klangspuren www.klangspuren.at schwaz tirol international ensemble modern academy in tyrol 01.09. – 14.09.09
composers in residence m. matalon j. m. staud iema 09
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CONTENTS PREFACE
Application form ...... 1 Last year, more than 100 people from nearly 40 nations applied Preface ...... 3 for IEMA, thus making it one of the most successful projects of International Ensemble Modern Academy ...... 4 Klangspuren Festival. The design is international, the participants Call for applications IEMA Schwaz 2009 ...... 6 young and highly talented, and the composers in residence and the Composers in residence 2009: M. Matalon | J. M. Staud .... 8 solo artists of Ensemble Modern Frankfurt guarantee a multifaced Programme ...... 10 and immediate experience of contemporary music. When | Where | Costs ...... 12 Requirements & application procedure ...... 13 György Kurtág, Helmut Lachenmann, Benedict Mason, Wolfgang Rihm, Michael Gielen and Steve Reich are the important and formative figures of the last decades of contemporary music, festival klangspuren who, as composers in residence, have left their distinctive marks upon the past editions of IEMA at Klangspuren Schwaz. focus on latin america For its sixth edition, IEMA and Klangspuren Schwaz will present 10.09. - 27.09.09 two artists who will broaden the horizon of the “composers in residence”- concept: composer Martin Matalon is an important composers in residence figure especially in the French music scene. Being from m. matalon, j. m. staud Argentina, he bridges biographically to Klangspuren Schwaz 2009 focus on contemporary music from Latin America. The young Austrian composer Johannes Maria Staud was introduced by Ensemble Modern. At least since the performance Publisher’s Imprint | Editor and Organiser: Klangspuren Schwaz Contents: Internationale Ensemble Modern Akademie, Klangspuren Schwaz of his APEIRON by the Berliner Philharmoniker under Sir Simon Texts: Klangspuren Schwaz, Internationale Ensemble Modern Akademie, Rattle, he has become one of the most sought-after composers www.martinmatalon.com, Tobias Fischer of the younger generation. Some of his pieces have received Photos: Astrid Karger, Klangspuren, Nicolas Botti, Jonathan Irons Graphic design: Irene Daz, www.dazdesign.at, Print: Steigerdruck, Axams their premiere within Klangspuren festival.
After the splendidly performed academy concerts of the last years, we have decided to open the workshop concert for the audience and to trust the young artists of IEMA again with not one, but two concerts in Klangspuren Festival’s main programme and again an appearance at the festival transart in Bolzano.
Peter Paul Kainrath Artistic director, Klangspuren Schwaz iema 09
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INTERNATIONAL ENSEMBLE MODERN ACADEMY
The International Ensemble Modern Academy (IEMA) was The International Composition Seminar, directed by Helmut founded in Frankfurt am Main in summer 2003. It represents Lachenmann and Franck Ollu was held in cooperation with the the continuation of what has been Ensemble Modern’s main Allianz Kulturstiftung for the first time in 2004. In 2005 the goal for over 25 years –highest quality, joy of performing, seminar featured George Benjamin, and Paris-based IRCAM interdisciplinary art projects and internationality. Since its agreed to cooperate in the project. The final concerts were formation 25 years ago, EM has been committed to interac- held in Frankfurt and Paris in December 2005. Hanspeter Kyburz ting closely with artists and their works. Gaining extensive and Stefan Asbury were the lecturers of 2006/07. The and highly diverse knowledge of 20th century music, EM programme will continue in 2008/09 with Johannes Kalitzke. has become the “memory of modern music”. The master courses were held in Japan and Korea in 2005, IEMA is committed to the same spirit. It is a dynamic place and every year since 2004 at the Paxos Spring Festival in where young artists have the opportunity to learn, communicate, Greece and at the festival Klangspuren in Schwaz, Austria. discuss, experiment, and profit from this memory in a variety In 2008, another master course took place in Tokyo. of ways. IEMA offers study grants, master courses, education programmes for teachers and symposiums, all of which aim to foster the artistic discourse between highly qualified young artists and renowned figures from the fields of culture and research.
