MUSIC in TIME John Kennedy, Director and Host
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Media Release Wolfgang Rihm Is the LUCERNE
Media Release Wolfgang Rihm Is the LUCERNE FESTIVAL ACADEMY’s New Artistic Director Matthias Pintscher Named Principal Conductor Lucerne, 04 September 2015 . Starting in the summer of 2016, the German composer Wolfgang Rihm will assume overall artistic directorship of the LUCERNE FESTIVAL ACADEMY. The conductor and composer Matthias Pintscher will support him as Principal Conductor and will be responsible each summer for a central Academy program; he will additionally focus on developing the Academy Orchestra. Both contracts are for a period of five years. The founder of the LUCERNE FESTIVAL ACADEMY, Pierre Boulez, will continue to remain in close dialogue with Wolfgang Rihm, Matthias Pintscher, and the Festival team as Honorary President of the Academy. For twelve years the LUCERNE FESTIVAL ACADEMY has been regarded as a unique international educational campus in the field of contemporary classical music of the 20th and 21st centuries. It offers continuing training not only for some 120 instrumentalists between 18 and 32 years of age but also for young directors and composers. “I am extremely delighted that in the person of Wolfgang Rihm a leading figure of contemporary music will be taking over artistic leadership of the LUCERNE FESTIVAL ACADEMY,” remarks Michael Haefliger, LUCERNE FESTIVAL’s Executive and Artistic Director. “On the strength of his experience and his knowledge in connection with the Academy, Wolfgang Rihm will be in a position to establish new directions for linking creativity with effective ways of working together for young instrumentalists, conductors, and composers. This summer Matthias Pintscher has returned for a third time as a teacher and conductor to help shape the Academy’s work in marvelous ways, as seen for example in the recent “Day for Pierre Boulez”. -
Programme 5 Overview 6 Schedule First Word 12 Greeting Andreas
Index Programme Expo 5 Overview 44 Umbrella Stands A – Z 6 Schedule 47 Exhibitor Presentation/Expo Map 84 Exhibitors A – Z First Word 12 Greeting Andreas Mailath-Pokorny, Conference Executive City Councillor for Cultural Affairs 90 Conference Sessions and Science, City of Vienna 100 Mentoring 13 Greeting Rainer Kahleyss and Werner 102 Network Meetings and Presentations Dabringhaus, CLASS Association of Classical 104 Biographies A – Z Independents in Germany 14 Greeting Mario Rossori, Heinrich Schläfer, Film Screenings Frank Stahmer, Classical Partners Vienna 1 11 Film Screenings 15 Greeting Jennifer Dautermann, Director Classical:NEXT Showcases 115 Opening and Closing Network 116 Live Showcases A – Z 18 Advisory Board 130 Video Showcases A – Z 20 The Jury 136 off C:N Showcases A – Z 22 Partners 26 Photographer Delegates 27 Advertisers A – Z 142 Companies A – Z 177 Individuals A – Z Classical:NEXT A – Z 30 From ”Badges" to ”Who is Coming“ Credits 190 Imprint Destination Vienna 191 Team 37 Getting Around 37 Places to Eat 39 Shopping: Food, Music and Instruments Front Flap Inside Plant Layout MAK 41 Things to See Back Flap Inside Directions to Venues 42 Service NEW YEAR. NEW STORIES. PROGRAMME NEW CLASSICAL MUSIC. First Word Network C:N A – Z Destination Vienna Expo FROM Conference £4.95 A Film Screenings MONTH Showcases Delegates Credits The all-new Classical Music: Register online » Comprehensive website with news, features, reviews and opinion for FREE access » Daily e-mail bulletin with news from national and international press to classical -
Klsp2018iema Broschuere.Indd
