ISCM World New Music Days 2013 - Program Book by International Society for Contemporary Music (ISCM)

ORGANIsERS Medzinárodná spoločnosť pre súčasnú hudbu – Slovenská sekcia Internationale Gesellschaft für neue Musik – Sektion Österreich Artistic Directors Bruno Strobl, Ivan Šiller Programme Committee Cordula Bösze, Jury Everhartz, Július Klein, Johannes Kretz, Philip Leitner , Marián Lejava, Daniel Matej, Nina Polaschegg, Oľga Smetanová, Georg Steker, Kristine Tornquist, Šimon Voseček Advisory Board Andrea Bálešová, Vladimír Beskid, Marek Piaček, Nina Polaschegg, Adrian Rajter, Ján Sudzina, Jana Šargová, Ronald Šebesta, Silvia Zvarová Festival Staff – Košice, Bratislava Juraj Beráts, Lukáš Kollár, Irena Lányiová, Petra Kovačovská Festival Staff – Vienna Cordula Bösze, Eva Hausegger, Kilian Jörg, Johannes Kretz, Sonja Leipold, Philip Leitner, Nina Polaschegg, Fernando Riederer, Bruno Strobl, Šimon Voseček Festival Assistants – Košice students of the Department of Music Arts Education of the Faculty of Education, Comenius University in Bratislava: Katarína Halinkovičová, Magdaléna Vrabčeková, Veronika Škutová Michaela Gáboriková, Barbora Kandrová, Petra Ševečková, Zora Šikrová, Christiana Turečková Festival Assistants – Bratislava Ivana Macaríková, Eva Planková Festival Assistants – Vienna Moritz Nahold, Esther Planton, Angela Strzalka, Monika Voithofer Special Thanks Ján Orlovský, Zora Jaurová, Alžbeta Rajterová

partners & donors Main Donors – Košice, Bratislava

Co-operation – Košice, Bratislava

Košice – European Capital of Culture 2013

A4 – Space for Contemporary Culture

Ministry of Culture of the Slovak Republic

Ars Bratislavensis

Main Donors – Vienna: Bundesministerium für Unterricht, Kunst und Kultur

Association of Primary Art Schools in Slovakia Association for Contemporary Theatre Austrian Cultural Forum Bratislava

Ernst von Siemens Musikstiftung

City of Bratislava

Kulturabteilung der Stadt Wien

City of Košice

Soziale und kulturelle Einrichtungen der Austro Mechana

Comenius University in Bratislava

Gesellschaft zur Förderung Österreichischer Musik International Society for Contemporary Music

Culture Ireland Délégation Wallonie-Bruxelles DoubleTree by Hilton East-Slovakian Gallery Embassy of Portugal in Slovakia

General Partners – Košice, Bratislava

Embassy of Sweden Vienna

Embassy of the United States, Bratislava, Slovakia

Estonian Embassy in Vienna

Music Centre Slovakia

European Union of Music Competitions for Youth

Pro Helvetia, Swiss Culture Fund

Faculty of Education, UK in Bratislava

The Slovak State Philharmonic Košice

Generify

Západoslovenská energetika

Hotel Devín

General Partner – Vienna WIEN MODERN

Instituto de cooperacao e da lingua Portugal Kasárne/Kulturpark Košice Conservatory, Timonova 2

Special Partner – Košice, Bratislava SOZA

Music Fund Slovakia Netherlands Embassy in Bratislava

Polish Cultural Institute Bratislava Public Ports Quasars Ensemble Rádio Devín Radio and Television of Slovakia Stanica Žilina-Záriečie, Cultural Node State Theatre Košice Ticketportal .týždeň Železničná spoločnosť Slovensko

The production of the short operas in Vienna was made possible through the support of further institutions: Central College Abroad Vienna DerStandard.at Direct Marketing European Theatre Night Falter Freie Musiktheater Wien Hunger auf Kunst und Kultur IG Freie Theaterarbeit Klavierbau Bernhard Balas

Co-operation – Vienna Embassy of the United States Vienna, Austria Italienisches Kulturinstitut Konservatorium Wien Privatuniversität Museumsquartier Musikschule Wien Palais Kabelwerk

Koschier IT-Outsourcing Ö1 Klub Österreichische Beamtenversicherung Sozialmedizinisches Zentrum Baumgartner Höhe Wien Leopoldstadt, Magistratisches Bezirksamt

Porgy & Bess

Wien Meidling, Magistratisches Bezirksamt

progetto semiserio

Zeitvertrieb. Musikverlag

Radio Österreich 1 Radiokulturhaus sirene Operntheater Universität für Musik und Darstellende Kunst Wien Wiener Konzerthaus

Main Donors – Košice, Bratislava

Main Donors – Vienna:

General Partners – Košice, Bratislava

General Partner – Vienna

Special Partner – Košice, Bratislava

Cooperation – Košice, Bratislava

Estonian Embassy in Vienna

Association of Contemporary Theatre

Cooperation â&#x20AC;&#x201C; Vienna

Comfortable travel for our guests provided by

WELCOME MESSAGE

Minister of Culture of the Slovak Republic

This is an important event for Slovakia and for contemporary music in Slovakia. We are, for the first time, co-organising and actively participating in the international festival ISCM World New Music Days – a festival with a tradition spanning some ninety years. Since its beginnings in Salzburg in 1922, the International Society for Contemporary Music has focused on the promotion of contemporary music. This is a mission that requires urgent action, especially now, when new music finds itself unable to get sufficient space in the media, and perhaps also in concert venues, in spite of the fact that it can provide remarkable new impulses, inspiration and ideas that can enhance classical music in an original way. During the next eight days, Košice and Bratislava will host events presenting the music of contemporary composers; works from several continents will be performed, and Slovak composers constitute an important part of the programme. The festival includes not only a younger generation, but even the youngest generation: the opening concert in Košice’s House of Art features pupils of Primary Art Schools from all over Slovakia. Together with the student ensemble VENI ACADEMY, they will be part of a series of events celebrating the European Capital of Culture – Košice 2013. To see ever newer generations of musicians fills us with hope, even if this hope may be dimmed by the fact that they have less and less space to present their music. Thus, it is our duty to create opportunities for events that embrace contemporary works. The ISCM World New Music Days is such an event, and it is nothing less than a major international forum. Composers are surely highly motivated to create works for the festival and to present them here, and listeners have the rare opportunity to discover new directions in contemporary music. And it is certainly possible that in listening to a particular contemporary work, we could be listening to a future classic. Marek Maďarič Minister of Culture of the Slovak Republic

WELCOME MESSAGE

Federal Minister for Education, the Arts and Culture, Austria

WELCOME MESSAGES

The ISCM World New Music Days Festival, which takes place in a different country each year, is one of the most important international events for contemporary music. It is organised by the International Society for Contemporary Music, an international network of members from more than fifty countries. Considering the large number of participants from a variety of nationalities, the festival also represents different regional developments in the large field of contemporary music. The presentation of this variety provides an excellent networking opportunity, which is yet another feature that distinguishes this festival from others. The ISCM World New Music Days festival is a wonderful opportunity for each participating country to present its contemporary musical culture, with particular attention given to the respective host country. I am very proud, that the ISCM World New Music Days will be held in Slovakia and Austria this year. The motto chosen for 2013 is “Gates“, which also symbolises the relationship between those two countries. After having been divided by an iron curtain for 40 years, Slovakia and Austria are now reunited as equal members of the European Union. But it is not just the gates that separate countries, which should be overcome. But also the invisible gates between artists and lovers of music and even between popular and lesser-known currents in contemporary music. I wish all artists, organisers and visitors exciting artistic experiences Dr. Claudia Schmied Federal Minister for Education, the Arts and Culture

WELCOME MESSAGE

Executive Director, Košice – European Capital of Culture 2013

Ladies and gentlemen, aficionados of contemporary classical music, I am honoured to have the opportunity to welcome you at the prestigious ISCM World New Music Days, which, we are greatly delighted to say, are held historically for the first time in Slovakia, and in Košice in 2013. The venue and time of the 90th year of this reputable worldwide festival have not been chosen at random. As the European Capital of Culture for 2013, Košice inspired the organisers from the International Society for Contemporary Music to respond positively to the efforts of the Košice 2013 project team, and – in this year, which is so extraordinary for the town and its residents – to designate the metropolis of eastern Slovakia to become the host city for authors and performers of what was created most recently in the sphere of world contemporary music. The ISCM World New Music Days festival is one of the unique and unforgettable events that take place in our city in 2013. It is another step in our successful achievement of one of the main goals of the implementation of the Košice – European Capital of Culture 2013 project. The city is being visited by the world’s top authors, performers, and ensembles, who inspire, shape and influence positively the artistic and cultural life not only in our city, but also our country, and who keep raising interest of the public in quality culture and art. I am very glad that it was possible to put together the festival’s diverse and interesting program in accord with this long-term goal, and that it was also possible to include in it performances by kids and students, who will write their own history of contemporary classical music some day. There is no doubt in my mind that this year’s ISCM World New Music Days will help to make sure that it will be at least as good and enriching as the music we’re about to hear in Košice in 2013. I wish all of you wonderful musical experience. Ján Sudzina Executive Director, Košice – European Capital of Culture 2013

WELCOME MESSAGE

Executive Director of the Slovak State Philharmonic Košice

WELCOME MESSAGES

Dear guests, The Slovak State Philharmonic Košice is devoted to contemporary art not only during its regular season, but also within its three festivals. And for more than ten years, the largest presentation of contemporary art has been the Contemporary Art Festival ARS NOVA Cassoviae. We are proud to be part of the worldwide festival ISCM World New Music Days 2013, which is opening in Košice, in the year when Košice and Marseille are European Capitals of Culture. Today, people may be weary and suspicious of contemporary art, and artists seem to be losing contact with audiences. It is difficult to pinpoint the causes of this situation: is 21st-century art too opaque, or are we too stressed economically and professionally, or are people generally under-educated or just unimpressed? Bearing such things in mind, it is remarkable and welcome to see that the organizers have set out to make contemporary music more accessible, and accessible especially to the younger generation. This year we are welcoming in Košice dozens of foreign participants, representatives of institutions specialising in the presentation of contemporary music. One of the outcomes of this meeting will be a united effort to reach our goals, and one of those goals should be to find answers to crucial questions about the future of contemporary art. I hope the answers will be positive and full of hope.

PaedDr. Mgr. art. Július Klein Executive Director The Slovak State Philharmonic Košice

WELCOME MESSAGE

Director of Music Centre Slovakia, President of IAMIC

Dear guests, colleagues, friends, we are happy to welcome you all to Bratislava for the 12th Melos-Ethos International Festival of Contemporary Music. We also have the honour to host the ISCM World New Music Days. This year’s Melos-Ethos graphic design explores the theme of women’s wavy hair. The waves represent new ideas in music and its organisation. New waves of sound come to our festival from around the world: many of these ideas from women composers who have more opportunities to present their works than ever before. We are proud to present, in cooperation with The Slovak National Theatre, the world premiere of the new opera Dorian Gray by the Slovak composer Ľubica Čekovská. Our main guest, Kaija Saariaho, is especially welcome to Melos-Ethos for many reasons, not least the fact that she is the latest honorary member of the ISCM. In addition to performances of her compositions throughout the festival, the world premiere of the chamber version of La Passion de Simone will be heard at the festival’s conclusion. This is the first international joint-commission in which Melos-Ethos has cooperated with other international partners. Kaija Saariaho will stay in Bratislava during the entire festival, involving herself with professional musicians and students. We will enjoy her company on many different occasions, including at the meeting of IAMIC – the International Association of Music Information Centres – the global music network representing forty countries from around the world. With “Success in Music” as the keynote of the IAMIC meeting, guests can join us in asking Kaija Saariaho and other composers how they consider, measure and achieve success. We sincerely hope that this year’s festival will be informative, enjoyable and, above all, a celebration of the most successful results of creativity in music. I wish you a very pleasant and memorable stay in Slovakia! Oľga Smetanová Director of Music Centre Slovakia President of IAMIC

WELCOME MESSAGE

Artistic Director, WIEN MODERN

WELCOME MESSAGES

Dear audience, Vienna and Bratislava are connected by a stormy and variable history. At the beginning of the 20th century, whereas both centres of these Danube capitals were connected and easily reached by tram, during the Cold War the Iron Curtain separated not only the cities themselves but also the people living there. The gates which separated us for far too long are open again today. In this spirit, it is particularly important that the ISCM World New Music Days 2013 will take place not only in three cities, but rather in two countries. In search of common traditions within the Danube region, we will find the present time. Music was and is an essential part of life in this region, and is a unifying denominator, not just an abstract extra. The music of today is our mainstay and our identity. The music which we will hear this autumn will be the sound of the future. By regarding our common history, we will strengthen our shared present and create the music of the future. Although with the opening of the borders, our joint cooperation has, at first glance, come full circle, the joint organisation of the ISCM World New Music Days marks a further step towards convergence and future joint ventures in the world of new music. The search for the sound of the times, which began in Salzburg in 1922, will be continued in 2013 in Košice, Bratislava and Vienna. As artistic director of Austria’s largest festival for contemporary music, WIEN MODERN, it is with very great pleasure to welcome you, as host, to the ISCM World New Music Days. Matthias Lošek Artistic Director, WIEN MODERN

WELCOME MESSAGE

Director of the Vienna Konzerthaus

Ladies and Gentlemen, progress is the realisation of utopias. If we take Oscar Wilde’s quote literally, the realisation of dreams is a pioneer of development. To give the music of the present adequate space in as many peoples’ lives as possible, is the mission of the ISCM and its World New Music Days. Since its foundation in 1922 this dream has been lived, and without the persistent realisation of this utopia, the development of music in the last 90 years would have been very different. Undoubtedly, the diverse activities of the International Society for Contemporary Music have created, from time to time, new space for music for the people. It is therefore no coincidence that the ISCM World New Music Days 2013 held in Košice and Bratislava will also take place in the Vienna Konzerthaus through a close cooperation with the festival Wien Modern. It is the sign of a shared idea: to lead people to the joy of the unheard, to take aesthetic positions, and through this to seek discourse. This makes life exciting. At the ISCM World New Music Days you will be in the midst of development, and are cordially invited, as critical and alert listeners, to complete the creative process of the composers’ output. I look forward to seeing you in the Vienna Konzerthaus, Matthias Naske director, Vienna Konzerthaus

WELCOME MESSAGE

President, ISCM Executive Committee

WELCOME MESSAGES

The 2013 ISCM World New Music Days Festival in Slovakia and Austria, as with many previous ISCM festivals, again demonstrates the importance that partnerships play in realising a festival of this size and scale. The enthusiastic collaboration of so many individuals, organisations, and institutions, enables the creation of an event that showcases the excellence and diversity of contemporary music from around the world. Perhaps more importantly, it showcases the vibrancy and relevance of contemporary music in the 21st century to diverse audiences. These are the values that are truly represented across the ISCM’s more than 60 members from across the globe, values that we nurture and cherish. On behalf of the Executive Committee of the ISCM, and of all ISCM members, we thank the primary partnerships that enable the shared hosting of the festival: Ars Nova Cassoviae in Kosice; Melos-Ethos Festival in Bratislava; and the Wien Modern Festival. These three “gateways” open our path into different kinds of musical experiences as represented in the festival program, which we look forward to with anticipation. Thanks also to the many other festival partners, whose support and involvement enables to festival to take place. We also thank the collaborating organisers, the ISCM Sections of Slovakia and Austria, whose hard work over the past few years is now coming to fruition. And in advance we thank the many others who contribute to the festival organisation, and the performance program. May the festival be a great success! John Davis President, ISCM Executive Committee