Since its formation, IEMA has awarded study grants to young musicians, conductors, composers and sound directors who receive personal tutoring in contemporary solo composition and chamber music by members of EM for one year. This grant programme was initiated in cooperation with Kunststiftung NRW. Thanks to funding from the German Federal Cultural Foundation, IEMA has been able to offer study grants to students nationwide since 2004, doubling the number of grant recipients and lengthening the grant period from six months to one year. IEMA study grants have now been awarded six times. Since 2006, they have been awarded worldwide as an International Ensemble Modern Academy - Master‘s Degree Programme at the Frankfurt University of Music and the Performing Arts.
www.internationale-em-akademie.de iema 09
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CALL FOR APPLICATIONS IEMA SCHWAZ 2009
In September 2009, members of Ensemble Modern will hold All this is contrasted with a very different film aesthetic: ever master classes at Klangspuren Schwaz for the sixth time since the Twenties of the last century, various directors sought through cooperation of the International Ensemble Modern the challenge of making “nature-realistic” mountain films in high Academy (IEMA) and Klangspuren Festival Schwaz. alpine areas, under the most difficult technical conditions. As early as 1921, director Arnold Fanck produced one of the Composers Helmut Lachenmann, György Kurtág, Benedict first monumental mountaineering films: Im Kampf mit dem Mason, Wolfgang Rihm and Steve Reich were featured in the Berge [In Sturm und Eis] (Fighting the mountain [in storm past years. This year, for the first time, two composers in and ice]), nearly 90 minutes long. The young Paul Hindemith residence will accompany the course: Martin Matalon (1958) happened to be in Freiburg when Fanck worked there on and Johannes Maria Staud (1974). Johannes Maria Staud, born editing his film. The composer was so impressed by the in Innsbruck, is the first Tyrolean composer to be portrayed “musical” visual language (“visual symphony”) that, within by Klangspuren. In addition to this internationally acclaimed a few weeks, he composed a score for the film without fee, young Austrian, Martin Matalon will provide a Latin American thus producing one of the first original compositions for perspective. Ensemble Modern has worked closely with both film ever. Unfortunately, Fanck’s original work has been lost, composers in 2007, premiering both Stauds Berenice Suite I and only a 54-minute version edited by Lothar Prox remains. and II and Matalon’s new score to Fritz Lang’s legendary 1927 Accordingly, a shortened version of Hindemith’s score is used. silent film Metropolis. Together with the Ensemble Modern docents, conductor “Film and Music” are also the second focus of the master class. Franck Ollu and composers Martin Matalon and Johannes Following his success with Metropolis, Matalon turned to the Maria Staud, who will be present, the course participants work of the Spanish director Luis Buñuel. Especially Buñuels will study the pieces of two main programmes to be performed Le chien andalou is known as the surrealist fi lm and was the in three public concerts during Klangspuren Schwaz and director’s fi rst collaboration with Salvador Dalí. Buñuel himself the film festival transart in Bolzano. added the score for the silent fi lm’s premiere in 1929 by alterna- tely playing music from Richard Wagner’s Tristan and Isolde and Additionally, other important pieces of contemporary reper- Argentinean tangos on the gramophone. Le chien andalou has toire are going to be rehearsed, a selection of which will be fascinated and inspired various composers. Matalon’s Las siete performed in a workshop concert at the end of the course. vidas de un gato and Wolfgang Rihms Bild (from his cycle Chiffren) It is possible to include solo pieces in the course providing will be rehearsed in the master class as exemplary pieces. they have been agreed on beforehand. iema 09
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COMPOSERS IN RESIDENCE 2009 JOHANNES MARIA STAUD Contemporary composers often have to deal with an image of MARTIN MATALON grumpy young man feeding on a diet of too much coffee, cigarettes Born in Buenos Aires in 1958, Martin Matalon received his Bachelor and Kant while facing a lifetime of fi ghting against the expectations degree in Composition from the Boston Conservatory of Music In of an incomprehensive audience and a conservative establishment. 