Friday, November 6, 2015, 8pm Hertz Hall

Ensemble intercontemporain , Music Director

PROGRAM

Marco Stroppa (b. 1959) gla-dya. Études sur les rayonnements jumeaux (2006–2007)

1. Languido, lascivo (langoureux, lascif) 2. Vispo (guilleret) 3. Come una tenzone (comme un combat) 4. Lunare, umido (lunaire, humide) 5. Scottante (brûlant)

Jens McManama, horn Jean-Christophe Vervoitte, horn

Frank Bedrossian (b. 1971) We met as Sparks (2015) United States première

Emmanuelle Ophèle, bass Alain Billard, contrabass Odile Auboin, Éric-Maria Couturier,

19 PROGRAM

Beat Furrer (b. 1954) linea dell’orizzonte (2012)

INTERMISSION

Kurt Hentschläger (b. 1960)* Cluster.X (2015) Edmund Campion (b. 1957) United States première

Kurt Hentschläger, electronic surround soundtrack and video Edmund Campion, instrumental score and live processing

Jeff Lubow, software (CNMAT)

* Audiovisual artist Kurt Hentschläger in collaboration with composer Edmund Campion.

Ensemble intercontemporain’s U.S. tour is sponsored by the City of Paris and the French Institute.

Additional support is provided by the FACE Foundation Contemporary Music Fund.

This performance is made possible, in part, by Patron Sponsor Ross Armstrong, in memory of Jonas (Jay) Stern. Hamburg Steinway provided by Steinway & Sons of San Francisco. Cal Performances’ – season is sponsored by Wells Fargo.

PLAYBILL ROSTER

ENSEMBLE INTERCONTEMPORAIN

Emmanuelle Ophèle flute, Didier Pateau Philippe Grauvogel oboe Jérôme Comte clarinet Alain Billard , contrabass clarinet Paul Riveaux bassoon Jens McManama horn Jean-Christophe Vervoitte horn Clément Saunier Jérôme Naulais Benny Sluchin trombone Samuel Favre percussion Gilles Durot percussion Victor Hanna percussion Sébastien Vichard piano Jeanne-Marie Conquer Hae-Sun Kang violin Odile Auboin viola John Stulz viola Éric-Maria Couturier cello

ADDITIONAL MUSICIANS Fabio Brum trumpet Christelle Séry electric PROGRAM NOTES

Marco Stroppa Africa, which is populated by musicians with gla-dya. Études sur les rayonnements breathtaking rhythmic finesse, the second and jumeaux fifth studies freely use rhythmic elements from for two horns the Malinka repertoire. Like the majority of my work, the music of Commissioned by the Ensemble intercontem - this evening is presented in a preliminary (al - porain. Composed in 2006–2007. Premièred on beit still very advanced) stage to validate cer - April 5, 2007, in the Espace de projection, tain musical hypothesizes. I would like to IRCAM, Paris, by Jens McManama and Jean- extend my greatest gratitude to Jens Christophe Vervoitte. McNamana and Jean-Christophe Vervoitte. These two musicians, who I first heard at Radiance: the process by which a vibrating Ensemble intercontemporain concerts, have source sends energy through a medium. inspired me to embark on this “spatial” road. For all objects that produce radiance, re - Marco Stroppa gardless of their environment, a medium of Translated by Scott Rubin communication is required. All sound sources (instrument, speaker, etc.) have characteristics Franck Bedrossian of their own. Among them, the horn is surely We met as Sparks the most intriguing. Like all brass instruments, for bass flute, contrabass clarinet, viola, and cello the horn’s radiance (the projection pattern of its sound) is directional, like a fairly narrow Commissioned by the Ensemble intercontem - beam of light. However, when compared to the porain. Composed in 2015. Premièred on trumpet or the trombone, the flared shape of October 25, 2015, at the Essen Philharmonie by the horn’s bell results in a less-focused projec - the soloists of the Ensemble intercontemporain: tion. Moreover, the bell’s backward position - Emmanuelle Ophèle, bass flute; Alain Billard, ing means that one perceives only the indirect contrabass clarinet; Odile Auboin, viola; and sound—a sound that is heard only after it is re - Éric-Maria Couturier, cello. flected off of surrounding objects. My first area of investigation when writing The composition of a piece of music often this piece was to study these directional char - starts by defining its instrumentation. In this acteristics and incorporate them in the selec - work, it acts as a quartet of many facets, each tion of musical materials: each “study” offers a among them explored and developed through different relationship between the two horns. the compositional process. This relationship creates a space between the The musical material of this double duo, instruments which is explored in the music. which unfolds in the middle and low registers, For example, when the bell is facing the back gives the ensemble a particular color. The ma - of the stage (in studies one and four), the in - terial evolves at low pressure, feeding a dis - strument plays the role of an echo—a remote, cernible imbalance of power between the almost secret, source. musicians, and with it, the creating the prem - The other area of research regarded the con - ise of the dramaturgy within the form. cept of “double”: why use two equal instruments From this texture, I wished to extract a in lieu of other combinations? This concept is range of rich, contrasting, and opposing har - thematically linked to 19th-century German lit - monic colors—a game of continuous ex - erature (the concept of “Doppelgänger”) and changes between the low and high registers, the 20th-century concept of psychoanalysis, but provoking tensions, echoes, and divergences. I found the closest description of “double” in a To complete the visual analogy, I placed at myth of creation belonging to the Malinka cul - the heart of the piece a poem by Emily ture of West Africa. In tribute to this region of Dickinson—written with the bow—to evoke

