DOCSLIB.ORG

Maija Hynninen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Maija Hynninen ECSA INVITES YOU TO THE CONCERT OF THE EUROPEAN CONTEMPORARY COMPOSERS ORCHESTRA (ECCO) FEATURING T H E ENSEMBLE HOPPER CONDUCTED BY FRANÇOIS DEPPE BRUSSELS, 19 FEBRUARY 2019 — LE SENGHOR, CENTRE CULTUREL D’ETTERBEEK — CHAUSSÉE DE WAVRE 366, 1040 BRUSSELS ABOUT ECCO THE EUROPEAN CONTEMPORARY COMPOSERS ORCHESTRA (ECCO) Imprint ECCO is an ECSA project dedicated to performing and promoting contemporary Biographies and programme notes written by the composers, the conductor and art music and to reaching new audiences. It operates as a network of active the ensemble: Talia Amar, Gilles Doneux, Jan Flessel, Sampo Haapamäki, Gaëlle ensembles, orchestras and young professionals, supporting the creative Hyernaux, Maija Hynninen, Gyula Pintér, François Deppe and Ensemble Hopper dialogue between composers and performers and offering young professionals the opportunity to develop their skills with ensembles experienced in Editor: Alicja Swierczek, Alfonso Guerra performing contemporary music on an international level. The concert series Designer: Meriem Steiner taking place bi-annually in various countries serve to circulate repertoire across European borders and help promoting current repertoire and Europe’s musical diversity. Please note: BY ATTENDING THIS EVENT, YOU GIVE YOUR CONSENT TO HAVE PICTURES The ECCO concert, and other cultural projects organised by ECSA, aim at AND VIDEO MATERIAL OF YOU TAKEN THAT MAY BE USED IN PUBLICATIONS increasing the visibility of ECSA and all the issues connected to the status OR MARKETING IN RELATION TO THIS EVENT. of contemporary music creators. Pieces are received via a call to all ECSA member societies and are carefully selected to reflect the cultural and aesthetical diversity of European contemporary music in the 21st century. In 2015, two ECCO concerts were held, one in Brussels and one in London. The first one was performed by theSturm und Klang ensemble and conducted by Thomas van Haeperen. The second one was performed by the BBC Singers and conducted by James Morgan. In 2016, ECCO presented three very successful concerts performed by Sturm und Klang, the RTV Slovenia Symphony Orchestra and the Big Band of RTV Slovenia. In February 2017, the ECCO Symphony Wind Orchestra concert featured the Sturm und Klang ensemble and was conducted by Thomas van Haeperen. In October 2017, the concert featured the renowned Wiener Concert-Verein string orchestra ensemble which was conducted by two students from the mdw - University of Music and Performing Arts Vienna, Svetlomir Zlatkov and Lorenz Müller. In 2018, two ECCO concerts were held again, one in Brussels and one in Belgrade. The first one was featured at Flagey, by the prominent ensembleQuatuor Diotima. The second one was performed by the RTS Symphony Orchestra and conducted by Bojan Suđić. Tonight’s concert will feature the Ensemble Hopper conducted by François Deppe, The European Commission support for the production of this publication who will perform pieces by the following composers: Talia Amar (Israel), Gilles does not constitute endorsement of the contents which reflects the views Doneux (Belgium), Jan Flessel (Denmark), Sampo Haapamäki (Finland), Gaëlle only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. Hyernaux (Belgium), Maija Hynninen (Finland) and Gyula Pintér (Hungary). ABOUT ECSA PROGRAMME THE EUROPEAN COMPOSER AND 19 FEBRUARY 2019 — BRUSSELS SONGWRITER ALLIANCE The European Composer and Songwriter Alliance (ECSA) represents over WELCOMING WORDS 30,000 professional composers and songwriters in 26 European countries BY including Israel. With 57 member organisations across Europe, the Alliance LORENZO CARÒLA speaks for the interests of music creators of art and classical music Director of the Forum des Compositeurs and (contemporary), film and audiovisual music, as well as popular music. member of the ECCO Artistic Committee The main objective of the Alliance is to defend and promote the rights of authors of music at the national, European and international levels by any WINNOWING legal means. It advocates for equitable commercial conditions for composers MAIJA HYNNINEN and songwriters and strives to improve social and economic development