KLANGSPUREN SCHWAZ INTERNATIONAL ENSEMBLE MODERN ACADEMY IN TIROL. REBECCA SAUNDERS COMPOSER IN RESIDENCE. 15TH EDITION 29.08. – 09.09.2018 KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY 2018 KLANGSPUREN SCHWAZ is celebrating its 25th anniversary in 2018. The annual Tyrolean festival of contemporary music provides a stage for performances, encounters, and for the exploration and exchange of new musical ideas. With a different thematic focus each year, KLANGSPUREN aims to present a survey of the fascinating, diverse panorama that the music of our time boasts. KLANGSPUREN values open discourse, participation, and partnership and actively seeks encounters with locals as well as visitors from abroad. The entire beautiful region of Tyrol unfolds as the festival’s playground, where the most cutting-edge and modern forms of music as well as many young composers and musicians are presented. On the occasion of its own milestone anniversary – among other anniversaries that KLANGSPUREN SCHWAZ 2018 will be celebrating this year – the 25th edition of the festival has chosen the motto „Festivities. Places.“ (in German: „Feste. Orte.“). The program emphasizes projects and works that focus on aspects of celebrations, festivities, rituals, and events and have a specific reference to place and situation. KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY is celebrating its 15th anniversary. The Academy is an offshoot of the renowned International Ensemble Modern Academy (IEMA) in Frankfurt and was founded in the same year as IEMA, in 2003. The Academy is central to KLANGSPUREN and has developed into one of the most successful projects of the Tyrolean festival for new music. The high standards of the Academy are vouched for by prominent figures who have acted as Composers in Residence: György Kurtág, Helmut Lachenmann, Steve Reich, Benedict Mason, Michael Gielen, Wolfgang Rihm, Martin Matalon, Johannes Maria Staud, Heinz Holliger, George Benjamin, Unsuk Chin, Hans Zender, Hans Abrahamsen, Wolfgang Mitterer, Beat Furrer, Enno Poppe, and most recently in 2017, Sofia Gubaidulina. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17523/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998). -
BEAT FURRER Phaos (2006) Für Orchester 15'
NEUE MUSIK MUSIK DER ZEIT [3] ALLE GEGEN EINE WDR SINFONIEORCHESTER MICHAEL WENDEBERG SAMSTAG, 11. JANUAR, 20 UHR FUNKHAUS WALLRAFPLATZ, KÖLN MUSIK DER ZEIT [3] ALLE GEGEN EINE SA. 11. JANUAR 2020 19:00 EINFÜHRUNG MIT MARTÓN ILLÉS 20:00 KONZERT FUNKHAUS WALLRAFPLATZ, KÖLN PATRICIA KOPATCHINSKAJA / Violine WDR SINFONIEORCHESTER MICHAEL WENDEBERG / Leitung KORNELIA BITTMANN / Moderation SENDUNG WDR 3 live in stereo und 5.1. surround, ZUM NACHHÖREN IM Video-Livestream WDR 3 KONZERTPLAYER PROGRAMM 3 BEAT FURRER Phaos (2006) für Orchester 15' MÁRTON ILLÉS Vont-tér für Violine und Orchester (2019) Kompositionsauftrag des WDR und des Münchener Kammerorchesters Uraufführung 20' Pause BRUNO MADERNA Stele per Diotima (1966) für Kammerorchester 20' 4 MUSIK DER ZEIT [3] Einer gegen alle. Ein Vogel und ein Vogelschwarm. ALLE GEGEN EINE 5 INDIVIDUUM TRIFFT MASSE Konfrontation oder Konsens? Weiterdenken oder Mitdenken? Aufrütteln oder Einlenken? Sobald sich die Frage nach dem Ver- hältnis des Einzelnen zur Gesellschaft stellt, wird es spannend, dramatisch, vielleicht auch versöhnlich. Manchmal entsteht auch etwas völlig Neues – zum Beispiel, wenn in Beat Furrers »Phaos« Solomotive zu üppigen Klangkomplexen werden, die quirlig und vielfältig, unterbrochen von Pausen, sich in wellenartiges Pulsieren verwandeln, das sich in Wiederholun- gen zu einer gleißenden Woge steigert. Phaos kommt aus dem Griechischen und steht für Licht – in Beat Furrers Lesart wird daraus eine Klangstudie über phosphoreszierende Lichtpartikel und eine Metapher für drohende Katastrophen. Márton Illés lädt die Ausnahmegeigerin Patricia Kopatchinskaja in »Vont-tér« zu einem komplexen Dialog mit dem WDR Sinfonie- orchester und einer gemeinsamen Suche nach neuen instrumen- talen Klängen, Spieltechniken und Ausdrucksmöglichkeiten ein. Im Wechselspiel mit dem Orchester agiert die Sologeige im offe- nen Klangraum, entfernt sich von spieltechnischen Konventionen und findet eigene Spielmöglichkeiten in Márton Illés’ originärer Musiksprache. -
Diana Soh Composer
