In 1974, the French composer Gérard Grisey (1946–1998) began working on the impressive evening-length cycle ›Les espaces acoustiques‹. The instrumentation is intrinsic to the artistic concept, expanding in range from solo (one viola) to septet, large ensemble and chamber orchestra, all the way to symphonic orchestra. That same year, whether by coincidence or not, the student orchestra Junge Deutsche Philharmonie was founded, from which Ensemble Modern emerged in 1980. Symbolically, Grisey’s acoustic spaces correspond with the sonorous volumes of Ensemble Modern, which has been known to adapt to the instrumentations called for by the works it performs: as a collective of soloists, as a smaller, medium-sized or larger formation, and – since 1998 – also as a full symphonic orchestra, the Ensemble Modern Orchestra. In 1985, Gérard Grisey completed the cycle with its sixth and last part, ›Épilogue‹ for four horns and large orchestra. That same year, whether by coincidence or not, Ensemble Modern took up permanent residence in Frankfurt am Main. In the spring of 2020 Ensemble Modern plays this cycle, rarely performed in its entirety, at Berlin’s Philharmonie, Cologne’s Philharmonie and at Hamburg’s Elbphilharmonie. For this, it joins forces with the Junge Deutsche Philharmonie – its mother ensemble, so to speak – and the conductor Sylvain Cambreling, the former general music director of the Frankfurt Opera.
Wachstum - Vom Solistenensemble zum sinfonischen ApparatTauberphilharmonie Weikersheim, Konzertsaal
Wachstum - Vom Solistenensemble zum sinfonischen ApparatPhilharmonie Berlin, Großer Saal
Berlin (Germany)// 1 2 3 4 zig Jahre Ensemble Modern
Wachstum - Vom Solistenensemble zum sinfonischen ApparatAlte Oper Frankfurt, Mozart Saal
Frankfurt am Main (Germany)// 1 2 3 4 zig Jahre Ensemble Modern
Wachstum - Vom Solistenensemble zum sinfonischen ApparatElbphilharmonie Hamburg
Wachstum - Vom Solistenensemble zum sinfonischen ApparatKölner Philharmonie