WELCOME MESSAGE

President, ISCM – Slovak Section

Dear friends of music, what at one time we could never even have imagined, is today reality. For the first time in its ninety-year history, the international festival ISCM World New Music Days is being hosted here in Slovakia. We approached this project with a strong vision: namely, with the belief that contemporary music can speak to all people. With this vision in mind, we launched the preparations for this important musical event. Since 2010, we have started new festivals of contemporary music and organised concerts and creative workshops that involved children, young people, pedagogues, and professional musicians; through them we reached out to the community in which they live. These events created an opportunity for promoting contemporary music in Slovakia. Let me just mention the New Flavours of Music festival, the Portraits series, the online database of contemporary compositions titled ‘New Music for Kids and Teens’, and the youth ensemble VENI ACADEMY. Our educational projects and concerts have attracted more than 12.500 enthusiasts for new music. The ISCM World New Music Days 2013 constitutes the culmination of the efforts of many people, to whom we send our warmest thanks. The festival aspires to be a musical celebration that conveys the values of international contemporary art and presents outstanding composers and performers. For the next fortnight, we will take you on a musical journey around the world. Our event comprises concerts, exhibitions, and installations. Where you choose to stop, what you choose to taste, is up to you. We hope you will find something special among all that is offered. Ivan Šiller President, ISCM – Slovak Section

WELCOME MESSAGE

President, ISCM – Austrian Section

WELCOME MESSAGES

Dear festival visitors, the time has finally come. Some years of intense preparation have passed since, together with the Slovak delegate Oľga Smetanová at the ISCM World Music Days 2008 in Vilnius, we had the idea and then made the decision to hold the ISCM World New Music Days 2013 in cooperation (Slovakian and Austrian sections of the ISCM). These years of preparation have been pleasingly harmonious together with the team from the Slovakian section. Although the two cities of Bratislava and Vienna are very close together in distance,they are still far apart in many people’s minds even after the fall of the Iron Curtain. Therefore, the festival should not only promote musical exchange, but also further inspire mutual interest through music. Contrary to this spirit, Košice the third festival city, and also one of the European culture capitals 2013, has recently erected a wall in the middle of the city in order to separate groups of the population, a fact which is more than disconcerting for the festival organisers. It is hoped that the festival theme of “gates” will also give Košice, something to think about. Dear festival visitors, during these days, we would like to throw open the gates of music for you from countries all over the world, music of various genres, aesthetics and various forms of presentation. We invite you to open your ears, to talk to ISCM delegates and composers from around the world, and to reflect upon what you hear. The Vienna symposium "Intercultural Modernity and Contemporary Music – a Paradox?" has invited experts from different countries with the aim of initiating discourse, which should not only be held internally within the ISCM, but should also give the interested general public the opportunity to deal with issues of music and new music. You are cordially invited to walk together with us through these gates. Bruno Strobl President, ISCM – Austrian Section

ISCM WORLD NEW MUSIC DAYS 2013

Košice ARS NOVA CASSOVIAE

CONCERTS

Wednesday, November 6

Monday, November 4

6 pm | Great Hall, House of Arts, Košice

portraits

8 pm | Kasárne/Kulturpark

Quasars Ensemble

Andrej Gál, Ivan Buffa Jozef Podprocký, Vladimír Bokes, Per Bloland, Jae-Moon Lee, Olga Bochikhina

4 pm | Kasárne/Kulturpark

THReNSeMBle/ VENI ensemble

Ronald Šebesta, Balázs Horváth Christian Wolff, Elmira Galimova, Octavian Nemescu, Pedro Rebelo, Chieko Doi, Giacinto Scelsi, Christopher Fox

10 pm | Kunsthalle/Hala umenia

Daan Vandewalle

Thursday, November 7

Fama Quartet

8 pm | Kasárne/Kulturpark

VENI ACADEMY

Alvin Curran, John Cage, Frederic Rzewski, Beat Furrer, György Ligeti

6 pm | Kasárne/Kulturpark

Daniela Varínska, Peter Katina, Lenka Novosedlíková Daniel Matej, Anton Webern, Zygmunt Krauze, Francisco Alvarado, Egidija Medekšaitė, Vladimír Godár

Conservatory Ensemble

Samuel Hvozdík, Peter Duchnický, Matej Demko, Milan Novák, Alexej Frušenkov

8 pm | Kunsthalle/Hala umenia

Marián Lejava, Daniel Matej Louis Andriessen, Milan Adamčiak, Krešimir Seletković, Alexis Porfiriadis, Martin Burlas

Tuesday, November 5

Piano duo

Nora Skuta, Miki Skuta Marcela Beatriz Pavia, Peter Adriaansz, Juraj Beneš, György Ligeti

Students of Primary Art Schools, Slovakia

6 pm | Great Hall, House of Arts

6 pm | Kasárne/Kulturpark

Milan Paľa

Marián Lejava Tõnu Kõrvits, Tolga Yayalar, Denis Bosse, Alyson Barber, Toru Nakatani, Diana Rotaru, Henrik Strindberg, Wojciech Ziemowit Zych

8 pm | Great Hall, House of Arts, Košice

The Slovak State Philharmonic Košice

Marián Lejava Igor Stravinsky, Jozef Grešák, Victor Cordero, Isao Matsushita

ARS NOVA CASSOVIAE

Concerts Thursday, October 29 – Special concert 8 pm | St. Elisabeth Cathedral

Contrary Motion Fero Király Philip Glass

House of Arts, foyer

Gates

Children's art exhibition (Primary Art Schools in Košice) House of Arts, foyer Lukáš Gál

Images of Sounds (2012–2013)

Monday, November 4 various towns in Slovakia

Portraits concert series

Thursday, November 7 7 pm | DIG Gallery

Stanley Povoda Robotic Orchestra

robotic sound performance artistic concept: Richard Kitta, Michal Murin

Installations and Exhibitions Monday, November 4–Sunday, November 24 Kasárne/Kulturpark, “BRAVO” pavillion

Juraj Bartusz 8’0”

Opening hours: Monday–Friday, 2 pm–8 pm Presentation: Sunday, November 3 | 6 pm (Peter Tajkov) Monday, November 4–Thursday, November 7 Kasárne/Kulturpark, “BRAVO” pavillion Peter Machajdík

Sounding JB (2013)

interactive sound installation Technical support: Boris Vaitovič Kunsthalle/Hala umenia Juraj Vajó, Fero Király

Music for Renáta (2013) interactive sound installation Technical support: Jakub Pišek

Other Activities Monday, November 4 10 am | Košice Conservatory, Timonova 2

Is music just air?

Discussion with students and representatives of SOZA (Slovak Performing and Mechanical Rights Society) Host: Michal Havran Guests: Anton Popovič, director of SOZA, Adrián Rajter, PR Manager of SOZA Tuesday, November 5 9–12 am | House of Arts, Lounge

(Not)forgotten activists in the musical life of Košice and Košice region II. Music seminar Project leader: Júlia Bukovinská Thursday, November 7 10 am–1 pm | Kasárne/Kulturpark

SoundGames, action – reaction

Creative workshop for music teachers Workshop leader: Tomáš Boroš 1 pm | Kasárne/Kulturpark

Rajec Musical Spring International Festival Presentation: Marián Remenius

ISCM WORLD NEW MUSIC DAYS 2013 ARS NOVA CASSOVIAE

FRINGE EVENTS

Monday, November 4, 2013 | 6 pm

Great Hall, House of Arts, Košice

Portraits Students of Primary Art Schools, Slovakia

Iris Szeghy Joking Monkeys Little Dancing Swan Girl The Larker Hummingbird Sarah Kubiritová, piano PAS* Púchov, pedagogue: Daniela Sadloňová

Ján Cikker What the Children Told Me (piano aquarelles): No. 3 Why is the snow falling? No. 13 I released a butterfly

Arvo Pärt Spiegel im Spiegel

Oleg Gamayunov Exercise

Lucia Benková, violoncello

Tristan Urban Kučečka, accordion

PAS Márie Hemerkovej, Košice, pedagogue: Mária Čepčániová

György Kurtág Games, Vol. 2 (selection): Virág az ember... (No. 3) Virág az ember... (No. 2) Perpetuum mobile Ruben Zahra Teqbil

Villő Varga, piano

Jakub Hantabál, piano

PAS Štefana Németha-Šamorínskeho, Šamorín, pedagogue: Erika Domsitzová

PAS Ľ. Rajtera, Bratislava, pedagogue: Ingrid Ginzeryová

Pavol Krška Frescos (selection): No. 3 Katarína Kameníková, Katarína Šporerová, piano duet PAS Ľ. Fullu, Ružomberok, pedagogue: Andrea Ballová

Celso Machado Piazza Vittorio Michaela Guzanová, flute Soňa Badiarová, guitar PAS Márie Hemerkovej, Košice, pedagogue: Nataša Kötelesová, Adriana Kubrická

PAS Jantárová, Košice, pedagogue: Sidónia Pavlovičová

Tomáš Boroš Bausteine Pavol Bohdan Zápotočný, piano PAS Martin, pedagogue: Karla Kočalková commissioned by the Rajec Musical Spring International Festival to be premiered at the Melos-Ethos festival

Fero Király Haiku for Extended Piano to Texts by Erik Jakub Groch Aleško Junek, piano pedagogue: Fero Király * Primary Art School

Denisa Garajová, Daniela Švantnerová, Radka Gombalová, flutes PAS Poltár, pedagogue: Ľuboslava Slebodníková

Ivana Harachová, cimbalom PAS Bernolákova, Košice, pedagogue: Ľudmila Tričáková

Jarmila Mazourová Prelude and Toccatina III Dáša Szanyiová, cimbalom PAS Bernolákova, Košice, pedagogue: Ľudmila Tričáková

Karol Szymanowski 3 Fragments, Op. 5 (selection): My Evening Song I Am and I Am in Tears Magdalena Wachowska, voice Justyna Skoczek, piano (Poland) Dmitri Shostakovich Chamber Symphony in C Minor, Op. 110, 5th movement Ilja Zeljenka Musica Slovaca Musica Juvenalis

Mária Slaninová Secretary of the Association of PAS in Slovakia

PAS Márie Hemerkovej, Košice

Igor Dohovič, conductor * For complete list of participating schools see page 58

4 November, 2013 | 6 pm | Great Hall, House of Arts, Košice

Jaromír Dadák Miniature (from the cycle Greetings from Beskydy)

When the President of ISCM Slovak Section, Ivan Šiller, presented his vision of the project New Music for Kids & Teens at the assembly of the Association of Primary Art Schools in Slovakia in the spring of 2011, the attending primary art school (PAS) directors reacted very positively. New Music for Kids & Teens made it possible for talented students to become part of the ISCM World New Music Days 2013, Košice – Bratislava – Vienna. In 2011 – 2013, as a part of the implementation of New Music for Kids&Teens, there were seminars and workshops dealing with contemporary music organized for PAS teachers, a free database of new compositions for kids was made available on www.newmusicforkids.org, and a series of concerts of the Portraits cycle was held throughout Slovakia, at which PAS students presented compositions by contemporary authors from all around the world. In November 2011, 15 concerts of the cycle took place in various towns across Slovakia. In November 2012, a common concert entitled Portraits featuring students from Bratislava primary art schools resounded the gorgeous Small Hall of the Slovak Philharmonic, while Košice saw a concert of PAS students in the Great Hall of the House of Arts. Additional 26 concerts took place in a number of other towns. An array of beautiful compositions by contemporary authors got to be staged thanks to the Portraits. Their interpreters and listeners highly appreciated the idea of making contemporary music better known and accessible to young musicians. The project's highlight is a series of concerts called Portraits during the ISCM World New Music Days festival in November 2013. Through it, our youngest musicians, too, will get a chance to join the festival's program in Košice and Bratislava. However, the festival will touch directly also many other regions of Slovakia. On this very day, November 4, 2013, 30 towns host 36 concerts!* For this purpose the organizers took care of score materials from nearly 50 countries around the world, and in cooperation with the Association of PAS, distributed it in primary art schools. That the youngest interpretational generation has been given an opportunity to play an active part in the interpretation of contemporary music to such a great extent, is exceptional not only in Slovakia, but has been highly recognized also by Helena Maffli, President of EMU (European Music School Union). She encouraged other EMU member countries to follow the unique example of the little country under the Tatra mountains.

Monday

Ikov Kopáčik Ice Cream Cup

Monday, November 4, 2013 | 8 pm

Kasárne/Kulturpark, Košice

Quasars Ensemble Andrej Gál, violoncello

Ivan Buffa, artistic director, conductor Andrea Bošková, flute Júlia Gálová, oboe Martin Mosorjak, clarinet Erzsébet Seleljo, saxophone Radoslav Práger, bassoon Péter Magyar, trombone Ivana Fiačanová-Boggerová, harp Tamás Schlanger, percussion Lajos Tóth, percussion Diana Buffa, piano Peter Mosorjak, violin Maroš Potokár, violin Peter Zwiebel, viola Ján Bogdan, violoncello Andrej Gál, violoncello František Výrostko, double bass

Jozef Podprocký A Capricious Interlude, Op. 56 (2010) 9', flute, oboe, clarinet, piano, violin, viola, violoncello Vladimír Bokes Concertino for Cello and Chamber Ensemble, Op. 88 (2012) 12' Per Bloland FIU USA “…walk now and then into the breath that blows coldly past…” (2011) 8’, flute, percussion Jae-Moon Lee individual submission/YCA candidate Rain Falling on Stained Glass/Stained Glass Falling on Rain... (2011) 12’, flute, clarinet, bassoon, harp, violin, violoncello Olga Bochikhina CCM Russia/YCA candidate Koru Kari (2011) 7’30”, clarinet, saxophone, oboe, trombone, harp, piano, percussion

23 A Capricious Interlude, Op. 56

Jozef Podprocký (Slovakia; 1944) studied composition with Juraj Hatrík at the Košice Conservatory and with Ján Cikker and Alexander Moyzes at the Academy of Performing Arts in Bratislava. Since his graduation he has taught composition at the Košice Conservatory. His students include P. Breiner, N. Bodnár, I. Szeghy, A. Mihalič, I. Buffa, P. Guľas, J. Kmiťová, and many others. Between 1986 and 1988 he was the director of the Košice State Philharmonic. A “modern traditionalist”, he takes impulses from the Slovak school of composition and Slovak folklore transforming them with techniques of the European modernist movement.

