http://www.acheungmusic.com Anthony Cheung: Composer and Pianist Mon, 13 Feb 2012 00:22:51 +0000 http://www.acheungmusic.com en http://acheungmusic.com/Ebbing-Flow-2007 http://acheungmusic.com/following/acheungmusic.com/Ebbing-Flow-2007 Mon, 13 Feb 2012 00:22:51 +0000 Anthony Cheung: Composer and Pianist 2796321 Commissioned by Wayne Lee. Premiered by Wayne Lee, Danny Goldman, Peter Anderegg, and Vassilis Varvaresos (conducted by the composer) on 30 March, 2007, Paul Hall at the Juilliard School, NYC. Scoring: clarinet, violin, cello, piano. Duration: approx. 17 min. Audio excerpt (from the premiere performance): &#9835; CheungEbbingFlowEx.mp3 http://dl.dropbox.com/u/48009363/CheungEbbingFlowEx.mp3 I consider the musical language of this and many of my pieces to be fluid rather than solid, transparent instead of opaque, round as opposed to straight-edged. The fluidity of musical movement and textures is like the volatile nature of water in motion; the resonance of a single chord or note like the trajectory of a ripple, magnified and enhanced by a rich timbre or a certain shade of light. On a more molecular level, the vibrations of notes/sounds and their overtones correspond to wave-like phenomena. The related sonic and visual metaphors of this basic, almost naive idea have always appealed to me. Thus, the water imagery that runs through this work, and the recurring materials and gestures that return in different guises, all part of the same source, like the interconnectedness of bodies of water, from ripples to currents to waves. Written with Bach's B minor Partita in mind (the opening section traces a line derived from a rhythmic/harmonic deconstruction of the Sarabande Double and treats it like a cantus firmus), the work's material gradually moves away from the source, but offers many lyrical departures. Anthony Cheung March 2007 <img src="http://payload24.cargocollective.com/1/6/198805/2796321/EbbingEx_640.png" width="640" height="491" width_o="971" height_o="746" src_o="http://payload24.cargocollective.com/1/6/198805/2796321/EbbingEx_o.png" data-mid="14196993" border="0" align="left"/> http://acheungmusic.com/Partial-to-Partials-2004 http://acheungmusic.com/following/acheungmusic.com/Partial-to-Partials-2004 Sun, 12 Feb 2012 23:55:05 +0000 Anthony Cheung: Composer and Pianist 2796190 Premiered by Peter Lorenzo Anderegg, 16 May, 2005, NYC. Scoring: solo cello, with optional live electronics (Max/MSP) Duration: approx. 8-9 min. <img src="http://payload24.cargocollective.com/1/6/198805/2796190/PartialEx_640.jpg" width="640" height="401" width_o="1226" height_o="770" src_o="http://payload24.cargocollective.com/1/6/198805/2796190/PartialEx_o.jpg" data-mid="14196381" border="0" align="left"/> http://acheungmusic.com/Pantoumime-2004 http://acheungmusic.com/following/acheungmusic.com/Pantoumime-2004 Sat, 11 Feb 2012 07:15:19 +0000 Anthony Cheung: Composer and Pianist 2786136 Commissioned and premiered by the Harvard-Radcliffe Orchestra, James Yannatos conducting. Premiered on 29 October, 2004, at Sanders Theatre, Cambridge, MA. Scoring: 3.3.3.3./4.3.3.1/Timp.+3Perc./Hp/Pno+Cel/strings. Duration: approx. 8 min. Audio excerpt (from the premiere performance): &#9835; CheungPantoumimeEx.mp3 http://dl.dropbox.com/u/48009363/CheungPantoumimeEx.mp3 As a composer, I am naturally drawn not only to the connections between symbolism and imagery in music and poetry, but also form. For this piece, I drew inspiration from the pantoum (pantum), originally a 15th century Malayan improvised poem, later popular with 19th century French poets like Hugo and Baudelaire. Several composers have used it to great effect, most famously Ravel in the second movement of his Trio. The poems can be of indefinite length and are composed in quatrain stanzas whose second and fourth lines reappear as the first and third lines of the following stanza. Often, lines two and four of the final stanza repeat the third and first lines of the opening. In this way, each line of the entire poem is used exactly twice, becoming recontextualized when it reappears next to new material. In this short work, the