PROGRAMME 2 INTRODUCTION CONTENTS 3

INTRODUCTION CONTENTS

Can human expression be enriched by electronic Understandably, this bridge-building business is Page 2: Introduction technology? Can new technologies make contem- not always easy, and on a few occasions the col- porary music more relevant for our time? These laborations have faced signifi cant challenges. The Page 3: Contents are the kind of questions we have tried to address ultimate goal, however, has been well worth the over the past six years. This week in Copenhagen, eˆ ort: a new software tool for musicians to design Page 4-5: Leroux/Lanza, Athelas Sinfonietta, IEM, Malmö the Integra Festival will give you some of the an- live interactions between instruments and com- Academy of Music, 27 September swers, in the form of four new large works for en- puters – interactions that are easy to create and, semble, live electronics and assorted media per- most importantly, make musical sense. This tool, Page 6-7: Inclined Spaces, Performers from Court-Circuit, formed by three leading Nordic music ensembles. the Integra Live software, has been used exten- Grup Instrumental de València, Royal Danish sively in the production of the new works present- Academy of Music, 28 September This Festival represents the culmination of Inte- ed at the Festival. It is our hope that the example gra – Fusing Music and Technology, an EU-funded of our pioneering composers will be followed, and Page 8: Integra Live Workshop & On The Verge, Students project led by Birmingham Conservatoire in the Integra Live will be adopted by a growing number from Birmingham Conservatoire, Malmö UK. Integra started in 2005 as a way of realising of musicians excited by its possibilities. Academy of Music, Royal Danish Academy of the dream of two Italian composers, Luca Franc- Music, 29 September esconi and myself, to create user-friendly live The Integra Festival celebrates the invaluable electronic technologies that musicians could un- contribution that Nordic music ensembles and Page 9-11: Curran, Ars Nova Ensemble, Muzyka Centrum, derstand and use. It was a tough challenge. Six research centres have brought to the Integra 29 September years later Integra has become a bold and wildly project. Athelas Sinfonietta, BIT20 Ensemble, En- ambitious experiment in music creation. For the semble Ars Nova, NOTAM and Malmö Academy of Page 12: Confl uences And Escapes, Students from fi rst time, musicians played an active role in the Music have all played a pivotal role, leading in the Birmingham Conservatoire, Malmö Academy development of new software to compose and artistic and scientifi c activities of the project and of Music, Royal Danish Academy of Music, perform live electronic music. As an ideal bridge actively promoting live electronic music in Nordic 30 September spanning all the way from the lab to the concert countries and beyond. We are grateful to Nordisk hall, Integra has brought together researchers, Kulturfond and Kulturkontakt Nord for helping to Page 13-15: ter Schiphorst, BIT20 Ensemble, NOTAM, developers, composers and performers, helping make this Festival possible, and we are equally 01 October them understand each other across their diˆ er- delighted by our collaboration with the Royal Dan- ent expectations, languages and cultures. ish Academy of Music, which gives us the oppor- Page 16-17: New Music Ensembles tunity to promote Integra and its philosophy to the next generation of musicians. Page 18-20: Research Centres (Lamberto Coccioli) Page 21-28: Composers and Artists

Page 29: Conductors

Page 30-33: Soloists and Performers

Page 34: The Integra Project

Page 35: Project Team, Project Partners, Festival Team, Supporters 4 27 SEPT · ATHELAS ATHELAS · 27 SEPT 5

TUESDAY 27 SEPTEMBER, 20:30 musical events came from the knows its laws is the engineer STUDIO HALL, 80 DKK calligraphic shape of the let- who establishes the weight of ATHELAS SINFONIETTA, IEM, MALMÖ ACADEMY OF MUSIC ters of the poems by Lin Delpi- the wind, who counts the clouds erre, in Extended Apocalypsis the in the sky and apportions the PHILIPPE LEROUX: Extended Apocalypsis shape of the letters determines water by measure. And these MAURO LANZA: Le nubi non scoppiano per il peso melodic profi les and the move- laws seem to have no consider- (Danish Premiere) ments of the sounds. The letters ation for man; there is no pun- return constantly, at a struc- ishment or compensation for Conductor: Pierre-André Valade tural, musical and even visual his behaviour. Rain falls in the Live Electronics (Leroux): Peter Plessas (IEM) level: the position of the per- Philippe Leroux Mauro Lanza desert too, on a land that no- Live Electronics (Lanza): Kent Olofsson and Johan Nordström formers on stage describes the recordings, their analysis and The live electronics, devel- body harvests. Disgrace befalls (Malmö Academy of Music) graphic shape of an “e”. their treatment while Movement oped in the IEM studios in Graz on the righteous and the un- Soloists (Leroux): Raphaële Kennedy and Valérie Philippin IV presents musically the clas- by Peter Plessas as part of the righteous alike. (soprano), Francine Vis (mezzo-soprano), Romain Bischoˆ Extended Apocalypsis is in seven sifi cation of the chords and the Integra project, allow the tech- The long, sco£ ng reply that (baritone) movements and six intermezzi sounds obtained through the nical and semantic possibilities God gives to Job’s relentless Soloist (Lanza): Loré Lixenburg (soprano) based on the sonic landscape of recordings, analysis and treat- of both voices and instruments existential questions (a short Video Element (Leroux): Jacob F Schokking the diˆ erent places where the ment from the previous move- to be extended further. excerpt is sung in the piece) Rain Machine (Lanza): Simon Cacheux music was composed: Rome, ment. Movement V is the long- (Philippe Leroux) is itself composed of ques- Paris, Aulnay-sous-bois, Mon- est one, weaving in a formal tions, almost suggesting that, PRE-CONCERT TALK: 19:30 treal, Heiligenstein, Bois-Aubry braid the spatial trajectories of LE NUBI NON SCOPPIANO as Wittgenstein wrote: “when and London. During each inter- the sounds from Voi(rex) that be- PER IL PESO the answer cannot be put into mezzo the baritone announc- come melodic movements, the Le nubi non scoppiano per il peso words, neither can the question.” EXTENDED APOCALYPSIS cused on the diˆ erent compo- es the name of the place and changed ordering of the letters (Clouds do not burst under their Le nubi non scoppiano per il Extended Apocalypsis is a work sitional stages of the fi rst piece the date of composition. These of Voi(rex) to generate a new lit- own weight), is scored for so- peso deals with heaviness and for four singers, sixteen instru- from a conceptual and formal movements are all intersect- erary meaning, the mutual imi- prano, nine musicians, compu- fall, and with measuring what ments, live electronics and vid- perspective, but also in terms ed by an inexorable upward tations among voices, instru- ter-controlled water drops and seems to have no measure. The eo, commissioned by Athelas of the musical material and the pulse in the form of clicking ments and electronics, the ver- electronics. piece is dedicated to my parents. Sinfonietta and Integra. As of- technological tools employed. sounds produced by the sing- tical application of a nested The text is taken from the “An altar begins where the ten happens in my music, it is a Voi(rex) and Apocalypsis were ers’ tongues, evoking the won- form that in Voi(rex) was used Bible, chapter 38 of the Book sense of measure ends. Being a work rooted in earlier works, in part of a joint IRCAM/CNRS re- der and interrogation associat- only horizontally, together with of Job: saint means losing control, giv- this case Voi(rex), written in 2002, search project on the analysis ed with the act of creation. the composition of what could ing up weight, and weight is or- and Apocalypsis (2006). The of the compositional process. Through reminiscences of have been the sixth, seventh and Who cuts a channel for the ganizing one’s own dimension” main idea of Apocalypsis was Many elements of this research earlier vocal works Movement eighth movements of Voi(Rex) torrents of rain, Carmelo Bene, Our Lady of to start from a fi nished piece - end up in Extended Apocalyp- I explores the moment when but were abandoned at the time. and a path for the thunder- the Turks Voi(rex) - and to “stage” its com- sis. The text, for example, was nothing exists yet, when every- Movement VI stages the rehears- storm, This work was commis- positional genesis through the composed at the same time as thing is possible and the only al of the work by the performers, to water a land where no one sioned by Ensemble Court-Cir- music. In turn, Extended Apoca- the music, but comes from se- tangible manifestation is the de- but also the perception of this lives, cuit and by Integra. The live lypsis projects Apocalypsis to its lected fragments of interviews sire to create, inlaid with memo- rehearsal from the composer’s an uninhabited desert, electronics were realised at extreme limits through expand- between the composer and re- ries of pieces past. An unwaver- perspective: how the composer to satisfy a desolate waste- Malmö Academy of Music by ed duration, amplifi ed compo- searchers in musicology and ing list of all the “ideas” noted discerns little by little the music land Mauro Lanza and Kent Olofsson. sitional concepts, and the in- anthropology. The text evokes during a fi rst phase of work on that he has contributed to cre- and make it sprout with The dripping device is inspired clusion of the video realised by in a poetic form the diˆ erent Voi(rex) scrolls by in Movement ate. Movement VII is the shortest. grass? by the installation Dripper01 Jacob Schokking. The video el- phases of the genesis of a mu- II, but unlike Apocalypsis, where It represents the abandonment Does the rain have a father? by Arno Fabre (who has kindly ement interacts deeply with the sical work: the di£ cult begin- each idea was expressed only of the work by the composer. Who fathers the drops of shared his know-how) and has overall compositional project. nings, the relationship between once, the ear stops here on cer- After being heard in its entire- dew? been built by Simon Cacheux. A Apocalypsis could be seen noise and sound, the inner lis- tain ideas that are repeated as ty as a time-compressed audio special acknowledgment goes as the living genetic analysis of tening, the meaning, the ques- “still shots”. Movement III “stag- recording, the fi rst work Voi(rex) To the eyes of the unknown au- to Thierry Coduys who super- Voi(rex). The latter is the corpus tion of silence... es” in music a recording ses- disappears very gradually until thors of the Book of Job the cre- vised the early stages of its con- from which Apocalypsis devel- As in Voi(rex) and Apocalyp- sion of the voices in the gongs, a the pulse that represents its ul- ation appears as an indecipher- struction. oped. The musical analysis fo- sis, where the majority of the selection of fragments of these timate compression. able enigma. The only one who (Mauro Lanza) 6 28 SEPT · INCLINED SPACES INCLINED SPACES · 28 SEPT 7