of music creation in Europe. GESTURES NO. 1 (PRESENTIMENT) GYULA PINTÉR ECSA was initiated in 2006 in Vienna within the framework of the Mozartjahr. It was established as an alliance in March 2007 in Madrid with the purpose STUDIES FOR PIANO TRIO – of becoming the central organisation representing the interests of all music 3 DEPICTIONS OF NIGHT creators in Europe, giving every composer and songwriter a European voice. JAN FLESSEL LOGO SAMPO HAAPAMÄKI INTERMISSION TRIANGULATION TALIA AMAR AVATAR GAËLLE HYERNAUX DEFRAGMENTATION 2 GILLES DONEUX MAIJA HYNNINEN BIOGRAPHY PROGRAMME NOTE: WINNOWING Maija Hynninen – composer and sound artist – is working in the areas of concert Winnowing – separating the grain from the chaff, letting the wind blow the music, electronic instrument design and multidisciplinary performances. The lighter parts away; or the sound made as the air flows through the tail feathers essence of her music builds on the unique moments where the parameters of certain big species of bird during mating. My original idea was to compose of this world are slightly altered to allow a glimpse of another reality to be music that would relate to Messiaen’s “La Fauvette des jardins”. I started to plan present. It can be a moment where the timbre of purely acoustical writing the piece thinking of the relationship between birdsong and electronics. gives surprising results or when electronics project sounds into another domain, another space and reality. I was constantly traveling at the time and started little by little to think about the movement of birds: the migrating flocks of birds of the autumn and spring She entered the Sibelius Academy in 2003 (M.Mus. 2011) to study with Paavo amongst the old maple trees of the central park in Stuttgart, wild geese and Heininen while she was also working for a violin diploma at the Norwegian that single lonely swan which decided to spend its winter in Stuttgart taking Academy of Music. The studies in electronics continued at IRCAM, cursus 2012-13. off and landing on the subtly fluctuating surface of the pond: stir, quiver and She is currently a PhD candidate at UC Berkeley, with Franck Bedrossian, Ken slowly decreasing vibrations of water. Simultaneously, I found myself to be Ueno, Edmund Campion and Cindy Cox as her professors. more and more interested in the subtlest timbres of the piano. I listened to the softly shivering piano harmonics through headphones and wanted to surround She is also doing a PhD in electro-acoustic music at Sibelius Academy. She was the audience with this gentle sound to let the audience experience the subtle amongst the finalists in Feeding Music - International Composition Contest, timbre changes of these sounds and relax inside this fragile soundworld. organised by Divertimento Ensemble and EXPO Milano 2015. Her music has been presented and commissioned by YLE, Helsinki Chamber Choir, Avanti! Winnowing is composed and dedicated to Jaana Kärkkäinen and it was composed Chamber Orchestra, the International Maj Lind Piano Competition, Camilla with the support of The Sibelius Fund — Society of Finnish Composers. The Hoitenga and Eija Kankaanranta among others. electronics were made at SACMUS — Sibelius Academy Computer Music Studio by the composer. © Maarit Kytöharju GYULA PINTÉR BIOGRAPHY PROGRAMME NOTE: GESTURES NO. 1 (PRESENTIMENT) Gyula Pintér was born in Hungary in 1954. He studied piano with Lídia Csebiss, Presentiment is a notion based on a physical contradiction because we proceed and composition with Zoltán Pongrácz and János Kautsky (The Netherlands). from the past through the present into the future. Since 1978, he has been conducting electroacoustic musical experiments in his studio, which he designed himself. Do we feel the future in the present or does the future send a message to the past? He has been participating in musical and fine arts events and festivals since This can start an exciting train of thoughts in anyone who is able to see among 1980. Mr. Pintér has contributed to numerous art events, performances and the obvious facts of the present the exceptional which suggests the future. theatrical productions both in Hungary and abroad. In recent years, he won prizes at several competitions, including: Bourges International Competition of