PLAYBILL PROGRAM NOTES the gleaming reflections looming from the Ensemble intercontemporain, conducted by separation and the obscured (958): Jayce Ogren. We met as Sparks — Diverging Flints Sent various — scattered ways — Cluster.X is a hybrid media performance de - We parted as the Central Flint signed to be played by a group of virtual bodies Were cloven with an Adze — and the Ensemble intercontemporain. All pro - Subsisting on the Light We bore tagonists, both real and unreal, create the music. Before We felt the Dark — Cluster.X is a collaborative work by A Flint unto this Day — perhaps — Edmund Campion and Kurt Hentschläger But for that single Spark. based on the existing audiovisual work, Franck Bedrossian Cluster by Mr. Hentschläger. Translated by Scott Rubin Emerging from a dialogue between the composers/artists, an adapted, dramaturgically re-edited version is the starting point and in - linea dell’orizzonte spiration for Edmund Campion’s score for the for ensemble Ensemble intercontemporain instrumentalists. Cluster.X consists of three music/sound com - Composed in 2012. Premièred on October 21, 2012, ponents: (1) el ectronic soundtrack of the Cluster at the Musiktage, Donaueschingen, by Ensemble video, composed by Mr. Hentschläger; (2) en - Ascolta, conducted by Johannes Kalitzke. semble instrumental score, composed by Mr. Campion; (3) spatial sound diffusion (com - “What interested me was the phenomenon of posed by both Mr. Hentschläger an d Mr. Campion, doubling, but also of the distortion into a with support from the Center for New Music and shadow and the creation of the process-related Audio Technologies and Jeff Lubow. resulting from this intersecting of voices into each other,” says Beat Furrer. In the weightless choreography of Cluster.X , In linea dell’orizzonte , his composition for human figures appear mostly as an undiffer - the Ensemble Ascolta, this principle of trans - entiated particle blur and sound as a pulsing, formation is applied to a heterogeneous group amorphous mass, together forming a cloud of of instruments of piano, violin, cello, clarinet, ambiguous matter made of body parts, light trumpet, trombone, percussion, and electric and drone. Cluster.X describes a meta-organ - guitar and realized in a rich, diversified mate - ism with a decidedly anti-individualistic char - rial. Out of the intertwining of the voices acter, yet still unmistakably human. emerges a study of distorted shadows. Kurt Hentschläger Marie Luise Maintz The impeccable musicians of the Ensemble Kurt Hentschläger & Edmund Campion intercontemporain are installed and mated Cluster.X to the audiovisual artwork Cluster.X . We are for 16 instruments, video with multichannel intercrossing the arts, where all manner of electronic sound, and real-time spatial audio hell might break loose. Out of all these processing pieces, there really is no puzzle to be solved, no better art form to be bred. There is only Commissioned by the Ensemble intercontem - the hope of gaining a moment , one born porain and Arcadi Île-de-France. Composed in from a deeply interwoven collaboration with 2015. Premièred on October 9, 2015, at the Cité artist Kurt Hentschläger. Yes, it is another de la musique-Philharmonie 2Paris, by the mixed-media show! Yet each one, particu larly PROGRAM NOTES

this one, simultaneously dismisses and de - Cluster production Kurt Hentschläger 2009–2015 : Original sires the moment , an immersion into the cur - coproduction: Arcadi, France. Additional production and residency support provided by EMPAC/ Rensselaer rent-day Mysterium (the space of the numen , Polytechnic Institute and the Jaffe Fund for Experimental the place of beauty). Media and Performing Arts. Edmund Campion Ogre/Bullet & Max MSP Programming, Rob Ramirez Ableton Live & Max for Live Programming, Ian Brill 3D This performance of Cluster.X is made possible, in part, Character Design, Chris Day. with technical support from the Center for New Music and Audio Technologies (CNMAT), University of Cluster.X is supported by FACE Contemporary Music California, Berkeley. Fund, a program of FACE with major support from the Cultural Services of the French Embassy, SACEM, Institut Thanks to Jeff Lubow (CNMAT) for spatial software and Français, the City of Paris, the Florence Gould Foundation, programming support. and the Andrew W. Mellon Foundation.

PLAYBILL Saturday, November 7, 2015, 8pm Hertz Hall Ensemble intercontemporain Matthias Pintscher, Music Director

PROGRAM

Edgard Varèse (1883–1965) Octandre (1923) I. Assez lent II. Très vif et nerveux III. Grave

Matthias Pintscher (b. 1971) bereshit (2011–2013)

INTERMISSION

Pintscher beyond (a system of passing) (2013) Sophie Cherrier, flute

Pierre Boulez (b. 1925) sur (1996–1998) Moment I Moment II

Ensemble intercontemporain’s U.S. tour is sponsored by the City of Paris and the French Institute. Additional support is provided by the FACE Foundation Contemporary Music Fund.

This performance is made possible, in part, by Patron Sponsor Ross Armstrong, in memory of Jonas (Jay) Stern.

Hamburg Steinway piano provided by Steinway & Sons of San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. ORCHESTRA ROSTER

ENSEMBLE INTERCONTEMPORAIN

Sophie Cherrier flute Emmanuelle Ophèle flute Didier Pateau oboe Philippe Grauvogel oboe Jérôme Comte clarinet Alain Billard contrabass clarinet Pascal Gallois bassoon Paul Riveaux bassoon Jens McManama horn Jean-Christophe Vervoitte horn Clément Saunier trumpet Jérôme Naulais trombone Benny Sluchin trombone Samuel Favre percussion Gilles Durot percussion Victor Hanna percussion Dimitri Vassilakis piano Hidéki Nagano piano Sébastien Vichard piano Frédérique Cambreling harp Jeanne-Marie Conquer violin Hae-Sun Kang violin Diégo Tosi violin Odile Auboin viola John Stulz viola Éric-Maria Couturier cello Nicolas Crosse

ADDITIONAL MUSICIANS Frank Scalisi clarinet Fabio Brum trumpet Ségolène Brutin harp Bleuenn Le Friec harp Aurélienne Brauner cello

