Clarinet and Orchestra by Wolfgang Rihm;[2] in 2006 with the WDR Symphony Orchestra, Cantus by Aribert Reimann;[2] and in 2015 "über" by Mark Andre at the Donaueschingen Festival.[11]

Widmann's core repertoire as clarinetist includes Mozart's Clarinet Concerto[12] and Clarinet Quintet,[13] Weber's Clarinet Concerto No. 1 and Clarinet Quintet, Brahms's Clarinet Quintet,[14] and Pierre Boulez's Dialogue de l'ombre double, which he performed on Boulez's 85th birthday in Paris.[15][16][17] His chamber music partners include Daniel Barenboim, Tabea Zimmermann, András Schiff, Kim Kashkashian, Hélène Grimaud, Denis Kozhukhin and Mitsuko Uchida.[18][19]

Widmann mostly plays a Herbert Wurlitzer clarinet from his student time.[20]

Composer and conductor

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Freiburg (2001–2016)

[edit]

Widmann's compositions draw on different musical genres. For example, he has written a trilogy for orchestra examining the projection of vocal forms of instrumental ensembles. The trilogy consists of Lied (premiered in 2003 and recorded on CD by the Bamberg Symphony with Jonathan Nott), Chor (premiered in 2004 by the Deutsches Symphonie-Orchester Berlin with Kent Nagano) and Messe (premiered in June 2005 by the Munich Philharmonic under Christian Thielemann).[21] In 2007, Pierre Boulez and the Vienna Philharmonic premiered his orchestral work Armonica.[22]

His early string quartets are of particular note among his chamber music: the First Quartet was written in 1997, followed by the Chorale Quartet and the Hunting Quartet, the latter premiered in 2003 by the Arditti Quartet. 2005 saw the first performances of the Fourth Quartet and Experiment on a Fugue (Fifth Quartet, with soprano), with Juliane Banse and the Artemis Quartet. These five one-movement quartets form a cycle.[23][24][25][26]

Widmann was Composer in Residence at the Salzburg Festival and at the chamber music festival Spannungen, Heimbach in 2004.[27][28] Octet was premiered on 4 June 2004 at the power plant Kraftwerk Heimbach.[29][30] In 2008, Siemens Arts Program sent Widmann to Dubai.[b][32][33] The same year, he conducted a premiere rehearsal of his concert overture Con brio.[34] Widmann premiered Am Anfang[35] by Anselm Kiefer in July 2009 as part of the 20th anniversary of the Opéra Bastille, in which he acted as composer, clarinetist and made his debut as conductor.[17] He was Composer in Residence at the Lucerne Festival in 2009,[36] where on 13 August 2009, Heinz Holliger performed Widmann's oboe concerto, commissioned by the festival.[37] On 5 September Widmann premiered Holliger's Rechant for solo clarinet.[38] Widmann's Free Pieces for Ensemble: Number X is used in Sophie Fiennes's documentary Over Your Cities Grass Will Grow (2010), about the postwar German artist Anselm Kiefer.[39] His sister[2] Carolin Widmann premiered his études IV-VI for violin (2004–2010) at the Wittener Tage für neue Kammermusik on 23 April 2010.[40] From 2009 to 2011, he was the Daniel R. Lewis Young Composer Fellow at the Cleveland Orchestra.[41][42] He performed his Fantasie for Solo Clarinet (1993) to celebrate Walter Fink's 80th birthday at the Rheingau Musik Festival on 16 August 2010 and in 2014 was the festival's Composer and Artist in Residence.[43][44] In 2012, he collaborated with philosopher Peter Sloterdijk, who was the librettist for his second opera Babylon.[45] Widmann was the Tonhalle Orchester Zürich's Creative Chair in the 2015–16 season.[46][47]

From 2012 to 2021, Widmann was Principal Guest Conductor/Principal Conductor and Artistic Partner of the Irish Chamber Orchestra.[48][49][50][51]

The theatralic Viola Concerto (2015) announces a new period in Widmann's œuvre. Soloist of the premiere was Antoine Tamestit.

