Concours de Genève Prix international d’ interprétation & de composition

Press Kit Composition Prize 2013

Partenaire principal Concours de Genève Prix international d’ interprétation & de composition

Table of contents

Introduction Page 2 Presentation and regulation Page 3 The Finalists and the works Page 4 Members of the Jury Page 12 Young Audience Prize Page 15 The Ensemble Contrechamps Page 16 Musical Director of Contrechamps Page 17 Partners Page 18 Organisation Page 19 Contact Page 20

Partenaire principal 1 Concours de Genève INTRODUCTION Prix international d’ interprétation & de composition

A new discipline The Geneva International Music Competition is traditionally a competition of musical performance. Since 1939, nearly all disciplines have been represented over the years, from Instruments to chamber music, and voice. The only exception was composition, a discipline essential to performers but often ill regarded by the public. Now however, in Geneva, the two worlds now cohabit. By offering a Composition Prize, for which the award winning work will be compulsory for performers the following year, the Geneva International Music Competition hopes to contribute to the emergence of a true musical modernity, whereby the creative act of the composer will be regarded with the same standards of respect and admiration as the re-creative act of the performer. The Geneva Competition’s Composition Prize follows the tradition started with the Prix Reine Marie José, which was awarded from 1958 to 2008 to more than 20 works from diverse disciplines, ranging from quartets to concertos, to pieces for solo and electronic instruments. With the support of the Fondation Reine Marie José, the Geneva public now has the possibility of watching a performance of the , of awarding the Audience Prize to the piece of its choice and of re-listening to the award-winning work the following year, during the competition performances. For its part, the Jury, which consists of universally recognised personalities, brings the prize-winner both prestige and international recognition.

Composition Prize 2013 This year, the subject of the Composition Prize was a work for solo flute and small group of five musicians. Candidates had to select the five instruments from a restricted list inspired by Schoenberg’s Pierrot in the Moonlight, one of the classic pieces for 20th century music ensembles: wind instruments (, , ), strings (violin, alto, cello), a piano and a percussionist. The different intrument groups did not necessarily have to be represented, but an instrument could only be used once. Our five finalists thus present works with comparable numbers of players, although marked by subtle variations. In its selection, the Jury favoured works which enhanced the solo instrument, presented formal perfection, as well as remarkable artistry. The Jury selected five pieces by Italian, Korean and Japanese composers within the 35 compositions received from a dozen different countries. Through their aesthetic choices, marked by their origins and cultures, the five young composers offer music representative of our contemporary world, which is more international and colourful than ever. These works will be presented at the public Final by the Ensemble Contrechamps, under the direction of Gregory Charette. The two soloists of the evening, talented performers and ardent promoters of the music of their time, are both well-known on the Geneva music scene: Felix Renggli for having been lead flutist for the Ensemble Contrechamps and Silvia Careddu for having started her career In Geneva where she won First Prize for flute in 2001.

2 Concours de Genève COMPOSITION PRIZE 2013 Prix international d’ interprétation & de composition

Members of the Jury Ivan Fedele, Italy, President Toshio Hosokawa, Japan , Philippe Manoury, Isabel Mundry, Germany Finalists selected Eunho Chang, Kwang Ho Cho, South Korea Gabriele Cosmi, Italy Andriano Gaglianello, Italy Chikako Yamanaka, Japan Subject Work for flute solo and small ensemble of five instruments. Choice amongst the following groups: Strings: violin, viola, cello / Winds: oboe, clarinet, bassoon (secondary instruments are allowed) / Piano/ Percussions: free choice of instruments. All groups must not necessarily be represented, but each instrument must be represented only once. The piece mus not exceed 15 minutes. Calendar 31 March 2013 : registration deadline 29 April – 1 May 2013 : selection of the Finalists by the official Jury 1 December 2013 : Public Final with Contrechamps The laureate’s work will be imposed for the semi-final of the Flute Competition 2014. Prizes attributed OFFICIAL PRIZE CHF 15’000.- (avec le soutien de la Fondation Reine Marie José) Une montre Breguet sera offerte au lauréat ou à la lauréate

SPECIAL PRIZES Audience Prize CHF 1’500.- est décerné par les spectateurs lors de la Finale du 1er décembre Young Audience Prize CHF 1’000.- est remis par Médecins Sans Frontières, partenaire caritatif du Concours, et décerné par les élèves des classes partenaires « Air France KLM » Prize The special prize «Air France KLM» consists in a return ticket towards one of the 230 destinations of the AIR FRANCE KLM worldwide network.