PLAYBILL PROGRAM NOTES

Edgard Varèse Composed in 2011–2013. Premièred on May 24, Octandre 2013, at the Ordway Theater in Saint Paul, for eight instruments Minnesota, by the Saint Paul Chamber Orchestra, under the direction of Matthias Pintscher. Composed in 1923. Dedicated to Robert Schmitz. Premièred on January 13, 1924, at the “In a beginning…” refers to the biblical creation Concerts of the International Composers’ Guild, myth: bereshit is the first word of the Torah, of Vanderbilt Theater, New York, under the direc - the Old Testament. This concept contains the tion of Robert Schmitz. idea of an approximation: “a” beginning, not “the beginning,” a turning point. This is the Written for eight instruments (seven wind in - starting point of Matthias Pintscher’s composi - struments and a contrabass), Octandre (1932 ) tion bereshit for large ensemble. It deals with is seen as a contemporary of Stravinsky’s own nothing less than the act of creation, the for - Octet for Wind Instruments (1932 ). Along with mation of the natural. “As if you woke up in the Density 21.5 (1936, rev. 1946), Octandre is one pitch darkness of night in a strange room and of Varèse’s only works that does not call for per - only realised after a few seconds where you cussion instruments. It is also the composer’s were. In this state you attempt to make out the only work that is divided into sequential move - shapes of the space. It is a beginning of a be - ments. Nevertheless, Octandre fully features ginning from absolute darkness and shapeless - Varèse’s style and technique, which lie deliber - ness. Quite cautiously and gradually particles ately on the sidelines of musical tradition. free themselves, then condense and fit together Rather than using form and development as the in shapes.” Pintscher describes this feeling as primary parameter of composition, Varèse as - the starting point for his composition. serts timbre as the main structural element. Imagining the creation of things is both a “What strikes us early on in the piece,” writes metaphor for the creation, the creative act, Belgian composer and actor Arthur Hoérée, “is and its incomprehensibility. It ultimately also the exceptional instrumentation which is at the describes the process of perception, of a per - foundation of the work.” Each movement of son’s development of awareness. It is a philo - Octandre begins with an important melodic line sophical reflection in itself. A portrayal of this played by a solo instrument. The first movement, can be found in music as an art of processes. marked at a slow tempo, begins with a solo oboe “Bereshit emerges from an initial sound as if supported by the clarinet and contrabass. The from an absolute nothing, from a sound oboe again has the last word in this movement. which subsides into percussive noises, from The second movement, marked very fast and which elements then disentangle themselves nervous, is introduced by a solo . It is and condense. It is a very organic piece, the linked to the third movement (marked very slow) material is treated quasi chronologically, it de - by a sustained note in the contrabass, over which velops slowly. The composition emerges from we hear the inaugural bassoon solo. Following the idea of freeing an entire compendium of this, we hear a fugal passage marked “animated sounds, gestures, rhythms, orchestrations and jubilant,” with successive imitative entrances from an original state of sound. There is a cen - from the oboe, the bassoon, and the clarinet. tral note, an F, which opens the piece and Myriam Chimènes stretches through the piece like a horizon.” Translated by Scott Rubin A genuine conception of processes, which Pintscher has developed in his most recent Matthias Pintscher compositions—such as the violin concerto bereshit Mar’eh and the choral work she-cholat ahava for large ensemble ani , for example—becomes, as it were, the pro - gram here: “What interests me is the flowing Commissioned by the Ensemble intercontempo - sounds and colors, the conception of a sonor - rain and the Saint Paul Chamber Orchestra. ity in perspective. The piece is about this great PROGRAM NOTES river, about a continuum of sounds and events FINK : I understand from what you are saying which is continually transformed as the piece that you have also dealt intensively with the piano grows. Only gradually do things solidify, and over the past few years. Indeed, the piano plays an there are solo episodes . Bereshit continues important role in Répons . However, it seems that what I have developed in sonorities in recent the composer has not devoted years. In its conception of sound and spatial much of his attention to the piano since publish - effect, this piece goes far beyond the chamber ing his Third Sonata for piano and the second music-like dimension of the ensemble forces.” book of in 1961 . At least Incises , the first Marie Luise Maintz piece for piano alone, is rather short, extremely brilliant, and with a sense of perpetual motion. Pintscher Now, sur Incises originates from this piece and beyond (a system of passing) goes beyond the scope of pure piano sound. for solo flute BOULEz : Yes, it is an ensemble for three which in a way represent the main instruments, Commissioned by the Salzburg Foundation. three harps and three percussions of certain Composed in 2013. Dedicated to Emmanuel pitch, also , steel drums, , Pahud. Premièred on August 24, 2013, in the etc. I composed the piano piece Incises for the Mozarteum at the Salzburger Festspiele, Umberto Micheli Piano Competition, which is Salzburg, by . greatly supported by . First, I had in mind to transform this piece into a Continuity and further development charac - longer one for Pollini and a group of instru - terize Matthias Pintscher’s composing. In this mentalists: a kind of piano concerto, although way, he continues concepts which he devel - without reference to the traditional form. The oped in his transir in beyond (a literature in concerto form does not appeal to system of passing) for flute solo, written for the me anymore. Therefore I produced a piece for Salzburg Festival: “With the flute, every note three pianos, assuming that there already exists is ‘bound to the breath’—no instrument artic - enough interesting literature for two pianos and ulates as close to the stream of air itself. The ensembles, especially in the modern age—take, instrument, vibrating in direct contact with for example, Bartók’s Sonata for Two Pianos and human breath, as an extension of the stream Percussion . (In my opinion, everybody would of air, carries in it the archaic qualities of many have been reminded of this world if I had also centuries, and creates a communicative bridge written a piece for two pianos.) I have also con - to the present time.” Emanuel Pahud pre - sidered the possibility of four pianos, since this mièred the work, which relates to Anselm constellation is very attractive and provides a Kiefer’s installation A.E.I.O.U . good balance. But here Stravinsky serves as Marie Luise Maintz model, and I did not want to recite him through this very characteristic instrumentation. This is Pierre Boulez the reason why I ended up with three pianos— sur Incises incidentally, three pianists are part of our en - for three pianos, three harps, and three percussion semble. I then thought about adding brass players, but there already exists a piece for brass Composed in 1996–1998. Dedicated to Paul instruments, harp, and piano by Hindemith, so Sacher, for his 90th anniversary and for the I rejected this idea. Another reason is that I did tenth birthday of the Paul Sacher Foundation not want to compose a piece for all families of in . Premièred on August 30, 1998, in instruments, like in Éclat . So I decided in favor Edinburgh, by the Ensemble intercontemporain of three percussion, particularly as we have conducted by David Robertson. three percussionists in our ensemble. Only then

Excerpt of a conversation between Wolfgang * “Hommage à Pierre Boulez,” program of the Alte Oper * Frankfurt, compiled by Wolfgang Fink and Josef Hausier, Fink and Pierre Boulez : courtesy of Universal Edition.