(Slovakia; 1946) studied composition with Dezider Kardoš at the Academy of Performing Arts in Bratislava. His attempt to synthesise classical music principles with new expression led him to a style close to the Darmstadt school, connecting the serial method with aleatorics. His pieces have been performed at several festivals in Slovakia and abroad (ISCM festivals Luxembourg 2000, Hong Kong 2007 and others). He has given lectures at many music academies and universities in Prague, Vienna, London, Odessa, Rome, Kassel and Aveiro. Concertino for Cello and Chamber Ensemble, Op. 88 Being in contact with young colleagues is the result of extensive, and sometimes also risky, pedagogic work. At the same time it can bring new impulses for new compositions. Concertino for Cello and Chamber Ensemble from 2012 is such a composition. I was prompted by Andrej Gál from the Quasars Ensemble, who is an outstanding performer of new music. The piece mixes traditional avant-garde techniques with unusual retrospections, serial thinking with tonality, extreme virtuosity with the extremes of cantilena. (Vladimír Bokes)

4 November, 2013 | 8 pm | Kasárne/Kulturpark, Košice

Vladimír Bokes

Monday

The piece is dominated by a light-hearted and bouncy mood, enriched in the piano by an abundance of toccata style. Notwithstanding a conspicuous “baroque” pace and the use of heterophony and contrapuntal techniques, I strictly use the twelve-tone method applying it to the thematic argument and harmonic plan. I also employ a number of classical techniques of variation and of shaping the material. The piece is in free ternary form with a slow middle section and thematic inversion in the recapitulation. Briefly, my aim was to evoke the mood of joyful music making. (Jozef Podprocký)

Monday, November 4, 2013 | 8 pm Per Bloland (USA; 1969) is a composer of acoustic and electroacoustic music who was recently praised by the New York Times for his “ear-opening electronic innovations.” His compositions range from short intimate solo pieces to works for large orchestra, and incorporate video, dance, and custom built electronics. He is currently an Assistant Professor of Technology and Music Theory at Miami University, Ohio, and is in residence at IRCAM in Paris for the spring semester of 2013 for a Musical Research Residency. “…walk now and then into the breath that blows coldly past…” The title of the piece, taken from Rainer Maria Rilke’s Sonnets to Orpheus, appealed to me for a number of reasons. The sound quality of the flute, its ability to navigate between extremely diffuse breathy sounds and pure tones, has always fascinated me. Beyond that, in it’s original context the title is an exhortation to allow oneself to surrender completely to the creative process. (Per Bloland) Jae-Moon Lee (Republic of Korea; 1982) was born in Seoul, Korea. He is currently studying at Royal Northern College of Music in Manchester, UK. Rain Falling on Stained Glass/Stained Glass Falling on Rain… In this work, imaginary ideas of light and shadow, raindrops and stained glass windows are described. My work is concerned with presenting diverse colours in time and space in order to create a sense of fantasy. These are explored through a number of musical transformations. The work of M.C. Escher partly inspired the composition. These features can be seen in the work’s structure and aesthetic. The structural influence of his work can be seen in the music’s deconstruction, switching and recombination.

Kasárne/Kulturpark, Košice The infinite features in Escher’s work are an important aspect of my own compositional processes. In particular, from the middle of the work, the clarinet’s continuous high note suggests an imaginary infinite space, in which I wished to create my own musical reality. (Jae-Moon Lee)

Olga Bochikhina (Russia; 1980) is the winner of many international competitions, Swiss Government Scholarship holder (2009–2011), member of the Composers Union of Russia, participant of various contemporary courses for composers and festivals in Russia, Europe, USA and Scandinavia. She graduated from the Moscow Tchaikovsky’s Conservatory (under prof. V. Tarnopolsky) and Musik Akademie der Stadt Basel (under Prof. PhD. E. Oña and Prof. Dr. J. Ullmann). She has been performed by V. Gergiev, «Studio For New Music», Pekarsky percussion ensemble, «de ereprijs» orchestra (Netherlands), “Phoenix ensemble” (Switzerland) etc. Koru Kari (the name is taken from Latvian – “Choir’s War”) is a symbol of European tradition of competition in arts that comes from the myth about Apollo and Mars. There is a metaphorical contest between two instrumental worlds: what will be in the end this time? (Olga Bochikhina) Andrej Gál studied violoncello at the Bratislava Conservatory, later at the Academy of Performing Arts with J. Podhoranský. He was the principal cellist in many youth orchestras and worked with R. Wallfisch, J. Walz, V. Levin and others. Andrej Gál is a member of Quasars Ensemble, VENI ensemble, Zwiebel Quartet, and Ostravská banda, and since 2001 he is a member of the Slovak Chamber Orchestra. As a chamber and orchestral musician he performed at major festivals in Europe, Japan, Korea and U.S.A. including Carnegie Hall. Andrej

Quartet), Vienna (a performance course with György Kurtág) and in Walderbach (Elena Nesterenko). In 2007, Hevhetia released his profile CD New Slovak Music for Piano, which he recorded with Diana Buffa.

4 November, 2013 | 8 pm | Kasárne/Kulturpark, Košice

Ivan Buffa Composer, pianist, conductor and pedagogue Ivan Buffa is one of the youngest representatives of Slovak music. He has participated in many international master classes in Český Krumlov (H. Oehring, L. Toressen, M. Kopelent), Reichenau (Gyula Fekete – 2nd Prize for String

Quasars Ensemble was founded in 2008 by the composer and pianist Ivan Buffa to bring to life the musical ideas that he shared with the musicians of his generation. The dramaturgical concept of concerts prefers programmatic unity of compositions; enough space is given to young composers. The ensemble regularly takes part in festivals in Germany, Austria, Switzerland, Portugal, Czech Republic, Poland, Hungary, and Bulgaria. In 2012 the Quasars Ensemble was awarded a grant as one of residential chamber ensembles at Darmstadt International Summer Courses for New Music.

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is active also in the field of improvisation with saxophonist and composer Miro Tóth.

Tuesday, November 5, 2013 | 4 pm

Kasárne/Kulturpark, Košice

Conservatory Ensemble

Peter Duchnický GON (2011) 5’, violin, violoncello, piano Alexej Frušenkov Lens Grinder (2013) 5’, piano Milan Novák A Dream – Four Songs for Soprano and Piano (2013) 10’, soprano, piano Samuel Hvozdík Five Jokes with No Punch Line (2011) 8’, accordion Prelude – Toccata – Nostalgia – Reminiscence – Rondo

Bence Fazekaš, violin Mária Varhoľáková, violoncello Filip Krišš, accordion Michaela Bukovinská, soprano Annamária Martonyiková, Mária Budzáková, Alexej Frušenkov, Gabriela Ujpálová, piano

Matej Demko Trio for Violin, Violoncello and Piano (2013) 20’, violin, violoncello, piano Allegretto – Cadenza, molto rubato. Attacca – Fuga, poco allegro Samuel Hvozdík Fragments from the Blue Sky (2011) 8’, piano Session – Understanding – Perpetuum Mobile Improvisation – The Sky Is Leaving Us

5 November, 2013 | 4 pm | Kasárne/Kulturpark, Košice

Alexej Frušenkov (Ukraine; 1983) From 2000 to 2004, he studied at Uzhgorod Conservatory majoring in music theory; private studies of organ with distinguished Ukrainian performers Natalia Vysitch and Natalia Dmitrenko. Since 2009 has been studying composition with Jozef Podprocký, organ with Emília Dzemjanová and Klement Rečlo and piano with Mária Dravecká at the Košice Conservatory. Lens Grinder In spite of its title, it was not intended as descriptive work. The title indirectly refers to the Baroque philosopher of Jewish descent Baruch Spinoza.

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Peter Duchnický (Slovakia; 1986) studied at the Košice Conservatory (composition, flute, piano) and at the Academy of Performing Arts in Bratislava. He participated in several contests, among others the Composition Competition of Slovak Conservatories. His music has been performed at a number of well-known music festivals: Musikfest Salzburg 2005, SOOZVUK, Orfeus, ARS NOVA Cassoviae. He took part in the project Haydn, the Progressive. He has composed for the Slovak Radio Symphony Orchestra and the Košice State Philharmonic. GON originated in 2011. It is written strictly in combined interval structures of alternating thirds and sixths. The structure is horizontal as well as vertical. It represents a young person and his inner quest for truth through suffering. It captures the authenticity of the inner state of artistic portrayal. (Peter Duchnický)

Tuesday, November 5, 2013 | 4 pm

Kasárne/Kulturpark, Košice

Milan Novák (Slovakia; 1927) is an outstanding Slovak composer, conductor and organiser of music life. He studied at the Bratislava Conservatory. Novák’s music is highly imaginative, covering a wide range of music genres. For his creative work, he was named the Knight of International Culture in Budapest, January 2013. A Dream – Four Songs for Soprano and Piano I was enchanted by the tender poetry of Mária Budzáková, a young, gifted girl from Stará Ľubovňa, so I tried to create an adequate musical setting. The result – four sublime music aquarelles. My aim was to create a small lyrical oasis in the midst of this hectic and crazy century. (Milan Novák)

was written as a paraphrase on contemporary society, which does not hear the third voice (we can call it conscience) and is trapped in a vicious circle of the world; we have created such a world, and only we are responsible for the way it is. (Samuel Hvozdík)

Samuel Hvozdík (Slovakia; 1993) studied organ at the Košice Conservatory. Currently studies composition at the Academy of Performing Arts in Bratislava. He took part in several competitions, such as Talent Revúca (3rd prize), Music without Frontiers (2nd prize), Composition Competition of Slovak Conservatories (1st prize). He founded the Restart Label and composes electronic music under the pseudonym Zelf Bloemen. He is a member of VENI ACADEMY. Five Jokes with No Punch Line is a composition for accordion solo. It was created in 2011 as a commission of accordionist Jozef Chovanec. The composition is in five parts, only some of which are conceived in the constructivist style; the rest is based on free, imaginative form. Fragments from the Blue Sky represents two people discussing their thoughts, opinions, feelings, emotions, etc. When they find themselves unable to agree and to find compromise, there comes a third voice, as the older and the wisest of them all. This voice gives advice and resolves conflicts. The composition

Matej Demko (Slovakia; 1993) received his basic education at the Primary Art School in Vranov nad Topľou in class of M. Šamová. Since 2009, he has been studying composition at the Košice Conservatory (J. Podprocký), piano (A. Krajňáková) and conducting (J. Drietomský). His compositions are regularly performed at music festivals such as Rezonancie or ARS NOVA Cassoviae. He was awarded the 1st Prize in the Composition Competition of Slovak Conservatories for his Interlude for orchestra. Trio for Violin, Violoncello and Piano came into being spontaneously and it was prompted by the author’s interest in this particular combination of instruments, although he originally wanted to create a viola sonata. Formally, it is a three-movement sonata cycle. First movement is energetic, brisk with sharp, bouncy piano rhythms. Second movement comprises two technically very demanding cadences with Slovak intonations in the cello cadenza. It proceeds attacca into the final movement: a very rare form – a fugue forming the climax of the whole trio. (Matej Demko) Filip Krišš (1992) was born in Prešov. He studied at the Primary Art School J. P. in Prešov. Currently, he is a student of the sixth year at the Conservatory in Košice in the class of Jozef Demjan. Mária Budzáková (1992) was born in Stará Ľubovňa where she studied at the T. Vansová Grammar School; she is a member of the Ľubovňa Literary Club. Following prizes

Gabriela Ujpálová studied at the Conservatory in Košice and attended performance courses both at home and abroad (I. Černecká, E. Indjić, E. Pompili, F. Rossé, J. Acchuccarro, D. Biligova). She was a member of the Gemme Piano Quartet. Since 2009, she studies at the Academy of Performing Arts in Bratislava (D. Varínska, I. Gajan).

Bence Fazekaš has been playing the violin since he was seven. He studied piano and violin at the Conservatory in Košice since 2009, attended several master classes and also an orchestral master class under the supervision of Tamás Vásáry. He is a member of the International Youth Orchestra of Zoltán Kodály in Debrecen and also a member of several chamber ensembles. Annamária Martonyiková was born in Košice and has been playing the piano since the age of six. After graduation at grammar school, she studied the piano, winning a number of awards as a solo and chamber musician. She collaborated with orchestras such as Musica Juvenalis or VENI ACADEMY. Currently, she studies in the first year at the Academy of Performing Arts in Bratislava.

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5 NOVEMBER, 2013 | 4 PM | KASáRNE/KULTURPARK, KOŠICE

Michaela Bukovinská Attended the Primary Art School in Poprad (2004–2011), where she sang in the Poprad Children’s Choir. From 2008 to 2011, she frequented the belcanto singing class led by Jana Kočanová. Currently, she studies at the Conservatory in Košice under the supervision of Gabriela Šaráková.

Mária Varhoľáková After graduation from grammar school and primary art school, she decided to approach music professionally and enrolled in the Conservatory in Košice (in 2011). She won the Young Cellist of Slovakia 2009 contest, and the Competition of Slovak Conservatories in 2012

TUESDAY

at national and international competitions, her poems were published also in Poland, Hungary, Slovenia, and the Czech Republic. Presently, she studies in Košice in J. Debreová’s piano class.

Tuesday, November 5, 2013 | 6 pm

Kasárne/Kulturpark, Košice

Fama Quartet Daniela Varínska, piano Peter Katina, accordion Lenka Novosedlíková, percussion

Daniel Matej NICE (2005/2011) 8’30”, string quartet Anton Webern String Quartet, Op. 28 (1936–1938) 9’, string quartet Zygmunt Krauze Piano Quintet (1993) 15’ Francisco Alvarado ISCM Chile SCD/YCA candidate Tricycle (2011) 9’, string trio

David Danel, violin Roman Hranička, violin Ondřej Martinovský, viola Balázs Adorján, violoncello

Egidija Medekšaitė ISCM Lithuania/YCA candidate Dhani (2009) 10’, string quartet, accordion, percussion Vladimír Godár Déploration sur la mort de Witold Lutosławski (1994) 10’, piano quintet

5 November, 2013 | 6 pm | Kasárne/Kulturpark, Košice

Zygmunt Krauze (Poland; 1938) is a Polish composer and pianist, who studied composition and piano at the Frederic Chopin Academy of Music in Warsaw and with Nadia Boulanger in Paris. He is known as a composer of unistic music. He is an author of three operas, several instrumental concertos, symphonic and chamber works. He is a professor of composition at the Music Academy in Łódź, and from

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Daniel Matej (Slovakia; 1963) studied at the Academy of Performing Arts in Bratislava, Conservatoire national supérieur in Paris, and at the Koninklijk conservatorium in The Hague with Louis Andriessen, Juraj Beneš, Betsy Jolas, Ivan Parík and others. In 1995 he was invited to Berlin as a DAAD composer-in-residence. Since 1996 he has been teaching at the Bratislava academy. His works are performed at home and abroad. He also creates sound installations with renowned Slovak and international visual artists and is active as a performer and conductor of improvised music. NICE The title of NICE occurred to me as a reaction to the commission (The Festival of Nice Music). Later more associations resulted in a kind of contemplation on what the expression “nice” really means. The basic material was derived from the 12-tone row of Webern’s Symphony, Op. 21. A different side of the sound world relates to the rough sound of Xenakis’s compositions. But my way of working with the material and sound vision refers more to Cage, Feldman or Brown. Let’s say it’s “music about music” of these composers; through their mastery the word “nice” acquires completely new dimensions. (Daniel Matej)

Anton Webern (Austria; 1883 – 1945) was an Austrian composer and conductor, member of the Second Viennese School. As a student and significant follower of Arnold Schönberg, he became one of the best-known exponents of the twelve-tone technique. Webern’s music may be typified by very Spartan textures, in which every note can be clearly heard; carefully chosen timbres, often resulting in very detailed instructions to the performers and use of extended instrumental techniques; wide-ranging melodic lines, often with leaps greater than an octave; and brevity. String Quartet, Op. 28 is Webern’s last chamber piece. This structure in three movements is also the highpoint of his classical period, beginning with the Symphony, Op. 21. As in his previous works, Webern conceives the piece from a basic row (b flat-a-c-b-d sharp-e-c sharp-d-g flat-f-a flat-g) that is highly symmetrical due to the four-pitch B-A-C-H motif. Every detail of this expressive and focused composition invokes the Baroque master, or masters of the pre-Baroque vocal polyphony (Webern was an expert on their music). For the Darmstadt generation of the 1950s the String Quartet, Op. 28 stood as most important prototype of a complex, multidimensional composition. (Marián Lejava)