WEDNESDAY 28 SEPTEMBER, 19:30 tions, in turn structured as a se- two clarinet parts (perform- STUDIO HALL, 80 DKK ries of variations interspersed er and tape) is never realised COURT-CIRCUIT, GRUP INSTRUMENTAL DE VALÈNCIA, by parentheses where the mu- through the overlapping of me- PERFORMERS FROM THE ROYAL DANISH ACADEMY OF sic becomes noisier and more lodic lines in order to create a MUSIC aggressive. Every parenthesis two-voice polyphony; this is re- represents a release from the duced to some transitional su- INCLINED SPACES sonic tension accumulated in perimpositions only. The con- the piece so far, almost a kind trast of the instrument and its JONATHAN HARVEY: Ricercare una melodia for oboe and of sonic climax mixing pleasure double shadow comes instead electronics and pain. Throughout the work from their succession one after ARNE NORDHEIM: Partita für Paul for violin and electronics gestures and sounds return ob- the other, using only the hori- PHILIPPE HUREL: Plein-jeu for accordion and electronics sessively and often in a disor- zontal dimension as their bat- PIERRE BOULEZ: Dialogue de l’ombre double for clarinet and derly manner, and end up con- tleground, the dimension of text, electronics taminating each other to gen- discourse and “dialogue”. HANS PETER STUBBE TEGLBJAERG: Fluxus for saxophone and erate increasingly similar tex- Rather than following the electronics Philippe Hurel tures. The coda is made up of dialogue between two diˆ er- PLEIN-JEU long threads, the fi nal result of ent beings, what we are dealing Live Electronics: Tychonas Michailidis (Birmingham This work was commissioned the deterioration of the tension- with in this piece are more the Conservatoire) by the Centre National de Créa- building gestures and multiple meanderings of an inner refl ec- Oboe (Harvey): Vicent Llimera (Grup Instrumental) tion Musicale (CIRM) in Nice musical situations occurring tion, borne out of a split person- Violin (Nordheim): Maria Carmen Antequera (Grup and fi rst performed on 19 No- from the start of the piece. ality. Time here is circular rath- Instrumental) vember 2010. Plein-jeu (a term (Philippe Hurel) er than linear, as suggested by Accordion (Hurel): Pascal Contet (Court-Circuit) for the full registration of the the existence of two trajectories Clarinet (Boulez): Pierre Dutrieu (Court-Circuit) pipe organ) belongs to a cycle of DIALOGUE DE L’OMBRE (Arab numerals, Roman numer- Saxophone (Teglbjærg): Torben Snekkestad (The Royal three pieces titled Jeu (“Game”) DOUBLE als) traversing the work. Academy of Music) Arne Nordheim and comprising Hors-jeu (“Oˆ - Dialogue de l’ombre double is Whatever the route chosen, I have tried to capture in my mu- side”), Jeu and Plein-jeu. Hors- dedicated to Luciano Berio for the clarinet enters the domain PRE-CONCERT TALK: 18:30 sic some of the many moods jeu for percussion and electron- his 60th birthday, and was fi rst of the shadow through one en- and textures in these paintings: ics was created in 2005 at IR- performed in Florence by Alain trance and exits it through an- poetic, dreamlike, grotesque - CAM in Paris, while Jeu has not Damiens in 1985. The work was other. Meanwhile, it will have RICERCARE UNA MELODIA PARTITA FÜR PAUL angles defying the laws of na- been written yet. realized at IRCAM with Andrew marked its passing with mile- Ricercare una Melodia was com- Partita für Paul was commis- ture, objects playing with gravity. In Hors-jeu the performer’s Gerszo as musical assistant. Di- stones that will unsettle the missioned by the Park Lane sioned by the Henie-Onstad In the last two movements I gestures had little impact on the alogue de l’ombre double – an shadow and will eventually Group. Ricercare means liter- Kunstsenter, Oslo, for the big have added a digital delay unit, electronics, as implied by the ti- expression borrowed from Paul abandon it to itself. The initial ally ‘to seek’, and in musical exhibition Klee and Music in which records and plays back tle. In Plein-jeu, on the contrary, Claudel’s Le Soulier de satin – is sign sees the approaching of usage it signifi es a fugal, often 1985. The piece consists of fi ve the music of the violin; this re- every element of the electronics a sequence of alternating stro- the shadow, distant at fi rst (fi l- rather strict, movement. Here, movements for violin solo, with sults in a continuously expand- is the consequence and exten- phes and transitions interpret- tered sound), then increasing- a fi ve-part canon is obtained by fi ve pictures by the Swiss paint- ing, multi-layered soundscape, sion of an instrumental gesture, ed by the same performer. The ly tangible (natural sound, then means of a tape-delay system, er Paul Klee lending titles and the “past” gradually crowding even if delayed. Interestingly, strophes are played “live” on amplifi ed and reverberated and when the ‘sought-after’ inspiration to the music: the ever present “live” music. In in 2009 I wrote a piece for or- stage, while the transitions have by a piano’s soundboard) with melody is ‘found’, the canon is this way I imitate the “layer-up- gan and two trombones that left been recorded and diˆ used a whirling movement (set of by progressive augmentation at I. Tanze, du Ungeheur on-layer” technique which Klee a trace in this work: Plein-jeu’s through the loudspeakers. The speakers) converging towards the interval of the octave. It was II. Schwankendes Gleichge- obviously loved. By constant- electronics take on the role of real and localised presence of the instrument. It is here that written for Jonathan Impett and wicht ly confronting the music with the organ, with the aim of gen- the fi rst ones is opposed to the the bifurcation between the Ro- John Whiting. The fi rst perform- III. Schwebendes (vor dem An- its own immediate (and more erating a kind of meta-accordi- imaginary and diˆ used pres- man numerals’ trajectory and ance was given on 10 January stieg) remote) past, I also pay hom- on sound which is, nonetheless, ence of the others. Each strophe the Arab numerals’ trajectory 1985 in the Purcell Room, by IV. Harpia Harpiana age to T. S. Eliot and his similar at times closer to the sound of centres on a unique idea; the takes place. Jonathan Impett. V. Individualisierte Höhemes- perception of time in the poem the former. transitions lead us impercepti- (Damien Colas) sung der Lagen Burnt Norton. From a formal perspective bly from one theme to the next. (Arne Nordheim) Plein-jeu is in two main sec- The contrast between the 8 29 SEPT · WORKSHOP & ON THE VERGE ARS NOVA · 29 SEPT 9

THURSDAY THURSDAY 29 SEPTEMBER, 16:00 THURSDAY 29 SEPTEMBER, 19:30 29 SEPTEMBER, STUDIO HALL, FREE MAIN HALL, 80 DKK 09:00 – 12:00 STUDENTS FROM BIRMINGHAM CONSERVATOIRE, ARS NOVA, MUZYKA CENTRUM STUDIO HALL, FREE MALMÖ ACADEMY OF MUSIC, THE ROYAL DANISH INTEGRA LIVE ACADEMY OF MUSIC MARTIN SVENSSON: Trembling Aeroplanes, War Noise In WORKSHOP, PART 1 Memoriam Filippo Tommaso Marinetti for tape. ON THE VERGE HENRIK FRISK: The Mystic Writing Pad for ensemble and Workshop Leaders: Lam- electronics berto Coccioli and Jamie TYCHONAS MICHAILIDIS: Big Crunch for clarinet and live KENT OLOFSSON: Les portes de l’enfer for actors and ensemble Bullock (Birmingham electronics of electronic and digital instruments Conservatoire) CAROLINA NOGUERA-PALAU: Someone Else’s for clarinet and ALVIN CURRAN: Circus Maximus for chamber ensemble, live live electronics electronics and video (World Premiere) OLLE ABRAHAMSSON & SIMON BÅNG: New Work for cello and A chance to learn about Integra live electronics Conductor: Huw Rys James Live, our new software for intu- METTE NIELSEN: Feed Back Flute for fl ute and loudspeakers. Live Electronics: Marcin Wierzbicki (Muzyka Centrum) itive interaction with live elec- (world premiere) Text (Olofsson): Jörgen Dahlqvist tronics. GUNNAR KAREL MÀSSON: A(ch)ktion nr. 1 for 2 til 5 Video (Curran): Theo Eshetu (Places are limited but open to INSTRUMENTATION Actors: Nils Dernevik and Marek Choloniewski members of the public). Live Electronics: Students from Birmingham Conservatoire, Malmö PRE-CONCERT TALK: 18:30 Academy of Music and The Royal Danish Academy of Music THURSDAY Clarinet (Michailidis & Noguera): Jack McNeill (Birmingham Henrik Frisk 29 SEPTEMBER, Conservatoire) TREMBLING AEROPLANES The title, The Mystic Writing LES PORTES DE L’ENFER 12:30 – 15:00 Cello (Abrahamsson and Bång): Simon Bång (Malmö Academy of Trembling Aeroplanes is a tape Pad, refers to Freud’s 1924 pa- Les portes de l’enfer (2010- STUDIO HALL, FREE Music) piece written as a prelude to Ars per in which he lays out a hy- 2011) for actors and ensemble INTEGRA LIVE Flute (Feed Back Flute): Julius Ditlevsen (The Royal Danish Nova Ensemble’s performance. pothesis about the inner func- of electric and digital instru- WORKSHOP PART, 2 Academy of Music) The piece takes inspiration from tionality of human perception. ments, takes its point of depar- Accordion (PIECE): Sandra Nielsen (The Royal Danish Academy of the group’s concept of the herit- Though much can be said about ture in the monumental sculp- Workshop Leaders: Jamie Music) age of noise and early electron- his hypothesis (and much has ture of August Rodin, La porte Bullock and Tychonas ic music, and the sounds of in- been said about it, not least by de l’enfer. The sculpture depicts Michailidis (Birmingham dustrialization. French philosopher Jacques a scene from Dante Alighieri’s Conservatoire) A concert including new works Derrida) my reasons for choos- Inferno. for instrument and live elec- THE MYSTIC WRITING PAD ing this title are much more The sculpture has two big tronics by composition students The Mystic Writing Pad (2010 – practical and metaphorical. The doors, 6 metres high, fi lled with An open rehearsal featuring from Birmingham Conserva- 2011) is an improvisation based functionality of the technology 180 fi gures in diˆ erent sizes in the pieces to be performed in toire, Malmö Academy of Music on the structure of the Ameri- upon which the ensemble re- both high and low reliefs. Many the afternoon concert (On The and The Royal Danish Academy can composer Harry Partch’s lies can often be very mystical, of the fi gures were also made Verge), oˆ ering the opportuni- of Music. 43-tone Just Intonation scale; a but the ease with which it can famous as independent sculp- ty to understand more fully the division of the octave in 43 un- be used to register the phrases tures, for instance ‘The Thinker’ relationship between performer equal steps. The 43 notes of played by the musicians is tru- and ‘The Kiss’. What inspired Ro- and technology. (Places are lim- the scale have been distributed ly akin to a writing pad: great din to this monumental project ited but open to members of the among the fi ve instruments, and at quickly taking notes (in two was not only directly from Dan- public). it is only together that they can senses of the word), but terrible te but also from other sources, explore its full potential. The col- at making thoroughly thought- such as paintings by Delacroix laborative aspect of this piece through statements. In this and Michelangelo, writings by is further explored by its meta- piece I attempt to challenge that Balzac and Baudelaire as well instruments: instruments that relation. as medieval cathedrals. are hidden under the surface (Henrik Frisk) The sculpture was a com- and for which the players need This is the fi rst performance of the mission for the Decorative Arts to join forces in order to control. full work with all three movements. Museum that was planned to 10 29 SEPT · ARS NOVA ARS NOVA · 29 SEPT 11

