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Composition
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Saxophone
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Ludwigshafen...Together
with Barbara Lüneburg (viola) the composer and saxophone player
Burkhard Friedrich performed his work "Liezwicht" (composed
in 1994). Here a viola tuned in a scordatura has to be used with
two bows (with and without rosin). The latter glides over the strings
without any friction and produces a soft noise. Delicate and hissing
sounds, winding lines in the underground, prowling between dream
and dawn in an unreal way. Subtle sounds and softly glowling tones
showed the twighlight in numerous spectra of colours.
Die Rheinpfalz, 3/6/01, Germany
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Oldenburg..."New
Music tips the Classics"...In much the same way that mistakes
can productively made use of while practicing, saxophonist and
composer Burkhard Friedrich gave a performance of his composition
'TANZ'. Diverse problems associated with the attack and erroneous
fingerings were cultivated here to become a great piece full of
"new playing techniques".
Oldenburger Sonntagszeitung 7/29/97, Germany
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Au-Voralberg...With
"spie[ge]l[e]n", Burkhard Friedrich has created a composition
with tightly woven melodic lines. Related motives bundle up these
melodic lines gradually in calmer passages. Richly nuanced changes
in perspective as well as a fine instrumentation and a thrillingly
written ending distinguishes this work.
Vorarlberger Nachrichten, 11/28/01, Austria
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Bregenz...The
composition "Hout" by Louis Andriessen proved to be a
virtuosic finish to the concert. The musicians intrepreted the composition
oustandingly, saxophonist Burkhard Friedrich articulated his part
remarkably.
Neue Vorarlberger Tageszeitung 8/9/01
"Hout",
by Louis Andriessen, masterly played, led by a relentless pulse,
with the highest concentration and ability; deep respectful applaus.„
Schwäbische Zeitung, 25.6.2001
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Dresden...Burkhard
Friedrichs "Minnelieder": In terms of sound, this music
about the Middle Ages is most approachable and left a lasting impression
due to the emotional tension of the material.
Dresdener Neueste Nachrichten, 12/10/2001, Germany
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Ludwigshafen...Burkhard
Friedrich, recipient of equally numerous prizes as both a composer
and performing musician, began the Matinee with a standard classic
of new music: Luciano Berios "Sequenza IX b" for Alto
Saxophone: developing out of varied forms, changing in both sound
and expression, embracing fantasy, the multi-phonics greatly expand
the spectrum. The Saxophonist knew how to fill the shadows and nuances
with a high level of intensity.
Die Rheinpfalz, 3/6/2001
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What
the "Neuen Vokalsolisten" brought to the performance,
was the feeling of a re-discovery of a piece of art which changed
only by a passing of time. The narrative flow is interrupted, the
text is fragmentized and distributed amongst the voices. The parts
of the text develop each in its own pattern of movement: the space
of sounds also lacks a set place.
Stuttgarter Nachrichten 11/23/1999
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...Burkhard
Friedrich elicited absolutely astonishing sounds from the saxophone
and presented a technical precision which aroused wonder and adoration...
Reutlinger Tagesanzeiger 2/27/2001
"Tre
Pezzi" by Giacinto Scelsi in which Burkhard Friedrich proved
to be a capable and considerately articulating soloist...
Stuttgarter Zeitung, 8/6/1991
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Born
in 1962 in Berlin, the composer, Burkhard Friedrich, is distanced
from serial structural fetishism. His anti-structural, and, so to
speak, timeless compositional thinking is indeed reminicent of an
aesthetic of refusal which places priority on scepticism. Even though
who listened carefully at the Portrait Concert, could notice clearly
that the young berliner thinks more directly musically and with
a great musicianship than the sceptics are able. The composer expressively
stresses, and nothing to the contrary is proven in his work, that
he trusts the expressive contents of the material. This trust lends
his compositions a unique dynamic, a homogenous sound and an ingenious
sense of timelessness.„
Heidelberger Nachrichten 2.3.1993
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Modestly,
"Tanz", is the title the composer and alto saxophonist,
Burkhard Friedrich, chose for his solo piece. He formed such an
extraordinary work that, because of its one hundred and one technical
tricks, including circular breathing and multiphonics, few will
be able to interpret it any time soon.
Schwäbisches Tageblatt 3/1/.2001
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