Tuesday, November 5, 2013 | 6 pm

Kasárne/Kulturpark, Košice

2006 at the Frederic Chopin Music Academy in Warsaw. For many years he was the president if ISCM and is its honorary member. Piano Quintet was composed for the opening of an exhibition of Władysław Strzemiński’s works in Museum of Modern Art (Łódź), in commemoration of the 100th anniversary of the artist’s birthday. In the introduction to the first performance of the piece by the composer himself and the Silesian Quartet, Zygmunt Krauze said that the composition had been inspired by the art and tragic life of the celebrated master. The Quintet consists of five independent instrumental songs linked by interludes to form a sort of lyrical suite consisting of images and promenades. Each part of the Piano Quintet represents a different lyrical style, ranging from lament and an intrinsically complex and varied song without words to a nostalgic tune with accompaniment wondrously combining the melancholy of a popular dumka with the gesture of Mahlerian adagio. The singular expressive momentum of that piece focuses on what we may call the category of lyrical tenderness. In such a moving work the characteristic Krauzean ornaments sparkle with a romantic feeling while abstract sound patterns crave for a would-be not formable programme of a chamber-poem. The first performance took place on 25 November 1993. (after Andrzej Chłopecki – shortened)

aesthetic is founded in the free orchestration of complex sounds and the application of natural (chaotic) models presents in nature. Tricycle This piece is inspired by the earth’s water cycle. I studied the different states of water and the transformations between them on a visible and invisible levels (molecules). This research gave me very interesting and perfectly employable models of musical processes, such as the “triple point”, a moment in which the three states of water coexist at the very same time in a chaotic way. (Francisco Alvarado)

Francisco Alvarado (Chile; 1984) is a Chilean/Spanish composer. He studied classical guitar with Miguelangel Clerc. He started composition studies at the Universidad Católica de Chile with Aliocha Solovera and then at the Conservatoire national supérieur de musique de Paris with Stefano Gervasoni. He received the Young Composition Award of the Chilean Symphonic Orchestra and he won the CDMC award in Spain. He took part in different encounters such as Royaumont or INJUVE. Francisco’s

Egidija Medekšaitė (Lithuania; 1979) studied composition with Rytis Mažulis at the Lithuanian Academy of Music and Theatre, graduating in 2007. In 2003 she took part in the Programme of Composition and Music Technology in Tampere (Finland). In 2006 she studied at the Stuttgart Academy of Music with Marco Stroppa and Caspar J. Walter. The composer participates in various interdisciplinary projects, writes music for dance performances and movies, her music is constantly performed in contemporary music festivals in Lithuania and abroad. Dhani The realization of the idea of this work made me understand that the most difficult part of it is to create an irregular rhythm, which moves regularly in time. Therefore, some human irregularities are possible and even welcome in the performance, creating an additional human dimension. If the performers miss their position in the score and get lost – then I will think I reached my goal... (Egidija Medekšaitė)

Daniela Varínska (Slovakia; 1946) performs both as a soloist and a chamber player, appearing at major music festivals in Europe, Canada, USA and Asia. She has collaborated with both Slovak and foreign ensembles (with Ľudovít Rajter, James Judd, Andrew Mogrelia, Alexander Rahbari, etc., as conductors). Her chamber partners include prominent Slovak and foreign artists. She is also an acclaimed player of the harpsichord and fortepiano. Following successful live rendition of all Beethoven’s piano sonatas (2004 – 2008), the entire cycle was released on 9 CDs in 2008 (Diskant). She often leads seminars for teachers, working together with students of various ages.

Lenka Novosedlíková (Slovakia; 1989) After graduating from the Bratislava Conservatory, where she studied both composition and percussion with Peter Hochel and Peter Kosorín, she now studies composition at the Academy of Performing Arts in Bratislava with Vladimír Godár, Marián Lejava and is also enlisted as a percussion student at the Janáček Academy of Performing Arts in Brno. She is member of several ensembles (VENI ACADEMY, Musica falsa et ficta), while also participating in workshops, courses and events relating to contemporary and improvised music. Fama Quartet offers a wide repertoire in world and Czech contemporary music, but performs also classical works for string quartet. Fama Quartet frequently premieres new works by the young generation of composers – Adámek, Kadeřábek, Pálka, Smejkalová and Trnka. The quartet was presented at the Prague Spring festival, Contempuls Prague, New Music Exposition Brno, festivals SPACE and Evenings of New Music in Bratislava and also toured in the USA, Turkey, Japan, Romania and Slovakia. Its members also cooperate with other contemporary music groups, for example the progressive Prague Philharmonia, and often perform at contemporary music workshops.

5 November, 2013 | 6 pm | Kasárne/Kulturpark, Košice

material of this funeral music Godár took a quotation of the first three notes from Lutosławski’s String Quartet, the rhythmical and melodic contour of the introductory section of his Funeral Music in memoriam Béla Bartók with the actual notes transformed into the diatonic (Phrygian mode) form, an allusion of the “death motif ” from Godár’s Ricercar and a quotation from Lutosławski’s beloved Chopin’s Mazurka, Op. 30 No. 1 (pianoforte lontano). (Vladimír Godár)

Peter Katina (Slovakia; 1975) is a Slovak accordion player. He studied at the Academy of Performing Arts in Bratislava. He won several prizes at international competitions. Later he studied at the Carl Nielsen Music Academy in Odense, Denmark, with special focus on contemporary music. Already during his studies Katina prompted several composers to write accordion pieces. He has premièred mainly compositions of Slovak and Danish composers. Peter Katina has given concerts in Denmark, Great Britain, Germany, Hungary, Serbia, and recorded several CD albums.

Tuesday

Vladimír Godár (Slovakia; 1956) studied first privately (with Peter Bartovic), later at the Bratislava Conservatory (with Juraj Pospíšil) and at the Academy of Performing Arts in Bratislava (with Dezider Kardoš). His comprehensive personality was formed by his job positions; hence he became also an editor, publisher, writer, musicologist, teacher, aesthetician, and organiser of concerts and project initiator. Godár wrote more than a hundred works for solo instruments, chamber groups and orchestras with or without voices. He is also an acclaimed film composer. Déploration sur la mort de Witold Lutosławski is an homage written in 1994, following the death of this master of 20th-century music. For the

Tuesday, November 5, 2013 | 8 pm

Kasárne/Kulturpark, Košice

THReNSeMBle VENI ensemble Ronald Šebesta, clarinet

Balázs Horváth, artistic director, conductor Daniel Matej, artistic director

Christian Wolff Bratislava (1995) 14’, chamber ensemble Marcela Lechtová, piccolo flute Ivica Gabrišová, piccolo flute, flute Veronika Vitázková, piccolo flute, alto flute Paulína Rónaiová, oboe, English horn Ronald Šebesta, clarinet, chalumeau, percussion Branislav Dugovič, bass clarinet Antal Nagy, trumpet András Kovalcsik, French horn Péter Magyar, trombone František Király, piano, percussion Milan Osadský, accordion András Derecskei, violin Péter Tornyai, viola, percussion Villő Oláh, violoncello, percussion

Octavian Nemescu ISCM Romania Concentric (1969) 16’, chamber ensemble and tape Elmira Galimova ISCM Tatarstan/YCA candidate Diary of Soul (2011) 6’, alto flute, clarinet, piano, violin Pedro Rebelo ISCM Portugal Trio (2011) 10’, three unspecified instruments ——————————————————————— Chieko Doi individual submission Splicing (2008) 8’, three piccolos Giacinto Scelsi Kya (1959) 11’, clarinet and seven instruments Christopher Fox schwarz-weiss (2008–2010) 10’, unspecified ensemble

Elmira Galimova (Tatarstan; 1982) graduated in composition at the Kazan State Conservatory. In her works she uses traditional features of Tatar folk music, treats them in modern writing techniques, and uses different tonal relationships. Works (selection): opera Wing Syuyumbike; oratorio Sacred Memory; musical drama Zaytunakay; symphony The Four Elements; Yin-Yang for flute, clarinet, percussion and chamber orchestra; Trio Dialog for flute, clarinet and violin; Ethno-Fantasy for saxophone and chamber orchestra. Diary of Soul In this piece for alto flute, clarinet, violin and piano, Elmira Galimova expresses sincere reflections of a philosophical nature. Each instrument in this work has its semantic function. Theme, played by the flute, highlights feminine tender-

5 November, 2013 | 8 pm | Kasárne/Kulturpark, Košice

Octavian Nemescu (Romania; 1940) After 1967, he was involved in the Romanian spectral trend. Starting with Concentric (1969) his creation displayed archetypal features by cultivating an aesthetic of the essential. Recently he focuses on music with an initiation character, a non-spectacular, ritualistic atmosphere, trying to reinvigorate the old mysteries as a modality of awakening from biological, mental and spiritual slumbers. Concentric (A Question with Two Answers) presents simultaneous times in a state of tuning and interconditioning, thus forming a retort to

Charles Ives’ Unanswered Question. Unity of the three superposed music layers is achieved in the following way: out of the timelessness of the resonant harmonics issued by a fundamental sound C, placed in the deepest register, like a natural archetype (layer A), in ppp, rise long temporalities of music cadences coming from different cultural zones and times which are historically chronological (layer B), in mp-mf. The cadential sounds are harmonics of the same fundamental C. Therefore, the cultural archetypes (layer B) are perfectly attuned to the natural one (layer A). On the other hand, layer B represents the “sources” of layer C, since the cadential motives give birth to the short times, the instrumental ephemerides in f-ff, which are developments of these motives, as well as bridges between them. The individual consciences (layer C), like ephemeral raging waves, are born and then they “melt” in the river of collective subconsciousness (layer B), “floating” on the ocean of cosmic (and supercosmic) unconsciousness (of the layer A), which may be thought also as a Superconsciousness (with the individual Ego as a reference point). (Octavian Nemescu)

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Christian Wolff Though mostly self-taught as composer, the work of John Cage, Morton Feldman, David Tudor and Earle Brown have been important to him, as well as long associations with Cornelius Cardew and Frederic Rzewski. A particular feature of his music is the various freedoms it allows performers at the time of performance, as well as the variable results possible for any particular piece, for which he has devised various new notations. Academically trained as a classicist, Wolff taught classics at Harvard University from 1963 to 1970 and was professor of classics and music at Dartmouth College from 1971. Bratislava was written in 1995 at the request of Daniel Matej for the VENI ensemble, an octet whose instrumentation struck me as somehow characteristic of Central Europe. The music is made out of my usual patchwork of different parts and procedures. Some traditional folk tunes, including Slovak ones, are sometimes used as material for rhythmic and pitch procedures. The tunes are not likely to be recognisable as such, but they affected how I thought about the music and were, I believe, one source of some of its, if I can call it that, energy. (Christian Wolff)

Tuesday, November 5, 2013 | 8 pm

Kasárne/Kulturpark, Košice

ness, the clarinet conveys the spirit of man’s strength, the violin expresses pessimism, and the piano optimism. All these qualities correspond with the character of the composer. Of course, the diary of the soul of the composer has a continuation, and the final composition is a confirmation of this.

a part-time instructor in Kobe Shoin Women’s University in Kobe. Her own ensemble is called “mega lo mania”. Splicing in this context can be referred as a particular reaction found in biology, when a RNA reaction occurs. This particular process in simple terms can be explained as “a removal of a section and combining the rest”. This piece is a reflection of this particular RNA process where elements are being combined, pasted and finally being sublimed. If low-registered instruments were regarded as a “parental-figure”, which produces a huge variety of overtones, the 3 piccolos used in this piece would be characterized as the “fetus” of those low-registered instruments, where it plays a roll of being innocent and free from impurity. (Chieko Doi)

Pedro Rebelo (Portugal; 1972) is a composer, sound artist and performer working in chamber music, improvisation and installation with new technologies. His music has been presented in venues such as the Melbourne Recital Hall, National Concert Hall Dublin, Queen Elizabeth Hall, Ars Electronica, Casa da Música, and at events such as Weimarer Frühjahrstage für zeitgenössische Musik, Wien Modern Festival, Cynetart and Música Viva. His work as a pianist and improviser has been released by Creative Source Recordings and he has collaborated with musicians such as Evan Parker and Pauline Oliveros. He is Professor of Sonic Arts at Queen’s University Belfast. Trio explores a sound world between determinacy and indeterminacy through the use of graphic notation that governs the role of each musician in the ensemble. These roles develop throughout the piece in a game-like manner with the aim of creating a musical environment based on play and exchange. (Pedro Rebelo) Chieko Doi (Japan; 1978) holds master’s degrees at Soai University, Tokyo College and a diploma at Hochschule für Musik und Theater in Hannover, Germany. In 2013, she completed the doctoral programme at Elisabeth University of Music in Japan under Koji Tomotani and Toshio Hosokawa. Since 2008, she works as

SCELSI [Converti].pdf

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Giacinto Scelsi (Italy; 1905 – 1988) was born to an aristocratic family living near Naples in southern Italy. Though he had little formal musical training, he is now recognised as one of the most creative composers of the 20th century. Scelsi’s mature music is marked by a supreme concentration on single notes, combined with a masterly sense of form. Scelsi revolutionised the role of sound in western music – his bestknown work is the Quattro pezzi per orchestra, each on a single note. Kya In the time between the composition of Rucke di guck for piccolo and oboe (1957) and Kya, Scelsi’s approach to instrumental writing matured rapidly. Between 1952 and 1958, he wrote numerous instrumental solos and comparatively few ensemble pieces. This seems to be because he was still searching for a way to express his new ideas. He now needed instruments capable of microtones if he was to evoke what he called the “spherical” dimensions of sound. Kya is one of the first works of Scelsi’s full maturity in which his own particular timbre-based sense of composi-

Christopher Fox (United Kingdom; 1955) Christopher Fox composes, teaches and writes about music and is widely regarded as one of the most individual composers of his generation. Innately independent, he conducts his compositional career at a tangent to the mainstream music industry, basing it instead around close collaborations with performers, most notably the instrumental groups the Ives Ensemble and Apartment House, and vocal ensembles The Clerks and EXAUDI. schwarz-weiss was written for Trio Scordatura and Ensemble Klang and premiered in Amsterdam on 31 May 2012. It can be played by any group of between three and nine instruments. Each player chooses just eight different sounds, each as different in sonic character as possible, although each must also share some characteristics of the previous sound. The title refers to the way the players alternate blocks of playing – schwarz (black) – and blocks of inactivity, weiss (white). schwarz-weiss was inspired by Martin Creed’s installation, Work No. 227: The lights going on and off. (Christopher Fox)

Balázs Horváth (Hungary; 1976) studied composition at the Ferenc Liszt Academy of Music with Zoltán Jeney (among others). While teaching there, he finished his DLA in Composition in 2005. As composer he won several prizes and his music was performed in Hungary and abroad. He is interested in the combination possibilities of popular and serious music and integrating theatrical elements into music. Horváth regularly appears as conductor of contemporary music.