Berlin and Munich (Since 2017)

[edit]

On 9 September 2015, the Boston Symphony Orchestra and the Leipzig Gewandhaus Orchestra proclaimed they were commissioning a work from Widmann as part of a planned collaboration by the two organizations beginning in the fall of 2017.[52] The Leipzig Gewandhaus Orchestra announced Widmann's appointment as its first-ever Gewandhauskomponist (Gewandhaus Composer) for the 2017–18 season.[53]

Widmann's oratorio ARCHE had its world premiere on 13 January 2017 on the occasion of the opening festivities of the Elbphilharmonie in Hamburg. It was performed by the Hamburg Philharmonic State Orchestra under Kent Nagano.[54][55][56] A concert with Widmann, Daniel Barenboim, and Anna Prohaska opened the Pierre Boulez Saal in Berlin on 4 March 2017.[57][58]

Hagen Quartet in Muziekgebouw aan 't IJ with clarinetist Jörg Widmann on 27 January 2018

On 27 January 2018, Widmann and the Hagen Quartet performed his Clarinet Quintet, as part of a European tour, at Amsterdam's Muziekgebouw aan het IJ.[59] Partita, five reminiscences for large orchestra, commissioned by the Leipzig Gewandhaus Orchestra and the Boston Symphony Orchestra, was premiered in Leipzig on 8 March 2018 with Andris Nelsons conducting.[60]

After the world premiere in 2012 at the Bavarian State Opera, in 2019 a new Berlin version of his opera Babylon was performed at the Berlin State Opera on Unter den Linden under the musical direction of Christopher Ward.[61]

Anne-Sophie Mutter is the dedicatee of String Quartet No. 6 (Study on Beethoven, 2019).[62][42] With this piece, Widmann began a new series of works in the genre for the Beethoven anniversary year 2020. The series comprises five quartets.

Widmann held the 2019–20 Richard and Barbara Debs Composer's Chair at Carnegie Hall.[63][64][42] During the COVID-19 pandemic of 2020, he contributed to the online Festival of New Music with his composition empty space.[65][66][67] Barenboim and Emanuel Pahud curated the festival in the empty Pierre Boulez Saal.[65][68]

Another commission from Leipzig and Boston is the lyrical trumpet concerto Toward Paradise.[69] It was premiered on 23 September 2021 at Gewandhaus with Håkan Hardenberger playing trumpet and Andris Nelsons conducting the Leipzig Gewandhaus Orchestra.[69] This work refers to Miles Davis.[70]

On 8 June 2023, Kantate for soli, choir, organ and orchestra was premiered by Andreas Reize conducting Leipzig Gewandhaus Orchestra and Thomanerchor in Leipzig, Thomaskirche, on occasion of the 300th anniversary of Johann Sebastian Bach taking office as Thomaskantor.[71]

Since 2022, he has been Associated Conductor of the Munich Chamber Orchestra for three years.[72][73] He is guest conductor of the Mozarteum Orchester Salzburg.[74] From the 2023–24 season, Widmann has been principal guest conductor of the NDR Radiophilharmonie for three years.[75][76][77]

In the 2023–24 season, Widmann was Berlin Philharmonic's Composer in Residence and made his debut conducting the orchestra.[78][79] Widmann composed a concerto for the orchestras principle horn Stefan Dohr.[80]

Widmann will be the judge for the Toru Takemitsu Composition Award 2026.[81]

Personal life

[edit]

Widmann lives and works in Berlin and Munich.[82][83]

Reception

[edit]

According to Bachtrack, Widmann was in 2023 the third most performed living contemporary composer in the world, behind John Williams and Arvo Pärt.[c][86]

Style

[edit]

Widmann cannot be pinned down to a specific personal style or composition school.[79] His music has been described as varied and imaginative.[87] In his experimental and technically demanding early work,[88][89][90] Widmann integrates serialism and noise in traditional sources.[91] He focuses on sounds, not tones.[92] Widmann has written pieces without pitches and also purely tonal pieces with exaggerated familiar gestures.[93][91] In many of his compositions, Widmann is in a musical "dialogue" with Classical and Romantic composers such as Mozart,[94] Beethoven,[95][96] Schumann,[97][98] Mendelssohn,[99][100] Schubert[101][102] and Brahms.[47][103][104] He wrote musical tributes to these composers.[104][47]