4 Concours de Genève PUBLIC FINAL Prix international d’ interprétation & de composition

Sunday December 1st 2013, 5 pm, Studio Ernest-Ansermet PUBLIC FINAL OF THE COMPOSITION PRIZE

Eunho Chang, South Korea, 30 years Gohok for flute solo and ensemble (clarinette, viola, cello, percussion and piano) Flute : Felix Renggli

Adriano Gaglianello, Italy, 30 years Shrew ! for flute solo and ensemble (clarinette, bassoon, viola, cello, percussion) Flute : Silvia Careddu (1st Prize 2001)

Chikako Yamanaka, Japan, 30 years Uminari for flute solo and ensemble (oboe, clarinette, cello, percussion and piano) Flute : Silvia Careddu (1st Prize 2001)

Gabriele Cosmi, Italy, 25 years Geghard II for flute solo and ensemble (violin, viola, cello, percussion and piano) Flute : Felix Renggli

Kwang Ho Cho, South Korea, 26 years Pneuma for flute solo and ensemble (clarinette, violin, cello, percussion and piano) Flûte : Felix Renggli

With the support of the Fondation Reine Marie José In partnership with the Ensemble Contrechamps Direct broadcast on Espace 2 & streaming broadcast on www.rts.ch/dossiers/concours-de-geneve

AROUND THE COMPETITION : Monday 2 December 6 pm, Conservatory of Geneva CONCERT-PORTRAIT IVAN FEDELE Presentation of a selection of pieces by Ivan Fedele, President of Composition Jury 2014 By students of the HEM-Geneva

Tuesday 3 December, Conservatory of Geneva MASTER CLASS BY IVAN FEDELE Reserved for students of the HEM, closed to the public In partnership with the HEM-Geneva

5 Concours de Genève FINALISTS & THEIR WORK Prix international d’ interprétation & de composition

Eunho Chang, South Korea, 30 years

Born in 1983 in Daegu, Korea, Eunho Chang studied composition at the Kyongbook High School of Art, then at the Academy Chopin-Keimyung. He then continued his studies in Warsaw where he obtained a Doctorate in Philosophy with prof. Marcin Blazewicz at the Academy Fryderyk Chopin. He has won many composition prizes, both in Corea and internationally, including a 1st Prize at the Dong- A Music Compeition (2009), a 1st Prize at the Paderewski Competition (2008), a 1st Prize as well as special prizes at the Concours de composition pour ensemble de percussions VP 11 in France (2011), a 1st Prize at the George Enescu International Competition for composition section (2011) and recently, the Queen Sofia’s Prize for Music Composition (2013) in Barcelona. His works have been performed by prestigious musicians, such as the Arditi Quartet (UK), the Tactus Percussion Ensemble (FR), the Klagforum Wien, presented in Korea as well as in Europe (, France, Great Britain, Czech Republic, , Germany) and the USA.

Gohok for flute solo and ensemble (clarinette, viola, cello, percussion and piano) Gohok means «fascination». The solo flute is indeed fascinatingly beautiful. The solitary melodic line amid the accompanying instruments exudes an entrancingly seductive . This piece is divided into three parts. The first begins with the solo flute which then, by blending with other instruments, becomes a member of the ensemble. The second might appear to be but a simple development of the first, but the ensemble is now focused on the flute. Stereo elements are played by certain instruments to maintain the unity of the piece. The third part consists of distinct elements such as glissandi by the strings or piano pizzicati. Generally speaking, the piece Is more constructed around repeated elements rather than on thematic modifications. In order to understand it, one must first and foremost consider the sounds and the sound resonance, both horizontal and vertical. Rather than focusing attention on the linear discourse (development, opposition, modulation), one should consider the piece as an ambiguous, constantly changing whole, with a vague, complex structure, based on the perception of the moment, somewhat in the same way as with an impressionist work of art. Eunho Chang

6 Concours de Genève FINALISTS & THEIR WORK Prix international d’ interprétation & de composition

Kwang Ho Cho, South Korea, 26 years

Born in 1987 in Pyeong Taek, in Korea, Kwang Ho Cho started violin studies in 1993. In 2007, he entered the Music Faculty of the University of Yonsei, in Seoul, where he obtained his degrees in harmony, counterpoint and orchestration. In 2008, he founded a group of composers called “SUM”. In 2009, he followed a masterclass with Thierry Escaich. In 2011, he won the Composition Prize of the George Enescu International Competition for a chamber music piece. In 2012, his works were performed as world premiere for one of the Seoul Culture Festival’s concerts. He is currently studying with Chung Mook Kim at the University Yonsei, where he is studying composition, psychology and French literature. He works as a composer and a conductor.

Pneuma for flute solo and ensemble (clarinette, violin, cello, percussion and piano) Pneuma means more than just «breath». It also means the soul, the Holy Spirit. While this concept has Christian origins, this work was not composed within the limitations of a single religion. The very breath of life appears to flow through the flute. A gentle whistling, which gradually turns into a storm with all the echoes composing it: this is what is being expressed in this music. I tried to breathe new life into the music and to use the vitality of breath to create a new sound. Kwang Ho Cho

8 Concours de Genève FINALISTS & THEIR WORK Prix international d’ interprétation & de composition

Gabriele Cosmi, Italy, 25 years

Born in 1988 in Oristano (Sardinia), Gabriele Cosmi studied composition at the Conservatory of Cagliari with Daniele Bravi, with Ivan Fedele at the Academy of Santa Cecilia, in Rome, then in Milan with Alessandro Solbiati. Of fundamental importance to his career were his meetings with Ivan Fedele, Alessandro Solbiati, , Stefano Gervasoni, Franco Oppo, Giacomo Manzoni and Frédéric Dourieux. His work “Cypresse” for accordion was selected by the European Institute of Composition Gallery of Modern art in Milan. He has composed music for ensembles, soloists, orchestra and electronics, which has been performed in various Italian and European cities (Cagliari, Milan, Venise, Trento, Bari, Moscou, Maribor, Saragosse). His work has been commissioned by Theatres and Festivals such as the Festival Unheard, the Festival Spaziomusica, the Concerts of the Conservatory of Milano, the Stinging Festival, the Trento Theatre, the Pontino Festival, etc. He collaborates with a great many of artists, conductors and ensembles in Italy and in Europe.