Diana Soh Composer Described as “a composer to follow” (France Musique), Diana Soh is one of today’s most exciting young artists. A multi- disciplinary Singaporean composer based in Paris, she has written for a wide range of instrumentation from chamber music, to orchestra, dance, film, choral and vocal music, and multi-media site-specific works. Diana’s musical interest is directed at exploring performance interactivity as well as obtaining specific sound colours from the intimate collaboration with performers. Known for integrating the use of technology and interested in theatre, she often surprises her audiences and finds ways to address social issues of our times in her work and “composes the impossible” (Concert Classic). Notable highlights include A is for Aiyah with soprano Elise Chauvin as the soloist, which was premiered in Singapore by the Singapore Symphony Orchestra (2018) as well as her string quartet sssh by the Mettis Quartet at the Aix en Provence Festival (2018). Her upcoming seasons see her venturing into the music theatre world with 2 operas: Façon Tragique de Tuer une Femme which will be premiered in 2023, and The Carmen Case the season after. Her adventure in vocal writing continues with a mono-drama for Opera de Lyon and a commission from the Maîtrise de Radio France, Parisce and a solo voice piece titled La Ville-Zizi. In addition, of smaller things will be presented in Austria by Schallfeld Ensemble in 2021 and Of the spaces between by Ensemble Æquilibrium in Singapore in 2022. Since establishing herself in Paris, Diana was Composer-in-Residence for 2 years (2012 / 2013) at the National Centre for Creation - La Muse en Circuit, concluded with a one-hour monographic concert of her works during the 2013 Festival Extension. -
Han Chen / Piano
HAN CHEN / PIANO Hailed by the New York Times as a pianist with "a graceful touch... rhythmic precision... hypnotic charm” and "sure, subtle touch," Han Chen is a distinctive artist whose credentials at a young age already include important prizes in competitions of traditional music as well as increasing respect in the avant- garde. Mr. Chen’s debut CD with Naxos Records, which consists of all-Liszt operatic transcriptions, was released in January 2016 as the first prize winner of the 6th China International Piano Competition. Gramophone complimented Mr. Chen’s “brilliant performance” in the CD as “impressively commanding and authoritative.” The website Classics Today also praised for his “assured, elegant and totally effortless technique” by scoring 10 out of 10 in both artistic quality and sound quality. International Piano magazine (UK) described Mr. Chen’s performance in the competition as “[Chen] displayed extraordinary strength, talent and flair.” His performances in the 15th Van Cliburn International Piano Competition, the 15th Arthur Rubinstein Piano Competition and the 2018 Honens International Piano Competition were also highly acclaimed. As a soloist, Mr. Chen has appeared with many orchestras, including the Hong Kong Philharmonic Orchestra (under Maestro Vladimir Ashkenazy), Calgary Philharmonic Orchestra, Fort Worth Symphony Orchestra, China Symphony Orchestra, Macao Orchestra, Juilliard Orchestra, National Taiwan Symphony Orchestra, Xiamen National Orchestra, Lexington Philharmonic Orchestra, Sendai Philharmonic Orchestra, Aspen Music Festival Brass Ensemble and Shanghai Conservatory Middle School Orchestra. Being an advocate for modern music, Mr. Chen actively performs music from the 20th and the 21st century. As a member of the New York-based contemporary music group Ensemble Échappé, he worked with composers such as Tonia Ko, Kevin Puts, Sean Shepherd and Nina Young. -
PUCCINI International Opera Composition Course Summer
Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini Cluster – Compositori interpreti del presente in collaboration with: Fondazione Giacomo Puccini Fondazione Cassa di Risparmio di Lucca Fondazione Banca del Monte di Lucca Teatro del Giglio di Lucca EMA Vinci Produzioni discografiche (audio-video), editoriali ed artistiche. Present PUCCINI International Opera Composition Course Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini PROJECT The PUCCINI International Opera Composition Course is addressed to composers (both with or without an academic degree) willing to investigate thoroughly all compositional techniques in use in opera writing today, focusing both on the Italian tradition and on the genre’s contemporary international developments. The