open in Paris in 1885. Rodin ing task…namely itself. The Cir- missioning program, among the the audience may not be aware started his work in 1880 but the co Massimo (10 minutes walk most forward reaching projects of anything, or they may ask museum was never built. Rodin from my own house) is the Ro- in the experimental music world themselves, “Why am I hearing continued to work on his sculp- mans’ oldest and largest holy today with its unique approach a solo English horn that sounds ture for the rest of his life. There temple of pure fun and breath- to electronic composition, for like burping drunkards or howl- was also a second version of the taking emotion… and the rai- which this piece has come into ing wolves or clouds of killer sculpture, a version which has son d’être for this short (ca 25 being thanks to the timely invita- bees?”. the same framework, but was minute) foray into pure unmedi- tion from Malmö’s distinguished Musically speaking this is much more abstract, lacking al- ated artistic folly. new music group Ars Nova and a piece of conventional mu- most all of the fi gures in the fi rst Together with the brilliantly its director Stefan Östersjö. Why sic, let’s call it a Divertimento, version, leaving only traces of constructed visual materials of electronics? Well because they which is not just a pre-bour- their presence and movements. Theo Eshetu, (almost all shot at are the circus and the circuits geois chunk of musical fun, My compositional work on the current Circo Massimo site) that have come to determine but something which constant- Les portes de l’enfer started as this composition becomes a cir- much of musical thinking and ly diverts the attention to some a series of études. I gave these Kent Olafsson cus of its own, where the in- practice in our time. They are other point on the imaginary Alvin Curran études names based on some of lie in this exploration. Among habitants – ragged street musi- obedient servants who try their game-board which composer ger than its parts. If this does the fi gures of the sculpture, ini- our previous pieces are Indy 500 cians, hopeless jugglers, popes, utmost to please every whim and audience have construct- not happen, please do not hesi- tially these were only free asso- – seklernas udde and Hamlet II: pop stars, Gay Priders, wannabe of the presumed masters who ed between ourselves, where tate to ask for your money back. ciations to the work of Rodin. The Exit Ghost. In 2011 we are also centurions, spectator crowds of command them, asking only for we both try to arrive at a har- The circuses are notoriously materials in these études were, working on A Language at War thousands, horses galore, Ben mercy and patience in return for monious conclusion. Or? In any politically correct. later on, composed into longer for actor, singer, video and elec- Hur in his iconic silent movie small musical miracles. Here I case it was not only a moment Being that I really am not a sections and during this proc- tronics, based on Wittgenstein’s chariot chases, and the ghosts have employed them as devil- to step on the pedal of the faith- devoted fan of chamber mu- ess I imagined that it could per- philosophy of language. of all the leopard, bear, and el- ish shadows to the convention- ful ring-modulator, and spec- sic (excluding Beethoven late haps be developed into a Sonic SONAT (Sonic Art Theatre) is ephant fi ghts and fox-tails set al acoustic instruments, whom tral-warping bloviators but time string Quartets and Schumann Art Theatre, perhaps based on a series of experimental music- on fi re that have occurred in they must follow, imitate, ig- to introduce one of my favour- Songs) I really wanted to cre- the stories of the sculpture, of dramatic projects by Teatr We- this, the greatest race-track and nore, sublimate or sabotage…. ite instruments of all time, the ate a spatialised piece of music its creator and his sources of imar and Ars Nova Ensemble. family entertainment centre of The players of my notes (usual- Banjo! Can there even be a cir- theatre, with most of the musi- inspiration. I told Jörgen Dahl- Jörgen Dahlqvist is the artistic all time – get together to delight ly uncoordinated with the play- cus without a Banjo? Maybe, cians in some kind of contained qvist of Teatr Weimar how my director of Teatr Weimar. audiences of every age and so- ers of other written notes) must but not one playing fast unison space – a telephone booth, say, ideas were developing and he (Kent Olofsson) cial standing. then try to subdue these shad- pickings with a Tuba and Eng- or a capsule which is moving responded by sending me some Metaphorically speaking Cir- owy electric-beasts themselves lish horn, like some down-home slowly over the heads of the au- text drafts, which immediately CIRCUS MAXIMUS cus Maximus stands for just by enjoying their unsolicited and country style with a passport dience…ski-lifts, human-sized gave me the idea of including On the subject of this “theme- about anything on this planetary random interventions or trying from nowhere. rotisserie mechanisms etc … so pre-recorded voices played by park of theme-parks” I have ship of fools where we are all to outplay or outguess the shad- Theo Eshetu’s video is not in lieu of that ambitious theatre the digital instruments. In fur- been inspired to create a multi- captives. A circus of Ringlings, ower’s next moves. A bit like a there as an accompaniment to project, I engaged Theo – like ther discussions with Jörgen medial event which bolts, turns, Barnums Baileys and postmod- live videogame without a joy- my music, nor vice versa…. we myself, an adoptive Roman – and Stefan Östersjö we decided circles, loops, implodes, hyper- ern bums who live by night and stick or predictable buttons! In hope the random collision of to enter into dialogue with me to also include live actors. bolates, castigates, fumigates die by day and are reborn at short the electronics function as the live video performance and ... and he has done just that, as I have been working with and repeats incessantly, all the every new galactic software cy- a wild pack of virulent clowns the controlled randomness of have Marcin Wierzbicki, the ex- writer Jörgen Dahlqvist since while hiccupping and thumbing cle, such as that of the Integra who enter and exit without any the musical score will produce traordinary programmer of In- 2009 in a series of Sonic Arts its nose at the whole challeng- project and its European com- plausible reason. Acoustically event-Gestalt substantially big- tegra and related software and Theatre-pieces; works for electronic sound design; actors, musicians, sing- Marek Choloniewski, bril- ers, electronics and video liant director of the elec- that can be described as tronic music studio at the staged “Hörspiel”. We are Krakow Academy; the en- continuously investigat- tire dedicated staˆ of Inte- ing the relations between gra and the exceptional en- contemporary music and semble Ars Nova … to all, new dramatic writing and my heartfelt thanks. the new possibilities that (Alvin Curran) 12 30 SEPT · CONFLUENCE AND ESCAPES BIT20 · 1 OCT 13

FRIDAY 30 SEPTEMBER, 19:30 SATURDAY 01 OCTOBER, 16:00 GARDEN HALL, FREE STUDIO HALL, 80 DKK STUDENTS FROM BIRMINGHAM CONSERVATOIRE, MALMÖ BIT20, NOTAM ACADEMY OF MUSIC, THE ROYAL DANISH ACADEMY OF MUSIC KAIJA SAARIAHO: Lichtbogen KNUT VAAGE: multiMORF 3 for trombone, waterfalls and live CONFLUENCE AND ESCAPES electronics (Danish Premiere) IRIS TER SCHIPHORST: AUNG for singer/actor, ensemble, ED BENNETT: Monster for bass clarinet and electronics recorded and live electronics (World Premiere) SEBASTIANO DESSANAY: New Work for double bass and live electronics Conductor: Baldur Brönnimann JAMES DOOLEY: The physical impossibility of love in the mind of Live electronics: Dag Henning Kalvøy (NOTAM) and Thorolf the pleasure seeker for solo voice and live electronics Thuestad OLLA ABRAHAMSSON: New Work for cello and live-electronics Soloist (Vaage): John-Arild Suther (trombone) KAIA SAARIAHO : NOA-NOA for fl ute and electronics Soloist (Schiphorst): Anna Clementi (singer/actor) KENT OLOFSSON : Chiral III cello and electronics Video (Vaage): HC Gilje JØRGEN PLAETNER : NOCTURNE for fl ute and tape! Libretto/Staging (Schiphorst): Helga Utz YLVA LUND BERGNER: New Work for solo violin and live elec- Staging: Agnes Cäcilia Maria Burghardt tronics Lighting Designer (Schiphorst): Lutz Deppe

Live Electronics: Students from Birmingham Conservatoire, PRE-CONCERT TALK: 15:00 Malmö Academy of Music and The Royal Danish Academy of Music Kaija Saariaho Bass Clarinet (Bennett): Jack McNeill (Birmingham Conserva- LICHTBOGEN violoncello, starting from artifi - which values changed on repe- toire) The name Lichtbogen stems cial harmonic sounds and end- tition, thus modifying the gener- Double Bass (Dessanay): Sebastiano Dessanay (Birmingham from the Northern Lights, which ing with complex multiphon- al character of the pattern. Ex- Conservatoire) I saw in the Arctic sky when ic sounds. The analyses were act calculations were converted Solo Voice (Dooley): Hannah Davey (Birmingham Conservatoire) starting to work on this piece. made by selecting many small to approximations, still retain- Cello (Saariaho & Olofsson): Simon Bång (Malmö Academy of When looking at the movements windows from diˆ erent parts ing their overall character, but Music) of these immense, silent lights, of the source sounds. From allowing them to be realised Flute (Saariaho) : Sofi a Kayaya (The Royal Danish Academy of which run over the black sky, the results of these analyses, through musical notation. Music) ideas concerning the form and I reconstructed the transitions Lichtbogen is a commission Violin (Bergner) : TBC language for the piece started and made harmonic process- of the French Ministry of Culture to formulate in my mind. What es, often related to the origi- and is dedicated to Paul Mefano. is the dependence - and does nal playing style of the ana- (Kaija Saariaho) it exist at all? - between this lysed sound, so that harmonic Students from Birmingham phenomenon of nature and my and timbral thinking stemmed MULTIMORF 3 Conservatoire, Malmö Acade- piece, I don’t know. from the same source. For the The term of morphing is used, my of Music and The Royal Dan- In Lichtbogen, I worked for rhythmic element, I used a net- for example, in animation and ish Academy of Music present the fi rst time with a computer work of programmes based in sound adaptation, and results chamber music with live elec- in the context of purely instru- the FORMES environment, on in a seamless change from one tronics. mental music. Special harmo- which I have worked with Xavi- object to another. In multiMORF ny and rhythm were devised er Rodet. These programmes 3, recordings of waterfalls are with two diˆ erent tools from allowed me to construct inter- morphed with recordings of a IRCAM. Regarding harmony, I polations and transitions be- trombone, and in multiple lay- worked with the CRIME system tween diˆ erent musical pa- ers, so the latter come to re- developed by Claudy Malherbe rameters. The rhythmic inter- semble the drone of the falling and Gérard Assayag: the ma- polations, between varying pat- water. The base sounds evolved terial is created by analysing terns, were created through the and were fi nalised in the studio short transitions played with a employment of circular lists, in using computer technology, and 14 01 OCT · BIT20 BIT20 · 01 OCT 15

the soloist uses live electron- from working and is currently ics during the performance. The in prison, and Aung San Suu Kyi. source sounds used in the com- Historical background is es- position and pictures present- sential to an understanding of ed in performance are taken the work, AUNG. Aung San Suu from two waterfalls on the West Kyi’s father, General Aung San, Coast of Norway. successfully fought for Burma’s multiMORF 3 is one in a se- (Myanmar’s) independence ries of pieces developed in col- from English colonial rule, but laboration with sound artist was assassinated shortly be- Thorolf Thuestad and video art- fore attaining his goal. He would ist HC Gilje. The piece is open in have become Burma’s (Myan- form, and the morphing is pol- mar’s) fi rst elected president yphonic because it takes place and undoubtedly wanted to es- simultaneously on the diˆ erent tablish democracy in the region. levels of soloist, sound technol- Today’s junta, however, sees in ogy and video. him a representative of their (Knut Vaage) own interests, and claim him as “father”. On the other hand, for AUNG Suu he represents the humane The subject of AUNG is the inhu- world without violence. Thus Iris ter Schiphorst Aung San Suu Kyi man conditions imposed by the both sides exploit his memory mar), under the brutal dictator ed, tortured and killed numer- Schiphorst and librettist and di- multiMORF 3 is commissioned by military government in Burma for their goals. Moreover, it is Ne Win, was sealed oˆ from the ous opposition members; Aung rector Helga Utz, who founded BIT20 Ensemble, and fi nanced by (Myanmar) against which the undoubtedly the fact that Suu is rest of the world. San Suu Kyi was placed under Oper Unterwegs, an opera com- Norwegian Composer fund and West does not see itself able to the daughter of Bogyoke Aung Aung San Suu Kyi’s life house arrest. Yet, she was not to pany dedicated to contempo- Arts Council Norway. Aung is take action. Human rights or- San, who fought against the changed completely when she be silenced so easily. With a ten- rary opera, three years ago in commissioned by BIT20/Integra ganizations accuse the military British and the Japanese, which returned to Burma (Myanmar) day hunger strike, she won the Vienna. Their fi rst joint project, and supported by Integra and junta in Burma (Myanmar) of has protected her from assassi- in 1988 to be with her termi- assurance that her fellow cam- the children’s opera Die Gänse- Arts Council Norway. The concert abuses such as forced labour, nation. nally ill mother, in the midst of paigners would be well treated magd (“The Goose Girl”), was is supported by MIC/The Norwe- compulsory evacuation of vil- Aung San Suu Kyi received political unrest: the people were in prison. In July 1990, the Eu- premiered to great acclaim two gian Ministry of Foreign A¤ airs lages, torture, rape, and the her formal education in India, demonstrating in the streets ropean Parliament awarded her years ago in Vienna’s Dschungel and Bergen City Council. use of child soldiers - as well where her mother, who always for democratic reforms. Conse- the Sakharov Prize for Freedom as a production of the Tasche- as indiscriminate arrests and upheld the memory of Aung’s quently, Burma’s (Myanmar’s) of Thought, and a year later she noper, and subsequently staged the abuse of prisoners. In spite father, was active as Burma’s “second struggle for independ- received the Nobel Peace Prize in Berlin’s Radialsystem. Soloist of abundant natural resourc- fi rst female ambassador. There, ence” began. As the daughter of “for her non-violent struggle for Anna Clementi has already pre- es, the population is very poor. Aung attended the best schools her father, the civil-rights activ- democracy and human rights” – miered numerous works by Iris Over half of the national budget and became friends with Indira ist could not watch indiˆ erently, the world became aware of her ter Schiphorst, singing, amongst is spent on the military, the in- Gandhi and her sons Rajiv and as she said, became active po- fate and of that of her country. other things, the main role in the telligence services, and the po- Sanjay. She initially studied po- litically, and was soon a sym- After six years, her confi ne- 3D opera Anna’s Wake, and ap- lice. Because of the catastrophic litical science in Dehli, and lat- bolic fi gure. In spite of threats ment was suspended, on strict pearing in the multi-media op- situation, the international com- er philosophy, political and eco- of armed force and a ban on conditions, for the fi rst time, era Silence Moves, with which mittee of the Red Cross, which nomic science in Oxford. She public meetings, she travelled and she was able to receive for- she won the 1997 Blaue Brücke normally only expresses criti- worked in New York at the UN throughout the country on an eign journalists. Two years later composition competition. At the cism in confi dence, decided to and with her husband Michael election campaign for the Na- she was again in custody, which end of the 1980s she was the take the extraordinary step of Aris, a scholar of Tibetan stud- tional League for Democracy continued until November of singer in Intrors, an ensemble publically reproaching the gov- ies, in Bhutan. The couple had (NLD), of which she was a co- 2010. She left her two sons be- founded by Iris ter Schiphorst, ernment for serious human two sons. While she taught and founder, and dauntlessly advo- hind as adolescents, and nev- that primarily performed elec- rights violations. undertook research in Kyo- cated civil disobedience. The re- er again saw her husband, who troacoustic compositions. Dag The most well-known oppo- to and India – focusing on re- gime, however, disregarded her died of cancer in 1999. Henning Kalvøy, from the Nor- sition leaders are the comedi- cent Burmese history and her overwhelming election victory AUNG is the second joint wegian studio NOTAM, pro- an Zarganar, who was banned father’s role – Burma (Myan- in the spring of 1990 and arrest- project by composer Iris ter grammed the live-electronics. 16 NEW MUSIC ENSEMBLES NEW MUSIC ENSEMBLES 17

