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Appointed as the BBC Scottish Symphony Orchestra’s first ever artist-in-association last season, he continues his partnership with that ensemble in 2011–12 with concerts on both its regular subscription and contemporary series, including the premiere of a new work of his own.
Other highlights of this season include performances with the New York Philharmonic, Milwaukee Symphony, Deutsches Symphonie Orchester Berlin, Stuttgart Radio Symphony Orchestra, and WDR Symphony Orchestra Cologne; concerts in Paris, Madrid, Frankfurt, and Darmstadt; and a return to Australia to conduct the Melbourne and Sydney Symphony Orchestras. Mr. Pintscher has previously led The Cleveland Orchestra, Saint Paul Chamber Orchestra, Zurich’s Tonhalle Orchester, Mahler Chamber Orchestra, BBC Symphony Orchestra, and Orchestra Sinfonica della RAI (Torino), and he continues to work regularly with a number of distinguished contemporary-music ensembles such as the Ensemble Modern, Ensemble Intercontemporain, Klangforum Wien, and International Contemporary Ensemble (ICE).
Matthias Pintscher began his musical training in conducting, studying with Peter Eötvös, but composing took a more prominent role in his life while he was in his early 20s. His music is championed by some of today’s finest performing artists, orchestras, and conductors. His works are frequently performed by orchestras such as the New York, Berlin, and London philharmonic orchestras; Chicago, London, BBC, and NDR symphony orchestras; Cleveland, Philadelphia, and Philharmonia orchestras; and the Orchestre de Paris. He recently completed a new violin concerto, which was premiered in September by Julia Fischer and the London Philharmonic Orchestra. Mr. Pintscher’s Towards Osiris: Study for Orchestra, was performed by the New York Philharmonic in March 2010, led by Christoph Eschenbach. In April 2010 his songs from Solomon’s garden — a World Premiere–New York Philharmonic Co-Commission — was performed by baritone Thomas Hampson on CONTACT!, the Orchestra’s new-music series, conducted by Alan Gilbert.