course’s aim is to hand down the great opera tradition, having as a target the creation of new operas, bridging the past and the future in a new and enthralling vision. COURSE GOALS Participants will get to a deeper understanding of the various aspects of composing for opera theatre. - At the end of the course, each participant must submit a complete pre-project for a new chamber opera, writing a section or a full score for voice and piano (at least 25 minutes) - The best projects will be selected to be performed as mise-en-scene at the ‘PUCCINI Chamber Opera Festival 2021’ in collaboration with Teatro del Giglio of Lucca - All scores produced will be published and recorded video/audio by EMA Vinci APPLICANTS SELECTION Applicants must submit the following materials for selection: - CV - Project scheme of a chamber opera for max 1 voice and piano - Full score and audio file of an orchestral or chamber composition* - Full score or voice/piano score and audio file of a vocal composition* *midi files can be accepted All materials must be e-mailed to [email protected] Submission deadline April, 30th 2020 Eligible composers will be contacted by May, 15th 2020. -
Franck Bedrossian — Twist . Edges . Epigram
FRANCK BEDROSSIAN Twist Edges Epigram Duo Links Donatienne Michel-Dansac Klangforum Wien . Emilio Pomàrico SWR Symphonieorchester . Alejo Pérez IRCAM – Centre Pompidou 1999 20 YEARS 2019 © Philippe Gontier FRANCK BEDROSSIAN (*1971) 1 Twist for orchestra and electronics (2016) 10:09 2 Edges for piano and percussion (2010) 10:10 dedicated to Laurent and Rémi Durupt Epigram (2010 – 2018) after texts by Emily Dickinson for soprano and 11 instruments 3 I 13:49 dedicated to Donatienne Michel-Dansac 4 II 08:39 dedicated to Françoise and Jean-Philippe Billarant 5 III 13:05 dedicated to Annie Clair TT 56:08 1 SWR Symphonieorchester 2 Duo Links Alejo Pérez, conductor Laurent Durupt, piano IRCAM – Centre Pompidou Rémi Durupt, percussion Robin Meier, computer music designer Luca Bagnoli, sound engineer 3 4 5 Donatienne Michel-Dansac, soprano Klangforum Wien Emilio Pomàrico, conductor 3 4 Epigram I 288 255 290 I’m nobody! Who are you? To die – takes just a little while – Of Bronze – and Blaze – Are you nobody, too? They say it doesn’t hurt – The North – Tonight – Then there’s a pair of us – don’t tell! It’s only fainter – by degrees – So adequate – it forms – They’d banish us, you know. And then – it’s out of sight – So preceoncerted to itself – So distant – to alarms – How dreary to be somebody! A darker Ribbon – for a Day – And Unconcern so sovereign How public, like a frog A Crape upon the Hat – To Universe, or me To tell your name the livelong day And then the pretty sunshine comes – Infects my simple spirit To an admiring bog! And helps us to -
Soundzz.Z.Zzz...Z – Call for Artists Competition for an Artwork at the Intersection of Music and the Visual Arts
Soundzz.z.zzz...z – Call for Artists Competition for an Artwork at the Intersection of Music and the Visual Arts 1. Competition For years LUCERNE FESTIVAL and Kunstmuseum Luzern have pursued various formats of partnering to- gether. Both institutions are interested in the connections and varied relationships that exist between the visual arts and music, between visual expression and sound. In 2015, LUCERNE FESTIVAL and Kunstmuse- um Luzern will inaugurate for the third time a project promoting the intersection and interface between both cultural areas, specifically by means of a competition. During the Summer Festival the potential of interdisciplinary projects will be displayed at Kunstmuseum Luzern to musical and visual arts audiences alike. Both institutions are very eager to explore new, unconventional projects that are full of promise and that are equally at home in the domain of the visual arts and of music and that moreover stand out in terms of quality. The competition is directed to young emerging artists (single artists, teams of two or three artists) to develop a project exploring the theme of «Humor» at the intersection of music and the visual arts. The project in question should be ephemeral, performative, actionistic. The project that is selected by a jury will be executed during the course of LUCERNE FESTIVAL in Summer (14 August – 13 September 2015) on the premises of Kunstmuseum Luzern. The project we are looking for should be neither an exhibition nor a concert. The form this project will take is open-ended: it can involve an intervention, an action, a perfor- mance, an event or happening in the sense of a performance, a concept to be developed during the course of the Festival, a series of performances, or another type of event. -