NEW MUSIC ENSEMBLES

ARS NOVA ENSEMBLE ATHELAS SINFONIETTA BIT20

ARS NOVA ENSEMBLE is a ATHELAS SINFONIETTA CO- oux and Pierre-André Valade. BIT20 ENSEMBLE was founded Swedish ensemble for new mu- PENHAGEN has long been es- The ensemble’s devotion to new in Bergen, Norway in 1989. Con- sic founded in 1986 by compos- tablished as Denmark’s leading music resulted in the appoint- sisting of 15 musicians, BIT20 is er Johannes Johansson, who ensemble for New Music and is ment of Athelas as “ensemble in regarded as one of the foremost also was its artistic director for in every sense a barrier-break- residence” at the Danish Broad- Nordic contemporary music en- the fi rst nine years. Since 1995, ing ensemble. With great en- casting Corporation (1997-99) sembles. The ensemble has the guitarist Stefan Östersjö performed at many major in- has been its artistic director. ternational venues for contem- Specialising in music for instru- porary music, including Festival ments and electronics, the en- Agora (IRCAM Centre Pompidou, semble has also been working France), Festival Présences with multi-media projects. In (Radio France), Soundstreams BIT20 the past few years, this has tak- (Canada), Transart (Italy), Hud- en shape as an extensive col- dersfi eld Contemporary Music laboration with Teatr Weimar as Festival, at the Barbican Centre an attempt to develop experi- (England), and in Moscow and mental music theatre based on St Petersburg (Russia). BIT20 the aesthetics of the radiophon- has also appeared at major ic Hörspiel. In collaboration with Norwegian festivals including other art forms and with mu- Ultima, Borealis, Ilios and the sicians from diˆ erent musi- Bergen International Festival. cal traditions and ethnic back- BIT20 Ensemble is involved in grounds, several projects ex- concerts, educational work, ra- plore novel fi elds in the border- dio productions, CD recordings, line between contemporary art Athelas Sinfonietta international tours and modern Ars Nova Ensemble music and other cultural modes thusiasm, everybody within or and the award of the “Danish opera. It has commissioned and of expression. Within its range close to the group becomes a National Ensemble” title. In this premiered nearly 100 works of a sinfonietta the ensemble mouthpiece for the avant-garde respect, Athelas has represent- and released 23 albums. Its hosts several chamber music through innovative projects that ed Denmark and the Royal fam- repertoire ranges from pieces constellations, among them the overcome aesthetic limitations ily. International co-operation written for single musicians to digital ensemble Switched-On and physical boundaries. Athe- is important to Athelas and is works for full sinfonietta. The and the Ars Nova String Quar- las has performed around 600 marked by their participation as ensemble includes three per- tet. diˆ erent music works includ- co-founder of the EEN (Europe- manent chamber groups: BIT20 www.arsnova.se ing a large number of fi rst per- an Ensemble Network) and the Jugband, BIT20 Duo and BIT20 formances. Athelas’ determined EU-funded projects Integra and Percussion. pursuit of quality has attracted Re:New Music. www.bit20ensemble.no many important soloists and www.athelas.dk conductors, such as Steve Re- ich, Per Nørgård, Heiner Goeb- bels, Poul Ruders, Arvo Pärt, David Lang, Christian Lindberg, Reinbert de Leeuw, Thomas Adès, Ilan Volkov, Paul Hillier, George Benjamin, Philippe Ler- 18 NEW MUSIC ENSEMBLES RESEARCH CENTRES 19

RESEARCH CENTRES

GRUP INSTRUMENTAL BIRMINGHAM MALMÖ ACADEMY OF MUSIC, COURT-CIRCUIT DE VALÈNCIA CONSERVATOIRE IEM LUND UNIVERSITY

Founded by Philippe Hurel and (Tallinn), Alicante, Wien Modern GRUP INSTRUMENTAL DE One of nine conservatoires in The INSTITUTE FOR ELEC- MALMÖ ACADEMY OF MUSIC Pierre-André Valade in 1991, (Vienna), the Budapest Autumn VALÈNCIA specialise in perform- the UK and the fi rst music col- TRONIC MUSIC AND ACOUS- educates musicians, compos- COURT-CIRCUIT was quickly Festival, Witten and Darmstadt, ing music of the twentieth and lege to develop an active re- TICS (IEM) is one of 17 insti- ers, organists and music teach- recognised as an outstanding and is recognised as an ex- twenty-fi rst century. Its long- search programme, BIRMING- tutes of the University of Mu- ers and oˆ ers doctorate studies ensemble. The group has pre- ceptional group by audiences lasting dedication to this goal HAM CONSERVATOIRE was es- sic and Performing Arts Graz. in music education and art (mu- miered the works of numerous and composers. Court-circuit has enabled this ensemble to se- tablished in its current form in The institute sees itself as the sic). The Academy has profes- composers including Tristan is also involved in interdiscipli- cure a fundamental place in the 1993. The Conservatoire is now interface between science and sors of piano, guitar, violin, vio- Murail, Philippe Leroux, Martin nary projects and has frequent- diˆ usion and disclosure of Span- an internationally recognised art and between new technol- loncello, trumpet, organ, com- Matalon, Philippe Hurel, Mau- ly taken part in Paris Opera ish New Music. Formed in 1991, centre for composition and per- ogy and musical practice. IEM position, and research in music ro Lanza and Roger Reynold. ballet premieres, including Le the Grup is resident in Valencia, formance with live electronics, performs research and devel- education. This means that ar- Court-circuit has performed in Songe de Médée, choreographed where it presents its season of mainly carried out in the Com- opment in the areas of acous- tistic development work (cor- important European festivals by Angelin Preljocaj to music by concerts; it also takes an active position and Music Technolo- tics, signal processing, compu- responding to research in oth- and musical institutions, includ- Mauro Lanza (a project initiat- role in contemporary music na- gy departments and at Integra ter music and media art. Artistic er areas) occupies a central po- ing IRCAM, Radio France, Cité ed by IRCAM) and Le Sou¡ e du tionwide. 2005 saw the Grup be- Lab, a specialised research fa- research activities are concen- sition. The Academy includes de la Musique, Aix-en-Provence temps, choreographed by Abou ing awarded the National Prize cility created as a spinoˆ from trated on the further develop- 600 students, 10 doctorate stu- Festival, 38e Rugissants (Gre- Lagraa to Gérard Grisey’s Vor- of Music in Spain, in the catego- the Integra project. A part of Bir- ment of means of expression. In dents, 200 teachers and 40 ad- noble), Whynote Festival (Di- tex Temporum. Court-circuit re- ry of “Interpretation”. The Grup’s mingham City University, along- co-operation with the Graz Uni- ministrative staˆ . Malmö Acad- jon), GMEM (Marseilles), Festival ceives support from the Minis- repertoire includes both cham- side traditional music courses, versity of Technology, IEM pro- emy of Music stands for genre Manca (Nice), Warsaw Autumn, try of Culture and Communica- ber music and orchestral piec- the Conservatoire oˆ ers under- vides an interdisciplinary sound width and an inter cultural envi- Ultrashall et Maerzmuzik (Ber- tion/DRAC Ile-de-France. es, featuring the music of Stock- graduate, postgraduate and re- engineering curriculum and, to- ronment with many internation- lin), Ultima (Oslo), Traiettorie www.court-circuit.fr hausen, Webern, Donatoni, Boul- search degrees in composition gether with the University Graz, al (and national) visiting profes- (Parma), Roma Europa (Rome), ez, Xenakis, Ligeti, Schoenberg and performance with technol- a curriculum in musicology. The sors and conductors. There are Music Factory (Bergen), Ga- and Stravinsky alongside de Pa- ogy, a BSc in Music Technology Institute also hosts a Master’s many opportunities for interna- ida (Vilnius), Arena (Riga), Nyyd blo, Halˆ ter, Marco, Sánchez- delivered jointly with the Fac- program in the composition of tional exchange, for both lectur- Verdú, Sotelo, Posadas and Guer- ulty of Technology, Engineering computer music. ers and students, through the rero. The Grup commissions and and the Environment and an MA www.iem.kug.ac.at Nordplus and Socrates/Eras- premieres new works every sea- Digital Arts in Performance in mus programmes, as well as son. They have been invited to collaboration with the Birming- bilateral agreements. perform in diˆ erent national and ham Institute of Art and Design. The concerts arranged by the international festivals in Mexi- www.conservatoire.bcu.ac.uk Academy are greatly enjoyed by co, Argentina, Cuba, Venezuela, the public. Malmö Academy of France, Italy, Romania, Germany Music also has the use of Caroli and Austria. Grup Instrumental Church, which is the Academy’s de València is generously sup- concert venue in central Malmö. ported by the INAEM - Minister- www.mhm.lu.se io de Cultura and the IVM (Institut Valencià de la Música), is the res- Court-Circuit ident ensemble of the IVAM (In- stitut Valencià d’Art Modern) and permanent resident ensemble of the Ensems Festival. www.grupinstrumental.com 20 RESEARCH CENTRES COMPOSERS AND ARTISTS 21

