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ZEITSTRÖME 2020 – Tage Für Aktuelle Musik

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ZEITSTRÖME 2020 – Tage Für Aktuelle Musik AKADEMIE FÜR TONKUNST Kulturinstitut der Wissenschaftsstadt Darmstadt ZEITSTRÖME 2020 – Tage für aktuelle Musik Programmheft Montag, 10. bis Freitag, 21. Februar 2020 Wilhelm Petersen-Saal der Akademie für Tonkunst Darmstadt Wissenschaftsstadt Darmstadt Akademie für Tonkunst Ludwigshöhstraße 120 64285 Darmstadt Telefon (0 61 51) 9 66 40 Telefax (0 61 51) 96 64 13 E-Mail: [email protected] Internet: www.facebook.com/Zeitstroeme Eintritt frei Der Verein der Förderer und Freunde der Akademie für Tonkunst Darmstadt e.V. bittet am Ausgang der Konzerte um eine Spende. Bild- und Tonaufnahmen sind während der Aufführungen nicht gestattet. Bitte schalten Sie Ihr Mobiltelefon aus. 2 3 Zeitströme 2020 – Tage für aktuelle Musik Montag, 10. bis Freitag, 21. Februar 2020 Wilhelm Petersen-Saal der Akademie für Tonkunst Darmstadt Künstlerische Leitung: Il-Ryun Chung Bühnen-, Saal- und Studiotechnik (Mediamanager): Masahiro Nishio Gestaltung des Programmhefts und Organisation: Lukas Grossmann Herausgegeben von: Wissenschaftsstadt Darmstadt Akademie für Tonkunst Ludwigshöhstraße 120 64285 Darmstadt Telefon (0 61 51) 9 66 40 Telefax (0 61 51) 96 64 13 E-Mail: [email protected] Internet: www.facebook.com/Zeitstroeme Eintritt frei Der Verein der Förderer und Freunde der Akademie für Tonkunst Darmstadt e.V. bittet am Ausgang der Konzerte um eine Spende. Bild- und Tonaufnahmen sind während der Aufführungen nicht gestattet. Bitte schalten Sie Ihr Mobiltelefon aus 4 Zeitströme 2020 – Tage für aktuelle Musik 10. bis 21. Februar 2020 Ein Ort der Begegnung zwischen internationalen Künstlern und Studierenden der Akademie für Tonkunst zu sein war von Anfang an das Konzept der Zeitströme und verwirklicht sich bei der sechsten Ausgabe des Festivals in beeindruckender Weise: Gerhard Stäbler und Kunsu Shim gestalten zwei Programme, eines davon mit dem Luna-Ensemble aus Amsterdam – ein Steichquartett – das andere eine PerformanceLecture unter Einbeziehung des Publikums. Wir ehren Gerhard Stäbler zum 70. Geburtstag, den er vergangenes Jahr feiern konnte. Der Kern des diesjährigen Festivals besteht aus Musik, die zu zweit realisiert wird – drei verschiedenartige Duoprogramme werden präsentiert. Yoriko Ikeya und Klaus Schöpp stellen ein facettenreiches Programm für Flöte und Klavier vor, das von seltener aufgeführten Komponistinnen und Komponisten wie Olga Rayeva und Conrado del Rosario bis zu Toshio Hosokawa und Isang Yun reicht. Die seit letztem Jahr am Haus lehrende Sopranistin Yereh Suh stellt sich gemeinsam mit ihrem Klavierbegleiter Holger Groschopp mit einem Liederabend der Darmstädter Öffentlichkeit vor. Das Programm umfasst Werke von Arnold Schönberg, Isang Yun, Györgi Ligeti und Unsuk Chin. Das dritte Duoprogramm bestreiten Sarah Saviet und Joseh Houston und sie bringen das Werk for John Cage von Morton Feldman zu Gehör. Die Konzerte unter Beteiligung von Studierenden und Dozenten der Akademie für Tonkunst runden das Programm ab: Die Reihe Forum Junge Solisten – dieses Jahr mit besonders vielen hochkarätigen Beiträgen junger Musikerinnen und Musiker – darf