I use to listen to foregin radiostations through my paraboleantenna, which I have myself upgraded with homemade software and hardware to make the radiolistening possible. Some days ago I took in Muenchen, and I was amazed -not only that the technique still works, but the music I heard knocked my socks off. I heard the start of the saison at "Musica Viva", and they started up on a very high level, and every work was stunningly taken by the orchestra - Sinfonienorchester des Bayerischen Rundfunks, which always was the standard follower at these conceets - under the leadership of Peter Rundels, and the energetic trombonist Mike Svoboda. The premiere of the in Praha living 40 year old Martin Smolka composed "Remix -Redream - Reflight", was followed by "Ttoorkh" by Yannis Xenakis, and "Le Partage des Eaux" by the French spektralacter Tristan Murail - two almostclassics of the orchestratechnique a la the 1990ies. Great concurrence of course, but Smolkas microtonal soundcanvas, which is rooted inj the classics, stand out as something original. He has snapped up some romantic-classic finalaccords, and set the rest of his material in a minimalistic pattern developing into those endings. "Remix, Redream, Refight" is an abivalent work though, no solid ground here. Then it was possible to hear that the audience had bigger trouble with Xenakis virtuoso trombonconcert "Troorkh". I almost all his pieces Xenakis starts with a direct, clear soundimpression. So here also. The image is the brass exposing theirself and the response from the orchestra thereto. To match the 89-headed orchestra the trombonist has much to do to potence the different clusters. Harmonically it is more apparent in this work, than in most others that Xenakis once was in Messiaens school. But the energic playing from the orchestra and the reaching of the physician limits in Swobodas playing intertwined nervously. Beautiful sounding is then Tristan Mourails "Le Partage des Eaux", in chrystalclear accords, the water moves in wawes, in thousands of details. This music don't want to cause pains, not attack psychially. It wants to build bridges over all the tones between, and gives a strong feeling of unity, all the details despite. All in all, there is a great output out there after all. Mats Norrman [log in to unmask]