Musik für Violine, Violoncello und Klavier

In the summer of 1989, I spent two months as a Bernstein Fellow at Tanglewood in the USA.

Tanglewood. In addition to working with Lukas Foss, Leonard Bernstein, Oliver Knussen and Louis Krasner. I also regularly attended conducting courses there given by Kurt Sanderling, Gustav Meier, Roger Norrington and Jeffrey Tate. During this time, I received special human and material support from Kurt Sanderling and his wife, among others. Sanderling and his wife. It was also his wife who made direct contact with one of her sons, the cellist sons, the cellist Michael, who had already performed the world premiere of my Chagall première of my Chagall music for orchestra with the Gewandhaus Orchestra in 1988. For Michael Sanderling and his trio colleagues Antje Weithaas and Gerald Fauth, I wrote my composition three years later my composition ‘Music for violin, cello and piano (Hope as a Breath...)’ commissioned by the Schleswig-Holstein Music Festival. The subtitle is not a quotation, not a programme, not a reference to a lyrical background, solely an expressed thought about feelings and a personal mood when composing feelings and a personal mood while composing at this time in spring 1992. Musically, I am already very close to the organic composing of the mid and late 90s. the mid and late 90s, have more Asian intentions than European ones, think more of Isang Yun and Takemitsu Isang Yun and Takemitsu rather than Bartok or Webern (although both European composers were European composers were very important to me for a while). Two polarities stand in opposition to each other: unison playing of the strings with recurring recurring proliferating cells and phrases and restless, nervous patterns in the piano, also growing and proliferating. Both elements are opposed to each other at the beginning, then combined, exchanged, transformed. In principle, the whole piece is built up from these germ cells, motifs, sounds, blocks are formed and structured.

Bernd Franke