Ronald Šebesta (Slovakia; 1967) is one of the leading clarinet players in Slovakia. He began his career in 1993 in the Slovak Radio Symphony Orchestra, from 1996 also in the chamber orchestra Cappella Istropolitana. As a dedicated performer of contemporary music he co-founded the groups VENI ensemble, Vapori del Cuore and the Slovak-Austrian group don@u. com. Between 1997 and 2005 he was a member of the chamber group Opera Aperta Ensemble. He works closely with his brother Robert in the field of period clarinets, where their main longterm project is the LOTZ trio. He also performs

THReNSeMBle was founded by six Hungarian musicians with artistic direction of Balázs Horváth in 2008. They first appeared at the Bartók Festival, Szombathely where they performed compositions by 6 young Hungarian composers influenced by Pierre Boulez’s Dérive 1. The musicians decided to continue working together, basically concentrating on performing music by the young generation of composers. Since 2008 they have played world and Hungarian premieres of more than 30 pieces. (Balázs Horváth) VENI ensemble was founded in 1987 by several enthusiasts who shared a common desire to express their own artistic opinions through relevant music. It is an open group of musicians; the core of the ensemble is made of several permanent members who invite others to collaborate. The group’s main activities are performances at national and international festivals. In addition, the group sporadically records for broadcasting companies at home and abroad and has recorded several CDs since 1990. The repertory is based on works by composers working with and around the group, by composers, whose music is closely related to the aesthetics of the group and by 20th-century composers who served as “father figures” for members of the group. (Daniel Matej)

5 November, 2013 | 8 pm | Kasárne/Kulturpark, Košice

regularly with period instruments orchestras Wiener Akademie, Orfeo Orchestra and Cappella Cracoviensis.

Tuesday

tion and instrumental sound direct the work from the inside out. (after Donato Mancini source: http://www.allmusic.com/composition)

Wednesday, November 6, 2013 | 6 pm

Great Hall, House of Arts, Košice

Piano duo Nora Skuta, Miki Skuta

Marcela Beatriz Pavia ISCM Argentina Pain Is Not Linear (2007) 12’, solo piano Peter Adriaansz ISCM Netherlands Waves 3 (2008) 11’30”, solo piano, E-bows (with optional live electronics) Juraj Beneš Intermezzo No. 3 (1987) 17’, two pianos György Ligeti Drei Stücke für zwei Klaviere (Three Pieces for Two Pianos) Monument – Selbstportrait – Bewegung, (1976) 16’, two pianos

6 November, 2013 | 6 pm | Great Hall, House of Arts, Košice

Peter Adriaansz (Netherlands; 1966) studied with Louis Andriessen, Brian Ferneyhough and Peter-Jan Wagemans. His work is characterised by a systematic, research-oriented approach encompassing sound, variability, audible mathematics and microtonal reflection. Recent large-scale compositions include Prana (2007), Verdichtingen (2009), Three Vertical Swells (2010) and two extended series, on spatial harmony (Structures I-XVI, 2005) and microacoustics (Waves 1-13, 2008).

Wednesday

Marcela Beatriz Pavia (Argentina/Italy; 1957) studied composition at the National University of Rosario in Argentina with Dante Grela, Francisco Kröpfl and Franco Donatoni. She also studied in Milan, Biella and Academy Chigi of Siena, studying with György Ligeti, Ennio Morricone and Henri Pousseur. She was artist-in-residence at the Virginia Center for the Creative Arts in the United States. After receiving her degree, Pavia worked as a composer and taught music at universities and conservatories in Rosario and Buenos Aires. Her music has been performed internationally. Pain Is Not Linear The piece, commissioned by Thomas Rosenkranz and winner of the Trinac 2011, continues the research of resonance already developed in previous chamber pieces. Many possibilities of the resonances of the piano are explored and applied for recurrent elements that return in a non-linear way just like the phenomena of the psychical life. The piece is based on a kind of embedded form where the whole material is concentrated in the initial gesture, a sort of Borge’s aleph, elements of which are then disentangled during the time evolution. (Marcela Pavia)

Wednesday, November 6, 2013 | 6 pm

Great Hall, House of Arts, Košice

Waves 3

György Ligeti (Hungary/Austria; 1923–2006) was born in Transylvania and later became an Austrian citizen. He studied composition with Ferenc Farkas and Sándor Veress. Before leaving Hungary in 1956 he was lecturer in harmony and counterpoint at the Liszt Academy in Budapest. As a freelancer in Cologne he became interested in the music of Karlheinz Stockhausen, Mauricio Kagel and Pierre Boulez. In the 1960s he was lecturer at the Darmstadt courses. In 1973 he was appointed professor of composition at the Hamburg Music Academy. György Ligeti died in 2006, leaving substantial impact on several generations of musicians. Drei Stücke für zwei Klaviere As Ligeti was completing work on the original version of the opera Le Grand Macabre in 1976, he decided to return to writing for the piano for the first time in over a decade. The result was the Three Pieces for Two Pianos, dedicated to the famous avant-garde piano duo Alfons and Aloys Kontarsky, and premiered by them in Cologne on May 15, 1976. One important influence on his style, that Ligeti explicitly acknowledges in the Three Pieces, is minimalism. The way the music of Ligeti here gradually evolves is certainly akin to minimalist procedure, and the connection is made especially obvious in the second piece, Self-portrait with Reich and Riley (and Chopin in the background). A brief allusion to the finale of Chopin’s Piano Sonata No. 2 is also heard; Ligeti sees the Chopin passage as an early harbinger of minimalism. The composer has described the third, final piece, With gently flowing motion, as a “liquefied” variation on Monument. Swirling, dreamlike runs (reminiscent of the piano music of Claude Debussy) travel over the keyboard, providing the ground for a slow, portentous tune. There is a gradual increase in both volume and intensity. At what seems to be the breaking point, a very slow eight-part chorale takes over and closes the piece on a ponderous note. (after Chris Morrison – source: http://www. allmusic.com/composition)

Written in 2007 at the request of Sonsoles Alonso, the series of works prescribes a simultaneous interaction between the keys of the piano and the placement of the E-bows with which the piano strings are excited – and in some cases demands a considerable degree of virtuosity from the pianist, having to co-ordinate, choose and listen all at the same time. Each piece focuses on a different form: a descending line in the first (against sines dropping 2, 3 and 4 octaves respectively), enharmonic overtone relationships in the second, an ascending spectrum in the third (against a combination of sampled piano strings and sine tones) and the building up of a harmonic chord in the fourth (with an interactive part for the sines). (Peter Adriaansz) Juraj Beneš (Slovakia; 1940–2004) was a Slovak composer, teacher, and pianist. He graduated from the Academy of Performing Arts in Bratislava in the class of Ján Cikker. Since 1983 Beneš taught at the same academy. Beneš’s work followed current trends and spanned genres. He was best in composing operas such as The Emperor’s New Clothes, Petrified, and The Feast and often employed the human voice together with unusual instrument combinations, as in Three Women’s Choirs. Intermezzo No. 3 for two pianos is a demanding virtuoso piece. It is my third composition for homogenous forces (Intermezzo No. 1 for 6 flutes, Intermezzo No. 2 for 12 cellos). The piece follows Lutosławski’s idea of musical form combining a kind of “exercise” (of both the composer and the listener) at the beginning, several shorter sections (five in this case), followed by the main section (a gradual build-up in this case). (Juraj Beneš)

Piano duo In 1996, Nora and Miki Skuta formed a piano duo focusing on 20th- and 21st-century music. The duo performed in Prague, Lvov, Warsaw, Bratislava, Salzburg, and Paris. Their concert within the Salzburg Biennale, with works by Ligeti and Reich, was recorded and published by the German label Neos in 2010.

6 November, 2013 | 6 pm | Great Hall, House of Arts, Košice

Miki Skuta (Slovakia; 1960) is active not only in classical music, but also in other genres, both as a composer and performer. Skuta collaborated with notable artists of all genres, such as Angelika Kirschlager, Benjamin Schmid, Christian Muthspiel, Didier Lockwood and others. As a soloist he played with the Symphony Orchestra Danubia-Budapest, Bruckner Orchestra Linz, die reihe, and others. Apart from other recordings made for BMG and ORF, Skuta recorded the Goldberg Variations (Hevhetia); the BBC Music Magazine compared it to the 1955 Gould recording. As a result, he was invited to debut in London and Paris in 2004. Since 1993, his compositions have been presented in Austria, Germany, Switzerland, Hungary, the Netherlands.

Wednesday

Nora Skuta (Slovakia; 1967) is one of the most internationally active Slovak pianists, a sought–after chamber and solo player and a dedicated performer of contemporary music. Currently she is the first pianist in Österreichisches Ensemble für Neue Musik in Salzburg. Skuta worked with distinguished composers, performers and conductors: Sofia Gubaidulina, Louis Andriessen, John Cage, Christian Wolff, Steve Reich, Zygmunt Krauze, György Kurtág, Sigune von Osten, Klangforum Wien, Arturo Tamayo and others. Her discography contains 21 CDs on Slovak labels, on Naxos, Neos and MMC. Her CD with Cage’s Sonatas and Interludes (Hevhetia) received rave reviews in the BBC Music Magazine, and was included in the book 1001 Classical Records published by Quintessence in UK.

Wednesday, November 6, 2013 | 8 pm

Kunsthalle/Hala umenia Košice

VENI ACADEMY Marián Lejava, conductor

Daniel Matej, artistic director, conductor

Daniela Česlová, Peter Duchnický, Júlia Hollá, Laura Lovišková, Alice Mikulášová, Silvia Suchánková, flutes Paulína Rónaiová, oboe Branislav Dugovič, Ondřej Milt, Jarmila Steiger, Lucie Steiner, clarinets Rastislav Badiar, trumpet Ján Hrubovčák, trombone Juraj Hodas, tuba Daniel Matej, Katarína Brunová, Ľubica Paurová, Barbora Tomášková, keyboards

Louis Andriessen Workers Union (1975) 15’, any loud-sounding group of instruments

Martin Bertič, guitar

Milan Adamčiak Adizione (cca 1980) 3’, unspecified ensemble Heterophonica II (1971), 3’30”, unspecified ensemble

Peter Fillo, electric guitar Lenka Novosedlíková, marimba, snare drum Samuel Hvozdík, djembe, tam-tam David Danel, Dominik Palma, Rozália Tomášková, violins Milan Paľa, Peter Dvorský, Šimon Truszka, violas Balázs Adorján, violoncello Juraj Bajús, double bass

Krešimir Seletković ISCM Croatia NO music (2009) 8’, chamber ensemble Alexis Porfiriadis individual submission Drops (2008/2009) 12’, unspecified ensemble Martin Burlas 7th Day Record (1993) 8’, unspecified ensemble

Wednesday

in the way he embraces dissonance, chromaticism and aggressive, loud sound. Workers Union Andriessen is one of the first Europeans to work in detail with the concept of the open score. Workers Union is the result of this exploration, and since its premiere it has been performed by many contemporary music ensembles. Andriessen refers to Workers Union as “a symphonic movement for any loud group of instruments”, and requires that it sounds “dissonant, chromatic and often aggressive”. As a devoted leftist intellectual, he speaks of the piece in political terms: “The piece can be successful only if every performer is convinced that he is playing one of the key parts; just as in politics.”

November, 2013 | 8 pm | Kunsthalle/Hala umenia Košice

Louis Andriessen (Netherlands; 1939) anticipated and, at the same time, cultivated the American dialogue with the modernists in Europe, before minimalism brought its definitive end. Andriessen’s musical language is based on hypnotic repetition of minimalistic patterns combined with Stravinskian dynamic rhythm and meticulously worked out structures. Regular pulse and repetitive models won him the label “the European minimalist”, nevertheless, his brand of minimalism does not involve the immediacy of the music of his American counterparts – Riley or Glass. Andriessen is different

Wednesday, November 6, 2013 | 8 pm

Kunsthalle/Hala umenia Košice

Milan Adamčiak (Slovakia; 1946) is a composer, cellist, musicologist, creator of acoustic objects, installations and unconventional music instruments, performer, visual artist, experimental poet and mystifier. His studies included violoncello and musicology at the Faculty of Philosophy of the Comenius University, Bratislava. Adamčiak worked at the Slovak Academy of Sciences, researching 20th-century music and visual arts. Since the mid-1960s, he focused primarily on experimental poetry, graphic scores, and sound objects, which resonate with the artistic strategies of John Cage and the Fluxus movement. In 1989, he established the Transmusic Comp., an ensemble of unconventional music, among others with Peter Machajdík and Michal Murin, with whom he has since then collaborated on a number of projects. Adizione, Heterophonica II What makes Adamčiak’s graphic scores distinct from many others is, perhaps, that they integrate both worlds – visual and acoustic – intensely and sensitively. When displayed in a gallery, they are beautiful, when placed on a music stand, they are comfortable to read, comprehensible, therefore, easily translatable into an acoustic form. (Daniel Matej)

Drops

Alexis Porfiriadis (Greece; 1971) studied composition with Gerd Kühr and Beat Furrer (University for Music and Performing Arts Graz/Austria). He is currently working towards a PhD. focusing on composition for improvisers, supervised by James Saunders (Bath-Spa University/UK). His compositions from the last 5 years consist mainly of verbal and graphic scores. He enjoys working with non-professional musicians and performers of all backgrounds, and adjusts his compositions to their individual needs and abilities.

My compositions promote a cultivation of togetherness and collective responsibility regarding the final result of a performance. Τhe verbal/ graphic score Drops for ensemble (2008/09) gives the performers the opportunity to make a group realisation of a composition which is indeterminate with regard to its performance, through a selection of pre-existing material. The resultant realisation should be the product of a conversation between the performers, without the guidance of any third party. (Alexis Porfiriadis) Krešimir Seletković (Croatia; 1974) graduated in composition under Davorin Kempf from the Academy of Music in Zagreb. There followed further studies at summer master classes in Semmering and Radziejowice, in Darmstadt as well as in Szombathely and Grožnjan. Seletković won numerous awards for his works which have been performed throughout Croatia and abroad. He is a regular member of the Croatian Composers’ Society and in 2012 became artistic director of Music Biennale Zagreb. He works at the Zagreb Academy of Music as a professor. NO music was commissioned by the Music Biennale Zagreb. It comprises two parts: rhythmically static solutions, atmosphere and colours in the first part, while the second involves a non-regular rhythmic component and implements material of the first part. It is written for Gaida Ensemble who gave its first performance on MBZ in 2009.

Daniel Matej (Slovakia; 1963) see page 31 VENI ACADEMY is a project aiming at creating a nationwide ensemble, focused on the interpretation of the 20th- and 21st-century music. The idea is the brainchild of Marián Lejava, Daniel Matej and Ivan Šiller (key members of the VENI ensemble). Their effort to create this ensemble follows quite naturally from their years-long artistic and teaching activity in the realm of contemporary music, and their wish to promote it, as well as to create respectable environment for its existence in Slovakia. The project VENI ACADEMY is based on the idea of long-term, regular education of young musicians in the sphere of contemporary music by workshops, seminars, summer master courses and other interactive events. (Daniel Matej)

6 November, 2013 | 8 pm | Kunsthalle/Hala umenia Košice

Marián Lejava (Slovakia; 1976) studied conducting and composition at the Academy of Performing Arts in Bratislava. Since 2000 he actively appears as conductor with leading Slovak ensembles (such as VENI ensemble) as well as in the Slovak National Theatre and the Slovak Philharmonic and other orchestras and theatres abroad. He has conducted across Europe and in Shanghai, China. As a composer he received several prizes at home and abroad. His music regularly appears on concerts across Europe and on six CD recordings.