PLAYBILL PROGRAM NOTES the idea of adding three harps occurred to me. free introduction, actually, in a rather complete Later, it came into my mind that this constellation way, so that it is very difficult to judge which el - could have been invented by , pro - ements are taken from which area. This situa - viding the following theoretical order: three per - tion changes with a recollection of the initial cussionists, three harps, three pianos, or piano I, cadenza focusing on the three pianos in order to harp I, percussion I, and any other conceivable demonstrate on which kind of periodicity the correspondences. But as I have already men - complete action is based. tioned, I realized this Carteresque dimension FINK : The pianos therefore obviously repre - only afterwards. sent the principal instruments. But are there Consequently, my starting point was three also transitions to be found or, let’s put it dif - pianos, three harps, three percussionists; also ferently, do the harps or percussionists at times three times three, which is nine. And I com - take the role of the pianos or of one piano? posed this piece for the 90th birthday of Paul BOULEz : The percussions and also the harps Sacher, although this, you have to believe me are at times completely integrated and some - [laughs], is pure coincidence. I did not choose times only play a minor role, it depends. There nine instruments on purpose. is one section where the pianos play an elabo - My original intention was to write the main rate ostinato passage, thus a very strict compo - part for the first piano. Having started the sitional structural form while the percussionists composition, I realized that this disposition play very free figures at the same time. But you does not make any sense in a piece for three find also moments when this role play is divided pianos, because, wanting to be consistent, I up, such as that one piano and one percussion - would have had to create a part for first harp ist play the free structures whereas the other pi - and first percussion, which was not feasible. anos and percussionists have to follow the strict For this reason, the three piano parts elabo - ostinato movement, etc. Another attractive as - rate to an extent on the same level. pect is that at times you encounter very quick Unexpectedly, this has led to a very long piece. changes followed by sections of constant con - FINK : Incises , however, is very short, and by tinuous instrumental combinations. As to the dint of this shortness—this very concise harp, I have gained plenty of experience with form—it takes the listener by complete sur - this instrument in Répons and have put this prise. In what respect do sur Incises and Incises knowledge into sur Incises . You can play the differ, since their congruence is so obvious? harp very fast if you do not use the pedals or BOULEz : You will remember that Incises begins only very little. So the harps’ entries depend a with this very free and flexible introduction, fol - lot on the different kinds of speed at which this lowed by this very, very quick part (which is at instrument can be handled. I was very surprised times abruptly interrupted). But the character of by the powerful sound three harps can produce. this terrific movement is kept throughout. In sur By the way, I have emphasized the different Incises , I have expanded, stretched this intro - sound character of the instruments by posi - duction a lot in terms of its duration. And I have tioning them in a characteristic way. Thus, you added various forms of multiplication to this can see what you hear. I am really very happy very brilliant cadence, from simple to sixfold and with the sound combinations in this piece and multiple reflections resulting in a cadence which also with the way the rather exotic instruments is no longer wild as in Incises, but calm and are integrated. I don’t use steel drums for the breathing regularly, due to these diverse figures sake of their exotic and folkloric color but be - appearing in simple to complex modifications. cause of the fact that they exceed the usual So I have composed a cadenza for everybody, bounds of the individual families of instru - which is to be played without interruption at a ments. The question is what does that mean? very rapid speed and which is very difficult to Because this sound belongs to all families and perform. And then there is another part with a to none at the same time. transition. In this part, the principles of the ca - Baden-Baden, September 18, 1998 dence are mixed with the introduction, this very Translated by Dorit Luezak ABOUT THE ARTISTS

COMPOSERS first compositions date back to the mid-1940s, when he had recently emerged from studies in After initial studies in orchestration, and analy - Paris with , who encouraged sis at the Regional Conservatory of Paris, his technical acumen, his intensity, and also Franck Bedrossian (born 1971) studied com - his curiosity about Asian and African, as well position closely with Allain Gaussin. He con - as European, music. At the same time, lessons tinued his studies at the Paris Conservatory with René Leibowitz, a Schoenberg and (seminars with Gérard Grisey and later Marco Webern scholar, introduced him to twelve- Stroppa), where upon graduation he received note composition, which he immediately unanimously the first prize for analysis, and the adapted to his own purposes. His Piano first prize in composition. In 2002–2003, he was Sonata No. 2 (1947–1948), a work of in the IRCAM “cursus” for computer music and Beethovenian range and power, marked his composition taught by Philippe Leroux, Brian creative coming of age. Ferneyhough, Tristan Murail, and Philippe The next step was a reduction, an exhaus - Manoury. He also studied with Helmut tive examination of the basic elements of Lachenmann at Centre Acanthes in 1999 and at music in an attempt to make rhythmic values, the Academy in 2004. loudness, and nuances of touch obey serial His works have been played in Europe and principles: This happened in the first section recently in the United States by such ensem - of his Structures I for two pianos ( 1952 ). With bles as l’Itineraire, 2e2m, Ictus, Court-Circuit, the knowledge gained, he could return to Cairn, Ensemble Modern, Alternance, the larger issues in the later part of this work and Ensemble intercontemporain, the Orchestre in Le Marteau sans maître for contralto and National de Lyon, the San Francisco mixed sextet ( 1953–1955 ), whose combina - Contemporary Music Players, and the Danel tion of delectableness and stringency has and Diotima string quartets. His works have made it a classic of modern music. A further been performed at such festivals as Agora, opening-out produced the brilliant Pli selon Resonances, Manca, the RTE Living Music pli (1957–1962 ), a portrait of the poet Festival, l’Itinéraire de nuit, Ars Musica, Mallarmé in music for soprano and an or - Nuova Consonanza, Le Printemps des Arts de chestra rich in percussion. Monte-Carlo, le Festival International d’Art Mr. Boulez began to appear more and more Lyrique d’Aix-en-Provence, Fabbrica Europa, frequently as a conductor, using at first his and Wien Modern. In 2001 he received a grant brilliant mental and technical skills as a con - from the Meyer Foundation, and in 2004 he ductor of contemporary music, notably with won the Hervé-Dugardin prize of Sacem. In the he founded in Paris; but 2005, the Institut de France (Académie des rapidly he began to be engaged to conduct a Beaux-Arts) awarded him the “Prix Pierre wider range of music, performing Wagner in Cardin” for music composition. Bayreuth, Guillaume de Machaut in Los Mr. Bedrossian has also received the young Angeles, and Beethoven in London. His ap - composer’s prize from Sacem in 2007. He was pointment in 1971 as Principal Conductor of a Rome Prize Fellow at the Villa Medicis from the BBC Symphony Orchestra in London had April 2006 to April 2008. Since September far-reaching effects on the musical life of 2008, he has been Assistant Professor of Britain and Europe, while his acceptance of Composition at UC Berkeley. His works are the Musical Director position of the New York published by Éditions Billaudot. Philharmonic had an equally stimulating ef - fect on American music, posts he held until Born in 1925 , Pierre Boulez can look back on 1975 and 1977, respectively. more than six decades of making music an es - A few important works were achieved dur - sential part of the contemporary world. His ing this period, and seemed to thrive on his