music presents a four-stanza, sixteen-line pantoum in which verse has been replaced with musical fragments and phrases of varying lengths. Greater liberties have been taken to allow for more variation when the ideas return. There is a persistent lyricism that pervades much of the work, despite numerous changes of temperament. I have also tried to retain an improvisational feel, in keeping with the form’s origins. The overall effect is of disparate elements conspiring and colliding in a rhapsodic, sometimes episodic way. Orchestral colors constantly shift as timbres emerge in unexpected ways, often with extended instrumental techniques. Look for a nod to Debussy’s “Syrinx” in the celli near the end. The title also refers to traditional balletic pantomime: whereas dancers mime to music, here the music mimes a hidden, unwritten text, left to the imagination of the listener. Anthony Cheung September 2004 <img src="http://payload24.cargocollective.com/1/6/198805/2786136/DSC01697.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload24.cargocollective.com/1/6/198805/2786136/DSC01697_o.jpg" data-mid="14148702" caption="Premiere performance by the Harvard-Radcliffe Orchestra in 2004" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2786136/_C6V8170.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload24.cargocollective.com/1/6/198805/2786136/_C6V8170_o.jpg" data-mid="14148705" caption="Rehearsing with the Orchestre National de Lille in 2008, at the Tactus Forum" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2786136/_C6V8205.jpg" width="640" height="418" width_o="640" height_o="418" src_o="http://payload24.cargocollective.com/1/6/198805/2786136/_C6V8205_o.jpg" data-mid="14148706" caption="With the Orchestre National de Lille" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2786136/_C6V8830.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload24.cargocollective.com/1/6/198805/2786136/_C6V8830_o.jpg" data-mid="14148707" caption="Feedback session at the Tactus Young Composers Forum with Michael Jarrell, Julian Anderson, Hanspeter Kyburz, a.o." border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2786136/_C6V8984.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload24.cargocollective.com/1/6/198805/2786136/_C6V8984_o.jpg" data-mid="14148708" caption="Consulting with conductor Jonas Alber; Bruno Mantovani looks on" border="0" align="left"/> http://acheungmusic.com/Drifting-2005 http://acheungmusic.com/following/acheungmusic.com/Drifting-2005 Sat, 11 Feb 2012 07:01:10 +0000 Anthony Cheung: Composer and Pianist 2786108 Premiered by vocal fellows of the Tanglewood Music Center and the New Fromm Players, Steve Mackey conducting. 30 June, 2005. Scoring: 4 voices (SATB), clarinet, string quartet Duration: approx. 5 min. Complete audio of the premiere performance: &#9835; CheungDrifting.mp3 http://dl.dropbox.com/u/48009363/CheungDrifting.mp3 My setting of the fourth of Tao Qian's "Twenty Wine Poems" is based on Tan Shilin's vivid literary translation. This particular poem is often seen as an allusion to the reclusive poet's withdrawal from society. Tao Qian turned away from his life as a highly regarded official, retreating to his fields and to the natural world. His work, characterized by spare, abstract imagery, and often indebted to Daoist philosophy, was enormously influential to later Tang dynasty poets like Li Bai and Wang Wei. In the prologue to the "Twenty Wine Poems," Tao Qian writes: "With little to divert myself in my retirement, especially since the nights have begun to drag out, I've taken to drinking in the evenings, having come by a rare vintage. With my shadow for company, I drink my nightly portion to the dregs and myself to pleasant inebriety. Thus inspired, I take pleasure in dashing off a few lines." Anthony Cheung June 2005 <img src="http://payload24.cargocollective.com/1/6/198805/2786108/464px-Tao_Yuanming_by_Chen_Hongshou.jpg" width="464" height="480" width_o="464" height_o="480" src_o="http://payload24.cargocollective.com/1/6/198805/2786108/464px-Tao_Yuanming_by_Chen_Hongshou_o.jpg" data-mid="14148569" border="0" align="left"/> http://acheungmusic.com/Enjamb-Infuse-Implode-2006 http://acheungmusic.com/following/acheungmusic.com/Enjamb-Infuse-Implode-2006 Sat, 11 Feb 2012 06:46:21 +0000 Anthony Cheung: Composer and Pianist 2786221 Premiered by the Aspen Contemporary Ensemble, Sydney Hodkinson conducting, 13 July, 2006. Scoring: flute, clarinet, percussion, piano, violin, cello. Duration: approx. 