Geghard II for flute solo and ensemble (violin, viola, cello, percussion and piano) The Geghard Monastery is a construction located in Armenia which dates from the 4th century AD and is distinguished by the fact that it is partly carved out from the mountain itself. The strong opposition between rocky material and the inherent spirituality of the monastery inspired my work. In fact what sometimes occurs, is that inside certain very dense moments of sound, one can almost make out the veins of the rock showing through – evanescent and almost weightless shapes that appear to be suspended in mid-air. Gabriele Cosmi

9 Concours de Genève FINALISTS & THEIR WORK Prix international d’ interprétation & de composition

Adriano Gaglianello, Italy, 30 years

Born in Chivasso (Turin) In 1983, at seven years old Adriano Gaglianello began music studies involving the violin, piano and organ, before dedicating himself to voice and singing for a number of years as a soloist and with various choirs and groups. He studied in Turin in Daniele Elos’ composition class, and subsequently with Kenneth Hesketh at the Royal College of Music In , and then with Ivan Fedele at the Accademia Santa Cecilia de Rome. Winner of a number of composition prizes in Italy and Europe (including 1st Prize at the Egidio Carella Competition in 2012 and the Kazimierz Serocki Competition in Warsaw), he has worked with many musical institutions, including the Turin Opera, the RAI Choir, the Academia Montis Regalis, the European William Byrd Ensemble in Paris, the Vox Altera Ensemble in Lugano, and the Innsbruck Feswochen. Adriano Gaglianello was part of the World Youth Choir for five years, where he became Head Assistant from 2008 to 2011. He studied Orchestra Conducting and specialised in performing contemporary and Baroque musical works.

Shrew ! for flute solo and ensemble (clarinette, bassoon, viola, cello, percussion) I began to think about a new work while attending a performance of Shakespeare’s Taming of the Shrew at the Globe Theatre in London a few years ago. For a whole year, prior to composing the piece itself, I thought about the form and content that would best capture the emotions felt. My aim right from the start was find the best way of capturing the emotions within a solid timeframe. A key role is played by the soloist, who sometimes acts as a solo voice, and sometimes as a simple part of the whole group. The entire dramaturgy of the piece is a dialogue between these two different solo flute characters. The harmonic treatment was defined by bringing support to the rhythmic framework of the piece. The latter is very fluid and includes quite a few accelerandos and ritardandos, a process that consciously avoids providing points of reference throughout the musical journey, privileging souvenirs and the repetition of a clear, precise discourse. Adriano Gaglianello

10 Concours de Genève FINALISTS & THEIR WORK Prix international d’ interprétation & de composition

Chikako Yamanaka, Japon, 30 ans

Born in 1983 in Matsusaka, in the region of Kansai, Japan, Chikako Yamanaka obtained her degree in Composition at the University of Arts of Tokyo in 2007 and was awarded the “Acanthus Music Prize”. She pursued her studies at the University of Arts of Tokyo obtaining a Master’s degree in 2009. In 2009, she composed her piece “Rinne” for cello and piano, which was performed for the concert “Contemporary Virtuoso!” produced by the Japan Society for Contemporary Music. In 2010, she won Third Prize at the Toru Takemitsu Competition, presided by Tristan Murail. She has composed works for piano, chamber music and orchestra.

Uminari for flute solo and ensemble (oboe, clarinette, cello, percussion and piano) The title «Uminari» Is a Japanese term that refers to the rumbling of the sea. I was deeply shocked by the terrible earthquake and tsunami that ravaged my country in Spring 2011, and I sought the resonances from the bottom of my heart. I was inspired by the voice of the sea, this maternal sea whose deep internal hidden qualities I tried to reveal: anger, complaint, the power of purification and wisdom. The solo flute and the instrumental ensemble are in my piece a representation of the ocean waves, the depths of the sea, and the mysteries that lie within it. At the beginning of the piece, the sea is calm, the waves barely beginning to break. Each instrument interacts like the waves on the surface of the sea. In the middle of the piece, a fearful voice comes from the depths of the ocean: it is the solo flute and Japanese crystal bowls. The waves gradually get bigger, the sea level rises and waves as large as mountains crash onto the shore: this is the thundering of the angry sea. Finally, the call from the ocean disappears into the distance. Chikako Yamanaka