Widmann's scores show extremely precise, well-considered structures and instructions.[105] A common instruction is, that the soloist moves around the stage, for example in Viola Concerto, Towards Paradise and Kantate.[106][71] Widmann integrates the soloist of his concertos into the creative process.[107] He uses extended techniques in many compositions, such as Con brio.[95][42] Beside the influence of his musical idols, Widmann finds inspiration in literature, poems, paintings and sculptures.[108] He frequently uses literary sources for his compositions, like Matthias Claudius, Klabund, Heinrich Heine, Peter Sloterdijk, Clemens Brentano and Friedrich Schiller in his oratorio ARCHE.[109][110] In his 2023 Bach-homage Kantate (called: "Friedenskantate", peace cantata),[111] he used texts by Matthias Claudius, Jean Paul, Bertolt Brecht, Dietrich Bonhoeffer, Paul Gerhardt and from the Bible.[71][112]

Awards

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Honorary degrees

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Memberships

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Works

[edit]

Music

[edit]
Main article: List of compositions by Jörg Widmann

As of 2024, Widmann composed a series of seven Labyrinth pieces.[34]

Writings

[edit]
  • Widmann, Jörg (2019). "Utopian Music? The Exception as the Quintessence". Beethoven 250. Unter der Oberfläche / Beneath the Surface. Essays zum Beethovenjahr / Essays for the Beethoven Year. Berlin: Pierre Boulez-Saal. Retrieved 29 June 2020.
  • —— (14 April 2014). "Musikpreis des "Heidelberger Frühlings": Man muss das Feuer einfach weitergeben". Frankfurter Allgemeine Zeitung (in German). Retrieved 18 April 2021.

Films

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Notes

[edit]
  1. ^ Hans Werner Henze commissioned the school opera Absences.[3]
  2. ^ "into... Dubai" was a music project by the Ensemble Modern, the Siemens Arts Program and the Goethe Institute.[31]
  3. ^ 2018: 3rd place,[84] 2022: 6th place.[85]

References

[edit]