Electroacoustic Music in 1989 and 2001; Hungarian Radio’s EAR International Competition of Electroacoustic Music in 1992, 1995 and 1999; and Ferenc Erkel Prize in 2012. © Vera Maros JAN FLESSEL BIOGRAPHY PROGRAMME NOTE: STUDIES FOR PIANO TRIO – 3 DEPICTIONS OF NIGHT Jan Flessel, born 1982 in Halle an der Saale, is a composer and sound designer Studies for Piano Trio – 3 Depictions of Night based in Copenhagen, Denmark. for Violin, Violoncello, Piano, Video and Audio – Playback His works range from orchestral and chamber music, with and without I. From Night to Light electronics, to electronic music as well as music and sound design for II. To Hear and Listen at Night computer games. He studied composition with Peter Manfred Wolf, Georg III. Into the Darkness Friedrich Haas and Simon Steen-Andersen in Rostock, Basel and Aarhus. He also studied game design in Copenhagen. “At night new orders of connection assert themselves: sonic, olfactory, tactile. The sensorium is transformed. Associations swarm
Load more

Recommended publications
  • Kompositio-1-2010
    1 / 2010 KOMPOSITIO Suomen Säveltäjät ry:n jäsenlehti Huhtikuu 2010 pääkiRjoiTuS KOMPOSITIO 1 / 2010 Suomen Säveltäjät ry:n jäsenlehti Julkaisija UUden pUHeenjoHtajan terveHdys Suomen Säveltäjät ry Runeberginkatu 15 A 11 00100 Helsinki loittaessani nyt toiminnan yhdistyksen puolesta eri roolissa kuin www.composers.fi ennen haluan ensiksi kiittää kaikkia jäseniä ennätyksellisestä vuosiko- Puh. 09 - 44 55 89 akousaktiivisuudesta. Halusin ymmärtää kokouksessa käytetyt puheen- Fax 09 - 44 01 81 vuorot mieluummin jonkun puolesta kuin jotakuta vastaan. Poliittisista vaa- leista poiketen kukaan meillä ei jää oppositioon, vaan hallituksessa kuuluu Päätoimittaja edelleen kaikkien ääni. Rakentavat keskustelut ennen ja jälkeen vaalien osoit- Annu Mikkonen tavat, että suurimmalla osalla jäsenkuntaa on yhteinen visio, jota voimme [email protected] ryhtyä Riikan ja uuden johtokunnan kanssa yhdessä toteuttamaan. Yhdistyk- Puh. 09 - 44 55 89 sen tulevaisuuden suunnittelussa tulee varmasti riittämään kaikille mukana- oleville niin paljon työtä, että vastuunkantajista kukaan ei varmasti ehdi tur- Suomen Säveltäjät ry:n hautumaan. Myös yhdistyksen jäseniä kuullaan siinä vaiheessa, kun uuden johtokunta strategian keskeiset kysymykset ja ongelmanasettelu on saatu valmiiksi. Tapio Tuomela ( puheenjohtaja) Entiselle puheenjohtajalle, Mikko Heiniölle, kuuluu suuri kiitos siitä, että Riikka Talvitie ( varapuheenjohtaja) yhdistys on säilynyt näin elinvoimaisena ja yhtenäisenä jäsenmäärän kasvus- Kimmo Hakola ta huolimatta. Veli-Matti Puumala Harri Suilamo
    [Show full text]
  • Let Me Be Your Guide: 21St Century Choir Music in Flanders
    Let me be your guide: 21st century choir music in Flanders Flanders has a rich tradition of choir music. But what about the 21st century? Meet the composers in this who's who. Alain De Ley Alain De Ley (° 1961) gained his first musical experience as a singer of the Antwerp Cathedral Choir, while he was still behind the school desks in the Sint-Jan Berchmans College in Antwerp. He got a taste for it and a few years later studied flute with Remy De Roeck and piano with Patrick De Hooghe, Freddy Van der Koelen, Hedwig Vanvaerenbergh and Urbain Boodts). In 1979 he continued his studies at the Royal Music Conservatory in Antwerp. Only later did he take private composition lessons with Alain Craens. Alain De Ley prefers to write music for choir and smaller ensembles. As the artistic director of the Flemish Radio Choir, he is familiar with the possibilities and limitations of a singing voice. Since 2003 Alain De Ley is composer in residence for Ensemble Polyfoon that premiered a great number of his compositions and recorded a CD dedicated to his music, conducted by Lieven Deroo He also received various commissions from choirs like Musa Horti and Amarylca, Kalliope and from the Flanders Festival. Alain De Ley’s music is mostly melodic, narrative, descriptive and reflective. Occasionally Alain De Ley combines the classical writing style with pop music. This is how the song Liquid Waltz was created in 2003 for choir, solo voice and pop group, sung by K’s Choice lead singer Sarah Bettens. He also regularly writes music for projects in which various art forms form a whole.
