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ensemble
Intégrales prooved to be a driven collective and a highly
praised enrichment for the new music world. 28.2.05 Antwerpen De
Singel
1
"Best balanced program" Ultraschallfestival, Der Tagesspiegel,
1/27/04
Virtuosic
was “Dikhthas” by Xenakis for violin and piano performed
by ensemble Intégrales (Barbara Lüneburg violin, Claudia
Birkholz piano). On the whole this ensemble presented one of the
best balanced programs of the festival. (back
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2
"Great commitment and zest" The Irish Times, Belfast,
3/24/03
Founded
10 years ago by violinist Barbara Lüneburg and saxophonist
and composer Burkhard Friedrich, ensemble Intégrales is
a flexible contemporary music group which combines electronics
with (on this occasion) the distinctive sound of violin, alternating
with viola, saxophone, percussion and piano. The resulting stimulating
and sometimes hard-hitting mixture was skilfully balanced by the
sound engineer and composer Marko Ciciliani. Styles ranged from
the high-impact atonal repeat-patterns of Yannis Kyriakides's
"Chaoids" to the dreamy sonority-orientated meditations
of Netochka Nezvanova's "untitled", where Barbara Lüneburg
drew a sensitive range of sounds from her viola, eventually being
joined by Claudia Birkholz (piano) and Stefan Kohmann (percussion).
Marko Ciciliani's "KörperKlang" contrasted this
with irregular splinters of sound from saxophone, viola and piano.
I found Friedrich's piece "no significant change" something
of a challenge as its piercing, ringing sonorities became unconfortable
to listen to, but Donnacha Dennehy's "Glamour Sleeper II"
made up for this with its earthy, energised drumming. All these
pieces were clear cut and bright-sounding, the prevailing atonal
idiom leavened with splashes of melting tonal harmony and, in
the Kyriakides piece hints of jazz fusion styles, and they were
all played with great commitment and zest.
The music is all recent, with the Dennehy, Ciciliani and Nezvanova
works having been completed earlier this year. But for all its
stylistic variety, this music is worlds away from both the chilly
arrhythmia of tradtional European modernism and the easy listening
of some later minimalism. The vitality of both playing and writing
augurs well for future of contemporary music. (Dermot Gault) (back
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3
"Ensemble danses with electronics" Eindhovens Dagblad,
The Netherlands, 27.9.03
Since
the turn of the century the term “contemporary music”
has gained a new meaning. The 20th century is over, a new era
has started.This feeling you could get last Thursday at ensemble
Intégrales’ concert at Axes in Eindhoven ... All pieces
were of high standing quality a true pleasure for the ear. Especially
because of the powerful and excellent performance of the ensemble.(back
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4 "Compliments to ensemble Intégrales" Stader Tageblatt,
Stade 11/8/99, Germany
Agathenburg
- "Compliments to ensemble Intégrales, which maintained
an excellent technical level and phrased the music with expressive
intensity. All of the members knew precisely how to handle the
scarcity of tonal material, the resonance and silence and the
inner language of the compositions." (back
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5 "Air in the Nervous System" Südkurier Friedrichshafen
5/22/1999, Germany
"ensemble
Intégrales represents a turning- point in musical eras"
So it fits excellently into the setting of the Bodenseefestivals.
(back
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6 "American Chamber Music - stirring and thrilling Interpreters"
Donaukurier, Ingolstadt 10/13/98, Germany
"...
with permanently exchanging combinations and a good deal of ingenuity
and flexibility Barbara Lüneburg, Burkhard Friedrich and
Nils Grammerstorf managed to present an exquisite Musica Viva
program in the locations of the 'Museum für konkrete Kunst'...The
three players of the ensemble Intégrales showed themselves
as extremely flexible, very concentrated and stylistically appropriate
interpreters who were rewarded with overwhelming applause."
(back
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7
"New Music tips the Classics" Oldenburger Sonntagszeitung
7/29/97, Germany
"In
much the same way that mistakes can productively made use of while
practicing, saxophonist and composer Burkhard Friedrich gave a
performance of his composition 'TANZ'. Diverse problems associated
with the attack and erroneous fingerings were cultivated here
to become a great piece full of "new playing techniques".
In his 'Sonata for Violin Solo' of 1951, Bernd Alois Zimmermann
was still wandering between neoclassicism and twelve-tone composition.
Barbara Lüneburg recreated this conflict with enrapturing
energy and great virtuosity. 'Combo Platter' by Robert Aldridge,
united the ensemble in the final piece as indeed being a trio
for violin, sax and marimba.
By tipping the recognized classics to the point of nearly knocking
them over, the three musicians offered proof that humor is also
an aspect of new music." (back
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8
"Heroes on the Flowing Boundaries" Kreuzlinger Tageblatt,
2/16/97, Switzerland
Kreuzlingen
- "The applause in the auditorium of the Kreuzlingen Seminar
was lengthy and an expression of recognition for the ensemble
Intégrales from Hamburg. Those who had unusual things to
offer at the 'Forum of Other Music' also presented it to the intended
audience in unusual instrumentations....An exciting finale with
Robert Aldridge´s 'Threedance' for marimba, tabla and violin
as a virtuosic combination of European and exotic materials. Impression:
A little bit of salon, a little coffee house, a bit of jazz, elegantly
integrated into a sound of the 'other music' -- a cool piece!...Burkhard
Friedrich (saxophone), Nils Grammerstorf (percussion), Barbara
Lüneburg (violin/viola) and Rajkumar (tabla) - those were
the four heroes of Hamburg’ s ensemble Intégrales
who did a fantastic job presenting sounds from another corner
of the music world." (back
to top)
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