7 min. Audio excerpt (ensemble interface, cond. Scott Voyles): &#9835; CheungEnjambEx.mp3 http://dl.dropbox.com/u/48009363/CheungEnjambEx.mp3 As with many of my titles, Enjamb, Infuse, Implode came as an afterthought. I chose this particular combination of verbs to describe certain actions occurring throughout the piece. The long, sweeping, lyrical lines - the first of which is introduced in the opening as a piano solo - expand and contract persistently, despite different musical undercurrents. These long, arching "melodies" are set in motion to gradually shifting harmonies that either propel them forward or resist against them. The resulting moments of heightened tension were for me like carefully placed line breaks in an otherwise continuous musical thought, thus the analogy to enjambment. At other times, melody and harmony become one, or infuse together. The infusion idea also relates to the blending of instruments in different ways for coloristic purposes. And finally, there are moments where the music implodes, either from opposing forces, or from the accumulation of "infused" elements collapsing inwards. The form can be likened to three stanzas of flexible length with a coda, or in this case, a contrasting envoi. Anthony Cheung July 2006 <img src="http://payload24.cargocollective.com/1/6/198805/2786221/EnjambmentJasonMurphy.jpg" width="400" height="600" width_o="400" height_o="600" src_o="http://payload24.cargocollective.com/1/6/198805/2786221/EnjambmentJasonMurphy_o.jpg" data-mid="14148394" border="0" align="left"/> (© Jason Murphy) http://acheungmusic.com/Windswept-Cypresses-2005 http://acheungmusic.com/following/acheungmusic.com/Windswept-Cypresses-2005 Sat, 11 Feb 2012 06:42:47 +0000 Anthony Cheung: Composer and Pianist 2786167 Premiered by the Columbia Composers ensemble, Mark Seto conducting. Merkin Hall, NYC, 30 March, 2005. Scoring: flute, viola, harp, percussion. Duration: approx. 9 min. This work received First Prize and Public Prize at the Sixth International Henri Dutilleux Competition (March 2008). Audio excerpt (from the premiere performance): &#9835; CheungCypressesEx.mp3 http://dl.dropbox.com/u/48009363/CheungCypressesEx.mp3 One of my favorite places to visit is the Point Lobos State Reserve along the Monterey Coast, some two hours south of San Francisco. Unique to this area are the famous Monterey Cypresses, with their sinewy and strained roots and branches. This music seeks to reflect on the rugged beauty of these windswept trees, which continue to be sculpted by wind yet frozen in time. The work is also an indirect homage to two spiritually and aesthetically sympathetic composers, Debussy and Takemitsu. Their works for flute, viola, and harp - Debussy's Sonata and Takemitsu's And Then I Knew ‘Twas Wind - were constant sources of inspiration during the composition of this piece. Windswept Cypresses is offered as a belated wedding gift to my friends Ryan and Daniela Blum, with much affection. Anthony Cheung March 2005 <img src="http://payload24.cargocollective.com/1/6/198805/2786167/IMG_0559.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload24.cargocollective.com/1/6/198805/2786167/IMG_0559_o.jpg" data-mid="14148344" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2786167/IMG_0548.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload24.cargocollective.com/1/6/198805/2786167/IMG_0548_o.jpg" data-mid="14148347" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2786167/CheungWindsweptLeducFront.jpg" width="469" height="628" width_o="469" height_o="628" src_o="http://payload24.cargocollective.com/1/6/198805/2786167/CheungWindsweptLeducFront_o.jpg" data-mid="14148348" border="0" align="left"/> http://acheungmusic.com/Refrain-from-Riffing-2007-08 http://acheungmusic.com/following/acheungmusic.com/Refrain-from-Riffing-2007-08 Sat, 11 Feb 2012 03:22:43 +0000 Anthony Cheung: Composer and Pianist 2786168 Premiered by Michael Ibrahim (alto sax) and Jacqui Kerrod (harp). Tenri Cultural Center, NYC, 3 April, 2010. Scoring: alto saxophone and harp (retuned). Duration: approx. 