    [Show full text]
  • Klsp2018iema Broschuere.Indd
    KLANGSPUREN SCHWAZ INTERNATIONAL ENSEMBLE MODERN ACADEMY IN TIROL. REBECCA SAUNDERS COMPOSER IN RESIDENCE. 15TH EDITION 29.08. – 09.09.2018 KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY 2018 KLANGSPUREN SCHWAZ is celebrating its 25th anniversary in 2018. The annual Tyrolean festival of contemporary music provides a stage for performances, encounters, and for the exploration and exchange of new musical ideas. With a different thematic focus each year, KLANGSPUREN aims to present a survey of the fascinating, diverse panorama that the music of our time boasts. KLANGSPUREN values open discourse, participation, and partnership and actively seeks encounters with locals as well as visitors from abroad. The entire beautiful region of Tyrol unfolds as the festival’s playground, where the most cutting-edge and modern forms of music as well as many young composers and musicians are presented. On the occasion of its own milestone anniversary – among other anniversaries that KLANGSPUREN SCHWAZ 2018 will be celebrating this year – the 25th edition of the festival has chosen the motto „Festivities. Places.“ (in German: „Feste. Orte.“). The program emphasizes projects and works that focus on aspects of celebrations, festivities, rituals, and events and have a specific reference to place and situation. KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY is celebrating its 15th anniversary. The Academy is an offshoot of the renowned International Ensemble Modern Academy (IEMA) in Frankfurt and was founded in the same year as IEMA, in 2003. The Academy is central to KLANGSPUREN and has developed into one of the most successful projects of the Tyrolean festival for new music. The high standards of the Academy are vouched for by prominent figures who have acted as Composers in Residence: György Kurtág, Helmut Lachenmann, Steve Reich, Benedict Mason, Michael Gielen, Wolfgang Rihm, Martin Matalon, Johannes Maria Staud, Heinz Holliger, George Benjamin, Unsuk Chin, Hans Zender, Hans Abrahamsen, Wolfgang Mitterer, Beat Furrer, Enno Poppe, and most recently in 2017, Sofia Gubaidulina.