PLAYBILL ABOUT THE ARTISTS contact with the orchestra and with the art of others. In 2011, he recorded the Liszt piano : notably Eclat/Multiples (1970 ) concertos with Mr. Barenboim and Mahler’s and Rituel (1974–1975). In the mid-1970s, Das klagende Lied with the however, he decided to reduce his conducting Philharmonic, and directed the Lucerne commitments drastically in order to concen - Festival Academy before conducting his trate on work at the Institute for Research and prominent work on tour. He con - Coordination Acoustic/Music (IRCAM) he tinued his collaboration with the Lucerne founded at the request of President Georges Festival in 2012, 2013, and 2014. This year, Pompidou. There, his contact with computer among many celebrations, sees him receiving technicians and musicians was brought to a special Grammy Award for Lifetime bear in the composition of Répons (1981– Achievement and being elected an honorary 1984), followed by another electronic project , citizen of the town of Baden-Baden, Germany, ...explosante-fixe... (1991–1993 ), for MIDI and an honorary member of the SWR flute, two solo-, ensemble, and electron - Symphony Orchestra. ics. At the end of 1991 , Boulez left his posi - After signing an exclusive contract with tion as director of IRCAM, maintaining his in 1992, Mr. Boulez ties with the institute by accepting the title of devoted a considerable amount of his time Honorary Director. recording important works of the 20th century. Once again conducting on a regular basis, His recordings have won 27 Grammy Awards he created a close relationship with outstand - and many ECHO Klassik, Gramophone, and ing American and European . Deutsche Schallplatten awards. Among many others, he conducted the inau - At the same time, he continued his work as gural concert of the Cité de la musique at La a composer, writing Incises (1994), Sur incises Villette; a four-orchestra Boulez Festival in (1996–1998), Anthèmes 2 (1997), Notations Tokyo; prestigious worldwide tours with the VII (1998), and Dérive 2 (2006), as well as as - London Symphony Orchestra celebrating his suming the Composer’s Chair at Carnegie 70th, 75th, and 80th birthdays; and new pro - Hall and the position of Conductor Emeritus ductions of Schoenberg’s Moses and Aron with of the Chicago Symphony Orchestra. Peter Stein; Bartók’s Bluebeard’s Castle with Acclaimed worldwide, Mr. Boulez has had Pina Bausch; a De Falla–Stravinsky– many honorary doctorates conferred upon Schoenberg production staged by Klaus him. He is the recipient of numerous prizes, Michael Grüber; and returns to Bayreuth in including the Ernst von Siemens Music Prize, 2004 and 2005 to conduct Parsifal in a stag - Léonie Sonning Music Prize, Præmium ing by Christoph Schlingensief. The year 2007 Imperiale, Kyoto Music Prize, Polar Music saw his renewed and highly acclaimed collab - Prize, Wolf Prize, Giga-Hertz Prize, oration with Patrice Chéreau for the staging Grawemeyer Award, and BBVA Foundation of Janáček’s opera From the House of the Dead Frontiers of Knowledge Award. in Vienna, Amsterdam, and Aix-en-Provence. After being the “grand invité” of the most Edmund Campion (born 1957) spent his prestigious Louvre Museum in November formative years at Columbia University in 2008, he was the composer in residence at the New York and at IRCAM in Paris. At IRCAM, Mozartwoche in Salzburg. In May 2009, he he composed Losing Touch for and performed, together with , electronics (1995). He was eventually com - the complete symphonic works of Mahler in missioned by IRCAM for the full-scale ballet, . Conducting the most presti - Playback ; the meta-compositional environ - gious orchestras, his 85th birthday year ment for piano and computer, Nat-Sel ; and a brought him to Chicago, New York, work for improvising saxophone and interac - Cleveland, Paris, Vienna, and Berlin, among tive computer system, Corail . In 2012, as the ABOUT THE ARTISTS

Composer in Residence with the Santa Rosa musical training on piano at the Music School Symphony, and to celeb rate the opening of the there. After moving to Vienna in 1975, he Green Music Center, he composed The Last studied conducting with and Internal Combustion Engine , a full-scale con - composition with Roman Haubenstock certo grosso with electronics and the Kronos Ramati at the Hochschule für Musik und Quartet. Joshua Kosman of the San Francisco Darstellende Kunst. In 1985, he founded the Chronicle called the piece “a vivid and richly , which he directed until imagined concerto.” I n 2014, the American 1992, and with which he is still associated as Composers Orchestra released a CD of his conductor. Commissioned by the Vienna State work Practice , for orchestra and electronics. Opera, he composed his first opera, Renowned international ensembles have Die Blinden . His second opera, Narcissus , collaborated with Mr. Campion, including Les was pre mièred in 1994 as part of the Percussions de Strasbourg, which commis - Steirischer Herbst Festival at the Graz Opera. sioned and released Wavelike and Diverse on In 1996, he was composer-in-residence at their 50th anniversary CD set. Other pre - the Lucerne Festival. His music theater mières of his work include Auditory Fiction work Begehren was premièred in Graz in 2001, (2011 ), commissioned by Société Générale for the opera Invocation in zürich in 2003 , Radio France; Small Wonder (The Butterfly and the sound-theater piece FAMA in Effect) in 2012, commissioned by the Serge Donaueschingen in 2005. Koussevitzky Foundation for the San In 1991, Mr. Furrer became a full profes - Francisco Contemporary Music Players; and sor of composition at the Hochschule für Auditory Fiction II , written for the Eco Musik und Darstellende Kunst in Graz. He Ensemble for the 2014 Venice Music Biennale. served as guest professor in composition at the In 2012, Mr. Campion was awarded the Hochschule für Musik und Darstellende Fellowship given by the Kunst in Frankfurt from 2006 to 2009. American Academy of Arts and Letters to a Together with violinist Ernst Kovacic, he “composer of exceptional gift.” His other founded impuls, an International Ensemble prizes, from a long list of accolades, include and Composers Academy for Contemporary the American Rome Prize and the Lili Music. In 2004 he was awarded the Music Boulanger Prize. Mr. Campion is currently Prize of the City of Vienna, and in 2005 he be - Professor of Music Composition at UC came a member of the Academy of Arts in Berkeley and Director at the Center for New Berlin. He was awarded the Golden Lion at the Music and Audio Technologies. Venice Biennale in 2006 for FAMA . In 2010, A monograph CD of Mr. Campion’s works his music-theater work Wüstenbuch was pre - by the San Francisco Contemporary Music mièred in Basel. In 2014, he was awarded the Players, with David Milnes, is available on Great Austrian State Prize. His latest opera, La Albany Records. Bianca Notte , based on texts by Dino Current projects include Cluster.X , a co- Campana, was premièred in Hamburg in commissioned piece written for the Ensemble spring 2015 . He is currently working on a new intercontemporain in collaboration with au - opera Violetter Schnee (“Violet Snow”), based diovisual artist Kurt Hentschläger. Cluster.X on a Libretto by Vladimir Sorokin. Since the premièred in Paris on October 9, 2015, and will 1980s, Mr. Furrer has composed a wide range tour to the United States for performances in of works, from solo and ensemble music to or - Berkeley on November 9, 2015, and in Chapel chestral and choral works and opera. He is Hill, North Carolina, on November 10, 2015. well known for his nuanced exploration of the human voice and its relationship to instru - Beat Furrer was born in Schaffhausen, mental sound. Switzerland, in 1954 and received his first