1984, and in 1986 his Master‘s degree from the Juilliard School of The career of Johannes Maria Staud, meanwhile, seems to have Music. In 1989, having initiated himself in conducting with Jacques- been extremely fl uent. Louis Monod, he founded Music Mobile, a New York-based ensemble devoted to the contemporary repertoire. Staud, born 1974 in Innsbruck/Austria, made full use of his formative years at the Musikhochschule in Vienna, following courses on both In 1993, having settled in Paris, the composer collaborated for the electro acoustic composition with Michael Jarrell and Dieter fi rst time with IRCAM and worked on La Rosa profunda, music for Kaufmann and counterpoint with Iván Eröd, while founding the the exhibition L’Universe de Borges at the Pompidou Centre. The Gegenklang group with befriended colleagues. In the 2001 he fi nished following year, IRCAM commissioned a new score for the restored his studies and soon received several important prices from the version of Fritz Lang‘s silent movie Metropolis. After that conside- Austrian Republic, the Osterfestspiele Salzburg or the Ernst von rable work, Martin Matalon turned to the universe of Luis Buñuel, Siemens Musikstiftung. These would only be the first in a string consecutively writing scores for three legendary surrealistic fi lms of clear-cut signs that his mature and dynamic style, with ample by the Spanish director: Las Siete vidas de un gato (1996), for Un obvious dramatic effects and yet deeply refined, met with Chien andalou (1927), Le Scorpion (2001) for L‘Age d‘or (1931) and enthusiasm from the side of critics and officials. Traces II (la cabra) (2005) for Las Hurdes (terre sans Pain) (1932). More import, concert audiences have equally appreciated Staud - His catalogue also includes a large number of chamber and or- a development culminating in the debut of his orchestral work chestral works, as well as pieces written for a large spectrum of APEIRON by Sir Simon Rattle and the Berlin Philharmonics and different genres: Musical tales, choreographic works, installations, the world premiere of Segue with the Wiener Philharmoniker and music with text, radio plays, musical theatre or music with mimes. Daniel Barenboim. Meanwhile, he has signed with one of the world‘s Begun in 1997, the series of Trames, borderline works between most renowned publishing houses and Kairos, a leading label of the solo concerto writing and chamber music, and the series of Traces, contemporary music scene, regularly publishes his works. conceived for solo instruments and real time processing, constitu- All of this is not to say, however, that the actual music is as smooth tes a sort of compositional diary for their author, they form as well as a freshly made bed. Johannes Maria Staud instead weaves sizeab- an important part of his catalogue. le tension arches, which span up spaces of great concentration and with minute details. He believes that it the duty of an artist to speak Among his awards, Mr. Matalon received in 2007 the „Grand Prix out against injustice, to avoid writing for an audience to preserve des Lycéens“, in 2005 the J.S Guggenheim fellowship and “Le prix de their honesty and that there is such a thing as „good“ and „bad“ art. L‘Institut de France Académie des Beaux Arts”, in 2001 the award The latter statements demonstrate that Staud had not won his from the city of Barcelona, the Charles-Ives-Scholarship from the listeners over by actively wooing them - but instead by remaining American Academy and Institute of Arts and Letters (1986), a Fulb- true to his convictions. In this sense, he may still develop into a role rigth scholarship to France (1988). model for grumpy young composers sometime in the future. iema 09
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PROGRAMME PROGRAMME I MUSIC AND FILM PROGRAMME III FURTHER PIECES *) MARTIN MATALON Las siete vidas de un gato (1996) (18’) MAURICIO KAGEL (A selection from) Stücke der Windrose Score for Un Chien Andalou Luis Buñuel / Salvador Dalí, for eight IGOR STRAWINSKY Octet instrumentalists and electronics (Flute, clarinet, trumpet, (Flute, clarinet, 2 bassoons, 2 trumpets, 2 trombones) 2 percussions, piano, violin, violoncello) ANTON WEBERN Op. 24 WOLFGANG RIHM Bild (1984) (9’ – 18’) (Flute, oboe, clarinet, horn, trumpet, trombone, piano, violin, viola) Performance to Un Chien Andalou by Luis Buñuel/Salvador Dalí PIERRE BOULEZ Dérive 1 (Horn, trumpet, trombone, piano, 2 percussions, viola, (Flute, clarinet, percussion, piano, violin, violoncello) violoncello, double bass) GYÖRGY LIGETI Sechs Bagatellen PAUL HINDEMITH Im Kampf mit dem Berge (Flute, oboe, clarinet, bassoon, horn) [In Sturm und Eis] (1921) (54’) IANNIS XENAKIS Plektó Score for the film of the same title by Arnold Fanck, based on (Flute, clarinet, piano, percussion, violin, violoncello) the shortened „Moskow Materials“, edited by Lothar Prox GYÖRGY KURTÁG (Selection from) Signs, Games and Messages (Flute, oboe, clarinet, trumpet, trombone, percussion, reed organ, piano, 2 violins, violoncello, double bass) JACQUES LENOT Mit zartem Ausdruck (Flute, horn, piano, viola) PROGRAMME II COMPOSERS IN RESIDENCE JOHANNES MARIA STAUD Lagrein (clarinet, violin, violoncello, piano) ANTON WEBERN 6 pieces op. 6 (1909) (12’) JOHANNES MARIA STAUD Für Bálint Andràs Varga (Flute, oboe, clarinet, 2 pianos, 4 percussions, 2 violins, viola, (Violin, violoncello, piano) violoncello, double bass) JOHANNES MARIA STAUD Solo pieces, e.g. Black Moon JOHANNES MARIA STAUD Configurations (2002) (10’) (bass clarinet), Portugal (percussion), Esquisse retouchée (Oboe, clarinet, bassoon, horn, two violins, viola, violoncello) (trombone), Peras (piano) JOHANNES MARIA STAUD A map (2001) (18’) MARTIN MATALON La Makina (2007) (25’) for ensemble (Flute, oboe, 2 clarinets, bassoon, 2 horns, trumpet, for 2 percussions, 2 pianos and electronics trombone, 3 percussions, piano, accordion, 2 violins, 2 violas, 2 violoncellos, double bass) MARTIN MATALON Solo pieces, e.g. from Traces I – VI, solo pieces with tape and live-electronics GYÖRGY LIGETI Melodien (1971) (13’) (Flute, oboe, clarinet, bassoon, 2 horns, trumpet, trombone, tuba, piano, percussion, 2 violins, viola, violoncello, double bass) MARTIN MATALON New piece (5’) All solo pieces are selected after consulting IEMA. (6 percussions, 2 pianos) *)The selection of works in Programme II is preliminary. MARTIN MATALON Trame VIII (2008) (20’) A final decision will be made during the detailed planning of the course (Flute, clarinet, horn, trumpet, marimba, piano, violin, viola, double bass) after the entry of applications. iema 09
WHEN | WHERE | COSTS REQUIREMENTS & The master class takes place from 01.09. – 14.09.09 in Igls-Vill near Innsbruck. APPLICATION PROCEDURE
SCHEDULE CALL FOR APPLICATION
01.09. ARRIVAL at the Grillhof in Igls - Vill This call for application is especially targeted toward young 17.00 Welcome, first rehearsals - attendance compulsory! musicians who are in the final stages of their training. 02.-10.09. MASTER CLASSES Following positions are covered in the repertoire: 10.09. WORKSHOP CONCERT, Grillhof / Innsbruck Conducting - sound design - flute - oboe - clarinet - bassoon - 11.09. CONCERT (Programme I - Music and Film) horn - trumpet - trombone - percussion - piano - violin - viola - at transart Festivals Bozen violoncello - double bass 12.09. CONCERT (Programm II – composers in residence) at Festival Klangspuren Schwaz INTERESTED STUDENTS SUBMIT UNTIL 13.09. CONCERT (Programm I – Music and Film) 30TH OF APRIL 09 at Festival Klangspuren Schwaz. - The completed registration form 14.09. DEPARTURE from Igls-Vill - A comprehensive CV with picture as well as a current address and e-mail - A list of performed pieces of contemporary music - A CD featuring your work (contemporary music is desirable but not necessary.) to following address: VENUE - Conductors: a DVD featuring you / your work Tiroler Bildungs-Institut Grillhof, Grillhofweg 100, 6080 Igls-Vill, www.grillhof.at TO FOLLOWING ADDRESS Klangspuren Schwaz JOURNEY Klangspurengasse 1 / Franz-Ullreich-Str. 8a For directions, please go to www.grillhof.at. 6130 Schwaz | Österreich | t +43 5242 73582 | f -20 The participants are solely responsible for arriving in time for the master class and for departing at September 14th. Application documents will not be returned. More information is available to accepted participants on The acceptance is announced by the end of May, a detailed the IEMA-online-platform timetable the respective repertoire will be published in June. Selected participants will be informed. COSTS - There is no course fee. Accepted participants receive access to the IEMA online - 180 € catering expenses including accommodation and platform, where they can find scores and additional material full board at the Grillhof. for preparation as well as further information concerning the - Expenses for individual arrival and departure to/from master class. the venue of the master class.
Participants with French and Italian nationality can apply MORE INFORMATION for travel- and food allowance. For further information Klangspuren: www.klangspuren.at or [email protected] please contact [email protected]. Ensemble Modern: http://www.internationale-em-akademie.de or [email protected] Participants of the Academy will receive two free tickets for the final concerts as well as free admission to all Klangspuren concerts. APPLICATION FORM
Instrument
Last name
First name
Date of birth, sex m / f
Nationality
Current address
Phone Fax
Mobile
Head Teacher
Repertoire on enclosed recording
What are your expectations for the master class?
How did you find out about the IEMA?
Submit your application form accompanied by - Curriculum vitae and photo - List of contemporary works already performed - Recording - CD only, conductors on DVD
The material must be submitted by April 30th, 2009 I hereby confi rm the correctness and authenticity of the submitted information and documents and express my agreement with the conditions of participation.
City / Date / Signature