    [Show full text]
  • Pan-March-2020.Pdf
    PANJOURNAL OF THE BRITISH FLUTE SOCIETY MARCH 2020 “This is my Flute. There are many like it, but this one is mine” Juliette Hurel Maesta 18K - Forte Headjoint pearlflutes.eu Principal Flautist of the Rotterdam Philharmonic Orchestra contents The British Flute Society news & events 24 President 2 BFS NEWS William Bennett OBE 4 NOTES FROM THE CHAIR 6 NEWS Vice President 11 FLUTE CHOIR NEWS Wissam Boustany 13 TRADE NEWS 14 EVENTS LISTINGS Honorary Patrons 16 INTERNATIONAL EVENTS Sir James Galway 23 FLUTE CHOIR FOCUS: and Lady Jeanne Galway WOKING FLUTE CHOIR 32 Conductorless democracy in action. Vice Presidents Emeritus Atarah Ben-Tovim MBE features Sheena Gordon 24 ALEXANDER MURRAY: I’VE GONE ON LEARNING THE FLUTE ALL MY LIFE Secretary Cressida Godfrey examines an astonishing Rachel Shirley career seven decades long and counting. [email protected] 32 CASE FOR MOVEMENT EDUCATION Musicians move for a living. Kelly Mollnow 39 Membership Secretary Wilson shows them how to do it freely and [email protected] efficiently through Body Mapping. 39 WILLIAM BENNETT’S The British Flute Society is a HAPPY FLUTE FESTIVAL Charitable Incorporated Organisation Edward Blakeman describes some of the registered charity number 1178279 enticing treats on offer this summer in Wibb’s feel-good festival. Pan 40 GRADED EXAMS AND BEYOND: The Journal of the EXPLORING THE OPTIONS AVAILABLE 40 British Flute Society The range of exams can be daunting for Volume 39 Number 1 student and teacher alike. David Barton March 2020 gives a comprehensive review. 42 STEPHEN WESSEL: Editor A NATIONAL TREASURE Carla Rees Judith Hall gives a personal appreciation of [email protected] the flutemaker in the year of his retirement.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • The Composer's Guide to the Tuba
    THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
    [Show full text]
  • Karlheinz Stockhausen
    What to Expect: Welcome to KLANG! There is a lot happening Elizabeth Huston and Analog Arts Present today, so we recommend you take a quick look at this packet to orient yourself. Inside you will find the schedule and location Karlheinz Stockhausen of performances, the schedule and location of talks, interviews, and Q&As, and a guide to all amenities that will be available as you navigate this marathon. First, let’s start with the rules. The day is broken up into four sections. You may have purchased a ticket for just one section, KLANG or you may have purchased an all-day pass. Either way, please THE 24 HOURS OF THE DAY familiarize yourself with the rules for each section, as each is a distinctly different experience. PHILADELPHIA, PA • April 7–8, 2018 Welcome to KLANG: At 10am sharp you will be welcomed by a welcome to enter and exit the spaces during performances. At performance of all three versions of HARMONIEN performed in all other times, please be courteous and enter and exit between La Peg, the Theater, and the Studio simultaneously. Feel free to performances. wander between the spaces, eventually settling in the Studio for… KLANG Immersion (4pm–7pm): A mix between KLANG up Close and KLANG in Concert, this time period showcases some of the KLANG up Close (10am–1pm): This time period is an opportu- most well known parts of KLANG, while still allowing the audi- nity to have an intimate concert experience with KLANG. This ence to be up close with the music. Taking place entirely in the will take place entirely in the Studio.
    [Show full text]
  • Download Booklet
    SAM HAYDEN FREE DOWNLOAD from our online store Sam Hayden Die Abkehr 11’07 Ensemble Musikfabrik • Stefan Asbury conductor Helen Bledsoe fl ute/piccolo/alto fl ute · Peter Veale oboe/cor anglais Richard Haynes contrabass clarinet · Rike Huy trumpet/piccolo trumpet Bruce Collings trombone · Benjamin Kobler piano · Dirk Rothbrust percussion Hannah Weirich violin · Axel Porath viola · Dirk Wietheger cello Håkon Thelin double bass Enter code: HAYDEN247 nmcrec.co.uk/recording/dieabkehr Die Abkehr (Turning Away) is the most recent drive or melodic elegance of a particular part one composition presented here. As Hayden explains, moment, to the dialogic interplay between different ‘[t]he more poetic meanings of the title hint at a instruments the next and the more complex and critical commentary on the increasingly nostalgic diffuse surface of the totality at another time. What and inward-looking culture of the UK’. Abkehr also remains tantalisingly out of reach is an appreciation means ‘renunciation’, and to what extent that title of the whole and its constituent parts at the same time. is expressed more specifi cally in the piece, over and Again like earlier works, Die Abkehr is highly above being embodied by a musical language that episodic: there are three movements, each seems out of step with what the composer sees as consisting of a number of short individual sections the dominant trends in the UK and that is largely each exploring a particularly type of material. If shared with the rest of his oeuvre is hard to say. As anything, however, Hayden appears to have grown the composer also states, the composition ‘is the bolder in his use of the general pause: time and latest of a cycle of pieces that combine ideas related again, the music recedes into silence, before to “spectral” traditions with algorithmic approaches starting afresh.