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Chicago-based Austrian artist Kurt music and direction, composition, and elec - Hentschläger (born 1960) creates audiovisual tronic music) and pursued further studies at installations and performances. Between 1992 MIT’s Media Laboratory (computer science, and 2003, he worked collaboratively within cognitive psychology, and artificial intelli - the artist duo Granular-Synthesis. gence). Between 1980 and 1984, he worked at Mr. Hentschläger’s works have characteris - the Center for Computational Sonology in tically been visceral and immersive, as in ZEE Padua, where he wrote Traiettoria , a work and FEED , with extreme perceptual effects, which immediately met with considerable composed from light, sound, and fog. These success and which continues to be per - works physiologically transport the viewer formed regularly. quite literally into another world. In 1982, he was invited by Pierre Boulez to His CLUSTER series builds on the uncanny, join IRCAM in Paris. His uninterrupted asso - by portraying 3D representations of hu - ciation with the institute has been crucial for manoid creatures that can only exist in dy - his musical growth. namic flux, seeming to swirl and flow like the A highly respected educator, Mr. Stroppa wind, apparently unhinged from the screen founded the composition course at the Bartók that they are projected on. His most recent, Festival in Szombathély, , where he emerging body of work is tracing the percep - taught for 13 years, meeting great Hungarian tion of “nature” in the 21st century. musicians—such as Péter Eötvös, zoltán Selected presentations of his works include Kocsis, and György Kurtág—and discovering the Venice Biennial, the Venice Theater the splendid work of innumerable poets. Biennial, Stedelijk Museum Amsterdam, PS1 Since 1999, Mr. Stroppa has been professor New York, Creative Time, Inc., in New York, of composition in Stuttgart, where he suc - Musée d’Art Contemporain in Montreal, ceeded . Museum of Applied Arts Vienna, National Often assembled in the form of thematic Art zKM Karlsruhe, Museum of China cycles, Mr. Stroppa’s works draw inspiration Beijing, National Museum for Contemporary from a wide range of experiences: his reading Art Seoul, ICC Tokyo, Laboratorio Arte of poetic and mythological texts, a thoughtful Alameda in Mexico City, and the Museum of engagement in ecological and sociopolitical Old and New Art in Hobart, Tasmania. issues—in the tradition of Dallapiccola, Nono, Most recently he works on large-scale in - and the Italian Resistance—the study of eth - stallations. In 2012 he was commissioned, as nomusicology and his personal contact with part of the Cultural Program of the 2012 the performers for whom he writes, including London Olympics/London Festival, to create Pierre-Laurent Aimard. CORE, a large-scale, symphonic installation, Mr. Stroppa has also created a theatrical and in 2015 he created ORT , an outdoor pro - work, Re Orso , based on a text by Arrigo jection project in Le Havre, on Oscar Boito, that was premièred in May 2012 at Niemeyer’s Le Volcan. the Opéra Comique in Paris and In 2010, Mr. Hentschläger won the Quartz in . Media Art Award in Paris. He is currently a full-time Visiting Artist at the School of the Edgard Varèse (1883–1865 ) was born in Paris Art Institute of Chicago. to a French mother. However, it is through the composer’s relationship with his father, an Matthias Pintscher (see bio under performers). Italian engineer, that Varèse tells his radical version of his upbringing: a positive, almost Composer, researcher, and teacher Marco scientific retelling, animated by a wrenching Stroppa (bor n 1959, in Verona) stud ied music desire for the modern present. Engineer: this in Italy (obtaining diplomas in piano, choral is certainly the scientific model that the ABOUT THE ARTISTS composer would never deny. But in 1903, scene of poet Jean Cocteau and his friends when the composer was only 20 years old, he (Picasso, among others). Through the com - left the Polytechnic School in Turin and re - poser’s newly found place within the most turned to Paris. He immediately broke all re - well-known avant-garde circle of his country, lations with his father, as he would later he was introduced to the new “Ondes radically break all links with musical tradition. Martenot” (a French electronic instrument), In the memory of his father, Varèse kept the and integrated it into his work Amériques . verve of scientific enlightenment and rejection Varèse also experimented with the theremin, the law. Regarding his own history, the com - another electronic instrument that found its way poser kept the spirit of prophetic light and de - into Ecuatorial (first version, 1932–1934), be - nounced patrimonial weight. fore substituting in the Ondes Martenot in 1961. Back in Paris, he studied with Vincent Varèse returned to the United States in 1934 d’Indy at the Schola Cantorum until 1905. and began a long frustrating journey. In the Afterwards, he studied with Charles-Marie United States, he met Léon Theremin (though Widor at the Paris Conservatory from 1905 to “Lev Sergeyevich Termen” abruptly retreated 1907. In Berlin, Varèse met , back to the Soviet Union in 1938), but the who would later advise the young composer Russian refused the composer’s request to de - to “first find [his] own forms.” Upon return - velop the instrument. This setback is likely em - ing to Paris, he attended the première of blematic of this disappointing period. For the Stravinsky’s The Rite of Spring (1913 ), whose next 16 years, Varèse wrote little music. He powerful obstinatos would shake and influ - tried out several failed experiments (particu - ence Varèse for years to come. larly in the promising field of film music), and On December 29, 1915, after being dis - moved between many western American cities couraged by the “aesthetic cautiousness of his (Santa Fe, San Francisco, Los Angeles) before native land,” Varèse moved to the United eventually returning to New York in 1941. States. His work Amériques (first edition, However, at the beginning of the 1950s, the 1918 –1921), still under Stravinsky’s influence, advancements in electronics undoubtedly would symbolize the rupture, the entrance of breathed new hope into the composer, and he the “New World” aesthetic. More than a mere was inspired by many pioneering achieve - geographical shift, the composer’s immigra - ments. His piece Déserts , scored for orchestra tion to the United States prompted him to seek and recorded magnetic tape, was one of the out new career opportunities. In 1919, driven first “mixed works.” It was presented at the by a strong sense of enthusiasm, Varèse Brussels World Fair along with Varèse’s fa - founded and conducted the New Symphony mous Poème électronique (1958 ) and the work Orchestra, which introduced many modern of Le Corbusier and Xenakis. This artistic masterpieces to the West. Varèse also created combination of music and architecture ap - the International Composers’ Guild, which al - peared to be one of the first forms of “instal - lowed him to première his own works: lation.” Before his death in 1965, Varèse Offrandes in 1922, in 1923, received several awards in the United States Octandre in 1924, and Intégrales in 1925. His and taught at the Summer passion for science, technology, and electronic Courses. The world of European avant-garde, instruments was still in its infancy. with Boulez being the first, finally recognized Between 1928 and 1933, back in France, him during his lifetime as a major figure Varèse frequented the Parisian avant-garde ahead of his time.

