Gabriel Mălăncioiu speaks about the new music scene in Romania, his way into new music, teaching and curating. He talks about composing, pressure and non-pressure and that he also erases music to continue.

Louisa Marxen erzählt über ihren Weg zum Schlagzeug und zur neuen Musik und wie sie Stücke in Auftrag gibt. Sie spricht über ihr inhaltliches Vorgehen und über die Kooperation mit Komponist:innen und welche Qualitäten das Schlagwerk hat. Louisa spricht über die Körperlichkeit beim Schlagzeug spielen und was sie beim diesjährigen rainy days Festival zum Thema „bodies“ aufgeführt hat.

Beth McNinch discusses her move to Ireland, founding Musici Ireland, and their initial project, “A Mother's Voice.” She also mentions the upcoming premiere of her new piece, “Chronically Hopeful,” at the Rainy Days festival this year. Beth touches on themes such as unseen illness, women's roles, and the motivations behind her musical pursuits and projects.

Michael Parsons talks about his musical path and how he met Cornelius Cardew and how he inspired him. He shares his thoughts about structure and being open at the same time.

Michael Parsons events at the rainy days, Philharmonie Luxembourg :

20.11 Walking Piece - Instersections with the dansers of the Conservatoire of the city of Luxembourg at 17.30 and 19.15

20.11 Orchestral work Levels performed by the Luxembourg Philharmonic and Ilan Volkov as part of The Orchestra: a body of sound at 19.45

21.11 Michael Parsons and Siwan Rhys perform a selection of his music for one and two pianos at 12.15

22.11 Ligeti Quartet perform Levels for 16 open strings in 4 hands, 8 hands at 20.00

23.11 Michael Parsons will lead A Scratch Orchestra performance at 13.00

The composer Catherine Kontz is the artistic director of Rainy days Luxembourg since 2022. She talks about how she curates and what happens in the 2025 edition. Catherine also talks openly about her path as a composer and shares other insights.

This podcast is a cooperation with Rainy Days Philharmonie Luxembourg.

Leah Muir talks about her way into contemporary music, her interest in things outside of music and how they influenced her artistic path. She speaks about her over 10-year collaboration with the soprano Irene Kurka and how their work culminates in “Em-Body-Ment” a multimedia opera they premiere in November 2025 at rainy days festival Luxembourg. She shares her thoughts about vulnerability and how to write for the voice and many other things.

23.November Em-Body-ment by lea Muir, WOLRDPREMIERE

Multimedia Drama
Irene Kurka, soprano, film, performance
Michael Weilacher, perscussion, film
Leah Muir, composition, film, directing, video

11:30Uhr
Espace Decouverte, Philharmonie Luxembourg

Saskia Worf spricht über ihre vielen Tätigkeiten als Flötistin, Bloggerin und Dozentin am Career Center der Robert-Schumann-Musikhochschule Düsseldorf. Sie erzählt wie sie den podcast und Webinare gestartet hat und gibt viele gute Tipps und Insights für (junge) Musiker:innen.

Und ab 2026 werden Irene und Saskia einmal im Quartal miteinander sprechen. Wenn ihr Themenwünsche an uns habt, schreibt gerne an:

mail@irenekurka.de

Podcast:
managemusik

https://pod.link/1498375594

Websites:

www.saskiaworf.de

www.managemusik.com

Instagram:

https://www.instagram.com/saskia.worf/

Irene Kurka spricht über Resilienz mit persönlichen Erfahrungen und Beobachtungen und welche Rolle Optimismus, innere Ruhe, Freundeskreise, Netzwerke, Antifragilität und Durchlässigkeit spielen.

Alberto Posadas talks about his way into contemporary music and how mathematics plays a role. He talks about composing for orchestra and just one solo instrument and also about composing for voice. He shares his observation about the Spanish new music scene. Alberto also speaks about structure, technique and the uniqueness in composing and the Spanish new music scene.

In der zeitgenössischen Musik wird oft verlangt, dass die Instrumentalist: innen auch sprechen und die Stimme einsetzen. Dorrit Bauerecker und Daniel Agi sprechen über ihren Umgang damit und auch warum sie begonnen haben Gesangsunterricht zu nehmen und was es verändert hat.