eos chamber orchestra & Niels Klein Trio

eos chamber orchestra & Niels Klein Trio 

Dieses Orchester ist anders – und gerade deshalb so spannend. Ende 2008 von der Dirigentin Susanne Blumenthal gegründet, hat es sich zum Ziel gesetzt, jenseits des traditionellen Konzertbetriebs mit progressiven Konzepten Musik zu präsentieren, die immer wieder überrascht. Improvisierte Textur und komponierte Linie durchdringen sich und bilden neue Zusammenhänge jenseits von Klassik und Jazz. In der dreiteiligen Komposition Exploring Objects and Shapes von Niels Klein für sein Trio und das eos chamber orchestra werden die Instrumente des Orchesters und des Trios aus ihren vorgefertigten Zuordnungen und Rollenbildern gelöst und treffen reduziert auf ihren instrumentalen Klang in einem imaginären Raum aufeinander.

Tickets und weitere Infos hier.

Besetzung:

Niels Klein – Tenorsaxophon, Komposition
Matthias Akeo Nowak – Kontrabass
Fabian Arends – Schlagzeug

eos chamber orchestra
Susanne Blumenthal – Leitung

All About Jazz hat das Konzert rezensiert und schreibt über eos & Niels Klein:

"An sublime and artful player and composer, Klein has braved the challenging field of bridging jazz and classical dialects. He effectively forged a cross-idiom pact with the EOS Chamber Orchestra (directed by his wife, Susanne Blumenthal), which played beautifully in the "art music" temple of the Oper. Beyond atmospheric cultural conditions, Klein's scoring and blending of a jazz trio and improvisational passage within and alongside orchestral colors made a memorable impact. 
His generally softer tone and lyrically, naturally exploratory phrasing works well in this hybrid "chamber" form, whereas a brasher and more hubristic sax voice might topple the balance. At times during the set, we sensed hints and echoes of the collaboration of Claus Ogerman and Michael Brecker, an empathetic meeting of urbanely wise orchestrations and tenor saxophonist as sensitive protagonist. But in Klein's impressive three-part suite Exploring Objects and Shapes (a title which the music nicely illustrates), Klein's linguistic experiments shift into more dissonant, structurally/rhythmically complex and generally more intellectual terrain. 
In the penultimate piece of the concert, Klein's "Throb" injected a yearning melody, vaguely reminiscent of film noir-flavored themes from such film sources as Jerry Goldsmith's Chinatown music and Bernard Herrmann's Taxi Driver score. But Klein's model was flecked by unsettled (and unsettling) tonally and an implied questioning embedded in the score. It seems that his is not a journey eager to coax easy resolutions or happy endings, but to provoke thought and expand on the still- evolving interlacing of jazz and the classical realm. 
Beethoven would approve."

https://www.allaboutjazz.com/jazzfest-bonn-opening-night-with-niels-kle…