PLAYBILL ABOUT THE ARTISTS e l l i v r e F k n a r F PERFORMERS Festival Academy, a several-week educational project held by the Lucerne Festival. In 1976 , Pierre Boulez founded the Ensemble Resident of the Philharmonie de Paris, the intercontemporain with the support of Ensemble performs and records in France and Michel Guy (who was the Minister of Culture) abroad, taking part in major festivals world - and the collaboration and Nicholas Snowman. wide. The Ensemble is financed by the The Ensemble’s 31 soloists share a passion Ministry of Culture and Communication and for 20th- and 21st-century music. They are receives additional support from the Paris employed on permanent contract, enabling City Council. them to fulfill the major aims of the Ensemble: performance, creation, and education for young musicians and the general public. Under the artistic direction of Matthias Pintscher the musicians work in close collab - oration with composers, exploring instru - mental techniques and developing projects that interweave music, dance, theater, film, video and visual arts. In collaboration with the Institut de Recherche et Coordination Acoustique/Musique, the Ensemble intercontemporain is also active in the field of synthetic sound generation. New pieces are commissioned and performed on a

regular basis. s u a B The Ensemble is renowned for its strong s a i h t

emphasis on music education: concerts for t a

kids, creative workshops for students, train - M ing programs for future performers, conduc - Matthias Pintscher is the Music Director of tors, composers, etc. Since 2004, Ensemble the Ensemble intercontemporain. Beginning in soloists have been tutoring young instrumen - the 2016–2017 season he also takes up the post talists, conductors, and composers in the field of Principal Conductor of the Lucerne Festival of contemporary repertoire at the Lucerne Academy. He continues his partner ships with ABOUT THE ARTISTS the BBC Scottish Symphony Orchestra as its training with Bruno Giuranna at the Stauffer Artist-in-Association, and with the Danish Foundation of Cremona in Italy, and was National Symphony Orchestra as Artist-in- awarded at the Bucchi International Residence. Equally accomplished as conductor Competition in Rome. In 1995, she joined the and composer, Mr. Pintscher has created sig - Ensemble intercontemporain. Her interest in nificant works for the world’s leading orches - creation and position as soloist with the tras and regularly conducts throughout Europe, Ensemble intercontemporain gave her the op - the United States, and Australia. portunity to work closely with major com - Highlights of his 2015–2016 season include posers of the second half of the 20th century, conducting débuts with the Berlin such as György Kurtág and Pierre Boulez, with Philharmonic, Toronto Symphony, Los Angeles whom she recorded Le Marteau sans maître for Chamber Orchestra, and Prague Philharmonia; Deutsche Grammophon and created Anthèmes a U.S. tour with the Ensemble Intercontem- for alto at the Avignon Festival. She also works porain; and the première of his new cello con - with composers from the new generation such certo by the Danish National Symphony and as Ivan Fedele, Marin Matalon, Alisa Weilerstein. Last season, Mr. Pintscher and Bruno Mantovani. She is highly active in made débuts with the Los Angeles the field of and has premièred Philharmonic, the National Symphony works by Bruno Mantovani, Marco Stroppa Orchestra, and the Symphonieorchester des and Philippe Schœller. A penchant for trans - Bayerischen Rundfunks. versality in the various forms of artistic expres - Mr. Pintscher’s successful and prolific com - sion has led her to participate in projects positions is championed by some of today’s involving visual arts and dance. Her albums finest performing artists, orchestras, and con - also include André Jolivet’s Églogues as well as ductors. His works have been performed by works by Bruno Mantovani. such orchestras as the Chicago Symphony, Ms. Auboin is a state certified music pro - , New York Philharmonic, fessor and teaches regularly at international Philadelphia Orchestra, , academies in Paris, Aix-en-Provence, Lucerne, London Symphony, and the Orchestre de and New York. She plays on a A21 viola cre - Paris. His works are published exclusively by ated by Patrick Charton. Bärenreiter, and recordings of his composi - tions can be found on , EMI, Teldec, A graduate of the Music and Dance Wergo, and Winter & Winter. Conservatory of Lyon, Alain Billard (bass Mr. Pintscher also works regularly with clarinet, contrabass ) joined the leading contemporary music ensembles such Ensemble intercontemporain in 1995, in as the Scharoun Ensemble, Klangforum Wien, which he performs mainly as bass clarinetist, Ensemble Modern, and Avanti (Helsinki). He but also playing clarinet, basset horn, and con - has curated the music segment of the Impuls trabass clarinet. Romantik Festival in Frankfurt since 2011, An internationally acclaimed soloist, he has and in September 2014 joined the composi - worked with several contemporary and 20th- tion faculty at the Juilliard School. century composers, including Pierre Boulez, , György Ligeti, and Karlheinz Odile Auboin (viola ) graduated from the Paris Stockhausen, as well as Philippe Manoury, Conservatory with top honors in two fields Michael Jarrell, Pascal Dusapin, Bruno (alto and chamber music) in 1991. As the re - Mantovani, and Yann Robin. cipient of a Lavoisier Research Fellowship from Regularly invited as guest soloist by leading the French Ministry of Foreign Affairs and a national and international orchestras, grant from the Ministry of Culture, she studied Mr. Billard has premièred and recorded many at Yale University then went on to perfect her works, including Machine for Contacting the