11 min. Audio excerpt (Ryan Muncy, sax; Ben Melsky, harp): &#9835; RefrainExcerpt1.mp3 http://dl.dropbox.com/u/48009363/RefrainExcerpt1.mp3 <img src="http://payload24.cargocollective.com/1/6/198805/2786168/will-patrons-kindly-refrain-from-poster.jpg" width="325" height="442" width_o="325" height_o="442" src_o="http://payload24.cargocollective.com/1/6/198805/2786168/will-patrons-kindly-refrain-from-poster_o.jpg" data-mid="14145537" border="0" align="left"/> http://acheungmusic.com/Centripedalocity-2008 http://acheungmusic.com/following/acheungmusic.com/Centripedalocity-2008 Fri, 10 Feb 2012 23:18:49 +0000 Anthony Cheung: Composer and Pianist 2785845 Commissioned by and premiered at the Conservatoire National Supérieur de Musique et de Danse de Paris, 24 October, 2008. Scoring: flute/piccolo, clarinet/bass clarinet, alto saxophone, harp (retuned), violin, viola, cello. Duration: approx. 12 minutes. Audio excerpts from parts 1 and 2 (live recording of ensemble conducted by the composer): &#9835; CentripedalocityEx1.mp3 http://dl.dropbox.com/u/48009363/CentripedalocityEx1.mp3 &#9835; CentripedalocityEx2.mp3 http://dl.dropbox.com/u/48009363/CentripedalocityEx2.mp3 Each of the three sections of Centripedalocity deals in some way with musical gravities at work. Various "forces" pull, push, spin, rotate, attract, and deflect musical materials to and away from each other. The analogy extends to different levels of harmonic and rhythmic attraction. In the first part, Faux d'artifice, opening chords pull a dominant saxophone line into one another like miniature whirlpools. An extended allusion to Debussy's piano prelude Feu d'artifice appears redrawn by a microtonal harmonic world. Escape-Cadence Free-Fall (3rd unRaveling), takes an altered version of the opening chord progression of Ravel’s Introduction and Allegro and runs with it in many directions, turning it into a harmonic omnibus. New colors shine through microtonal intervals. "Escape-cadence" alludes to “escape tones” in common practice harmony; here the tones are like cadences that push away and are pulled back, only to escape. The intervals are treated as overtones, and the progression is constantly in "free-fall,” with harmonic snapshots taken by other instruments. Anadiplosis is based on Thelonious Monk's "Epistrophy." The Monk tune accents repeated phrase endings, which fall into place on different parts of the beat, as a musical equivalent of an epistrophe, a rhetorical figure of repetition. Anadiplosis is a similar rhetorical device, repeating words that end previous lines or clauses at the beginning of new ones for extra emphasis. The constant repetition is created from a kind of call and-response polyphony. Anthony Cheung August 2008 <img src="http://payload24.cargocollective.com/1/6/198805/2785845/P1040674 copy_640.JPG" width="640" height="480" width_o="800" height_o="600" src_o="http://payload24.cargocollective.com/1/6/198805/2785845/P1040674 copy_o.JPG" data-mid="14173383" border="0" align="left"/> Recording Centripedalocity with the Talea Ensemble at the American Academy of Arts and Letters, November 2011. http://acheungmusic.com/Color-Coordinate-s-2008-09 http://acheungmusic.com/following/acheungmusic.com/Color-Coordinate-s-2008-09 Fri, 10 Feb 2012 21:55:57 +0000 Anthony Cheung: Composer and Pianist 2785371 Part one premiered by the International Contemporary Ensemble at Merkin Hall, NYC, April 2008. Part two premiered by Le Nouvel Ensemble Moderne, St. Irinée, Québec, August 2009. Scoring: flute, clarinet, horn, trumpet, percussion, harp, piano, violin, viola, cello. Duration: approx. 