11 Concours de Genève OFFICIAL JURY Prix international d’ interprétation & de composition

Ivan Fedele, President, Italy

Ivan Fedele was born in Lecce in 1953. He studied piano with B. Canino, V. Vitale and I. Deckers, and composition under the guidance of R. Dionisi, A. Corghi and F. Donatoni. At the same time, he studied philosophy at the University of Milan, with E. Paci, L. Geymonat, G. Giorello, R. Mangione and R. Cantoni. He owns to his father, a mathematician, the passion for mathematics, as it becomes evident in his compositional researches, including the examination and use of the concept of “spatialisation” (Duo en résonance, Ali di Cantor, Donacis Ambra), the formulation of a “library” of creative processes and the definition of a prototype of “granular synthesizer”, like the one used for the realization of the electronic part of Richiamo (for brass, percussions and electronics - IRCAM 1993). His piece Capt-Actions (for string quartet, accordion and electronics) uses for the first time a new system of “capteurs”, which are able to send all data regarding the contours of a musical gesture directly to the computer, which, in turn, interprets this information, on real time, according to the archetypes of modulation set a priori by the composer. Capt-Actions has been premiered at the Arsenale in Metz, in April 2005. This new technology, which has been developed by Thierry Coduys in the “Kitchen” studios of Paris, opens up new compositional perspectives, yet unexplored. Ivan Fedele’s catalogue, edited by Suvini Zerboni, consists of about eighty titles, to which one should add the opera Antigone, commissioned by the Teatro Comunale of Florence for the inauguration of the Festival “Maggio Fiorentino”, in May 2007, which has been awarded the XXVII “Abbiati” Prize of the Italian Music Critics Association for the “best new work of 2007”. In addition to a large body of chamber music, he has also written works for orchestra alone or with concertante instrument, as well as vocal-orchestral pieces of which En archè, 33 noms (commissioned by La Scala Theatre in Milan) and La pierre et l’étang (...les temps...) are the most recent. He has collaborated with Boulez, Eschenbach, Chung, Saalonen, Muti, Slatkin, Robertson, Kalitze, Wit, Valade and Rophé, among others, and his music has been performed by various and ensembles, like for instance: BBC, Berlin Radio, Chicago Symphony Orchestra, Stuttgart SWR, National de France, National de Lyon, Warsaw Symphony Orchestra, RAI National Symphony Orchestra, Santa Cecilia, Ensemble InterContemporain, London Sinfonietta, Klangforum Wien, etc. The recording Animus Anima (Cd Stradivarius STR 33629) has been awarded the prize “Choc de la Musique 2003” from “Le Monde de la Musique”, while Maya (Cd L’Empreinte DigitaleED 13198) has received the “Coup de Coeur 2004” from the “Académie Charles Cros”. In 2007 the recording Mixtim (Cd Stradivarius 33717) won the 11th edition of the “Premio del Disco Amadeus” for the category contemporary music. In the monographic Cd released in 2009 and entitled Mosaïque (Stradivarius STR 33850), the Orchestra Sinfonica Nazionale della Rai and the violin soloist Francesco D’Orazio play all his concertante works with violin. In 2011 the Cd/Dvd which includes all Fedele’s compositions for piano played by Ciro Longobardi (Limen CDVD004C004) won the Special Prize of the Critics/Classic of the magazine Musica & Dischi. Ivan Fedele carries also an intense academic activity, which has seen him participating to the activities of important institutions, like Harvard University, University of Barcelona, Sorbonne and IRCAM in Paris, Sibelius Academy of Helsinki, Chopin Academy of Warsaw, Centre Acanthes in Avignon, CNSM in Lyon and CNR of Strasbourg as well as Italian Conservatoires, namely Milan, Bologna and Turin. In 2000 he has been awarded the honour of “Chevalier de l’Ordre des Lettres et des Arts” by the French Ministry of Culture. In 2005 Fedele has been appointed Member of the Accademia Nazionale di Santa Cecilia in Rome. In 2007 the Italian Ministry of Culture entrusted him with the Professorship of Composition for the “Corsi di Perfezionamento in Studi Musicali” at the same Accademia. From 2009 to 2011 he has been the Artistic Director of the Orchestra I Pomeriggi Musicali of Milan. He is appointed Director of the Music section of the Venice Biennale for the four-year period 2012-2015. Concours de Genève OFFICIAL JURY Prix international d’ interprétation & de composition

Toshio Hosokawa, Japan

Toshio Hosokawa was born in Hiroshima. Following initial studies in piano and composition in Tokyo, he came to Berlin in 1976 to study composition with Isang Yun at the Hochschule der Künste. He continued his studies with Klaus Huber at the Hochschule für Musik in Freiburg from1983 to 1986. In 1980, he participated for the first time in the Darmstadt Summer Courses for New Music where some of his compositions were performed. From 1990, he was a regular guest of the festival as a tutor. In subsequent years, the Japanese composer’s reputation continued to increase within the international contemporary music scene and Hosokawa received numerous

