Debussys wiederentdeckte Première suite d'orchestre

By Jens Klier, 25 March 2018

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“Merci Monsieur Debussy, Les Siècles et François-Xavier Roth!”

Laura Servidei, 22nd January

At the intersection of mathematics and music, the Festum Pi festival brings together theorists and performers to explore one of humanity’s oldest intellectual duets. We spoke with participant Professor Bertrand Maury, acclaimed mathematician and a concert pianist, about this enduring connection.

I don’t like museums: Alexandre Tharaud

Elodie Olson-Coons, 3rd March

The French pianist speaks candidly about his career, his love of French music, and his upcoming recital in Lugano.

Manchester’s Bridgewater Hall and beyond

Lawrence Dunn, 10th March

We profile one of the most advanced and best-sounding concert halls in the UK, and take a look further afield at arts and culture across Manchester.

The world over: Bachtrack’s Classical Music Statistics 2025

Bachtrack, 28th January

How is the classical music world changing? Looking back on a dizzying year, we pay particular attention to performers’ international connectedness. Documenting more than 30,000 events, Bachtrack’s statistics provide valuable insight into an unstable world.

The magical world of composers’ handwriting

Lawrence Dunn, 17th December

From Buxtehude, Bach and Handel, to contemporary composer Liza Lim, we take a tour of the myriad forms of composers’ handwriting and calligraphy – and how music makes itself on the page.

Force of passion: the origins of Ballet Rambert

Alexander Simpkins, 12th December

A century after its founding in 1926, former members of Ballet Rambert recall the joys and challenges of working directly with Dame Marie Rambert, one of the trailblazers of British ballet.

Jens Klier

Vor seinem Rechtswissenschafts-Studium in Bayreuth und Bonn widmete sich Jens Klier seit frühester Kindheit musikalisch der Violine (Repertoire vom 17. bis 20. Jahrhundert). Während er zudem mit Gesang und dem Leben im Orchesterbetrieb groß wurde, entwickelte sich ein besonderes Interesse an der sogenannten 'Historischen Aufführungspraxis' und authentischen Instrumenten. Diese Leidenschaft hält sich hartnäckig, sodass er sie mit Vorliebe für das Barocke anstatt mit Finger und Bogen nun in Form der Musikkritik zu Gehör bringt. U.a. Telemann-Fan, Liebhaber J. S. Bachs Genies und Entdecker neuerer, seltenerer 'Alter Musik'.

Debussys Première suite d'orchestre: Eine Wiederentdeckung mit François-Xavier Roth und Les Siècles