    [Show full text]
  • Sturm Und Klang Ensemble
    ECSA INVITES YOU TO THE EUROPEAN CONTEMPORARY COMPOSERS ORCHESTRA (ECCO) F E AT U R I N G THE STURM UND KLANG ENSEMBLE BRUSSELS, 14 FEBRUARY 2017 — STUDIO 1, FLAGEY CULTURAL CENTER — PLACE SAINTE CROIX, 1050 BRUSSEL — BELGIUM ABOUT ECCO THE EUROPEAN CONTEMPORARY COMPOSERS ORCHESTRA (ECCO) ECCO is an ECSA project dedicated to performing and promoting contemporary art music and to reaching new audiences. It operates as a network of active ensembles, orchestras and young professionals, supporting the creative dialogue between composers and performers and offering young professionals the opportunity to develop their skills with ensembles experienced in performing contemporary music on an international level. The ECCO concerts, and other cultural projects organised by ECSA, are aimed at increasing the visibility of ECSA and all the issues connected to the status of contemporary music creators. Pieces are received via a call to all ECSA member societies and are carefully selected to reflect the cultural and aesthetical diversity of European art music in the 21st century. In 2016, ECCO presented three very successful concerts given by Sturm und Klang, the Slovenian Philharmonic and the Big Band of RTV Slovenia. Tonight’s concert, the ECCO Symphony Wind Orchestra concert conducted by Thomas Van Haeperen, will perform five pieces by European composers selected by the ECCO Artistic Committee. The composers are: Jukka-Pekka Lehto (Finland), Grégory D’Hoop (Belgium), Denis Bosse (Belgium), Geir Sundbø (Norway) and Kari Beate Tandberg (Norway). The European Commission support for the production of this publication does not constitute endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
    [Show full text]
  • KLANG: the 24 Hours of the Day Philadelphia, PA 19106
    Presented by Elizabeth Huston and Analog Arts at KARLHEINZ STOCKHAUSEN’s FringeArts 140 North Columbus Boulevard KLANG: The 24 Hours of the Day Philadelphia, PA 19106 KLANG Up Close (Studio) KLANG Up Close (Studio) 10:00 a.m. 5. HARMONIEN for flute, bass clarinet, and trumpet 10:00 a.m. 5. HARMONIEN for flute, bass clarinet, and trumpet (Studio, Theater, La Peg) (Studio, Theater, La Peg) 10:15 a.m. 3. NATÜRLICHE DAUERN for piano 10:15 a.m. 3. NATÜRLICHE DAUERN for piano Nos. 1, 5, 17, 7, 11, 18, 20, 12 Nos. 1, 5, 17, 7, 11, 18, 20, 12 10:45 a.m. 9. HOFFNUNG for violin, viola, and cello 10:45 a.m. 9. HOFFNUNG for violin, viola, and cello 11:20 a.m. 17. NEBADON for French horn and tape 11:20 a.m. 20. EDENTIA for soprano saxophone and tape 11:45 a.m. 3. NATÜRLICHE DAUERN for piano 11:40 p.m. 8. GLÜCK for bassoon, English horn, and oboe Nos. 23, 14, 22, 16, 19, 21, 10, 8, 6 12:15 p.m. 11. BALANCE for flute, English horn, and bass clarinet 12:20 p.m. 3. NATÜRLICHE DAUERN for piano Nos. 23, 14, 22, 16, 19, 21, 10, 8, 6 12:50 p.m. 11. TREUE for E-flat clarinet, basset horn, and bass clarinet Modular KLANG (Studio & Theater) Modular KLANG (Studio & Theater) 1:00 p.m. 18. JERUSEM for tenor and tape (Studio) 1:20 p.m. 7. BALANCE for flute, English horn, and bass clarinet (Studio) 13. COSMIC PULSES for tape (Theater) 5.
