Mark-Anthony Turnage

Das Stück startet mit einem Satz im eruptivsten und scharfkantigsten Stil des Komponisten und setzt sich fort mit einer Musik von prahlerischer Überschwänglichkeit, deren eigensinnige Lyrik Turnages c...

This 25 minute work was jointly commissioned by Borusan Istanbul Philharmonic Orchestra, Philharmonie Essen and the Trans-Siberian Art Festival. It was first performed on 19 October 2017 at the Lutfi...

Contusion ist ein prägnanter, ergreifend ausgewogener Schmerzensschrei in einem einzigen Satz von 20 Minuten Länge. Seine Struktur ist ein Widerhall der klassischen Form einer Sonate. Das Stück ist ch...

Turnage's fourth string quartet, Winter's Edge was premiered by the Piatti Quartet at the Klarafestival, Brussels. Co-commissioned by the Quartet, the Wigmore Hall and Flagey ASBL, they gave the UK pr...

. Following the structure of the original, the movement begins quietly and simply, and gradually gains in tempo and excitement towards a vehemently aggressive climax.

Written in memory of Kai Scheffler, principal cellist and a founder member of the Ensemble Modern in Germany, who died tragically young in 1989, Kai is one of Turnage's key works. Its tangy instrument...

Mark-Anthony Turnage was commissioned to compose Riffs and Refrains by the Hallé Concerts Society for the Hallé and soloist Michael Collins. The premiere at Bridgewater Hall in Manchester was given un...

A 16-minute orchestral tribute to the city of Chicago commissioned by the Serge Koussevitzky Foundation as part of the composer's residency with the Chicago Symphony Orchestra and first performed in 2...

A 20-minute work written for large orchestra and first performed in 2013. The title is a reference to the Beethoven Frieze by the Austrian artist Gustav Klimt, a series of frescoes inspired by the fin...

Commissioned by the BBC to inaugurate Birmingham's Symphony Hall on 12 June 1991, the sense of optimism surrounding that event is exactly mirrored in Momentum's long melodic lines and vibrant rhythms,...

The work is based on a tune called The Nag written by the jazz guitarist/composer John Scofield, of whom I have long been a fan and with whom I worked closely when writing Blood on the Floor (Mark-Ant...