commissions. From 1989 to 1998, the composer was the artistic director and organiser of the annual Akiyoshidai International Contemporary Music Seminar and Festival in Yamagushi which he had co-founded. Since 2001, he has additionally been the artistic director of the Japanese Takefu International Music Festival in Fukuj. He was appointed as permanent guest professor at the Tokyo College of Music in 2004. Hosokawa lives in Nagano, Japan. Hosokawa’s compositions include orchestral works, solo concertos, chamber music and film music alongside works for traditional Japanese instruments. Influences from both Western music - from Schubert to Webern - and the culture of traditional Japanese music can be recognised in his compositions. Hosokawa considers the compositional process to be instinctively associated with the concepts of Zen Buddhism and its symbolic interpretation of nature. In the instrumental work In die Tiefe der Zeit (1994), the cello represents the male principle and the accordion the female and the surrounding cosmos is reflected in the form of air and clouds by the strings; each individual note has a particular significance, defying silence in their tonal characteristics and thereby becoming elements of a superordinated philosophical concept. The orchestral work Circulating Ocean was composed in 2005 as a commission for the Salzburg Festival. Valery Gergiev conducted the world premiere and the British premiere took place at the BBC Proms a year later under the baton of Kazushi Ono. Hosokawa’s piano concerto Lotus under the moonlight was premiered by the NDR Symphony Orchestra and the pianist Momo Kodama in 2006 as homage to Mozart. Seiji Ozawa conducted the first performance in Japan with the Mito Chamber Orchestra and the work received its German premiere under the direction of Kent Nagano and the DSO. In the oratorio Voiceless voice in Hiroshima (1989/2000-01) for soloists, narrator, choir, accompanying tape (playback tape) (ad lib.) and orchestra, Hosokawa takes as his subject the devastating atomic bomb explosion at the end of the Second World War in the city of his birth. The composer approaches the unutterable through his extreme musical language – the brutal tonal world of brass and percussion and the colourful chordal landscape of the choir. His first opera Vision of Lear was premiered at the Münchener Biennale in1998. Hosokawa succeeds in bridging East and West in his Shakespeare adaptation: modern European musical theatre meets the Japanese traditions of Nō-Theatre on the basis of the Renaissance play. Hosokawa’s second opera, Hanjo, was first staged at the Festival in Aix-en-Provence in 2004, followed by further performances in Brussels, Hamburg, Lisbon, Bielefeld, Lyon, Tokyo and Milan. Hosokawa has received numerous awards and prizes: the Irino Prize for Young Composers, first prize in the composition competition for the 100th anniversary of the Berlin Philharmonic Orchestra (both in 1982), the Arion Music Prize (1984), the Composition Prize of the Young Generation in Europe (1985), the Kyoto Music Prize (1988) and the Rheingau Music Prize and the Duisburger Music Prize in 1998. Hosokawa was appointed as member of the Akademie der Künste in Berlin in 2001. In 2006/07 and 2008/09, he undertook a period of research at the Institute for Advanced Study [Wissenschaftskolleg] in Berlin. He was Composer in Residence at the Biennale di Venezia (1995, 2001), the International Summer Academy of the Mozarteum in Salzburg (1998), the International Music Festival of Lucerne (2000), musica viva in Munich (2001), Klangspuren in Schwaz (2002), Musica nova Helsinki (2003), Acanthes in Villeneuve- lez-Avignon (2003) and also Warsaw Autumn (2005, 2007). Hosokawa has been Composer in Residence at the Tokyo Symphony Orchestra since 1998.

12 Concours de Genève OFFICIAL JURY Prix international d’ interprétation & de composition

Magnus Lindberg, Finland

Magnus Lindberg was born in Helsinki in 1958. Following piano studies he entered the Sibelius Academy where his composition teachers included and Paavo Heininen. The latter encouraged his pupils to look beyond the prevailing Finnish conservative and nationalist aesthetics, and to explore the works of the European avant- garde. This led around 1980 to the founding of the informal grouping known as the Ears Open Society including Lindberg and his contemporaries Hämeeniemi, Kaipainen, Saariaho and Salonen, which aimed to encourage a greater awareness of mainstream modernism. Lindberg made a decisive move in 1981, travelling to Paris for studies with Globokar and Grisey. During this time he also attended Donatoni’s classes in Siena, and made contact with Ferneyhough, Lachenmann and Höller. His compositional breakthrough came with two large-scale works, Action-Situation- Signification (1982) and (1983-85), which were inextricably linked with his founding with Salonen of the experimental Toimii Ensemble. This group, in which Lindberg plays piano and percussion, has provided the composer with a laboratory for his sonic development. His works at this time combined experimentalism, complexity and primitivism, working with extremes of musical material. During the late 1980s his music transformed itself towards a new modernist classicism, in which many of the communicative ingredients of a vibrant musical language (harmony, rhythm, counterpoint, melody) were re-interpreted afresh for the post-serial era. Key scores in this stylistic evolution were the orchestral/ensemble triptych Kinetics (1988), Marea (1989-90) and Joy (1989-90), reaching fulfilment in Aura (1993-94) and Arena (1994-95). Lindberg’s output has positioned him at the forefront of orchestral composition, including the concert-opener (1997), large-scale statements such as (1997), (1999) (2002-3) and (2005), and concertos for cello (1999), clarinet (2002) and violin (2006). Recent works include Seht die Sonne (2007), commissioned by the Berliner Philharmoniker under and the San Francisco Symphony, and his first choral-orchestral work GRAFFITI, premiered in Helsinki inMay 2009. Lindberg is Composer-in-Residence of the between 2009 and 2012, with new works including the concert-opener premiered in September 2009 to launch ’s tenure as the orchestra’s Music Director, for orchestra and Souvenir for ensemble first performed in 2010, and Piano Concerto No.2 premiered by Yefim Bronfman in 2012. Lindberg’s music has been recorded on the Deutsche Grammophon, Sony, Ondine and Finlandia labels. In 2003 Lindberg was awarded the prestigious Wihuri Sibelius Prize. Magnus Lindberg is published by Boosey & Hawkes