COMPOSERS AND ARTISTS Gutenberg-Universität Guten- berg Fellowship (Mainz 2010- 11). MUZYKA CENTRUM NOTAM PIERRE BOULEZ 1950s and continuing right up www.alvincurran.com Born in 1925, Pierre Boulez is to the present, primarily in Lu- MUZYKA CENTRUM ART SOCIE- performed in many festivals Founded in 1993, NOTAM is a a composer, conductor, thinker, cerne where he passes on his JÖRGEN DAHLQVIST TY is a society of performers of in Poland and abroad, and has production centre for work with a motor of international musi- immense knowledge to fl edg- Jörgen Dahlqvist is the artis- contemporary music founded taken part in many internation- sound - in music, research, ed- cal life, and an emblematic fi g- ling conductors at the Festival tic director of Teatr Weimar in in June 1977. It organises con- al projects, including: Ensemble ucation and media. The most ure in post-war European, in- Academy. New compositions Malmö. Teatr Weimar consists certs, festivals and workshops, Spiel, Bridges, Avantgarde Tirol, important function of NOTAM deed, world culture. Ever since emerge and become straight of performing artists who ex- records CDs, and arranges out- Polish Cultural Autumn in Bie- is its services to the creative the 1950s composers around away an integral part of the rep- plore the boundaries and ex- door and Internet projects. Up larus, and Polish-German Year. community in music, extending the world have followed with cu- ertoire. It is as if orchestras and pressions of theatre and con- to 2010, the Society had or- Muzyka Centrum Ensemble’s naturally into sound art, cross- riosity what he was writing, to ensembles could not wait for a temporary performing arts and ganised 598 concerts pre- programme includes sophisti- media and interdisciplinary see if they could adapt his ide- new work to leave his desk: af- co-operates with many of the senting around 475 Polish and cated repertoire; open forms, art expression. With the com- as in their own music or to reject ter the premiere, a Boulez novel- big theatres in Sweden as well world premieres, repertoire in graphic scores, instrumental mon use of technology in the them in their search for an idiom ty is taken up – snatched up – by as Ars Nova Ensemble and oth- part dedicated to Muzyka Cen- theatre, music based on newest production of almost any mu- they could call their own. In 1957 performing bodies all over the ers. Jörgen Dahlqvist is both a trum Ensemble. From 1991 un- technologies, and projects with sic, NOTAM has reshaped itself György Kurtág arrived in Paris world. Boulez – a living classic. playwright and a director and til 2007, Muzyka Centrum was a audiovisual, interactive and live- into becoming a centre for all with the goal to compose some- has been responsible for some member of the European Con- arts elements. In 2005 Muzyka genres of contemporary music. thing he could show to Boul- ALVIN CURRAN 30 productions, performed at ference of Promoters of New Centrum Orchestra was found- NOTAM serves the art commu- ez (in the end, he left without a Democratic, irreverent and tra- Teatr Weimar and at other ven- Music. The most important in- ed as a part of the European nity in various ways: through work worthy of being present- ditionally experimental, Alvin ues as well as diˆ erent festi- ternational projects of Muzyka Modern Orchestra project. The making studios, labs and tech- ed). The music the French com- Curran makes music for eve- vals in Europe. During recent Centrum are: orchestra combines soloists nical assistance available at poser has written ever since the ry occasion with any sounding years he has been collaborat- of the Society alongside young no or low cost, through build- late 1940s is a conscious act phenomena – a volatile mix of ing with composer Kent Olofs- Audio Art Festival musicians specialized in new ing hardware and software for of rebellion against tradition as lyricism and chaos, structure son on a series of works as part Bridges music. Muzyka Centrum also specifi c purposes, through ed- represented by Schoenberg or and indeterminacy, fog horns, of the SONAT (Sonic Art Thea- European Modern Orchestra co-operates with many modern ucational eˆ orts for children, Stravinsky but also his teacher, fi ddles and fi ddle heads. Curran tre) Series, through which they International Workshops for art organizers and new music youth and students at universi- Messiaen, whose infl uence has studied composition with Ron have been exploring the con- New Music ensembles. ties and music academies, and nevertheless left its mark on Nelson at Brown University and nection between text and mu- Polish Sound Art in China / Chi- www.muzykacentrum.krakow.pl through advising doctoral stu- Boulez’s music. In his compo- later with Elliott Carter and Mel sic and diˆ erent ways of stag- nese Sound Art in Poland / dents and international guests. sitions but also in his writings, Powell at Yale School of Music. ing experimental music thea- Polish Sound Art in Tibet NOTAM produces a number of Boulez was initially an angry His more than 150 works ex- tre. Jörgen Dahlqvist is also the European Course for Musical events each year, including: and rebellious young man (see plore a plethora of genres: solo dean of Malmö Theatre Acade- Composition and Technologies conferences, concerts, installa- his scathing obituary “Schoen- works, chamber music, experi- my and chairman of the board Integra tions and a lecture-series with berg est mort”). With the pas- mental radio works or large- at the Inkonst venue in Malmö. Festival for Polish Culture in weekly presentations. NOTAM is sage of time as he became an scale site-specifi c sound envi- Luxembourg one of the founding members of established fi gure, with France ronments and installations, all LUTZ DEPPE Ultima Oslo Contemporary Mu- inviting him back to found IR- forge a very personal language For over eight years Lutz Deppe The society combines several sic Festival. CAM and the Ensemble Inter- from all the languages through worked as a photographer for ensembles, the oldest one be- www.notam02.no contemporain and his career as dedicated research and recom- various labels like Wergo, Toro- ing Muzyka Centrum Ensemble a conductor also taking oˆ , there binant invention. Amongst his fon, Weltwunderrecords and - a group with a variable set of has probably been less to rebel prizes and awards are listed: publishers like Du Mont, Prestel, instruments, selected for each against and Boulez has mel- Guggenheim Foundation 2004, and Edition Cantz. During that program separately. MCE has lowed and broadened his ho- Ars Electronica 2004, Phonur- period he participated in sever- rizons to conduct a wide range gia Nova 2005 with I Dreamt al exhibitions in Berlin, Hanno- of repertoire including Bruckn- John Cage Yodeling in the Zu- ver, Cologne. In 1995 he worked er and Mahler. Boulez has also rich Hauptbahnhof, Experimen- for the fi rst time exclusively been a highly infl uential teacher, tal Music Studio (Freiburg resi- with light. beginning in Darmstadt in the dencies 2006, 2007), Johannes Together with Susanne Lin- 22 COMPOSERS AND ARTISTS COMPOSERS AND ARTISTS 23

ke he realised the lighting of her JAMES DOOLEY of video with themes taken from low at the Royal College of Mu- Bergen 2006-9, he initiated the His church opera Passion and dance fi lm Maerkische Land- James Dooley studied compo- anthropology so as to create a sic in Stockholm. project Conversations with Spac- Resurrection (1981) was the schaften. After that he assisted sition with Peter Reynolds at personal statement on the na- www.henrikfrisk.com es where he explored how audi- subject of a BBC television fi lm, Jean Kalman at the Opera de the Royal Welsh College of Mu- ture of video as a form of com- ovisual technology can be used and has received seventeen Lyon in the production of Lenz, sic and Drama, and is current- munication. The re-elaboration HC GILJE to transform, create, expand, subsequent performances. His an opera by Wolfgang Rhim. He ly studying with Lamberto Coc- of ritual, symbol and myth is HC Gilje (b. 1969) works with in- amplify and interpret physical opera Inquest of Love, commis- has since worked with many cioli at Birmingham Conserva- used as both the subject mat- stallations, live performance, spaces. sioned by ENO, was premiered dance companies, directors and toire. In October 2009 he com- ter and form of expression. He set design and single-channel www.hcgilje.com under the baton of Mark Elder composers. pleted an MMus in Composition studied Communication Design video. He was a member of the in 1993 and repeated at Theatre With Yoshi Oidas’ The Maids at Birmingham Conservatoire, at North East London Polytech- video-improvisation trio 242. JONATHAN HARVEY de la Monnaie, Brussels in 1994. he won the Time Out Award and began work on a PhD en- nic, and has been working as a pilots, and was also the visual Born in Warwickshire in 1939, His third opera, Wagner Dream, 2003 in London. In recent years titled: The interplay between the video maker and photographer motor of dance company Kreut- Jonathan Harvey was a chor- commissioned by Nederlandse you might have seen his light performer, performance space in Italy since 1982. In 1986 he zerkompani. Gilje’s work has ister at St Michael’s College, Oper and realized at IRCAM was installations at EXPO 2000, the and listener: research through formed White Light Productions been presented in concert-ven- Tenbury and later a major mu- premiered to great acclaim in Cité de la Musique in Paris in composition on the relationship for the production of innovative sic scholar at St John’s Col- 2007. 2008 saw the premiere 2003 and in the Church Elisa- between sound and space. He is television programmes. lege, Cambridge. He gained of Messages (for the Rundfunk- beth in Berlin in 2010. currently involved with the Inte- doctorates from the universi- chor Berlin and the Berlin Phil- Lutz Deppe holds national gra project as module develop- HENRIK FRISK ties of Glasgow and Cambridge harmoniker) and Speakings (co- and international workshops. er, trainer and lead tester. Since his birth in 1969 in Anti- and (on the advice of Benjamin commission with BBC Scottish From 2004 until 2007 he taught www.jrdooley.com bes, France, Henrik Frisk (PhD) Britten) also studied privately Symphony Orchestra, IRCAM at the Hochschule für Gestalt- has lived and studied in Swe- with Erwin Stein and Hans Kel- and Radio France); Speakings ung und Kunst in Zurich. Since THEO ESHETU den, Denmark, France, USA and ler. He was a Harkness Fellow was the culmination of his res- 2010 he has been teaching at Theo Eshetu is a London-born, Canada. He is an active per- at Princeton (1969-70). An in- idency (2005-08) with the BBC the Hochschulübergreifendes Ethiopia-raised, and Rome- former of improvised and con- vitation from Boulez to work at Scottish Symphony Orches- Zentrum Tanz Berlin/Hoch- based media artist and pho- temporary music, and compos- IRCAM in the early 1980s has tra from which Body Mandala schule für Schauspielkunst tographer who creates video- er of chamber music, computer so far resulted in eight realisa- and ...towards a pure land have “Ernst Busch” Berlin. based installations that dis- music, sound installations and tions at the Institute, and two also emerged. All three works play the expansiveness of both sound art with a special interest for the Ensemble Intercontem- featured on the Gramophone SEBASTIANO DESSANAY his cultural inspirations and his in interactivity. He has worked porain, including the celebrat- Award-winning NMC disc re- Sebastiano Dessanay is an Ital- medium. His work unites a for- with musicians and artists such ed tape piece Mortuos Plango, leased in the same year. ian double bassist and compos- mal research on the grammar as David Liebman, Gary Tho- Vivos Voco, Bhakti for ensem- Harvey’s music has been er. His music is highly informed mas, Michael Formanek, Rich- ble and electronics, and String showcased at most centres and by a strong sense of melody and ie Beirach, Jim Black, James Quartet No.4, with live electron- festivals for contemporary mu- attention to textural details. The Tenney, Luca Francesconi, Cort ics. Harvey has also composed sic. Some 150-200 performanc- double bass often takes a prom- Lippe and others. Though his for most other genres: orches- es are given or broadcast each inent role in his research and el- education from the Rhythmic tra (Tranquil Abiding, White as year and about 100 recordings ements of improvisation perme- Conservatory in Copenhagen, Jasmine and Madonna of Win- of his music are issued on CD. ate his compositions. He stud- Denmark, is in music, he also ter and Spring - the latter per- He has honorary doctorates ied double bass and composi- works with software develop- formed by the Berliner Phil- from the universities of South- tion at Cagliari Conservatoire ment within the framework of harmoniker and Simon Rattle ampton, Sussex, Bristol, Bir- where he graduated in 2007. In his artistic practice. His Ph.D. H.C. Gilje in 2006), chamber (four string mingham and Huddersfi eld, is 2009 he completed a Master’s in Dissertation ‘Improvisation, ues, theatres and cinemas, gal- quartets, Soleil Noir/Chitra, and a Member of Academia Euro- Music at Birmingham Conserva- Computers, and Interaction’ leries, festivals, outdoors and Death of Light, Light of Death, for paea, and in 1993 was awarded toire, where he is now working was presented at Lund Univer- through several internation- instance) as well as works for the prestigious Britten Award towards a PhD in Composition. sity, Malmö Academy of Music, al DVD releases including 242. solo instruments. He has writ- for composition. In 2007 he was Prizes and awards have includ- in October 2008. He is current- pilots live in Bruxelles on New ten many widely performed un- awarded the Giga-Hertz Prize ed 1st prize at Sardinia Interna- ly associate professor at the York label Carpark and City- accompanied works for choir, for a lifetime’s work in elec- tional Composition Competition Malmö Academy of Music (in ar- scapes on Paris-label Lowave. as well as the large-scale can- tronic music. He published two in 2004 with the composition tistic research) and since 2011 While working as a research tata for the BBC Proms Millenni- books in 1999, on inspiration Scherzo for solo double bass. as Postdoctoral Research fel- fellow at Kunstakademiet in um, Mothers shall not Cry (2000). and spirituality respectively. Theo Eshetu 24 COMPOSERS AND ARTISTS COMPOSERS AND ARTISTS 25

