En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Pintscher

Le concert « Vers la Lumière », proposait en première partie le triptyque riss de Mark Andre, et deux des pièces composées par Mathias Pintscher pour soliste et ensemble : mar'eh et NUR.    

L'Ensemble intercontemporain propose une balade dans un « jardin musical », une rencontre entre œuvres, entre électronique et instrumental, mais aussi entre musique et plastique, lumière, dramaturgie. Une soirée magique d'une immense poésie.

Belle soirée offerte par l’Orchestre de la Suisse Romande qui offrit un éclectique programme entre l’impressionniste Fauré, l’intellectuel Pintscher et le romantique Dvořák. Les trois se fécondant assez peu finalement, reste la qualité de l’interprétation de l’orchestre visiblement porté par l’énergie insufflée par le chef-compositeur. 

Pour le dernier concert de la série du Barbican "Boulez at 90", l’Ensemble intercontemporain jouait Boulez, mais aussi Yann Robin et Matthias Pintscher sous la direction de ce dernier. Une performance d'exception, superbe hommage au maître.

Ravel and Pintscher's own music were juxtaposed on this programme from Amsterdam. 

Daniel Barenboim, Emmanuel Pahud and select musicians continue their brief odyssey into new music with three striking and stimulating world premieres and a welcome touch of Boulez.

The orchestra’s principal flute Joshua Smith was soloist for the local première of Matthias Pintscher’s Transir. Three Ravel favorites completed the program.

La ONE presentó un programa de estéticas muy diversas, ligado por algunos puntos fundamentales que Eschenbach supo resaltar magistralmente: la persistencia del sonido, el sentido de dramatismo y expresividad que atravesaba todas las piezas, y una tensión que pendió en todo momento de su batuta sin decaer mínimamente en ningún pasaje.

Matthias Pintscher wusste als dirigierender Komponist zusammen mit Leila Josefowicz, der außergewöhnlichen Solistin seines Violinkonzerts und dem RCO Beeindruckendes auf die Bühne zu bringen.

Christoph Eschenbach, Bo Skovhus und das NDR Elbphilharmonie Orchester brillieren mit einer Uraufführung von Matthias Pintscher und Mahlers Sechster in Hamburg.

Roth bookended Matthias Pintscher's new work with familiar pieces, Berlioz’s Le Corsaire Overture and Beethoven’s Symphony no. 6 in F major.

Der Residenzkomponist und -dirigent der Elbphilharmonie gastierte mit Werken von Dvořák, Mendelssohn und einer eigenen Komposition im neuen Konzertsaal an der Elbe.

Cédric Tiberghien was the astonishing soloist in Saint-Saëns’s “Egyptian” Concerto, with works by Pintscher, Schoenberg and Debussy’s La Mer filling out the program.

In a study of shifting form, tonight's dedication to the bard paired Mendelssohn's incidental music to the play with another work inspired by The Metamorphoses: Matthias Pintscher's mesmerising Reflections on Narcissus.

The Lucerne Festival recently celebrated the life and musical achievement of the great French composer and conductor Pierre Boulez on the occasion of his 90th birthday.

The concert also featured the world premiere of Matthias Pintscher's idyll and a Strauss favorite, Till Eulenspiegel’s Merry Pranks.

Two works composed in the past two years, one by a 28-year-old, one by a 103-year-old. Each offered such a wide span of sounds that within a half hour, the audience had been whisked through every imaginable mood.

For a performer with a reputation for intelligent, thought-provoking programming, this looked rather an odd selection of works. The first half of this Wigmore Hall recital featured three pieces Inon Barnatan recorded on his 2012 CD Darknesse Visible, charting works based on other works; Debussy on Verlaine, Stevenson on Britten, and Ravel on Poe.

Poor Ravel: even in death his significant talents are overshadowed by Debussy. Barely had the ink dried on his orchestrated Rapsodie Espagnole before it was eclipsed by the emergence of his iconoclast friend and rival’s equally Hispanic-tinged suite Iberia and, over 90 years on, the programme notes to Prom 48 contain a detailed discussion on whether Ravel’s legacy has been obstructed by his contem

Franz Welser-Möst’s programme was rather eclectic for this Carnegie Hall visit from the Cleveland Orchestra. Matthias Pintscher’s static, ethereal new work, Chute d’Étoiles (“Falling Stars”), found itself sandwiched between two of Beethoven’s busiest works, the Fourth Symphony and the Grosse Fuge, both of which are in the key of B flat major.

All three works in this programme were written by composers in mid-life - late 30s, early 40s - and all worked within the Austro-German tradition, but one would be surprised to find they had much else in common. The performances this evening did, however, manage to forge an unexpected congruence between them.Pintscher’s ‘orchestral study’ towards Osiris set the agenda.