13 Concours de Genève OFFICIAL JURY Prix international d’ interprétation & de composition

Philippe Manoury, France

Born in Tulle in 1952, Philippe Manoury studied the piano (with Pierre Sancan) then, at the École Normale de Musique in Paris, composition (with Gérard Condé and Max Deutsch) as well as harmony and counterpoint. Finally, at the Paris Conservatory, he completed his training with Claude Ballif (musical analysis), and Ivo Malec then Michel Philippot (composition). From the age of 19 he was active in the main centres of contemporary music performance (Royan, La Rochelle, Donaueschingen, London, etc.), the premiere in 1974 of Cryptophonos by Claude Helffer drew him to the attention of audiences. He was resident in Brazil from 1978 to 1981 where he held classes and gave lectures in various universities (Sao Paulo, Brasilia, Rio de Janeiro, Salvador). On his return to France in 1981 Philippe Manoury received an invitation from IRCAM, and since then he has continually worked there as a researcher, a composer and a teacher. In association with the mathematician Miller Puckette, his research has been focussed on the interaction, in real time, of acoustic instruments and new technologies linked to musical IT. From this work came Sonus ex machina, a cycle of interactive pieces for various instruments: Jupiter, Pluton, La Partition du Ciel et de l’Enfer and Neptune. From 1983 to 1987 he was in charge of pedagogy for the Ensemble Intercontemporain, and taught composition and electronic music at the Lyons Conservatory from 1987 to 1997. He has also held many composition seminars in France and abroad (United States, Japan, Finland, Sweden, Czech Republic, Canada). From 1995 to 2001 he was composer in residence with the Orchestre de Paris, and then, from 2001 to 2003, for the National Theatre in Orléans, having, from 1998 to 2000, directed the European Music Academy of the Festival of Aix en Provence. Since the autumn of 2004 he has been teaching at the University of California in San Diego. Manoury’s music has been performed in many leading cities around the world (Amsterdam, Berlin, Bratislava, Helsinki, Moscow, Oslo, Saint Petersburg, Tokyo, Vienna) and has been admired by leading personalities, such as Pierre Boulez, the dedicatee and first conductor of Sound and Fury at the head of the Chicago Symphony Orchestra and the Cleveland Orchestra, and conductor of several of his works; Esa-Pekka Salonen, who, conducting the Orchestre de Paris, gave the first performance of Noon (2003); Kent Nagano, who, as director of the Bayerische Staatsorchester, conducted the world premiere of Abgrund (2007). His ensemble music has been commissioned and premiered by eminent groups such as the Ensemble Intercontemporain (Identités remarquables, in 2005, Paris), Ensemble Modern (Strange ritual, in 2005, Japan) and the Orchestre PoitouCharente (Terra ignota, in 2007, Niort and Paris). In his recent work Philippe Manoury has shown that the voice is a form of expression he has especially liked to cultivate: as a solo surrounded by instruments (Cruel Spirals, in 2007), within a vocal ensemble (On-Iron in 2006 and Trakl Gedichte in 2007 were the result of a collaboration with Accentus) and in operatic form (60e Parallèle, in 1998 at the Théâtre du Châtelet, Paris; KÖ, based on Kafka’s The Trial, in 2001 at the Paris Opera; La Frontière, in 2003 at the National Theatre in Orléans). The SACEM has awarded Philippe Manoury three prizes: Prize for chamber music (1976), Prize for best musical production (for Jupiter, 1988) and Grand Prix for symphonic music (1999). After receiving the Grand Prix for composition from the City of Paris 1998, he was awarded the Grand Prix of the SACD (2001) for his opera KÖ, the Prize of the French musical press (2001), and the ‘Prince Pierre Ier de Monaco’ Prize (2002) Concours de Genève OFFICIAL JURY Prix international d’ interprétation & de composition