Harvey was Professor of position and musicology in his oux’s compositional output in- and North and South America tensive artistic output consists KAIJA SAARIAHO Music at Sussex University be- hometown. In 1998/99 he was cludes symphonic, vocal, elec- by remarkable ensembles and of over 125 works for many Born in 1952 in Finland, Kaija tween 1977 and 1993 where he chosen for the annual course in tronic, acousmatic and cham- musicians such as Thallein En- diˆ erent ensembles, genres Saariaho lived a childhood em- is currently an Honorary Pro- composition and computer mu- ber music. He entered the Paris semble (UK), the Curious Cham- and contexts, including music bedded in music. At the Sibe- fessor. He was Professor of Mu- sic at IRCAM in Paris. Since then Conservatory in 1978 studying ber Players (Sweden), deciBel- for orchestra, chamber music, lius Academy in Helsinki, she sic at Stanford University (US) he has worked as a research with Ivo Malec, Claude Ballif, io (Colombia), interrobang (UK), electroacoustic music, music studied composition with Paa- between 1995 and 2000, is an composer and teacher at IR- Pierre Schäeˆ er and Guy Reibel Cuarteto Manolov (Colombia), theatre, alternative rock music, vo Heininen and Magnus Lind- Honorary Fellow of St. John’s CAM, active in the fi eld of syn- and obtained three fi rst priz- fl utist Shanna Gutiérrez (US), music for baroque instruments, berg. She continued her stud- College, Cambridge and was thesis using physical models es. Other prizes and awards in- violist Garth Knox (UK), pian- and for dance performances ies in Freiburg with Brian Fer- a Fellow at the Institute of Ad- and computer-aided composi- clude: Best contemporary mu- ist Mary Dullea (UK), cellists and installations. Over the past neyhough and Klaus Huber, at vanced Study in Berlin in 2009. tion. He was a fellow of the Civ- sical creation Award 1996 for Mitcho Badev (Colombia) and few years he has been collabo- the Darmstadt summer cours- itella Ranieri Foundation (2006), (d’)ALLER, SACEM Prize, André Robin Michael (UK) and violinist rating intensively with Swedish es, and, from 1982, at the IR- of the Académie de France in Caplet and Nadia and Lili Bou- Darragh Morgan, among many theatre group Teatr Weimar in CAM research institute in Par- PHILIPPE HUREL Rome (2007/2008) and of the langer Prizes from the Acad- others. Her compositions draw a series of Sonic Art Theatre- is. At IRCAM, Saariaho devel- Philippe Hurel studied musicol- Akademie Schloß Solitude emy of Fine Arts (Institut de on ideas of collapsing mecha- pieces. One of the most suc- oped techniques of compu- ogy at the Université de Tou- (2009-2010). France), and Arthur Honegger nisms, decomposing organisms cessful of these is Hamlet II: Exit ter-assisted composition and louse from 1974-79 and com- His music has been per- Prize (Fondation de France) for and, more recently, the pres- Ghost for actors, live electronics acquired fl uency in working on position with Betsy Jolas and formed in international festivals his overall production. From ence of noise in carnival and and video. tape and with live electronics. Ivo Malec at the Conservatoire including the Venice Biennale, 2001 to 2006 he taught com- traditional folk music. Olofsson’s music has been In recent years Saariaho has National Supérieur de Musique Musica (Strasbourg), Gaudea- position at IRCAM in the frame performed by ensembles and turned to opera, with outstand- de Paris from 1980-83. His hon- mus Music Week (Amsterdam), of the “Cursus d’Informatique ARNE NORDHEIM orchestras such as Ensemble ing success. L’Amour de loin, ours include the Pensionnaire à MNM (Montréal), Ars Musica Musicale”. In 2005 and 2006 Norwegian composer Arne Nor- Recherche (Freiburg), Sympho- with a libretto by Amin Maal- la Villa Médicis à Rome (1986- (Bruxelles), Tage für Neue Musik he taught at McGill Universi- dheim made his international nieorchesters des Bayerischen ouf based on an early biogra- 88), the Förderpreis der Sie- (Zürich), Europäische Musik- ty (a Fondation Langlois pro- breakthrough at the beginning Rundfunks (Munich), Swedish phy of the twelfth-century trou- mens-Stiftung in Munich 1995, monat (Bâle), Les Musiques gramme). From 2007 to 2009 of the 1960s, and since then his Radio Choir, Klangforum Wien, badour Jaufré Rudel, received for Six miniatures en trompe (Marseille). Within the festi- he was composer-in-residence works have been played by the and Avantii! (Finland), and by widespread acclaim in its pre- l’œil, the Prix des Composi- vals IRCAM and Archipel de at Metz Arsenal and at Orches- world’s leading orchestras and conductors including Lothar Za- miere production directed by teurs from SACEM (2002), and Genève, two monographic con- tre National de Lorraine, then performers. He is regarded as grosek, Gustavo Dudamel, Mario Peter Sellars at the 2000 Salz- the Prix de la Meilleure Création certs were dedicated to him in from 2009 to 2011, invited pro- the contemporary Norwegian Venzago and Franck Ollu. His burg Festival, and won the com- de l’Année from SACEM 2003, 2002 and 2004. In 2004 he com- fessor at Université de Montréal composer who has achieved the long-term collaboration with poser a prestigious Grawemey- for Aura. His music has been posed the music for the ballet (UdeM). Since the start of Sep- greatest recognition beyond the guitarist Stefan Östersjö has re- er Award. Adriana Mater, on an performed worldwide and con- Le Songe de Medée, commis- tember 2011, he has been pro- borders of his own country. sulted in numerous large-scale original libretto by Maalouf, ducted by Pierre Boulez, David sioned by Paris National Opera fessor in composition at McGill Nordheim’s name is inex- works for guitar, among them mixed gritty present-day real- Robertson, Jonathan Nott, Esa and choreographed by Angelin University. tricably linked to the arrival of Corde for guitarist and orches- ity and dreams, again directed Pekka Salonen, Kent Nagano, Preljocaj. His collaboration with musical modernism in Norway. tra, of which the fi rst part, Fas- by Sellars, at the Opéra Bastille Pierre-André Valade, to name Paolo Pachini during a residen- CAROLINA NOGUERA-PALAU In his roles as composer, mu- cia, was awarded 3rd prize at in Paris, March 2006. Emilie, an just a few. Philippe is currently cy at Le Fresnoy in 2005-2006 Carolina Noguera-Palau is a Co- sic critic and champion of com- the at Musica Viva / BMW Com- opera and monodrama for Ka- composing Espèces d’espaces, produced Descrizione del Dilu- lombian composer currently liv- posers’ rights, he ensured that position Competition Munich in rita Mattila had its premiere in based on a text by Georges vio, composed especially for the ing in Bogotá, where she teach- international trends gained a 2004 as well as, for the whole Lyon in March 2010. Perec, for voice, actor ensemble Neue Vocalsolisten and Les Per- es composition and analysis at foothold during a period when concerto, the Christ Johnson www.saariaho.org and electronics. This musical cussions de Strasbourg. Pontifi cia Universidad Javeri- Norwegian music was still in- Grand Prize for Composition theatre piece will be premiered ana. She is in the last phase of fl uenced by national romanti- Stockholm 2009. IRIS TER SCHIPHORST in 2012 by ensemble 2e2m con- PHILIPPE LEROUX her PhD in Composition at Bir- cism, as was true for the rest of In 2010 his work Aether for Iris ter Schiphorst was born in ducted by Pierre Roullier in col- With his music being wide- mingham Conservatoire under the Norwegian art world in the choir and orchestra was per- Hamburg. After completing her laboration with La Muse en Cir- ly performed in international the guidance of Richard Causton wake of World War II. formed in Madrid as fi nalist in piano studies and giving nu- cuit. festivals and orchestras such and Lamberto Coccioli. She has the XVII Queen Sofi a Composi- merous concert performanc- as Tonhalle Orchester Zürich, composed for large and small KENT OLOFSSON tion Prize 2010. es, she spent two years travel- MAURO LANZA Orchestre Philharmonique de ensembles, soloists and elec- Kent Olofsson (1962) studied www.kentolofsson.com ling the world. Back in Germany, Born 1975 in Venice, Italy, Mau- Radio France and BBC Sym- tro-acoustic media. Her works composition at the Malmö Acad- she took up theatre studies, cul- ro Lanza studied piano, com- phony Orchestra, Philippe Ler- have been performed in Europe emy of Music 1984-91. His ex- tural studies and philosophy in 26 COMPOSERS AND ARTISTS COMPOSERS AND ARTISTS 27

Berlin; she also attended semi- is in the category Symphonic the chamber ensemble Sonan- sional certifi cate as a lecturer in and improvised music, and his nars with Dieter Schnebel, Lui- Music. She was one of the win- za as well as by several of Swe- composition from the Norwe- trio JKL has released a number gi Nono and Helga de la Motte. ners of „ad libitum“ composi- den’s foremost soloists in the gian Academy of Music. Having of improvisations on CD. Vaage At the same time, she began to tion competition in 2011. Ter contemporary music fi eld. worked in many musical gen- has composed works spanning explore electronic music and Schiphorst’s wide-ranging out- res, his musical activities have orchestral, chamber and educa- sampling techniques intensive- put includes all genres. Her ex- HELGA UTZ focused on improvised and con- tional pieces, with performanc- ly. In 1992 she was awarded tensive years of experience as Dr. Helga Utz was born in Ostti- temporary music. Many of his es from BIT20 Ensemble, Sta- fi rst prize in the third Compo- a musician (at fi rst as a classi- rol, Austria. She studied in Salz- projects have investigated the vanger Symphony Orchestra, sition Competition for Synthe- cal pianist, later as a bass play- burg and Vienna before going boundaries between composed Bergen Philharmonic Orches- sized and Computerised Music. er, drummer, keyboard player on to gain a PhD from the Tech- tra, Ensemble Court-Circuit, the Towards the end of the and sound engineer in various nical University of Berlin, study- Ter Jung sextet and others. His eighties, she co-founded the rock and pop bands) has had a ing musicology with Carl Dahl- pieces have been performed association Zeit-Musik, togeth- formative infl uence on her at- haus. For 16 years she was op- in concerts and festivals in er with the composers May- titude towards composing and era and concert dramaturge at France, Japan, Spain, Germany, ako Kubo, Franz-Martin Olbr- her concept of music. the Staatsoper Stuttgart. She England and Italy, and his col- isch and Berthold Türcke as Her works have been pre- has lectured at the Art Acad- laboration with writers has led well as the musicologists Frank miered at festivals in Donaue- emy of Stuttgart, Free Univer- to a number of works. He is cur- Hilberg and Gian Mario Borio. schingen, Witten, Helsinki, Paris, sity Berlin, Musikhochschule in rently working on an opera for Her compositions from that pe- Munich, Basel, Glasgow, Berlin, Karlsruhe and, since 2001, the Den Norske Opera together with riod centre mainly on the re- Stockholm, Cologne, Amster- University of Stuttgart. She has librettist Torgeir Rebolledo Ped- lationship between script and dam, Porto, Vienna and London written several scientifi c papers ersen. sound. In 1990, she founded the as well as at the EXPO and Doc- Jacob F. Shokking in addition to music, plays and www.knutvaage.com electroacoustic ensemble In- umenta exhibitions. During the Athelas New Music librettos. In 2009 she founded trors, with whom she won the Festival 2011 Jacob F. Schok- Opera On The Road. 1997 composition competition JACOB F. SCHOKKING king worked with Athelas Sinfo- www.helga-utz.at Blaue Brücke. The years 1996– Jacob F. Schokking (b. 1956) nietta and created with his au- 2001 saw intensive collabora- was one of the founders of Hol- diovisual staging method a new KNUT VAAGE tion with fellow composer Hel- land House in 1988. Since then type of concert format out of six Knut Vaage lives and works mut Oehring, which produced a he has been the group’s artis- pieces of contemporary music – as a composer in Bergen. He number of joint compositions. tic manager, stage designer and Tick Tack Tock. graduated as pianist and com- Iris ter Schiphorst has re- director. In the past two decades poser from the Grieg Academy ceived numerous accolades Holland House has created mul- MARTIN SVENSSON and has also received a profes- and scholarships, including, in tiple critically acclaimed the- Martin Svensson was born in Knut Vaage 2004, a period as artist in res- atre and opera performances Trelleborg, Sweden. He is a idence at ‘Die Höge’, a centre with a strong visual look. Light- composer, sound engineer and for women artists. Her orches- ing, sound, video and graph- guitarist. He studied musicolo- tral piece Hundert Komma Null ic design are meaningful ele- gy at Lund University. His ear- (Hundred Point Zero), which at- ments that become part of the ly studies in composition took tracted considerable attention, story telling. The performances place at Gotland school of mu- was shortlisted for the 2001 are created in close collabora- sic with Sven-David Sandstöm, Prix Italia. The ensemble piece tion with the involved compos- Per Mårtensson and Henrik Zerstören (Destruction) was ers, writers and performers. Strindberg. From 2000-2007 nominated for the World Mu- Jacob F. Schokking has devel- Martin studied composition at sic Days 2007 in Hong Kong. In oped a ground-breaking meth- the Malmö Academy of Music 2008, Miniatures for cello and ac- od of staging that derives from with Rolf Martinsson, Kent Olof- cordion received the jury’s spe- his background as a visual art- sson and Luca Francesconi. His cial prize at the Internationaler ist. Among his major shows are music has been performed by Komponistinnenwettbewerb. In Manifest, Ansigtet mod væggen Ars Nova Ensemble, the Malmö 2009 she was nominated for (“The face against the wall”) and Symphony Orchestra, the Hels- Deutscher Musikautorenpre- Per Nørgårds’ Nuit des Hommes. ingborg Symphony Orchestra, 28 CONDUCTORS CONDUCTORS 29