15 minutes Audio excerpt from part 1 (premiere performance with ICE): &#9835; CheungColorCoordPart1Ex.mp3 http://dl.dropbox.com/u/48009363/CheungColorCoordPart1Ex.mp3 Audio excerpt from part 2 (premiere performance with Le Nouvel Ensemble Moderne): &#9835; CheungColorCoordPart2Ex.mp3 http://dl.dropbox.com/u/48009363/CheungColorCoordPart2Ex.mp3 Color Coordinate(s) is all about the joy of rhythmic polyphony and interplay. In part one, all the music is based on strict symmetrical isorhythmic procedures The main materials are ten rhythmic units that are introduced gradually as they overlap with each other in various ways. Each rhythmic set is mirrored in some way, creating ten perfectly non-retrogradable isorhythms. In other words, the second half of each rhythm is the exact reverse of the first, a signature technique of Messiaen. Some units even have multiple mirrors within mirrors. I devised three categories of these palindromic rhythms, with silences of varying lengths (or none at all) separating each half or whole statement of the rhythmic unit. The ten total rhythmic units are further related in five pairs, so that as they overlap, the listener will hear spirally wound strains of rhythms that imply continuity or development. Another perceptive challenge is the fact that the rhythms are presented at varying distances from one another, so that one becomes aware of time passing differently as new material gets added to the mix. Some of the units receive inverted canonic treatment by two voices at once, further complicating the texture. The rhythms are isorhythmic in that they are of fixed length and rhythmic order (talea) but their pitch content and related harmonies shift with each new presentation (color). This medieval procedure, beloved of the ars nova composers, is updated so that the term "color," previously suggesting only melodic content, is now applied to timbral variation as well, and appropriately enough! The music in this first section was conceived with a very formalistic plan, but the materials were generated freely and "in the moment." New rhythms emerge out of old ones, like soloists in jazz improvisation who "trade fours," crossfading or referencing ideas and rhythmic schemes in passing which lead toward new directions that then get commented on in turn. Often this rhythmic dovetailing is serendipitous, with the new material as an offshoot or side-effect of something considered fleeting or subordinate in the first instance. This idea complements, in evolutionary biology, the idea of the spandrel, itself an architectural term. A transition starts with some of the fragmentations left over at the end of part one, leading to a new section of irregular groove-based music with multiple layers and rhythms. The music in part two is not constructed with any of the kind of formal vigor of the preceding section, but its spirit is a kind of extension of it. Microtonal chord progressions anchor restless bass grooves and syncopated riffs. Strains of improvisatory post-bop/free jazz lines square off against upwardly-mobile basslines that multiply at every turn. Color Coordinate(s) is dedicated to the ever-inspiring spirit of Olivier Messiaen and his music. Anthony Cheung June 2009 <img src="http://payload24.cargocollective.com/1/6/198805/2785371/sator-square.jpg" width="605" height="599" width_o="605" height_o="599" src_o="http://payload24.cargocollective.com/1/6/198805/2785371/sator-square_o.jpg" data-mid="14138388" caption="the Sator Square and its multiple palindromes" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2785371/450px-Narthex_Markusdom_Schopfung.JPG" width="450" height="600" width_o="450" height_o="600" src_o="http://payload24.cargocollective.com/1/6/198805/2785371/450px-Narthex_Markusdom_Schopfung_o.JPG" data-mid="14138398" caption="spandrels in the interior of St. Mark's Basilica, Venice" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2785371/IMG_0872.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload24.cargocollective.com/1/6/198805/2785371/IMG_0872_o.jpg" data-mid="14138403" caption="ICE rehearsing part one of &lt;i&gt;Color Coordinate(s)&lt;/i&gt; in 2008" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2785371/_C6V7755.