Wednesday

Martin Burlas (Slovakia; 1955) is a Slovak composer, guitarist and keyboard player. He studied composition at the Academy of Performing Arts in Bratislava with Ján Cikker. Burlas founded several experimental rock ensembles and also worked with ensembles focused on contemporary composed and improvised music. Burlas' uncompromising attitude towards the preferred compositional methods has made him the most radical representative of the new generation of composers. He has been strongly inspired by minimal music; his electroacoustic pieces broke new ground in Slovak music. He is one of the most notable figures of the Slovak alternative rock scene. 7th Day Record The word “record” is totally neutral and does not impose any “messages” on the audience, but instead leaves the audience to their own impressions and feelings, and to their own interpretation of what is recorded here. After a six-day long creation, God rested on the seventh day, satisfied with everything He had created. Despite the fact that Burlas’s composition is a mere record, not a critical commentary, it, for sure, is a far cry from a rest or satisfaction... (Robert Kolář)

Wednesday, November 6, 2013 | 10 pm

Kunsthalle/Hala umenia Košice

Daan Vandewalle piano

Alvin Curran Inner Cities 5 (1999) 3’ John Cage Two Pieces (1946) 10’ Frederic Rzewski Three Piano Pieces 2011 (2011) 15’ John Cage Music of Changes – Book 1 (1951) 5’ Beat Furrer Phasma (2002) 23’ György Ligeti Study no. 13 – “L’escalier du diable” (1988–1994) 5’

6 November, 2013 | 10 pm | Kunsthalle/Hala umenia Košice

John Cage (USA; 1912–1992) was an American composer, music theorist, writer, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham. Cage was also a pioneer of the prepared piano, for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–1948). His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–1935), both known for their radical innovations in music, but Cage’s major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to

Wednesday

Alvin Curran (USA; 1938) studied piano, trombone and all forms of popular music. His composition mentors include Milton Babbit, Elliott Carter, Cornelius Cardew and Giacinto Scelsi. Alvin Curran makes music, with all means, anywhere and for any occasion. From rarefied string quartets to blaring ship horn concerts to Holocaust memorial installations; from MIDI-Grands to computerized ram’s horns – these are his natural laboratories. The sounds of places and things, real and imagined are Curran’s alphabet. Inner Cities 5 is a short, fast piece from a piano cycle that lasts over 7 hours. The piece uses experimental manual gestures as they were invented by the Italian improviser Giuseppe Chiari.

Wednesday, November 6, 2013 | 10 pm

Kunsthalle/Hala umenia Košice

the idea of aleatoric or chance-controlled music, which he started composing in 1951. In a 1957 lecture, Experimental Music, he described music as “a purposeless play” which is “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living.” Two Pieces are exemplary for the square root system that Cage employed quite frequently in the 1940’s. In both of the pieces there is a big role for silence, which seems to point forward to the famous 4 minutes 33 tacet that became maybe his most famous piece. (Daan Vandewalle) Music of Changes is one of the masterworks of the 20th century. Cage’s younger composer friend Christian Wolff may well be the instigator of this major leap in the possible architecture of music. Wolff gave him the book of changes, the I Ching, which initiated Cage in the possible exploration of chance operations to compose music, that seems to have a detachment from the conscious decisionmaking process with which composing music is usually aligned.

of Composition at the Conservatoire royal de musique in Liège, Belgium. Three Piano Pieces 2011 Frederic Rzewski has over several decades written an enormous oeuvre for piano. The Three Piano Pieces 2011 are concise and precise, balancing between carefully crafted and highly intelligent compositional technique and an ongoing interest in the practices of the avantgarde, as well as the vernacular as in Blind Willie Johnson’s Revelation Song.

Frederic Rzewski (USA; 1938) attended Phillips Academy, Harvard and Princeton, where his teachers included Randall Thompson, Roger Sessions, Walter Piston and Milton Babbitt. In 1960, he went to Italy, a trip which was formative in his future musical development. In addition to studying with Luigi Dallapiccola, he began a career as a performer of new piano music, often with an improvisatory element. A few years later he was a co-founder of Musica Elettronica Viva with Alvin Curran and Richard Teitelbaum. Musica Elettronica Viva conceived music as a collective, collaborative process, with improvisation and live electronic instruments prominently featured. In 1977 Rzewski became Professor

Beat Furrer (Austria; 1954) is an Austrian composer and conductor of Swiss birth. He studied in Vienna with Roman Haubenstock-Ramati (composition) and Otmar Suitner (conducting). In 1985 he co-founded what is now one of Europe’s leading contemporary music ensembles, Klangforum Wien, which he still conducts. Recent awards and honours include the Music Prize of the City of Vienna in 2003 and the Golden Lion, for the monodrama "FAMA," at the 2006 Venice Biennale. Since 1991, he has served as professor of composition at the Graz University of Music and Dramatic Arts. Phasma is an ultra virtuosic piece, written in 2002 which uses both traditional virtuosity and avant-garde practices both in the manner of playing and touching the instrument as well as combining the traditional sounds with virtuosic interplay on the strings. György Ligeti (Hungary/Austria; 1923–2006) see page 40 Study no 13 – “L’escalier du diable” Ligeti’s studies have largely been considered as one of the major contributions to the piano repertoire of the last decades. The 13th study focuses on the diabolical, given the number 13. It is a fast and impressive study that seems to depart from a rhythmic pattern that clearly originates in Balkan folk traditions but then are

6 November, 2013 | 10 pm | Kunsthalle/Hala umenia Košice

Daan Vandewalle is an internationally acclaimed performer of 20th- and 21st-century piano music. His repertoire consists of hundreds of pieces of wellknown composers of the 20th century such as Charles Ives, Olivier Messiaen or György Ligeti. He has performed in a wide range of venues, from small clubs in the underground experimental music scene to established venues such

as the Prague Spring festival, the Lincoln Centre New York, Théâtre du Châtelet, Paris, Musicadhoy Madrid, Berliner Festspiele, Evenings of New Music Bratislava and many others. Special projects include his life-long collaboration with the American composer Alvin Curran that resulted in a series of 6-hour marathon performances of the piano cycle Inner Cities. He premiered dozens of new pieces, e. g. Frederic Rzewski,Klarenz Barlow, Fred Frith and Gordon Mumma. Since 2001 he teaches piano at the Conservatory of Ghent, University of Ghent College.

Wednesday

ruthlessly explored and led into an overwhelming and impressive bigger–than–life sound cathedral. (Daan Vandewalle)

Thursday, November 7, 2013 | 6 pm

Kasárne/Kulturpark, Košice

Milan Paľa

violin, viola Marián Lejava, piano

Tõnu Kõrvits ISCM Estonia Chaconne (2008) 8’, solo viola Tolga Yayalar ISCM Turkey Alliteratio (2009) 5’, solo viola Denis Bosse ISCM Flanders Flou sifflé (2008) 8’, solo viola Alyson Barber ISCM Ireland/YCA candidate Twists and Turns (2009) 6’, solo viola Toru Nakatani individual submission/YCA candidate 2_1/128_1+1/2 (2011) 11’, viola, piano Diana Rotaru ISCM ARFA Romania/YCA candidate Glossolalia (2010) 8’, violin and pre-recorded sounds Henrik Strindberg ISCM Sweden The 5th String (Femte strängen) (2009) 9’, solo violin Wojciech Ziemowit Zych ISCM Poland Gesture and Pulse (2010) 7’, solo violin

Writing music on pre-existing material has always interested composers. In a way, it gives the composer a chance to engage directly with the past. In Alliteratio this dialogue occurs in multiple levels. The piece is entirely based on Machaut’s Kyrie from Messe de Notre Dame. It starts with a quotation from Machaut and as it dissolves into the main body of the work, the viola borrows fragments from Machaut while at the same time cantus firmus dictates the underlying structure of the piece. The title refers to the repeated occurrence of the note A, which occasionally triggers fragments from Machaut. (Tolga Yayalar)

Denis Bosse (Belgium; 1960) is a composer and teacher born in Bordeaux, who, since 1989, has lived and worked in Belgium. After studying science he decided to dedicate himself to music and went on to study at the conservatory of Bordeaux, completing his training at the Royal Conservatory of Bruxelles and the Royal Conservatory of Liège. In 1996 Bosse was an intern composer at the IRCAM and from 1999 until 2000 was composer-in-residence with Montreal’s Nouvel Ensemble Moderne. In 2002 he was a prize-winner at the Gustav Mahler Composition Prize in Austria. His music is often played in Europe and Canada by various ensembles. Flou sifflé Contrary to what we feel generally when we listen to music, Flou sifflé tends to give a vague track in the memory of the listener. However, it is not a piece without identity. The best would be that at the end, the listener wonders what he heard, and even if he really heard something! Like a dream which we remember vaguely and which is enigmatic. (Denis Bosse)

7 November, 2013 | 6 pm | Kasárne/Kulturpark, Košice

Tolga Yayalar (Turkey; 1973) played electric guitar in rock and jazz bands, and upon his encounter with the music of Webern, his first serious works incorporated serialism with jazz. To overcome the harmonic and sonic limitations of the tempered system, his music focuses on different systems of microtonality. Tolga Yayalar holds degrees from Berklee College of Music and Istanbul Technical University and received his PhD. from Harvard University in 2010. Tolga is currently on the faculty of composition at the Bilkent University in Ankara, Turkey. Tolga Yayalar’s music has been performed in the US, Europe and Latin America by many contemporary music ensembles.

Alliteratio

Thursday

Tõnu Kõrvits (Estonia; 1969) finished his studies at the Estonian Academy of Music in Raimo Kangro class in 1994. Since 2001 Tõnu Kõrvits is a lecturer of composition and instrumentation at the Estonian Academy of Music and Theatre. He also was the composer-in-residence with the Estonian National Symphony Orchestra for the 2003/2004 concert season and in 2012/2013 with the Estonian National Opera. Tõnu Kõrvits' sound world stands out as highly poetic, full of visionary fantasies. His music carries the listener along on hypnotic journeys through the landscapes of nature and folk tradition, human soul and subconscious. In last decade, Estonian folk song and sometimes also other archaic and exotic song traditions have become important as a substance and source of inspiration for the composer. Chaconne I love different old forms – passacaglia, variations, La folia… For me, chaconne is a kind of blues of the baroque era. (Tõnu Kõrvits)

Thursday, November 7, 2013 | 6 pm

Kasárne/Kulturpark, Košice

Alyson Barber (Ireland; 1983) is both a composer and traditional Irish musician. Her music has been performed in London, Barcelona and Dublin by groups such as The London Sinfonietta, Concorde, CoMA London, Royal Academy of Music Symphony Orchestra, Kansas State University Trumpet Choir and the Academy Trumpet Ensemble. Alyson has collaborated on several animated shorts one of which featured on TF1 and another at thirty festivals throughout Europe, Asia and America, winning two awards. Twists and Turns While writing this piece several unexpected events occurred which reminded me how life is a series of twists and turns. This piece focuses on the use of the four open strings as drones, while twisting around the intervals of a tritone and a fifth. The incorporation of left hand pizzicato leads to the climatic section. (Alyson Barber)

Diana Rotaru (Romania; 1981) One of the most visible young Romanian composers, Diana Rotaru studied with Ştefan Niculescu and Dan Dediu in Bucharest, where she has a PhD. in composition, and with Frederic Durieux in Paris, among others. She has won numerous prizes, among which the ISCM-IAMIC Young Composer Award (ISCM WMD, Vilnius, 2008), the Irino Prize (Japan, 2004) or the George Enescu Prize ex-aequo (Romania, 2003 and 2005). Diana Rotaru is a member of the syncretic group SeduCant, artistic director of SonoMania ensemble and of InnerSound International New Arts Festival in Bucharest. Glossolalia “Speaking in tongues” can be easily replaced with “writing music”, especially these days, when composers seem to have distanced themselves so much from the public. Glossolalia for violin is a very short study on the idea of obsession and on the elasticity of musical time. The almost improvisatoric sonorous flow slides between claustrophobic chromaticisms that slide, serpent-like, around pedal notes and diatonic echoes with a strange lullaby quality. The work was written for the great George Kentros. (Diana Rotaru)

Toru Nakatani (Japan; 1979) built a microtonal guitar in 1996. He subsequently began to play with rock, jazz and improvisation groups. While staying in Delhi in 2000, he studied Indian instrument dilruba. He received the 3rd prize of the Toru Takemitsu Composition Award (2008), an honourable mention at the Gaudeamus Prize (2009) and the 2nd prize of the BMW musica viva Composition Prize (2010). 2_1/128_1+1/2 If tonality consists in the relationships between cyclical phenomena, the cycles that are longer than the audible range can construct tonality, and they can relate to the day cycle we are experiencing like a drone. The viola is played wholly in natural harmonics; the tuning is based on the day cycle. The piano is glided on the keys as a guiro, and it makes the pulses that are 5 octaves below the vibration of the viola strings. (Toru Nakatani)

Henrik Strindberg (Sweden; 1954) was a founding member of the progressive rock group Ragnarök who’s first album from 1976 was re-released in South Korea 1996 and Japan 2011. Strindberg studied composition at the Royal University College of Music in Stockholm. He studied with Iannis Xenakis in 1985 and at IRCAM, Paris 1995. Strindberg teaches at the Gotland School of Music Composition and is a member of the Swedish Royal Academy of Music. Strindberg initiated the Sound of Stockholm

Marián Lejava (Slovakia; 1976) see page 45

7 November, 2013 | 6 pm | Kasárne/Kulturpark, Košice

Wojciech Ziemowit Zych (Poland; 1976) studied composition with Marek Stachowski at the Academy of Music in Krakow, graduating in 2001. He pursued postgraduate composition studies with Peter-Jan Wagemans at the Rotterdam Conservatory. Since then he has been working at the Academy of Music in Krakow. In 2006 he completed his doctorate in composition. From 2006 to 2008 he was a member of the programming board of the Warsaw Autumn festival. His pieces have been performed at many European festivals of new music. In 2009 Zych was signed by PWM music publishers. His pieces have been issued on CDs by Dux Recording Company. He has received commissions from Warsaw Autumn, Wratislavia Cantans and Sacrum-Profanum festivals. In artistic season 2012–2013 he was the composer-in-residence with the Krakow Philharmonic Orchestra. Gesture and Pulse The piece was written for and is dedicated to Anna Kwiatkowska and was premiered by her and Marcin Rupocinski (amplification) on 27 April 2012 during Musica Polonica Nova Contemporary Music Festival in Wroclaw, Poland. Sonorities of the violin are subject to exploration and magnification by means of precisely controlled, in real time and space, direction of amplification. (Wojciech Ziemowit Zych)

Milan Paľa (Slovakia; 1982) studied at the Bella Conservatory in Banská Bystrica (1996–2000). He then continued at Universität für Musik und darstellende Kunst in Vienna, and completed his studies at Janáček Academy of Performing Arts in Brno in František Novotný’s class. As a soloist, he has collaborated with the State Philharmonic Orchestra Brno, Slovak Philharmonic, Slovak Radio Symphony Orchestra, St. Petersburg Congress Orchestra, St. Petersburg Philharmonic Orchestra, Capella of St. Petersburg, and with conductors Theodor Guschlbauer, David Svee, Peter Gribanov and others. In 2009 Milan Paľa received the Ľudovít Rajter Prize, given by the Music Centre Slovakia to outstanding young Slovak musicians every three years.