CONDUCTORS

Baldur Brönnimann Huw Rhys James Pierre-André Valade BALDUR BRÖNNIMANN As guest conductor, Brönni- ipus Rex. In spring 2012 he re- At the 1997 Bayreuth Festival, PIERRE-ANDRÉ VALADE Cros. His more recent record- Swiss-born Baldur Brönnimann mann has worked with the ma- turns to ENO to conduct John James was Assistant to Cho- Pierre-André Valade was born ings include works by Hugues is held in the highest regard by jor orchestras in the UK, with the Adams’s controversial opera rus Director Norbert Balatsch. in central France in 1959. In Dufourt (also given a Diapason many of today’s foremost com- Seoul Philharmonic, Bergen Phil- The Death of Klingho« er. Since 1997 he has been artistic 1991 he co-founded the Paris- d’Or de l’année 2008, as well as posers, including Adès, Birtwis- harmonic, Iceland Symphony, RAI director of the Wiener Tonkun- based Ensemble Court-Circuit - a “Choc” du Monde de la Mu- tle, Chin and Dean, and has con- Turin, and with the orchestras of HUW RHYS JAMES stvereinigung, an ensemble of which he was Music Director sique), and on Deutsche Gram- ducted many major contempo- Australia and New Zealand. He is Huw Rhys James studied Ger- dedicated to performing the for sixteen years until January mophon, Harrison Birtwistle’s rary projects across the globe. also a regular guest conductor man and Politics at Bristol Uni- church music of the Vienna 2008 – before he was appoint- Theseus Game, a piece he pre- In 2011 Brönnimann was an- with many of Europe’s leading versity, before studying Piano classical and Romantic period. ed chief conductor with Athe- miered in Duisburg and con- nounced as the new Artistic Di- contemporary music groups and and Composition at the Vien- In the course of his activities las Sinfonietta Copenhagen in ducted at the South Bank, BBC rector of Norway’s BIT20 En- works frequently with the Lon- na Hochschule für Musik. Af- as founder and artistic director September 2009. He is espe- Proms, Huddersfi eld Contem- semble. Since 2008 he has been don Sinfonietta. ter engagements at the Theater of the Vienna Music Workshop cially well-known and admired porary Music Festival, Lucerne Music Director of the National Increasingly sought after by an der Wien, Vienna State Op- he has performed Philip Glass’ for his performances of reper- International Festival and in Symphony Orchestra of Colom- opera houses, he made his de- era and the Linzer Landestheat- The Fall of the House of Ush- toire from the 20th and 21st cen- Berlin. In January 2001 he was bia, where he has brought his but in March 2011 at the Teatro er he joined the staˆ of the Vi- er, Udo Zimmermann’s Weisse turies, and receives regular in- awarded Chevalier de l’Ordre renowned fresh approach and Colón with La Fura dels Baus’s enna Volksoper in 1994. At the Rose, Gottfried von Einem’s Der vitations from major festivals des Arts et des Lettres by the energy to much of the core 18th production of Ligeti’s Le Grand Volksoper he has conducted Zerrissene (Co-production with and orchestras in Europe, the French Minister of Culture. and 19th century repertoire. His Macabre, which he conducted amongst other works My Fair the Vienna State Opera and Vi- USA, Canada, Australia, New 2011 season has featured the with the English National Op- Lady, The Consul, Don Pasquale enna Volksoper) as well as Tho- Zealand and Japan. Of his many www.pierreandrevalade.com fi rst complete performance of era (ENO) in 2009 to great criti- and L’Elisir d’Amore. In 1999 he mas Adès’ Powder Her Face, and recordings, Grisey’s Les Espac- Bartók’s The Miraculous Man- cal acclaim. He conducted Saa- gave his conducting debut at the Handel’s Orlando and Tamerlano es Acoustiques has been sin- darin in Colombia and collab- riaho’s L’Amour de Loin at the Wiener Konzerthaus. In 2002 he (fi rst Austrian performances). gled out for particular praise orations with soloists such as Bergen Festival in 2008, and re- became Professor at the Vienna In 2001 he founded the baroque and won both the Diapason d’or Juan Diego Flórez and Gabriela turned in May 2011 for a staged Conservatoire, where he directs orchestra Musica Poetica Vien- de l’année 1999 and the Grand Montero. production of Stravinsky’s Oed- the Youth Chamber Orchestra. na. Prix de l’Académie Charles 30 SOLOISTS/PERFORMERS SOLOISTS/PERFORMERS 31

sic theatre at the Universität chini, Helmut Oehring, Iris ter er P-A. Charpy, with whom she Theatre and in London’s West SOLOISTS/PERFORMERS der Künste. She soon started Schiphorst, Dieter Schnebel, shares the artistic direction of End, as well as on the subse- as a member of his group Die Emanuele Casale, Daniel Ott, Da Pacem, an ensemble which quently released CD. In early Maulwerker, and began focus- Rupert Huber, Roberto Paci Dalò, specialises in early music, con- 2011, she sang the role of Shel- MA CARMEN ANTEQUERA ing on the various combinations Michael Jarrell and Nicola Sani. temporary creation and cultur- ley in Mark-Anthony Turnage’s Born in Benaguasil (Valencia), of voice and gesture, song and In October 2005 she released al dialogue. In this context she opera Anna Nicole at the Royal Ma Carmen Antequera started spoken word, music and experi- her fi rst solo album, Love Is A freely establishes the basis of Opera House Covent Garden. her musical studies at the Con- mental use of the voice. Reason and her second is due her work on sensuality, theatri- servatorio Superior de Músi- Since then Anna Clemen- for release in autumn 2011. cality and rhetoric. VICENT LLIMERA ca de València with J. Linares, ti manages to combine eclecti- www.raphaelekennedy- Vicent Llimera began his musi- obtaining the Superior Degree cism and abstraction in a nat- RAPHAËLE KENNEDY dapacem.com cal development at the Escuela of Violin and Chamber Music. ural and sometimes surprising Passionate about Early Music, de Música de la Banda Primi- Granted by the Ministerio de way. Her life has always been Raphaële Kennedy began her tiva de Llíria, graduating later Cultura, she continued her stud- marked by changes of musi- career working with many spe- at the Conservatorio Superior ies in the University of Wiscon- cal perspectives: from Cage to cialist groups before founding de Música de Valencia, where sin (USA) with V. Manoogian. Rzewski, Fluxus to Schoenberg, her own ensemble, Da Pacem. he obtained the title of Supe- Later, she continued, with out- through the cabaret of Mina, F. While continuing her develop- rior Teacher of Oboe, and the standing attainment, studies at Buscaglione, K. Weill and F. Hol- ment within the sphere of early Prize of Honour for the Supe- the Universidad de Alcalá de Romain BischoŽ laender. She has been involved music, she decided to embrace rior Degree. He is also Doctor Henares and the Escuela Reina Mozart’s Figaro to Xenakis’ in diˆ erent projects: aside from contemporary music and she cum Laude by the Universitat de Sofía. Déesse Athéna, from Bach’s St theatre and Hörspiel-produc- is sought after by artists, com- València, Estudi General. She has been awarded the Mathew Passion to Honegger’s tions in Germany, Austria and posers, ensembles and creative In the research fi eld, his Premio Nacional de Música Le Roi David. Bischoˆ ’s largest Switzerland she has worked centres such as: K. Saariaho, studies on the composers Fran- 2005 and the Premio Impor- fi eld of work lies in contempo- on the album 3 with the Italian JB. Barrière, P. Leroux, L. Cuniot, Lore Lixenberg cisco José de Castro, Pedro Sol- tante by the Diario Levante, as rary music, and this is now his jazz-electronic band The Dining Soloists XXI, IRCAM and Gmem. LORE LIXENBERG er and the oboe player Enrique member of Grup Instrumen- specialism. He has played lead- Rooms and she took part in the She collaborates frequent- Mezzo-soprano Loré Lixen- Marzo should be highlighted. tal de València. She is a regular ing roles in no fewer than sev- project Tosca, by Richard Dorf- ly with other artists in her berg’s rich experience in mu- He has been associate profes- collaborator with the Orques- enty world premieres, includ- meister and Rupert Huber, par- projects, including: C. Hoiten- sic theatre includes performing sor and member of the PhD ta de Valencia and Orquesta de ing Maurizio Kagel’s Liturgien, ticipating on the albums Deh- ga, S. Bertocchi, J. Versavaud, the lead role in Bent Sørensen’s commission at the department la Comunidad de Valencia, with Philippe Manoury’s La Fron- li 9 and Suzuki. She has gradu- V. Bouchut, V. Descharmes, S. opera Under Himlen at the Roy- of education of the Universi- such prestigious conductors as tière, Qu Xiaosong’s The Death of ally developed a character that Paulet, S. Moquet, Y. Varlet, M. al Opera House in Copenhagen, tat Jaume I de Castelló (2001- Lorin Maazel and Zubin Mehta. Oedipus, Robert Heppener’s Een escapes from any labelling and Hema, F. Lazarevitch, M. Florid, as well as featuring in many 2009). Currently, he is oboe She has also acted as concerti- ziel van hout, Georges Aperghis’ defi nition. Her musical reper- and the organist and compos- projects with Théâtre de Com- professor and Chief of Studies no for the Orquesta Sinfónica de Die Hamletmaschine and Avis de toire moves between electro- plicité. Loré has performed as at the Conservatori Superior Valencia. Since 2003 she has Tempête, Raphaël Cendo’s Intro- acoustic, experimental and con- soloist with many distinguished de Música “Salvador Seguí” de been soloist for Grup Instru- duction aux ténèbres and Samir temporary music, improvisa- orchestras and ensembles in- Castelló and consultant for the mental de València, an ensem- Odeh-Tamimi’s Shira Shir. Ro- tion, chanson, club music and cluding BBC Symphony Orches- Instituto de Enseñanzas Artísti- ble that has played in the most main Bischoˆ is the founder jazz. The outcome of this ex- tra, the Hallé Orchestra, Tokyo cas de la Comunitat Valenciana prestigious venues of Spain, and director of VocaalLAB Ned- traordinary artistic vitality is Philharmonic Orchestra and (ISEACV). wider-Europe and Asia, pre- erland, an international work- expressed for an audience that Ensemble Intercontemporain. He has recorded a large miering and recording music by space for contemporary music she likes to imagine as a mix of She has featured in numerous number of CDs and has acted as the most respected composers theatre. “educated heads and uneducat- television programmes, includ- solo player in many internation- of the 20th and 21st centuries. www.romainbischo¤ .com ed hearts”. ing the Channel 4 documentary al festivals including: Salzburg, Anna Clementi has partici- What made Mozart tick and Kom- Berlin, San Riquier and Rome. ROMAIN BISCHOFF ANNA CLEMENTI pated in various international bat Opera Presents…, a set of six He is soloist with Grup Instru- Romain Bischoˆ began his ca- Anna Clementi studied fl ute, festivals including places such comedy operas on BBC2. Loré mental de València, an ensem- reer as a soloist with Les Arts acting and singing in Rome and as: Europe, Israel, Tokyo, New Lixenberg sang the main fe- ble which earned the Premio Florissants. Since then he has then moved to Berlin where she York and Rio de Janeiro. She male operatic role in Richard Nacional de Música in 2005, developed to become a highly met composer Dieter Schnebel has performed many world Thomas’ award-winning Jerry and was distinguished with the versatile singer: from renais- with whom she studied experi- premieres, among them works Springer - The Opera at the Ed- Premio Importante by the Dia- sance to contemporary, from mental music for voice and mu- by: Aldo Clementi, Laura Bian- inburgh Festival, the National rio Levante. As a solo player he Raphaële Kennedy 32 SOLOISTS/PERFORMERS SOLOISTS/PERFORMERS 33

