The title of this program might sound a little too ambitious. However, each piece, or at least each composer, has a certain connection to another culture and has transformed that interest into an integral part of his/her artistic work. Throughout his career, Györgi Ligeti was interested in the music of other cultures, though he would never imitate one. As being close to Hungarian and Romanian folk music, he had different roots as well compared with the central European aesthetics which he experienced when he came to Cologne. Similarly, Kaija Saariaho reflects Northern European culture (with its vast, even melancholic landscapes) and was later confronted with the busy Central European mainstream, when she started to study and later live there. Australian composer Liza Lim's connection to her Chinese roots is in her very name, while Dieter Mack is known for his involvement with Balinese gamelan, which spans decades. Finally, Aphudom K. has delved into the world of various Thai music styles regarding modality, but has transformed that into a challenging composition based on his own approach to new sound concepts rooted in other music styles.

PROGRAM

• Kebyar Baru II by Dieter Mack

Natapat Pisutwong, Violin

Tayana Tavibunyakon, Piano

• Musica Ricercata No.3 and 7 by György Ligeti

• Étude No. 13 "L'escalier du diable" by György Ligeti

• Continuum by György Ligeti

Kerksakul  Jaree, Piano / Harpsichord

• Late Song by Dieter Mack

Peter Veale, Oboe

• Nocturne by Kaija Saariaho

Aline Sarah Müller, Violin

• Laconisme de l’aile by Kaija Saariaho

Lena Katharina Seitz, Flute

• Ming Qi by Liza Lim

Peter Veale, Oboe

Max Riefer, Percussion

• Thong Pha Phum by Aphudom Kasemsathitsathaphorn

Aline Sarah Müller, Violin 

Aphudom Kasemsathitsathaphorn, Violin 

Phattarapoj Sawangchaeng, Viola

Thanpapon Prinyakul, Viola 

Maike Danner, Cello

Parinya Tassanamas, Sor

Pongsakorn Pongpitag, Clarinet 

Nattapong Thongsuk, Percussion 

Kasidet Rittipornpan, Vibraphone

Peter Veale, Conductor