Thursday

2010 festival. Henrik Strindberg’s music focuses on rhythm and sound. Neptune’s Field for orchestra won the 2007 Christ Johnson Prize, Strindberg received the 2008 Rosenberg Prize and Timeline won a 2010 Swedish Grammy Award. The 5th String (Femte strängen) is the last piece in a family of works that are using arpeggiation on harmonics to create lightness and quickness. (Henrik Strindberg)

Thursday, November 7, 2013 | 8 pm

Great Hall, House of Arts, Košice

THE Slovak State Philharmonic Košice Marián Lejava, conductor

Igor Stravinsky Greeting Prelude (1955) 1’30”, orchestra Jozef Grešák Améby (Amebae) (1972) 12’, orchestra Victor Cordero ISCM Switzerland Herbst (2007) 7’, string orchestra and harp Isao Matsushita Japan JFC A Shining Firmament (2008) 11’, orchestra ——————————————————————— Igor Stravinsky The Rite of Spring (1913) 35’, orchestra

Thursday

Spring; he reinvented the musical world with his Pulcinella; he startled the musical world with his Movements.” An eloquent characterization of Stravinsky by Louis Andriessen and Elmer Schönberg in their book The Apollonian Clockwork. Greeting Prelude (1955) Stravinsky made the orchestral arrangement of the commonly known tune Happy Birthday to You in 1955 on the occasion of Pierre Monteaux’s 80th birthday; Monteaux premiered several of his works, including the scandalous Parisian performance of The Rite of Spring. Greeting Prelude is performed as a symbolic wish to the ISCM festival, which is ninety this year, and to the Rite centenary.

November, 2013 | 8 pm | Great Hall, House of Arts, Košice

Igor Stravinsky (Russia/USA; 1882–1971) “That man named Igor Fyodorovich was born near St. Petersburg; he became a resident of Switzerland, France and California; he died in New York and was buried in Venice. He came into this world as a Russian, lived in it a Frenchman, and departed it American. He studied with grand old men from the nineteenth century, worked with leading artists of the twentieth, and engaged with creative spirits who continue to touch our lives in the twenty-first. He shocked the musical world with his Rite of

Thursday, November 7, 2013 | 8 pm

Great Hall, House of Arts, Košice

The Rite of Spring

One of his most performed pieces, the orchestral overture Amebae (1972), is a masterly demonstration of the composer’s language based on the rhythmic pulse of musical “cells”, a demonstration executed in original notation. Grešák’s music has been largely made available after conductor Bystrík Režucha had transcribed it in classical notation. (Marián Lejava)

The work that shook the world germinated in 1910 during the final preparations for Firebird. Stravinsky recollects having a vision of a girl who dances to her death during a pagan ritual. In Chroniques de ma vie he vividly describes the scene of wise men sitting in a circle, wanting to appease the god of spring. The composer conceived the work, subtitled Pictures of Pagan Russia, in collaboration with the painter and expert on ancient Slavonic customs Nicholas Roerich. Dissonant chords, polymodality, lavish romantic orchestral sound, asymmetrical phrases, but above all, irregular rhythms, unexpected accents, changing time signatures. In the Rite, folk tunes and their fragments are but building blocks of a structure of rough beauty dominated by rhythm. On 29 May 1913, mondaines Parisians, gathered in Théâtre des Champs Élysées, suffered a shock. Debussy was perhaps closest to the truth when he described the Rite as “barbaric music equipped with all contemporary comfort.” Miroslav Filip, the Slovak musicologist, put it this way: “The sacrifice proceeds this time without the usual tragedy.” Is it a paradox? In Stravinsky’s case just one of many; that is why the composer continues to fascinate creative minds and influence our lives even today. (Andrej Šuba) Jozef Grešák (Slovakia; 1907–1987) was born to a family of craftsmen in Eastern Slovakia. He began composing at the age of 13, under the tutorship of former Janáček’s student, Fraňo Dostalík. After his ambitions to obtain academic music training at the Prague conservatory failed, he renounced composing for over 20 years. He worked as répétiteur for various theatres (incl. Prague’s National Theatre) before taking private lessons with Ján Cikker. His encounter with Václav Talich gratified his musical ambitions. Améby (Amebae) Jozef Grešák is one of the most original Slovak composers, yet his music is almost unknown.

Victor Cordero (Spain/Switzerland; 1971) studied piano and music theory at the Liceu Conservatoire in Barcelona. It was under the influence of Helmut Lachenmann and Jorge Pepi Alós that he felt the drive to become a composer. In 2003 he moved to Switzerland, where he studied with Nicolas Bolens, Eric Gaudibert and Michael Jarrell at the Conservatory of Geneva. Thereafter he discovered electroacoustic music via contact with Rainer Boesch, Emille Ellberger, Luis Naón and Eric Daubresse. His pieces have been performed in Europe and America by renowned musicians. At present he is a professor of theory and orchestration at the Haute école de musique in Geneva and has been assistant to Michael Jarrell in the same institution from 2008 to 2011. Herbst The piece interacts with Vivaldi’s Autumn (from which it takes the orchestral ensemble). At the same time, it invites another composer: Anton Webern, a real icon of the post-war structuralist trend. An extract of one of his Bagatellen for string quartet is here de-rooted, extended, then stretched in the time to the point of becoming unrecognisable. On top of this material Cordero builds up a paradoxical musical time: the sound is dynamic and petrified at the same time (the harpsichord resounds almost like a fossil radiance). Grief for the sands of time. The dramatic sense of Cordero is gripping. The music comes up and the mobile force appears like a rise of sap (…). (Excerpt from a French text by François Cattin; English translation by Manuel Cordero)

7 November, 2013 | 8 pm | Great Hall, House of Arts, Košice

Marián Lejava (Slovakia; 1976) see page 45

The Slovak State Philharmonic Košice (ŠfK) was founded in 1968. In short time the orchestra ranked amongst foremost representatives of the Slovak music and recorded remarkable achievements on the concert stages not only of European countries but also in a number of major cities of Asia and the Americas. In 1994, the orchestra presented itself as the first Slovak symphonic orchestra in USA. The orchestra worked with many foremost artists such as Jiří Bělohlávek, José Carreras, Plácido Domingo, Giora Feidman, Gidon Kremer, Igor Oistrakh, Luciano Pavarotti, Libor Pešek and others. In addition to its concert activities, ŠFK records for radio and television broadcasting houses as well as for record companies (over 160 CDs). Since 2003 the ŠfK has been the main organizer of the contemporary music festival ARS NOVA Cassoviae. The Slovak State Philharmonic Košice was awarded the Košice City Prize (in 1994 and 2000) for its artistic activities. The orchestra’s chief conductor at present is Zbyněk Müller.

Thursday

Isao Matsushita (Japan; 1951) obtained both his undergraduate and graduate degrees at Tokyo University of the Arts and Hochshule der Künste Berlin. Matsushita has participated in several music festivals, such as the World Music Days of ISCM Festival in Graz ’82, Horizonte Festival Berlin ’85, European Music Days Copenhagen ’85, Inventionen Festival Berlin ’86 and others. He was chairman of the Asian Composers League (ACL) from 2000 to 2005. He is now Professor of Performing Arts Center of Tokyo University of the Arts and President of the Japan Federation of Composers. (Isao Matsushita) A Shining Firmament The poem A Shining Firmament occupies the middle place of my Inori Trilogy. This particular trilogy is my second, after Hiten. For me, the importance of the number “three” stems from the Buddhist idea of “Shin-Ku-I” (“bodyspeech-mind”), which implies an ideal human balance of these elements. Thus, the fact that each work should express itself adequately on its own, as well as transform itself into part of a meaningful whole during a performance of the complete trilogy, was very important to me. Guided by several beams of light from the firmament, time goes by calmly from the beginning. These beams of light undergo a process of gradual metamorphosis evoking the concentration needed for prayer. As more time passes, these lights return to the skies. (Isao Matsushita)

FRINGE EVENTS Concerts Thursday, October 29 – Special concert 8 pm | St. Elisabeth's Cathedral

Contrary Motion

Fero Király Philip Glass Fero Király (Slovakia; 1979) Musician and music teacher. Graduated from the Conservatory in Košice and the Academy of Performing Arts in Bratislava. Fero Király took part in various music projects covering the spectrum of genres from folk music through punk, jazz-rock, experimental electronic production to improvised music. He is much devoted to electroacoustic, multimedia composition and video art, incorporating new technologies into his concepts. He premiered selected significant works by Morton Feldman, Philip Glass and Sofia Gubajdulina in Slovakia. He often performs with Cluster ensemble, VENI ensemble and Urban Hudák. Monday, November 4 concert series in various towns in Slovakia

Portraits

The ISCM – Slovak section proudly presents: children’s music portraits of ISCM countries. Primary Art School students in various Slovak towns, along with their teachers, will perform music from different ISCM member countries and music by Slovak composers – thus creating portraits of Slovakia and the specific land. The concert series is organised in the frame of the project New Music for Kids and Teens.

PAS Jozefa Kresánka, Bratislava China, Luxembourg PAS Jána Albrechta, Bratislava Finland, Hungary PAS Eugena Suchoňa, Bratislava Japan, Canada, USA, New Zealand, United Kingdom, France PAS Modrý kameň Spain, Hungary PAS Pohronská Polhora New Zealand, Turkey PAS Sabinov Turkey, Netherlands PAS Zvolen Croatia, Venezuela PAS Hnúšťa Hungary PAS Tvrdošín France PAS Istrijská, Bratislava Czech Republic, Germany PAS Medzev Russian Federation, Hungary, Argentina PAS Prievidza United Kingdom, Germany, Czech Republic, Canada PAS Poprad Estonia Private PAS Žilina Canada, Chile

Participating schools:

PAS Púchov Poland, Lithuania, Estonia

PAS Poltár Latvia, Belgium

PAS Ivanka pri Dunaji Latvia

PAS Fiľakovo Latvia

PAS Šahy Israel, Turkey, Hungary, Spain, France PAS Tatranská Lomnica United Kingdom

Fringe Events

PAS Daliborovo nám., Bratislava Belgium, Mexico PAS Ľudovíta Rajtera, Bratislava United Kingdom, Hungary, Latvia PAS Šaľa Poland, Czech Republic PAS Ivana Ballu, Dolný Kubín Argentina, Netherlands PAS Sládkovičovo – Pusté Úľany Estonia PAS Ľudovíta Fullu, Ružomberok Argentina, USA PAS Štefana Németha-Šamorínskeho, Šamorín Argentina, Japan PAS Michala Vileca, Bardejov United Kingdom, Armenia PAS Ferka Špániho, Žilina Germany, Czech Republic Private PAS Sv. Mikuláša, Prešov Netherlands PAS Josepha Haydna, Galanta Czech Republic, Poland, Japan, Hungary, Argentina, Russian Federation PAS Liptovský Hrádok Germany, Czech Republic PAS Jozefa Rosinského, Nitra United Kingdom, France, Italy, Argentina PAS Dezidera Kardoša, Bánovce nad Bebravou United Kingdom, Canada, Czech Republic Private PAS Osloboditeľská, Bratislava Netherlands, Russian Federation

Thursday, November 7 7 pm | DIG Gallery

Stanley Povoda Robotic Orchestra robotic sound performance artistic concept: Richard Kitta, Michal Murin Stanley “Robotman” Povoda is the father of Czech robotics. He started building his first robots when he was 15 years old. After over half a century, he brings the old strainers, chandeliers, and vacuum cleaners to robotic life. Until now, he has made over 1000 robots of different kinds. Povoda returned to the Czech Republic after spending most of his life in exile in North America. The recent tour of Stanley's new Robotic Orchestra show will include also a performance in Košice at the DIG gallery during the ISCM World New Music Days. https://www.facebook.com/stanley.povoda

FRINGE EVENTS

PAS Zlaté Moravce Poland

Installations, Performances and Art Exhibitions Monday, November 4 – Sunday, November 24 Kasárne/Kulturpark, “BRAVO” pavillion

Juraj Bartusz 8’0”

Opening hours: Monday–Friday, 2 pm–8 pm Presentation: Sunday, November 3 | 6 pm (Peter Tajkov) Juraj Bartusz (Slovakia; 1933) is a prominent visual artist in the Slovak and Central-European context. In the 1960s, he created modelled abstract sculptures/objects. In the 1970s, he was one of the first Slovak artists to use computer generated sculpture outlines. Thus, he used polished metal to create Cosmic Figures and Time-space Sculptures, made of hundreds of rotatable lamellae, which add a fourth dimension to the sculpture coating. His timed paintings push the conceptual envelope to the limit, as they are created within a given time frame of one to several seconds. Time is of the essence also for his most elementary object, A Brick Thrown into Hardening Plaster. Recently, after a period of large-scale oil paintings created by hitting the canvas with a plank, he devised a new technique – painting on carbon paper: Illuminations. Monday, November 4 – Thursday, November 7 Kasárne/Kulturpark, “BRAVO” pavillion Peter Machajdík

Sounding JB (2013)

interactive sound installation Technical support: Boris Vaitovič Opening hours: Monday–Friday, 2 pm–8 pm

chi, the Janáček Philharmonic Orchestra, Elina Mustonen, the I. J. Paderewski State Philharmonic Orchestra, Camerata Europea, Agon Orchestra, the Slovak Chamber Orchestra, Guido Arbonelli, the State Philharmonic Košice, Milan Paľa, ARTE Quartett, and Piero Salvatori, among others. He has also worked with Jon Anderson, David Moss, Dietmar Diesner, and Nicolas Collins. Peter’s works have also been featured in festivals such as Inventionen in Berlin, New Work in Calgary, Hörgänge at the Konzerthaus in Vienna, Nuovi Spazi Musicali in Rome, Melos-Ethos, 5 Giornate per la Nuova Musica in Milano, Audio Art Festival in Kraków, the Bratislava Music Festival as well as in modern art galleries. Kunsthalle/Hala umenia Juraj Vajó, Fero Király

Music for Renáta (2013) interactive sound installation Technical support: Jakub Pišek Juraj Vajó (Slovakia; 1970) see page 68 Fero Király (Slovakia; 1979) see page 68 Music for Renáta Music for Renáta is a project by Urban Hudák created by Fero Király and realised by the author, Attila Tverďák, Valér Juščák and Juraj Vajó. It is a reaction to the ongoing trial against an outstanding Košice-born psychiatrist form Bratislava originally intended to spread her story beyond the borders of this country, where fear of speaking about the subject continues to exist. We regard supporting Renáta’s fight for freedom of speech in this country as a civic duty.

Dialogue in space. Silent surprises. Voices veiled by presence. Colours infiltrating sound. Noise dissapearing in sculpture.

House of Arts, foyer

Peter Machajdík (Slovakia; 1961) focuses on chamber and orchestral works, composing for film and theatre, electronic music, and sound environments. His music has been commissioned and performed by Floraleda Sac-

Since 2010, each year the foyer of the Košice House of Arts transforms itself into a gallery: we peek, through children’s eyes, into the world of music, art, fantasy, fairytales, ambitions and dreams. Come and enter – they will open the gate for you.

Gates

Children’s art exhibition

Fringe Events House of Arts, foyer Lukáš Gál

Images of Sounds

Other Activities Monday, November 4 10 am | Košice Conservatory, Timonova 2

Is music just air?

Discussion with students and representatives of SOZA (Slovak Performing and Mechanical Rights Society) Host: Michal Havran Guests: Anton Popovič, director of SOZA, Adrian Rajter, PR Manager of SOZA Is music just air? What is intellectual property? Does society need authors’ rights protection? How is history of music related to history of authors’ rights? How do authors’ rights influence the work of a performer – musician? Which activities does collective management of authors’ rights involve?