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Dead (2001 ) by Lisa Lim; Génération (2002 ); Today”). She has worked with the Hallé a triple concerto for three clarinets by Jean- Orchestra of Manchester, the Cleveland Louis Agobet; Mit Ausdruck (2003), a con - Orchestra, the Los Angeles Philharmonic, the certo for bass clarinet and orchestra by London Sinfonietta, and the Berlin Mantovani; Décombres by Raphael Cendo Philharmonic. Ms. Cherrier has been a pro - (2007 ); Art of Metal I, II, III (2007–2008) by fessor at the Paris Conservatory since 1998 Yann Robin, for contrabass clarinet, chamber and has given many master classes in France orchestra and, electronics; del reflejo de la and abroad. sombra (2010 ) by Alberto Posadas with Quatuor Diotima; and La Grammatica del sof - At the age of 18, Éric -Maria Couturier (cello ) fio (2011 ) by Matteo Franceschini. entered the Paris Conservatory in first place Mr. Billard is a founding member of the in Roland Pidoux’s class, where he received Nocturne Wind Quintet, with which he won the highest honors in cello and a master’s in first prize for Chamber Music at the chamber music in Christian Ivaldi’s class. Conservatory of Lyon, second prize at the He was awarded First Prize and the Special ARD of Munich, and the Chamber Music Prize in the Trapani Competition, Second Award of Osaka. With violist Odile Auboin Prize in Trieste and Third Prize of Florence and pianist Hideki Nagano, he created the along with pianist Laurent Wagschal, with Trio Modulations for which Mantovani, whom he recorded an album devoted to Marco Stroppa, and Philippe Schoeller have French music in the early 20th century. already penned new works. At 23, he joined the Paris Orchestra then Mr. Billard is very active in the research and became first-chair soloist with the Bordeaux development of new instrumental techniques. National Orchestra. Since 2002, he has been a He regularly collaborates with IRCAM and soloist with the Ensemble intercontemporain. the manufacturer Selmer. His participation in Mr. Couturier has played for the greatest the Ensemble’s educational program for conductors of our day, including Sir Georg young people and future music professionals Solti, Wolfgang Sawallisch, Carlo Maria bear witness to his firm commitment to music Giulini, , and Pierre Boulez. transmission in all forms. Member of Trio Talweg, he is soloist in the cello concertos of Haydn, Dvořák, Eötvös, Sophie Cherrier studied at the National and Kurtág. His experience with chamber Conservatory of Nancy (class of Jacques Mule) music has been enriched by playing with such and the Paris Conservatory, where she won pianists as Maurizio Pollini, Jean-Claude first prizes in flute (class of ) and Pennetier, and Shani Diluka. chamber music (class of Christian Lardé). She In the realm of improvisation, he plays with joined the Ensemble intercontemporain in singer David Linx, DJ ErikM, singer 1979. She has collaborated on many premières, Laika Fatien, and double-bass player Jean- among them Mémoriale by Pierre Boulez Philippe Viret, with whom he recorded his (Erato), Esprit rude/Esprit doux by Elliott latest album in quartet. Mr. Couturier has also Carter (Erato), and Chu Ky V by Ton-Thât recorded an album with the octet Les Tiêt. Ms. Cherrier has recorded Sequenza I by Violoncelles Français for the label Mirare. He Luciano Berio (Deutsche Grammophon); plays on a Frank Ravatin cello. …explosante fixe… (Deutsche Grammophon) and the Sonatine for flute and piano by Pierre Born in 1956 in Portland, Oregon, Jens Boulez (Erato); Imaginary Skylines for flute McManama (horn ) made his soloist d ébut at and harp by Ivan Fedele (Adès); and Jupiter age 13 with the Seattle Orchestra. Following and La Partition du ciel et de l’Enfer by Philippe his studies in Cleveland with horn player Manoury (of the collection “Composers of Myron Bloom, he was engaged as a soloist in ABOUT THE ARTISTS

1974 at La Scala in Milan under the baton of recording of Boulez’s Le Marteau sans maître . He joined the Ensemble in - (Deutsche Grammophon, 2005 , conducted by tercontemporain in 1979. He has been a mem - the composer). ber of the Nielsen Wind Quintet since 1982. Awarded the Certificate of Aptitude for In Baden-Baden 1988, he premièred the horn Artistic Education, Ms. Ophèle teaches at the version of ln Freundschaft by Karlheinz Montreuil-sous-Bois Conservatoire and is in - Stockhausen. He has taken part in a large vited to many different academies, including number of chamber music premières, such as Aix-en-Provence, Lucerne, Suc et Sentenac, Bagatelles by Jean-Baptiste Devillers (for horn and Val d’Isère. An important part of her and piano). teaching is the exploration of a broad reper - Mr. McManama has been teaching cham - toire, ranging from to contemporary, ber music at the Conservatoire National jazz, and improvisation. Supérieur de Musique de Paris since 1994. He regularly leads workshops for young musi - Born in 1970 , Jean-Christophe Vervoitte cians, notably at the American Conservatory (horn ) studied horn with Georges Barboteu in Fontainebleau and at Saint-Céré, as well as and chamber music with Maurice Bourgue at contemporary music master classes in France the Conservatoire National Supérieur de and the United States. A soloist, chamber, and Musique de Paris. Parallel to his instrumental orchestra musician, Mr. McManama is also training, he studied harmony and analysis drawn to conducting ensembles. He has cre - with Jean-Claude Raynaud and conducting ated a show in collaboration with Eugène with Jean-Sébastien Béreau. He began work - Durif entitled Litanies, Fatrasies, Charivari , ing as a chamber and orchestra musician with which was first performed at the Cité de la the Prague Mozart Foundation and the musique in 2004, and then reopened in 2006 Orchestre National du Capitole de Toulouse. with the title Cuivres et Fantaisies . Jean-Christophe Vervoitte joined the Ensemble intercontemporain in 1993 and the Emmanuelle Ophèle (flute, bass flute ) began following year performed at the Teatro alla her musical training at the Angoulême École Scala in Milan under the baton of Pierre de Musique. From the age of 13, she studied Boulez in Duo en resonance , for two horns and with and Ida Ribera, then with ensemble, by Ivan Fedele. Since then, his in - at the Paris Conservatoire, terest in 20th-century music has led him to where she was awarded a first prize for perform at renowned theaters throughout flute. Ms. Ophèle joined the Ensemble inter - Europe, as well as in Tokyo and Los Angeles. contemporain when she was 20 years old. He has taken part in numerous premières, in - Keenly interested in developing the repertoire cluding Bruno Mantovani’s Das erschafft der and in new technology-based areas of expres - Dichter nicht alongside Barbara Hendricks. In sion, she soon began to play a part in new February 2006, he premièred a work for horn works using the most recent technology: La and ensemble by Marc Monnet entitled Partition du ciel et de l’enfer for MIDI flute and Mouvement, autre mouvement (en forme d’é - MIDI piano by Philippe Manoury (recorded tudes) . Jean-Christophe Vervoitte is also pas - by Adès) and ...explosante fixe... for MIDI flute, sionate about teaching: he has taught at the two flutes, and instrumental ensemble by Académie du XXe siècle located at the Cité de Pierre Boulez (recorded by Deutsche la musique, and has given several master Grammophon). She was also featured on the classes at Carnegie Hall.

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