natürlich nicht fehlen, wie das traditionelle Konzert des Ensemble Tonkunst, das neun Werke der Kompositionsklassen von Arne Gieshoff und Il-Ryun Chung zur Uraufführung bringen und das Abschlusskonzert darstellen wird. Den Anfang des Festivals macht das Konzert Electric Ritual, bei dem sich der künstlerische Leiter erlauben wird, seine Experimente mit Live-Elektronik und Computermusik in Verbindung seines Instruments Gitarre vorzustellen. Il-Ryun Chung (künstlerischer Leiter des Festivals) 5 6 ZEITSTRÖME 2020 – Tage für aktuelle Musik 1. Konzert: Eröffnungskonzert Electric Ritual ................................................................................................................. 8 Montag, 10. Februar 2020, 19:00 Uhr 2. Konzert und 1. Lecture Zu zweit I: Flöte und Klavier, Yoriko Ikeya und Klaus Schöpp .............................. 12 Donnerstag, 13. Februar 2020, 19:00 Uhr Lecture I: Die Flöte in der aktuellen Musik .............................................................. 20 Freitag, 14. Februar 2020, 10:00 Uhr bis 12:00 Uhr 3. Konzert PerformanceKonzert: Kunsu Shim – Gerhard Stäbler ERZÄHLEN… ..................... 22 Freitag, 14. Februar 2020, 19:00 Uhr 4. Konzert PerformanceLecture mit Einbeziehung des Publikums: CHANGE! ....................... 28 Samstag, 15. Februar 2020, 19:00 Uhr 5. Konzert Forum junge Solisten: ................................................................................................. 30 Studierende der Akademie für Tonkunst stellen sich vor Dienstag, 18. Februar 2020, 19:00 Uhr 6. Konzert Zu zweit II: Stimme und Klavier, Yeree Suh und Holger Groschopp ..................... 38 Mittwoch, 19. Februar 2020, 19:00 Uhr 7. Konzert und 2. Lecture Lecture II: Die Violine in de aktuellen Musik ........................................................... 48 Donnerstag, 20. Februar 2020, 13:00 Uhr bis 15:00 Uhr Zu zweit III: Violine und Klavier, Morton Feldman – for John Cage ...................... 50 Donnerstag, 20. Februar 2020, 19:00 Uhr 8. Konzert: Abschlusskonzert Ensemble Tonkunst Werke der Kompositionsklassen von Il-Ryun Chung und Arne Gieshoff ............... 54 Freitag, 21. Februar 2020, 19:00 Uhr 7 1. Konzert: Eröffnungskonzert Montag, 10. Februar 2020, 19:00 Uhr Electric Ritual Il-Ryun Chung (*1964) Electric Ritual for Guitar and Live-Electronics Part I: Chladni Figures (Chladnische Figuren) Part II: Swarm of Pulses (Schwärme von Pulsen) Part III: Outlines of Folksongs (Umrisse von Volksliedern) Part IV: Remote Choral (Ferne Choräle) Part V: Quivering Sounds (Bebende Klänge) Komposition, Gitarre und Live-Elektronik: Il-Ryun Chung 8 Il-Ryun Chung Ritual steht für etwas Uraltes, Archaisches und steht im Widerspruch zu Electric, also Elektronik, die kaum mehr aus dem modernen Leben wegzudenken ist. Die Musik Electric Ritual ist der Versuch, unsere eigenen archaischen Ursprünge mit der immer schneller und verrückter werdenden Zivilisation in Einklang zu bringen. Il-Ryun Chung Im Alter von 16 Jahren autodidaktisches Gitarrenspiel und erste Versuche, Musik selbst zu erfinden. 1984-89 erster Gitarren- und Kompositionsunterricht bei Carlo Domeniconi und entscheidende Wegbereitung durch eine umfassende musikalische Ausbildung durch den Ausnahmemusiker. In den darauf folgenden Jahren 1989-1995 weiterführendes Studium der Komposition an der Hochschule der Künste Berlin bei Jolyon Brettingham-Smith und Diplomabschluss. 