Isabel Mundry, Germany

Born 1963 in Schlüchtern, Germany. Studied composition, music and art history, as well as philosophy, in Berlin and Frankfurt-am-Main. 1992 to 1994 resident in Paris, initially as scholarship holder of the Cité des Arts, later participating in a one year computer science and composition course at IRCAM. Isabel Mundry lived in Vienna from 1994 to 1996 as a freelance composer. She then taught at the Berliner Kirchenmusikschule and the Hochschule der Künste in Berlin. In 1996 she was appointed professor for music theory and composition at the Frankfurt University of Music and Performing Arts. Since 2003 she has held the post of professor for composition at the Zurich School of Music, Drama and Dance. During the academic year 2002/03 she was a fellow at the Institute for Advanced Studies in Berlin. Isabel Mundry has also lectured at the Darmstadt Vacation Courses for New Music (1989-2002) and also at the Akiyoshidai Festival in Japan (1997). She has given master classes at Copenhagen’s Royal Academy of Music (2002) and in Tbilisi (2007). Isabel Mundry has received numerous prizes, among them the Boris Blacher Prize for Composition, the Busoni Composition Prize, the Kranichsteiner Music Prize and the Siemens Award. Her musical theatre composition, “Ein Atemzug – die Odyssee”, received the 2006 critics prize for the best world premiere. Isabel Mundry has been Composer in Residence at the Tong Yong Festival (Korea, 2001), the Lucerne Festival (2003) and the Mannheim National Theater (2004/05). During the 2007/08 season she will hold that position at the Saxon State Opera in Dresden. Her works are published by Breitkopf & Härtel.

14 Concours de Genève YOUNG AUDIENCE PRIZE Prix international d’ interprétation & de composition

Young Audience prize

Last year, the Geneva Competition innovated by awarding a Young Audience Prize, in partnership with Médecins sans Frontières. This experience was crowned with success, and attracted more than 50 young students. For the 2013 Composition Prize, the Geneva Competition will repeat this operation with the Ensemble Contrechamps, in partnership with Médecins sans Frontières. The selected students should be prepared to listen and judge contemporary music, and be careful not only to judge the performance but the piece itself, according to very strict criteria. They will thus represent the voice of young musicians today. On Saturday November 30, the day before the Final, the five finalists will present their pieces to the Young Audience Jury at the Studio Ernest-Ansermet. They will explain their musical choices. What did they wish to express with their composition? How did they envisage the relationship between the solo instrument and the ensemble? What makes their creation special? The two soloists, Silvia Careddu and Felix Renggli, will be present and will play a short extract from each piece in order to introduce it and highlight a specific passage. It is upon these criteria, requiring attentive, involved listening on the part of the young jury, that the creations of the Geneva 2013 Composition Prize will be judged.

Programme : Saturday 30 November 2013, 5 PM Studio Ernest-Ansermet The composers present their work in front of the Young Audience Jury Sunday 1 December 2013, 10 AM Studio Ernest-Ansermet Final of the Composition Prize, Young Audience Prize

Information and registration : CONTRECHAMPS - Education programme Sarah Mouquod [email protected] www.contrechamps.ch / tel. 022 329 24 00

15 Concours de Genève ENSEMBLE CONTRECHAMPS Prix international d’ interprétation & de composition

Ensemble Contrechamps

Founded in 1980, the Ensemble Contrechamps aims to perform the 20th and 21st century repertory and to support the current creation. It is responsible for a season in Geneva including conducted concerts, concerts of chamber music, activities intended for all public, children, pupils, adults, passionate people as well as neophytes. Its formation can be extended to about 25 musicians according to the performed works. The Ensemble Contrechamps recorded more than about twenty CDs. Brice Pauset is the Artistic Director of Ensemble Contrechamps since January 2013. Privileged collaboration: especially with the following composers: George Benjamin, Pierre Boulez, , Hugues Dufourt, , , Stefano Gervasoni, Jonathan Harvey, , Michael Jarrell, György Kurtág, Helmut Lachenmann, Tristan Murail, Brice Pauset, Mathias Pintscher, ... with conductors such as: Stefan Asbury, Jean Deroyer, Jurjen Hempel, Jürg Henneberger, Peter Hirsch, Clement Power, Pascal Rophé, Peter Rundel… with many international soloists as Pierre-Laurent Aimard, Teodoro Anzelotti, Luisa Castellani, Hedwig Fassbender, Isabelle Faust, Rosemary Hardy, Nicolas Hodges, Salomé Kammer, Robert Koller, Donatienne Michel-Dansac, Christoph Prégardien, Yeree Suh, Kay Wessel,... Invitation abroad for the following festivals: Musica (Strasbourg), Festival d’Automne in Paris, Bludenzer Tage zeitgemässer Musik, Voix nouvelles (Royaumont), Ars Musica (Bruxelles), Musicadhoy in Madrid, Witten, Salzburg Festival, Music Biennale in Venice, Wien-Modern, DeSingel (Anvers), Märzmusik Berlin, Tage für Neue Musik (Zürich), Lucerne Festival, etc. In Geneva it collaborates regularly with the Centre de Musique Electroacoustique de la Haute Ecole de Musique, Eklkto, the Museum of Art and History, the Conservatoire populaire de musique, danse et théâtre, the Théâtre du Galpon and the Théâtre Am Stram Gram. Contrechamps is supported by the City and the State of Geneva.