    [Show full text]
  • Érma Ensemble
    ÉRMA ENSEMBLE MEMBERS LOTTE NURIA ADLER Lotte Nuria Adler (* 28th May 1998) discovered the mandolin for herself at the age of seven. From 2011 to 2015 she participated in the talent program of the Folkwang Music School Essen. Later, she has repeatedly taken master classes with Joseph Brent, Mike Marshall, Gertrud Weyhofen, Marga Wilden-Hüsgen, Markus Stockhausen and others. After graduating from high school in 2016, Lotte Nuria Adler took up her studies at Cologne Music College (Wuppertal branch) with Prof. Caterina Lichtenberg. At the same college she concurrently studies Elementary Music Pedagogy. Lotte Nuria Adler has frequently participated in both national and international competitions since 2008. As a child already, she had won numerous first prices and reached the maximum score at the federal competition of Jugend musiziert more than once. Participating in the most renowned international competitions for mandolin she has obtained a second prize at the 2nd International Solo Mandolin Competition Luxembourg in 2016 and the first price along with the audience award at the Yasuo-Kuwahara-Wettbewerb in 2018 where earlier she had already obtained the third price along with the audience award in 2015 at the age of 16. At the age of 13 Lotte Nuria Adler became concertmaster of the Plucked String Orchestra Düsseldorf. Regular guest performances with different orchestras from across the province have granted her entry to numerous concert houses such as Tonhalle, German Opera on the Rhine and Philharmonie Essen. In 2017, Lotte Nuria joined the «Studio Musikfabrik“, youth ensemble of the «Ensemble Musikfabrik». From an early age she has been attached to Contemporary Music.
    [Show full text]
  • Gyorgy Kurtag
    FESTIVAL D’AUTOMNE À PARIS 2010 9 SEPTEMBRE – 31 DÉCEMBRE 2010 39e ÉDITION DOSSIER DE PRESSE György Kurtág Festival d’Automne à Paris 156 rue de Rivoli – 75001 Paris Renseignements et réservations : 01 53 45 17 17 www.festival-automne.com Service de presse : Rémi Fort et Christine Delterme Assistante : Valentine Arnaud Tél. : 01 53 45 17 13 – Fax 01 53 45 17 01 e-mail : [email protected] / [email protected] Dossier de presse Musique – Festival d’Automne à Paris 2010– page 1 Musique classique de l'Inde Dans le cadre de la saison indienne "Namaste France" Baithak, un salon pour la musique classique de l'Inde, douze concerts Les compositeurs d’aujourd’hui (par ordre alphabétique) : Mark Andre : une œuvre pour piano, première audition en France Pierluigi Billone : Quatre œuvres : - Un concert monographique avec une création (Kosmoi. Fragmente) et une œuvre en première audition en France, (Mani. Long) - Quatuor à cordes, première audition en France - Œuvre pour percussion solo, en première audition en France (Mani.Matta) Boris Filanovsky : Une œuvre en première audition en France. Musique Le compositeur en récitant Heinz Holliger : une œuvre pour choeur, première audition en France Jens Joneleit : une œuvre pour orchestre, commande de l’Ensemble Modern. Création L'édition 2010 du Festival d'Automne s'ouvre sur un concert monographique réunissant deux oeuvres de György Kurtág : un concert monographique au Palais Garnier. Pierluigi Billone. Sa pièce pour percussion figure au Piano à quatre mains (György Kurtag et Marta Kurtag), et deux programme du dernier. Au total, il y aura cette année œuvres en première audition en France (Colinda-Balada et quatre oeuvres de ce compositeur au langage original Quatre Poèmes d'Akhmatova) et puissant, à découvrir dans des formes allant du grand ensemble au quatuor à cordes.
    [Show full text]