How the concert hall on the regnitz becomes a sound laboratory
Martin frost is a music transducer. The swedish clarinettist and conductor is a musician who slips with particular fondness into the role of the intrepidly curious xenophile through the fascinatingly diverse wonderland of sound.
When frost stands on the podium as a clarinet-playing conductor, as he did at the student concert of the bamberger symphoniker, no one need be afraid of modern music any more. Scrappy sounds, complex compositional structures, new tones that follow unknown rules? When it's frosty, that doesn't seem to be a problem at all. The audience listens to him spellbound, even if they don't know the music he plays or don't fully understand it right away. Frost succeeds in transferring the fascination that music exerts on him to his listeners in a seemingly self-evident way.
"Retrotopia frost has given his current project an only seemingly betrayed motto. For the word-structure quickly decides itself as a combination of retrospective and utopia, of jerk and outlook. In the case of mozart and beethoven, the supposedly old music in combination with contemporary sounds does not sound old at all, but almost unhumbledly fresh.
Mozart's overture to "the marriage of figaro – frost has the bamberger symphoniker perform it with verve and sharp contours. And beethoven's often underestimated "fourth" – in his interpretation it contains driving momentum, but also vocal subtleties.
Martin frost's conducting seems like a drawing thrown into the air.
In mozart's overture as in beethoven's "fourth frost seems to be mainly interested in the lines and tension curves of music, which he traces with vibrating, sometimes almost unbendable (movement) energy. The orchestra follows its challenging conductor with coarse elan and coarse concentration.
Rugged and delicate
Exclusively modern sounds in the second part – sounds, of course, that prove that no one need be afraid of the label "contemporary. Jacob muhlrad's "angelus novus", inspired by a watercolor drawing by paul klee from 1920, unfolds a remarkable suction effect.
This music buzzes and sighs, builds up dissonances and floats away.
"Nomadia the brothers goran and martin frost have called it a joint composition – a music full of dazzling associations, full of exciting transitions and surprising connections, rugged and delicate, powerful and fragile at the same time. It is held together not least by the intensity with which frost, as soloist and conductor in personal union, connects the diverging threads.
In jesper nordin's "emerge frost transforms the concert hall at the regnitz completely into a sound laboratory – with the help of an instrument christened software, which the composer controls himself on his laptop during the first performance in bamberg.
This software translates the movements frost draws or cuts into the air, recorded with sensors, into fascinating sounds. Behind this almost disappears the fact that frost is not least a fantastic clarinettist, who explores the possibilities of his instrument in almost every direction and fascinates with tones that emerge from the silence.
Frost makes his appearance as a conducting, bilingual moderating soloist a real performance, which also captivates the orchestra. Standing ovations and a cleverly arranged klezmer dance as an acclaimed encore.
From the life of a versatile artist
Martin frost, born in december 1970 in sundsvall, sweden, studied in stockholm and hanover. Frost has already performed as a soloist with many renowned orchestras, from the royal concertgebouw orkest to the gewandhausorchester leipzig. As a conductor he led for example the oslo philharmonic orchestra, the royal stockholm philharmonic and the stuttgarter kammerorchester. He gave the first joint concert with the bamberger symphoniker in may 2014 at the vienna concert hall.