16 Concours de Genève ENSEMBLE CONTRECHAMPS Prix international d’ interprétation & de composition

Gregory Charette, musical director Gregory Charette was born in Los Angeles, California. He earned a B.M. in composition from the Oberlin Conservatory of Music, where he studied with Lewis Nielson and participated in master-classes with Helmut Lachenmann, David Lang, and Rebecca Saunders. He moved to The Netherlands to study orchestral conducting at the Royal Conservatory of The Hague in The Netherlands, where his primary teachers were Jac van Steen and Kenneth Montgomery. Gregory served as a conductor of the ASKO/Schönberg Ensemble’s Ligeti Academy from 2009 to 2011 and was active with the Dutch National Opera Academy, assisting with various productions and leading a full production of *L’Elisir d’Amore* in winter 2010/11. In 2013 he earned his M.M. in conducting. A fierce advocate of new music, Gregory studied with Pierre Boulez at the 2011 Luzern Festival and has served as conductor in the Holland Festival’s John Cage Centennial as well as the Aldeburgh Festival’s Emerging Composers Program, where he has worked closely with . He made his debut with the ASKO/ Schönberg Ensemble in the 2012 Gaudeamus Festival, stepping in at short notice for Etienne Siebens. Recent engagements have included concerts with the Nieuw Ensemble, Noord Nederlands Orkest, and the Nederlands Philharmonisch Orkest. Gregory currently resides in The Hague.

17 Concours de Genève PARTNERS Prix international d’ interprétation & de composition

Soutiens et partenaires Partenaire principal

Orchestre de la suisse rOmande

Autorités genevoises Institutions associées

NEEMEdirection JäRVI RENaud Avec le soutien de

Partenaires artistiques Capuçoviolon N

10.01.2014victoriA hAll, Genève Partenaires média Transporteur officiel Partenaire caritatif 20h00 pasCal dusapIN AufGAnG, concerto pour violon Partenaires d’échange Annonceurs et orcheStre (créAtion SuiSSe)

Le Concours de Genève remercie les généreux donateurs des Amis du Concours :Dominique Aymé-Martin · Antonie et EmmanuEl ChabriEr Philippe Bertherat · Virgilio Bertoli · Sylvie et Yves Beyeler · Maité Bovet · Lottie et Pierre Chalut · Gabrielle Chaponnière · Michelle Gwendoline, ouverture Constantin · Jacqueline Cyvoct · Jean-Louis Delachaux · Solange et Claude Demole · Francoise et Guy Demole · Ruth Dreifuss · François · Duchêne · Jean-Claude Faes · Caroline et Eric Freymond · Christiane Friederich · Marianne et Marc Carl niElsEn Symphonie n° 4 op. 29, Photo © sprint / corbis Fues · Pamela et André Gigon · Christiane Guerne-Ernens · Anne-Marie Hagger · Shirley Henrioud · Claude Howald · Christiane dite « l’inextinGuible » BaseGVa (www.basedesign.com) Hubscher · Erika et Pierre Hutin · Françoise Le Fort · René Lindenmeyer · Andrée et Jean-Marc Meyer · Roberte Meystre · Dominique 18 et Pierre Yves Mourgue-d’Algue · France Naz · Anne-Marie Naz · Jacqueline et · Philippe Nordmann · Bruno Nussbaumer · André et Sonia Philipp · Christiane Privat · Jelena et Thierry Rochat · Sylvie et Daniel Schmid · Marie-José Tissières · Saskia Van Beuningen · Danièle Vance · Anne-Marie Wachsmuth Mécène Mécène Partenaires médias Avec le soutien de WWW.OSR.CH madame Concours de Genève — Programme 2013 57 022 807 00 00 aline Foriel-Destezet

Annonce_Concours_Geneve_03.09.2013_PROD.indd 1 10.10.13 17:16 Concours de Genève ORGANISATION Prix international d’ interprétation & de composition

Foundation Board

Christine Sayegh, President Claude Howald, Vice-President René Lindenmeyer, Treasurer Philippe Dinkel Benno Gartenmann Jean-Marc Meyer Serge Mimouni Jacques Nierlé Tobias Richter Henk Swinnen Béatrice Zawodnik

Artistic Committee

Philippe Dinkel, President Jean Jacques Balet Nicolas Bolens Gui-Michel Caillat Clément Dumortier Marcin Habela Michael Jarrell André Richard Didier Schnorhk Henk Swinnen, Membre Béatrice Zawodnik

Administration

Didier Schnorhk, Secretary General Sandy Kasper, assistant to the Director and Friends’ coordination Claudio Ibarra, produciton, logistics, ticketing Lisa Elias, press & communication Marc Racordon, accounting

19 Concours de Genève CONTACT Prix international d’ interprétation & de composition

Administration

Didier Schnorhk Secretary General [email protected]

Sandy Kasper Assistant to the Director, [email protected] Coordination of the Friends’ Association

Claudio Ibarra Production-ticketing-Logistics [email protected]

Lisa Elias Press & Communication [email protected]

Marc Racordon Accountant [email protected]

Exterior collaborators

Promusica, Ménélik Plojoux-Demierre Concert Agency Basedesign GVA Graphic design Nicolas Zanghi Webmaster Tppi, Jean-François Marti Computer and networks

Concours de Genève Geneva International Music Competition Boulevard Saint Georges 34 CP 268, 1211 Genève 8 Switzerland Tél. : +41(22) 328 62 08 Fax : +41 (22) 328 43 66 [email protected] www.concoursgeneve.ch

Founding member fo the World Federation on International Music Competitions FMCIM / WFIMC

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