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload24.cargocollective.com/1/6/198805/2785371/_C6V7755_o.jpg" data-mid="14138405" caption="rehearsing with the Belgian ensemble Musiques Nouvelles" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2785371/tmp.jpg" width="400" height="286" width_o="400" height_o="286" src_o="http://payload24.cargocollective.com/1/6/198805/2785371/tmp_o.jpg" data-mid="14138420" border="0" align="left"/> http://acheungmusic.com/Hyperbaton-2009 http://acheungmusic.com/following/acheungmusic.com/Hyperbaton-2009 Fri, 10 Feb 2012 20:50:25 +0000 Anthony Cheung: Composer and Pianist 2781572 Commissioned and premiered by the Ensemble Modern, Johannes Kalitzke, conductor. First performances in Frankfurt and Munich (10 and 12 May, 2009). Scoring: flute (doubling piccolo), oboe (doubling English Horn), bassoon (doubling contra-bsn.), horn, 2 trumpets, trombone, 2 pianos/1 celesta, 2 percussion, 2 violins, viola, 2 cellos, contrabass. Duration: approx. 13 minutes Audio excerpt (recording of the premiere performance): &#9835; CheungHyperbatonRadioEdit.mp3 http://dl.dropbox.com/u/48009363/CheungHyperbatonRadioEdit.mp3 Hyperbaton, or anastrophe, meaning “transposition” from the Greek, is a rhetorical device that disrupts the normal grammatical word order for dramatic emphasis. A few examples, modern and ancient: “shiznit” (tmesis/infixation, a splitting of the word by insertion of another) “I flee who chases me, and chase who flees me.” Ovid (chiasmus, crossing of related clauses as ABBA) “And in the time perhaps it takes an arrow To strike the bull’s-eye, fly, and leave the bow…” Dante, Paradiso (hysteron proteron, the latter emphasized before the former) <img src="http://payload24.cargocollective.com/1/6/198805/2781572/b00332bd1b73812ca2803b52da283d3a_1_orig.jpg" width="500" height="457" width_o="500" height_o="457" src_o="http://payload24.cargocollective.com/1/6/198805/2781572/b00332bd1b73812ca2803b52da283d3a_1_orig_o.jpg" data-mid="14136200" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2781572/Yoda2.jpg" width="400" height="300" width_o="400" height_o="300" src_o="http://payload24.cargocollective.com/1/6/198805/2781572/Yoda2_o.jpg" data-mid="14136205" border="0" align="left"/> In the first section of this piece, short fragmented arguments that form a coherent statement get reordered, manipulated, interrupted, and repeated, just as we do with spoken and written language so as to make a rhetorical gesture. Very clear, open intervals are violently challenged by dense, microtonal chordal fragments that add up to form progressions around them. Repetitions of ideas occur irregularly, while fixed rhythms contest with one another to gain prominence. Chopped time morphs into smooth time and vice versa. Out of the vigorous collision of these materials, a new section emerges, with lyrical strands that continue over an ever-present series of chords. And finally, an unabashedly grand and expressive melody unfolds, supported by an expansive, broadening progression of chords, which gives way to transparency and lightness. Hyperbaton is dedicated to the musicians of the Ensemble Modern, with much gratitude. Anthony Cheung April 2009 <img src="http://payload24.cargocollective.com/1/6/198805/2781572/snoop_dogg1.jpg" width="464" height="464" width_o="464" height_o="464" src_o="http://payload24.cargocollective.com/1/6/198805/2781572/snoop_dogg1_o.jpg" data-mid="14136204" caption="Snoop Dogg, modern master of tmesis" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2781572/IMG_3950.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload24.cargocollective.com/1/6/198805/2781572/IMG_3950_o.jpg" data-mid="14136201" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2781572/IMGP4862.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload24.cargocollective.com/1/6/198805/2781572/IMGP4862_o.jpg" data-mid="14136202" caption="premiere in Frankfurt" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/6/198805/2781572/IMGP4903.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload24.cargocollective.com/1/6/198805/2781572/IMGP4903_o.jpg" data-mid="14136203" caption="performance in Munich" border="0" align="left"/>