1994 Kennenlernen des koreanischen Meistertrommlers Kim Duk-Soo; Erlernen des Janggu-Spiels durch die Teilnahme an dessen Meisterkursen in Berlin. Beginn von umfassenden Studien der originären koreanischen Musik, insbesondere der schamanistisch geprägten Perkussionsmusik, dabei Entdeckung der einzigartigen Kombination von Komplexität und extremer musikalischer Energie in dieser Musik. Erforschung und Erprobung von komplexen rhythmischen Strukturen als Fundament der eigenen Werke. 2001 Mitbegründung des Ensembles IIIZ+ und 2009 des AsianArt Ensembles. Einladungen von Festivals wie dem „Festival de l‘imaginaire“ in Paris, dem „38, Rugissant“ in Grenoble, dem Taiwan Festival oder dem Tokyo Summer Festival sowohl als Interpret als auch als Komponist. Es folgen Auszeichnungen wie der „Preis der Deutschen Schallplattenkritik 2012“ für die erste CD des AsianArt Ensembles und mehrere Kompositionsstipendien des Berliner Kultursenats. Ausbildung einer eigenen Kompositionsrichtung durch die Erfahrungen bei der interpretatorischen Arbeit in den beiden Ensembles im Spannungsfeld von theoretischer Konzeption und Realität der menschlichen Interpretation. Auslotung der Spielbarkeit von polymetrischer Rhythmik. Von 1999 an bis heute Arbeit an den beiden Werkreihen „Etüden neuer Spieltechniken für Gitarre“ und „Die untemperierte Gitarre“. Das innere Experimentierfeld darstellend, ist es die Quelle für das Aufbrechen der temperierten Stimmung mittels Verwenden von Skalen mit mikrotonalen Tonschritten oder mikrotonal gestimmten Instrumenten wie Harfe, Gitarre oder Zithern. Seit 2000 Beschäftigung mit computerbasierter Sampletechnik, Erprobung von polymetrischen Ideen, vollkommen neuen Klangkombinationen unbekannter Instrumente und auch der neuartigen Stimmungen und Skalen auf möglichst naturgetreue Weise. 2008 Auftrag des Seoul Philharmonic Orchestras für die von Unsuk Chin kuratierte Konzertreihe „Ars Nova“ und 2009 Auftrag des Tokyo Summer Festivals für Werke für großes Ensemble. Entstehung der beiden zusammengehörenden Werke „GLUT“ und „BENU“, zwei Schlüsselwerke für rein westliches Instrumentarium, in dem sowohl die Erkenntnisse aus der komplexen rhythmischen Struktur der koreanischen Musik, das Changguspiel und die Sampletechnik zusammengeflossen sind. 2009 Auftrag des National Orchestra of Korea unter der künstlerischen Leitung von Hwang Byunki für ein abendfüllendes Orchesterwerk für koreanische Instrumente. Studienreise nach Korea; Sampling aller koreanischen Instrumente des Orchesters und Erstellung einer eigenen Sample-Library. 9 Durch das Studium der archaischen, sehr ursprünglichen koreanischen Instrumente das Gewinnen der Erkenntnis, dass Dissonanz nicht nur eine Frage des Zusammenklangs von mehreren Tönen sein muss, sondern dass ein einzelner Ton bereits in sich dissonant durch unharmonische Obertonspektren wirkt. Erforschung der Schärfe, Rauheit und Flexibilität des einzelnen Tons als strukturelles Element in dem Gesamtwerk. Oktober 2011 zweimalige Aufführung des 80-minütigen Konzertwerks „Part of Nature“ der im National Theater of Korea
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