Citations

[edit]
  1. ^ "Double Acts: Carolin and Jörg Widmann". The Strad. 13 October 2023. Archived from the original on 23 December 2023. Retrieved 13 October 2023.
  2. ^ a b c d e f g h i Bruhn 2013, p. 9.
  3. ^ "Komponisten der Gegenwart (KDG)". nachschlage.net (in German). Archived from the original on 6 February 2024. Retrieved 12 August 2024.
  4. ^ "Musikpreis 2021". Landeshauptstadt München (in German). 10 December 2019. Archived from the original on 25 August 2021. Retrieved 25 August 2021.
  5. ^ a b Fein 2005, pp. 13–34.
  6. ^ "Verleihung des Robert Schumann-Preises für Dichtung und Musik an Jörg Widmann". Akademie der Wissenschaften und der Literatur Mainz (in German). 5 November 2018. Archived from the original on 24 February 2021. Retrieved 18 January 2021.
  7. ^ May, Thomas (25 February 2020). "Widmann Conducts the Juilliard Orchestra". The Juilliard School. Archived from the original on 22 January 2021. Retrieved 17 January 2021.
  8. ^ Adam, Johannes (4 November 2010). "Die erogenen Zonen der Musik". Badische Zeitung (in German). Freiburg. Archived from the original on 27 August 2017. Retrieved 26 August 2017.
  9. ^ Jahrbuch der Hochschule für Musik Freiburg 2008/09 (PDF) (in German). Freiburg: Hochschule für Musik Freiburg. 2008. Archived from the original (PDF) on 13 August 2017. Retrieved 13 August 2017.
  10. ^ "Faculty members". Barenboim–Said Akademie. 2017. Archived from the original on 6 August 2017. Retrieved 16 June 2017.
  11. ^ Benda, Susanne (30 January 2016). "Immer wieder über Grenzen gehen". Stuttgarter Nachrichten (in German). Archived from the original on 10 May 2018. Retrieved 9 May 2018.
  12. ^ Struck-Schloen, Michael (5 October 2015). "Werkeinführung Mozart Klarinettenkonzert". WDR (in German). Archived from the original on 4 February 2024. Retrieved 4 February 2024.
  13. ^ Neuschaefer, Katharina (5 March 2019). "Wolfgang Amadeus Mozart: Klarinettenquintett KV 581". BR-KLASSIK (in German). Archived from the original on 21 June 2023. Retrieved 12 December 2020.
  14. ^ Urmoneit, Sebastian (15 November 2024). "Das Hagen-Quartett und Jörg Widmann laden in die Komponierstube". Bachtrack. Retrieved 20 November 2024.
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  22. ^ Bruhn 2013, p. 18.
  23. ^ Nyffeler, Max (December 2009). "Und immer wieder das Streichquartett". neue musikzeitung (in German). Regensburg. Archived from the original on 17 November 2014. Retrieved 1 September 2018.
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  26. ^ Henke, Matthias (2006). ""Fern ist der Grund der Dinge...": Rand-Bemerkungen zu den Streichquartetten Jörg Widmanns". Neue Zeitschrift für Musik. 167 (2): 42–43. JSTOR 23992611. Archived from the original on 12 February 2023. Retrieved 6 March 2021.(subscription required)
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  31. ^ "into... / Projects". Ensemble Modern. 11 October 2008. Archived from the original on 3 August 2023. Retrieved 3 August 2023.
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  33. ^ Linke, Hans-Jürgen (27 January 2019). "Wüstenstille und Ländlerluft". Frankfurter Rundschau (in German). Archived from the original on 20 January 2022. Retrieved 3 August 2023.
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  35. ^ "Zartes und Monumentales". Deutschlandfunk Kultur (in German). 7 July 2009. Archived from the original on 7 February 2024. Retrieved 7 February 2024.
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  37. ^ Bruhn 2013, p. 19.
  38. ^ Hagmann, Peter (8 September 2009). "Neue Musikalität und alter Kommerzialismus". Neue Zürcher Zeitung (in German). Zürich. Archived from the original on 6 August 2017. Retrieved 6 August 2017.
  39. ^ Bradshaw, Peter (13 October 2010). "Over Your Cities Grass Will Grow – review". The Guardian. London. Archived from the original on 19 June 2018. Retrieved 5 September 2018.
  40. ^ "Freitag 23. April 2010" (in German). Wittener Tage für neue Kammermusik. 2010. Archived from the original on 22 July 2010. Retrieved 16 August 2010.
  41. ^ Dempf, Linda; Seraphinoff, Richard (18 April 2016). Guide to the Solo Horn Repertoire. Indiana University Press. ISBN 978-0-253-01935-6. Archived from the original on 6 August 2021. Retrieved 14 July 2020.
  42. ^ a b c d Allen, David (20 March 2020). "A Composer Finds the Old in the New". The New York Times. New York City. Archived from the original on 20 March 2020. Retrieved 20 March 2020.
  43. ^ Hauff, Andreas (8 September 2010). "Ehrungen und Raritäten. Die Endphase beim Rheingau-Musik-Festival". nmz online (in German). neue musikzeitung. Archived from the original on 27 September 2010. Retrieved 15 July 2017.
  44. ^ Sternburg, Judith von (20 August 2014). "Romantik-Session". Frankfurter Rundschau (in German). Frankfurt. Archived from the original on 6 August 2017. Retrieved 6 August 2017.
  45. ^ "Jörg Widmanns Oper "Babylon" wird uraufgeführt: Bombastisches Musiktheater". BR-KLASSIK (in German). 26 October 2023. Archived from the original on 27 October 2023. Retrieved 9 February 2024.
  46. ^ Batschelet, Sarah (8 July 2016). "Without dissonance, no harmonies: Jörg Widmann and Mozart in Zurich". bachtrack.com. Archived from the original on 31 July 2018. Retrieved 6 August 2017.
  47. ^ a b c Spinola, Julia (16 September 2015). "Im Dialog mit Eusebius". Neue Zürcher Zeitung (in German). Zürich. Archived from the original on 6 August 2017. Retrieved 6 August 2017.
  48. ^ Bruhn 2013, p. 7.
  49. ^ Downey, Charles (21 November 2019). "Irish Chamber Orchestra and its enthusiastic conductor put on a show at the Library of Congress". The Washington Post. Washington. Archived from the original on 22 November 2019. Retrieved 22 November 2019.
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Cultural offices
Preceded by
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 Principal Conductor, Irish Chamber Orchestra
2017–2022 		Succeeded by
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