Accroche Note
ACCROCHE NOTE Mardi 12 juin, 20h Église Saint-Merri Ensemble Accroche Note Françoise Kubler soprano Anne-Cécile Cuniot flûte Armand Angster clarinette Nathanaëlle Marie violon Christophe Beau violoncelle Maxime Springer piano Emmanuel Séjourné percussion Luca Francesconi Time, real and imaginary Philippe Manoury Ultima Franco Donatoni ACCROCHE NOTE Cinis Philippe Manoury Hypothèses du sextuor Durée : 1h15 Production Accroche Note. En collaboration avec l’Église Saint-Merri et l’Ircam-Centre Pompidou. Mardi 12 juin, 20h Mardi Saint-Merri Église C’est à Armand Angster que je dois de m’avoir C’est un grand plaisir pour l’Ensemble Accroche poussé vers la musique de chambre. Sans lui, je Note de pouvoir présenter, en première audition à n’aurais certainement pas écrit la moitié de ce que Paris, les œuvres de compositeurs avec lesquels il j’ai écrit, tout simplement parce que je n’ai pas une a entretenu des rapports très étroits : Franco grande appétence pour ça. Les titres de mes pièces Donatoni, dont la rencontre en 1984 a induit de en témoignent, du reste. En 1996, je lui ai écrit nombreuses et flamboyantes partitions ; Philippe Ultima – avec l’idée que ce serait la dernière. Et Manoury, dont l’Ensemble veut fêter les soixante puis il est revenu à la charge, et je lui ai écrit Last ans et dont il a d’ailleurs réalisé un disque l’année suivante… Comme si ma dernière incursion monographique ; Luca Francesconi, enfin, au dans la musique de chambre était toujours travers de l’une de ses dernières œuvres dont il a repoussée ! Grâce à Armand. -
Performance, Subjectivity and Experimentation in Artistic Research an Interdisciplinary Seminar
Performance, Subjectivity and Experimentation in Artistic Research An Interdisciplinary Seminar ORCiM Seminar 2016 February 24-25, 2016 Orpheus Institute, Ghent (Belgium) Introduction The arts of the twentieth and twenty-first centuries have pushed us relentlessly to question inherited notions of the self, expression and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Increasing globalisation and the development of recording and photographic technologies, running alongside psychoanalytical critiques of selfhood and the impact of scientific principles of uncertainty, are often theorized as having prompted a crisis of identity, representation and authenticity. The discourse of post-humanism has demanded a reconsideration of the distinctions between human and non-human agency. At the same time, the throwaway playfulness of pop culture and digital manipulation offer endless possibilities for self- reinvention. In many fields of artistic practice and in related theoretical domains there persists an ongoing engagement with questions of subjectivity, but a subjectivity acknowledged as distributed, contingent, embodied and always in flux; often manifested as partial, unstable, provisional even, rather than identified as a singular self. Simultaneously, subjectivity, as an individuated ‘I’, continues to function, not least in musical practice and especially in performance training: here, notions of the authenticity and singularity of the performer’s ‘voice’ -- the uniqueness and distinctiveness of personal expression -- continue to be highly valued, despite the everyday experiencing of the fluidities, uncertainties, and fundamentally performative nature of selfhood. Within arts practice, a ‘performance turn’ has allowed for a stronger focus on the production and experiencing of subjectivity in the context of live events: as ephemeral, dynamic and contingent, resisting conceptualisation into a stabilised notion of an artwork.