collaborates very often with the He has collaborated, amongst has created many specialised ming of live electronics he has Orquesta Nacional de España. others, with composers Pe- sound and video instruments been invited to take part in var- ter Ablinger, Alvin Lucier and such as Folkofonen and Con- ious collaborative projects. He TYCHONAS MICHAILIDIS Olga Neuwirth, with ensembles cert for Arriving Ships with Ole is the creator of the compu- Tychonas Michailidis is an elec- Musikfabrik and Klangforum Hamre, as well as other tech- ter software for the electronic tronic composer/performer Wien and has performed at the nical solutions for various art- compositions of many compos- currently based in Birmingham, English National Opera, Amster- ists. He has also created elec- ers, for example, Marek Chol- UK. His music focuses on the dam Muziekgebouw and the Co- troacoustic systems for various oniewski and Elzbieta Sikora. exploration of sound through logne Philharmonic. composed pieces such as: Don’t He has also worked with many digital technologies. Current- Touch Me, You Don’t Know Where performers/improvisers of live ly he is working towards a PhD JOHN-ARILD SUTHER I’ve Been, by Alwynne Pritch- electronic music such as, An- in live electronics and sensor John-Arild Suther works as al- ard, the operas Veslefrikk and drzej Bauer, Anna Zielinska and technology at Birmingham Con- ternating solo trombonist in Khairos by Knut Vaage, as well Isabelle Perrin. Between 2008 servatoire, Birmingham City the Bergen Philharmonic Or- as MultiMorf I-III and Electra I/II. and 2010, with the OxOFacto- University. Valérie Philippin chestra and has been a mem- Thorolf has developed various Francine Vis ry group from Paris, he created www.tychonas.co.uk de in the Teatro Nacional Sao ber of BIT20 Ensemble since interactive systems for instal- MARCIN WIERZBICKI two multimedia projects: Appel Jao de Porto, the Musica Festi- it was established 22 years lations including work for the Marcin Wierzbicki is a com- a temoin (interactive video in- VALÉRIE PHILIPPIN val of Strasbourg, Musicadhoy ago. He has studied at the Holberg Museum in Bergen and poser, teacher and performer stallation) and Evasion (interac- A specialist in contemporary of Madrid and Gaida Festival of Norwegian Academy of Mu- for Bjørnar Habbestad’s mo- specialized in computer mu- tive dance theatre), which were and 20th century vocal music, Vilnius. sic and the Guildhall School of bile phone art project Telart. He sic. From 1994–2007 he taught performed in many places in- she began her training in the- Very committed to vocal Music. Through his work as a has received commissions as a electroacoustic composition at cluding Paris and Sevilla. atre, dance and lyrical singing coaching, she teaches contem- soloist, ensemble and orches- composer and designed sound the Computer Music Studio of winning First Prize at the Bou- porary repertory, musical the- tral musician, he has taken and created music for anima- the F. Chopin Academy of Mu- logne-Billancourt Conservatoire atre and improvisation at the part in numerous world pre- tion, short and documentary sic in Warsaw, starting as an as- (Paris) upon her graduation. Paris Regional Conservatoire mieres of works by Norwe- fi lms. Thorolf performs in the sistant and later becoming an She studied musical theatre in the department for advanced gian and foreign compos- musical groups Fat Battery, Fig. assistant professor. His com- under Georges Aperghis, who young singers directed by Lau- ers, as well as appearing on a and Myrtle. positions, mainly electronic dedicated to her Tingle Tangle rence Equilbey, at ARIAM Ile de number of recordings. Educa- and interactive, have been per- and Monomanies, and she has France training voice teachers, tional work has always been FRANCINE VIS formed at various festivals, in- continued her own research as well as other organisations important to John-Arild, who is The Dutch mezzo-soprano cluding: Laboratory of Contem- in this fi eld with the associa- and conservatoires with work- also Førsteamenuensis (Asso- Francine Vis studied under porary Music in Białystok, Si- tion Singulière Compagnie and shops and master-classes. ciate) at the University of Ber- Valérie Guillorit at the Conserv- lesian Days of Contemporary with the instrumental ensem- In 2005 she received the gen, Grieg Academy, Depart- atorium van Amsterdam, where Music in Katowice, Summer ble Kiosk, of which she is the Bourses des Muses from the ment of Music. she earned her Master’s diplo- Courses of New Music in Darm- artistic director. Kiosk record- French performing rights socie- ma with honours in 2009. Her stadt, W. Lutosławski Forum in ed, in 2011, A portée de voix, a ty SACEM for her book The Con- THOROLF THUESTAD current studies with Kirsten Warsaw, International Festival CD and DVD of chamber music temporary Solo Voice – Technique Thorolf Thuestad is a musician, Buhl Møller at the Royal Danish of Contemporary Music Warsaw with voice by Georges Aperghis. and Repertoire, in a project with sound designer, composer and Opera Academy are supported Autumn in Warsaw, Musica Po- She has worked extensively at French publisher Symétrie. technician with extensive ex- by grants from the Aafje Hey- lonica Nova in Wroclaw, Elekt- IRCAM, participating in projects perience from a wide range nis Fonds, Gulberg Fonds and ronische Nacht in Stuttgart and with contemporary compos- PETER PLESSAS of projects in music, theatre, Romke Kalma Fonds. She reg- Synthèse Festival in Bourges. ers including Brice Pauset (Op- Peter Plessas is a performing dance productions, installation ularly performs contemporary He is a Max/MSP programmer era Bianca), Philippe Manoury musician as well as a research- art, electronics and program- music with VocaalLAB, an inter- and developer of an interac- (En Echo) Hector Parra (Strette), er. With IEM Graz (The Institute ming. national workspace for singers tive performance system called Philippe Leroux (Apocalypsis), of Electronic Music and Acous- He has been part of many and composers. In June 2011 MaWe (www.mawesys.com). He and Poetry for // dark - / dolls tics) he is an avid creator and award winning theatre produc- she sang the role of the Squir- is one of the creators of the con- by Marco Suarez-Cifuentes with performer of music with live- tions such as Man=Man and rel in Ayres’ The Cricket Recov- cept of GPS-Art and the Max/ the Ensemble Intercontempo- electronics. Peter has been a Die Massnahme with Transitea- ers with director Pierre Audi. In MSP programmer of all 12 edi- rain. Recently she performed in visiting scholar at UC Berke- teret in Bergen, and And All the spring 2012 she will sing the tions of GPS-Trans performanc- Wolfgang Mitterer’s opera Mas- ley to pursue further research Questionmarks Started to Sing role of Flora in Verdi’s La Travia- es since 2001. With his skills sacres staged by Ludovic Lagar- in spatial audio techniques. with Verdensteatret in Oslo. He ta at The Royal Danish Opera. and experience in the program- 34 THE INTEGRA PROJECT INTEGRA PROJECT TEAM 35

THE INTEGRA PROJECT INTEGRA PROJECT TEAM

Integra - Fusing music and technology is a three- Integra promotes and disseminates live elec- Project Manager: Lamberto Coccioli year, €1.9M project co-funded by the Culture tronic music through a wide range of activities, Project Administrator: Tom Cahill-Jones Programme of the European Union and led by including: Software Development Manager: Jamie Bullock Birmingham Conservatoire, UK. Initially start- Webmaster: Richard Cornock ed in 2005 as Integra - A European Composition Commissioning new works for live electron- and Performance Environment for Sharing Live ics and other media INTEGRA PROJECT PARTNERS Music Technologies (another three-year project, Supporting and arranging concerts featur- supported by €1.2M of EU funding), Integra is ing live electronics Lead Partner: Birmingham Conservatoire, Birmingham now in its second phase, which will last until Establishing an international profi le for live City University, Birmingham. January 2012. electronics through events such as the New Music Ensembles: Ars Nova Ensemble, Malmö, Integra Festival 2011 Sweden; Athelas Sinfonietta, Copenhagen, Denmark; The main aim of Integra is to change the per- Developing a new software environment for BIT20 Ensemble, Bergen, Norway; Court-Circuit, Paris, ception of live electronic music by bridging the intuitive interaction with live electronics: France; Grup Instrumental De València, Valencia, gap between scientifi c investigation and artis- Integra Live Spain. tic practice. By sharing new standards to sim- Preserving existing repertoire that uses ob- Research Centres: CIRMMT, McGill University, Canada; plify the integration of new technologies in mu- solete technology by migrating it to Inte- IEM, Graz, Austria; Malmö Academy Of Music, Malmö, sic performance, and through the restoration gra Live Sweden; Muzyka Centrum, Krakow, Poland; NOTAM, of long-forgotten repertoire, Integra is contrib- Running an education pilot with the aim of Oslo, Norway. uting to the wider diˆ usion of live electronic embedding live electronic techniques in music and the enhancement of its artistic pro- the performance curriculum INTEGRA FESTIVAL 2011 TEAM fi le. Providing training in live electronic tech- niques for professional performers from Director: Lamberto Coccioli Integra partner ensembles. Producer (Denmark): Mads Brammer Organising national workshops on the sub- Producer (UK): Tom Cahill-Jones ject of Integra Live Artistic Advisor: Hans Peter Stubbe Teglbjaerg Promoting inter-cultural dialogue through Communications O£ cer: Marie Futtrup an outreach programme involving par- Programme Assistant: James Dooley ticipants from countries other than those Administrative Assistant: Becky Lefeuvre represented by Integra partners. Webmaster: Richard Cornock

SUPPORTERS

European Commission, Culture Programme. Kulturkontakt Nord Nordisk Kulturfond Royal Danish Academy Of Music

Print: Vilhelm Jensen & Partnere/ Graphics: Leo Scherfi g/ Photos: Ben van Duin/ Guy Vivien/ Maarit Kytöharju/ Susanne Müller/ Ben Wright/ Lisbeth Risnes/ Claudio Casanova