9–12 am | House of Arts, Lounge

(Not)forgotten activists in the musical life of Košice and Košice region II. Music seminar Project leader: Júlia Bukovinská

In a sequel to the first seminar in 2011, this year we will get acquainted to the personalities who shaped music production and its reception in Košice in the 20th century. Thursday, November 7 10 am–1 pm | Kasárne/Kulturpark

SoundGames, action – reaction Creative workshop for music teachers Workshop leader: Tomáš Boroš

The creative workshop focuses on methods of active and creative exploration and appreciation of basic expressive means of music according to Orff’s Schulwerk. Predominantly voice, instrumental, movement activities, improvisation and elementary composition. 1 pm | Kasárne/Kulturpark

Rajec Musical Spring International Festival

Presentation: Marián Remenius Presentation of the international performance competition The Rajec Musical Spring International Competition specialised on Slovak music has grown to its current form over a considerable time. It is the official successor of the Festival of Slovak Music for the Young with a seventeen-year-old tradition. The competition's mission is to promote the performance and composition of new Slovak music for the young. It is aimed at students of Primary Art Schools. The participants are divided into five age categories.

FRINGE EVENTS

Lukáš Gál (Slovakia; 1985) was born in Kysuce (Northern Slovakia), but currently lives in Bratislava. Some 12 years ago he took on photography concentrating on landscape and street life. Later he photographed a friend’s very unique wedding and since then wedding photography has become very close to his heart. He developed his own peculiar style – unobtrusive, journalistic, storytelling and peaceful. Images of Sounds The exhibition shows works by Lukáš Gál resulting from the long term cooperation at the great World New Music Days project. The photographs show author’s personal fascination by the project and his relationship to this area of art/music. They were created in 2012 and later and most feature a photojournalistic style with the aim to create fusion between image and music.

Tuesday, November 5

Saturday, December 14

Kasárne/Kulturpark, Košice

Ondrej Olos, conductor, musical director Sláva Daubnerová, stage director

Marek Piaček, music Martin Ondriska, Marek Piaček, Peter Kerekes, libretto Silvia Hroncová, Martin Ondriska, programme advisers Martin Ondriska, director of concert performance Katarína Holková, set and costume designer

Linda Ballová, soprano

Margareta Klimáčková, project coordinator

Martin Likier, baritone

Lukáš Kozubík, choirmaster

Martin Gyimesi, tenor Orchestra and Choir of the State Theatre Košice

Fringe Events

Marek Piaček (Slovakia; 1972) has composed music for countless theatre, dance, film and opera productions. He is author of the scores for award-winning films by Peter Kerekes (Ladomírske morytáty a legendy, 66 Seasons, Cooking History and others), Ivana Šebestová (Lionardo Mio, Four), Katarina Kerekesová (Stones, Mimi and Lisa). He has released more than 20 albums with classical, electronic, improvised and film music to date. Piaček’s music was featured at Warsaw Autumn, Wien Modern, Wiener Festwochen, Melos-Ethos, Evenings of New Music, Musica Danubiana Ljubljana, Bratislava Music Festival, New Slovak Music Festival, Exposition of New Music Brno, on many concerts at home and abroad.

Martin Ondriska Martin Ondriska’s main focus is theatre but his interests include fine arts and other arts. He graduated from the Academy of Music and Performing Arts in Bratislava with the HUBRIS project, and his post-graduate thesis focused on Samuel Beckett. Currently he lectures in Bratislava, London and Lisbon, participates in collaborative documentaries, and writes screenplays. His work ranges from a book on Beckett and the dramatisation of Joyce’s Ulysses to performances of street theatre. With Marek Piaček he created more than four operas, including Lesť rozmyslu, the story of the partition of Czechoslovakia. “Opera for me is not an exclusive, impenetrable thing but an open opportunity for perfect entertainment (in the most serious sense), a chance to play, to create in that uncanny world between serious subjects and their paradoxical "artificial" treatment. 66 Seasons aims to give a representation of the archetype of a Central-European city-dweller. The history of the Košice swimming pool, like a water drop, condenses and mirrors relationships between nations and individual people who live the history of Košice and their lives not necessarily reflecting them in any philosophical way. People recollect the old times of their youth, and talk about their desires and frustrations.” (Marek Piaček)

FRINGE EVENTS

The Association of Contemporary Theatre in cooperation with the Košice State Theatre presents 66 Seasons, a new Slovak opera by Marek Piaček, Peter Kerekes and Martin Ondriska. The production has been supported by the Ministry of Culture of the Slovak Republic as a fringe event of Košice 2013 – European Capital of Culture. 66 Seasons, the new Slovak opera-documentary is built on the acclaimed art documentary directed by Peter Kerekes (2003), which received several awards at international film festivals. The opera is a free sequel to the documentary about Košice’s Old Swimming Pool. Ten scenes capture the city’s history between 1936 and 2002, serving as the backdrop for personal stories of inhabitants of Košice. Each character and his captivating story represent a "historical theme". The multicultural milieu of Košice is symbolically transferred to the old municipal swimming pool, where, for 66 summer seasons, people’s lives interacted with events of Central-European history. The characters and stories are united by the monologue of Laurie, modelled on the memories of a real person – Kerekes’ grandmother.

ISCM WORLD NEW MUSIC DAYS 2013

Bratislava MELOS-ETHOS CONCERTS Friday, November 8 5 pm | Small Hall of the Slovak Philharmonic

Melos Ethos Ensemble

Daniel Gazon Sabine Kezbere, Alexey Shmurak, Kári Bæk, Eric Nathan, Juraj Vajó, Jean-Pierre Deleuze 7 pm | Historical Building of the Slovak National Theatre

Dorian GrAy

Opera of the Slovak National Theatre, Christopher Ward Ľubica Čekovská/Kate Pullinger Saturday, November 9 7.30 pm | Concert Hall of the Slovak Philharmonic

The Slovak Philharmonic

Camilla Hoitenga, Zsolt Nagy Jukka Tiensuu, Kaija Saariaho, Peter Kolman, Roman Berger

Sunday, November 10 7.30 pm | Large Concert Studio of the Slovak Radio

Slovak Radio Symphony Orchestra

Valentina Coladonato, Chungki Min Georgy Dorokhov, Andrej Slezák, Unsuk Chin, György Ligeti, Ivan Parík

Sunday, November 10

10 pm | Chamber Studio of the Slovak Radio

Enikő Ginzery, Monika Štreitová

András Fejér Theo Brandmüller, István Láng, Belma Bešlić-Gál/Bernhard Gál, HansJoachim Hespos, Jorge Calleja, Peter Kolman, Patrick Saint-Denis Monday, November 11 10.30 pm | A4 – Space for Contemporary Culture

European Bridges Ensemble

Georg Hajdu, Kai Niggemann, Ádám Siska, Johannes Kretz, Andrea Szigetvári/Stewart Collinson, Ivana Ognjanović Tuesday, November 12 7.30 pm | Dvorana Concert Hall

Österreichisches Ensemble für Neue Musik

Beat Furrer, Branka Popović, Misato Mochizuki, Johannes Maria Staud, Nicolas Tzortzis, Peter Zagar, Bernhard Gander

MELOS-ETHOS

Concert

Discussions, Workshop

Sunday, November 10

3 pm | Concert Hall, Bratislava Castle

10 am | Falkensteiner Hotel Bratislava

European Concert

concert of national-level EMCY competition winners

Installations, Performances and Exhibitions Thursday, October 31–Thursday, November 14 Foyer, Slovak Radio

Gates

students of the Department of Visual Arts Education, Faculty of Education, Comenius University in Bratislava Friday, November 8 9–11 am | Michael’s Gate

Fantasy Gate

Martina Pavlikánová, Department of Visual Arts Education, Faculty of Education, Comenius University in Bratislava, students of Matka Alexia Grammar School 9–11 am | Old Town Hall

Gate As a Labyrinth

Daniela Valachová, Department of Visual Arts Education, Faculty of Education, Comenius University in Bratislava students of the Department, students of Grammar School, Košická St., Bratislava Saturday, November 9–Sunday, November 10 4.30 pm–10 pm | The Slovak Philharmonic

Nox Borealis

Kaija Saariaho, Jean-Baptiste Barrière

Kaija Saariaho in discussion with Pekka Hako Tuesday, November 12 10 am | Slovak Radio

Is Music Just Air?

Discussion with students and representatives of SOZA (Slovak Performing and Mechanical Rights Society) Host: Juraj Kušnierik Guests: Anton Popovič, director of SOZA, Adrián Rajter, PR Manager of SOZA Tuesday, November 12 10 am | Small Concert Hall of the Academy of Performing Arts

Kaija Saariaho, Camilla Hoitenga, Quasars Ensemble workshop

Other Activities

All the Gates in Your Pocket

Dominika Horáková, Department of Visual Arts Education, Faculty of Education, Comenius University in Bratislava students of the Department

ISCM WORLD NEW MUSIC DAYS 2013 MELOS-ETHOS

FRINGE EVENTS

Friday, November 8, 2013 | 5 pm

Small Hall of the Slovak Philharmonic, Bratislava

Melos Ethos Ensemble Daniel Gazon, conductor

Cyril Šikula, flutes Robert Krchniak, oboe, English horn Zuzana Dinková, Arnold Plankensteiner, clarinets Peter Kajan, bassoon Karol Nitran, French horn Rastislav Suchan, trumpet Michal Motýľ, trombone Mária Kmeťková, harp Andrea Bálešová, piano Ctibor Bártek, percussion Zuzana Gavorníková-Paštéková, Johana Motýľová, violin Peter Vrbinčík, viola Katarína Kleinová, violoncello Anton Jaro, double bass, cymbals Veronika Ivančová, voice Boris Vaitovič, light design

Sabine Kezbere ISCM Latvia/YCA candidate Monologue (2010) 7’, double bass, cymbals Alexey Shmurak ISCM Ukraine/YCA candidate In the Chasm of Ouzel (2009) 7’, flute, violin, violoncello Kári Bæk ISCM Faroe Islands Askur & Embla (2008) 8’, clarinets, bassoon, piano Eric Nathan YCA candidate Paestum (2013) 8’, ensemble * world premiere Juraj Vajó San Michele (2013), ensemble, Melos-Ethos festival commission, * world premiere Evening Mourning Chajim Kaddish Jean-Pierre Deleuze …et les sonances montent du temple qui fût (2012) 10’, ensemble

Friday

protest. The musical material is more diatonic, taken and developed from natural tuning of double bass strings. In the piece, the composer mostly focuses on timbral nuances, noise effect, shaping of form and development of the fourth and fifth. Alexey Shmurak (Ukraine; 1986) was born in St. Petersburg, Russia. Based in Kiev, he is a composer, pianist, keyboard player, multi-instrumentalist, art-manager of different musical and multidisciplinary projects; co-founder, artmanager, pianist and composer of Ensemble Nostri Temporis; coordinator of “COURSE”

November, 2013 | 5 pm | Small Hall of the Slovak Philharmonic, Bratislava

Sabine Kezbere (Latvia; 1985) received a master’s degree in composition at the Latvian Academy of Music. She also studied composition at the Norwegian Academy of Music with Lasse Thoresen, where she became particularly interested in spectromorphology as a compositional tool. Sabine is a member of the Latvian Composers’ Union. She has received the Tālivaldis Ķeniņš composers’ award. Monologue The piece is written for double bass and cymbals performed by one musician. It is a personal composer’s monologue, which contains alternation between sensuality, energy, and

Friday, November 8, 2013 | 5 pm

Small Hall of the Slovak Philharmonic, Bratislava

– Kiev international master classes for new music. He graduated in 2010 from the Tchaikovsky National Academy of Music (composition with Alla Zagaykevich and Yuri Ishenko, piano with Borys Arkhimovich. Winner of several composition competitions, including “Step to the Left” (St. Petersburg, 2009) and “Convergence” (Switzerland, 2011). In the Chazm of Ouzel This composition is dedicated to the special mood, associated with peering into the abyss. This mood combines a sense of awe, anxiety, secret rapture, sometimes intimate anthem. Technically, the music is constructed as an alternation of very simple patterns, which are unstable and full of inner freedom. In general, Alexey’s music often uses the space, which combines simplicity, intimacy, accident, and thrill.

Eric Nathan (USA; 1983) Nathan received his D.M.A. in composition from Cornell University, an M.M. from Indiana University, and his B.A. from Yale College. His principal teachers include Steven Stucky, Roberto Sierra, Sven-David Sandström, Kathryn Alexander, and Kevin Ernste. In addition, he has worked with John Harbison, Augusta Read Thomas, Michael Gandolfi and Bernard Rands as a fellow at the Tanglewood Music Center. Nathan currently resides in New York City. Paestum My ideas for Paestum began to take shape in the summer of 2013 as I visited Paestum, an Italian site settled by the Greeks in 700 B. C., situated 50 miles outside of Naples. There, I came upon the ruins of the Temples of Athena and Hera creating solemn shrines that open to the sky above. Adjacent to these were the ruins of the ancient city, the walls of homes that now stood no more than a foot high, the mosaic floor tiles still largely intact and the road that cut through the centre of the town still showing the wagon ruts from hundreds of years past. Walking through these remnants of a time long-abandoned ignited my musical imagination. (Eric Nathan)

Kári Bæk (Faroe Islands; 1950) During the last 30 years, Kári has played an active role on the Faroese music scene as a musician, choir and orchestra conductor and over the last 25 years as a composer and arranger. He is an active member of the Faroese Composers’ Association. The Faroese ensemble Aldubaran frequently plays Kári’s music on the Faroes as well as abroad. Askur & Embla Odin and his two brothers Ve and Vili walked on the beach where they came upon two logs of wood. They picked the logs up and gave them a humanoid shape. Odin breathed into them the spirit of life, Vili gave them sharp wits and feeling hearts; and Ve bestowed upon them the senses, expressive features and speech. They named the male Ask (“ash”) and the female Embla (“elm”). Ask and Embla became the progenitors of the human race and Midgard was given to them as their residence. (Kári Bæk)

Juraj Vajó (Slovakia; 1970) is currently on the faculty at the Košice Conservatory in Slovakia. He studied at the Academy of Performing Arts in Bratislava with Professor Ivan Parík and at the Sommerakademie Reichenau with Professor Kurt Schwertsik. He also participated in courses with Alvin Lucier, Tristan Murail and Frederic Rzewski. In addition to composing, he is also a teacher of Greek-Catholic theology at the Prešov University.

69 San Michele

...et les sonances montent du temple qui fût takes its musical material from the spectral analysis of sounds of instruments with “undefined pitch”, such as gong or tam-tam, which is then (with distortions) translated into instrumental writing for a 14-part ensemble. The title clearly refers to Debussy’s piano piece …et la lune descend sur le temple qui fût from his Images II, as well as to Philippe Boesmans’ Sonances 1 & 2. (Robert Kolář)

Daniel Gazon studied trumpet and double bass at the Conservatory of Liège. He started his conducting studies in 1978 with Igor Markevitch and Max Deutsch. His biggest influence was Sergiu Celibidache. Gazon graduated from the Mozarteum in Salzburg, He also studied at Bershire Music Center at Tanglewood, where he collaborated with Kurt Masur and Joseph Silverstein. Gazon has a vast repertoire extending from symphonic to opera music, and is also widely known as a specialist on 20th-century music. He appeared at the ISCM festival, MelosEthos, Ars Musica, Kontrapunkt, Gaida and Warsaw Autumn, and gives master classes regularly. Melos Ethos Ensemble Founded in 2005, the ensemble focuses on contemporary music by Slovak and international composers. The ensemble was named after Slovakia’s largest contemporary music festival, which underlines the mission to present contemporary music continuously, between two festivals. Comprising string quintet, wind quintet, trumpet, trombone, percussion, and piano, the programmes of the ensemble are flexible, ranging from solo to chamber orchestra setting. The ensemble is featured on three CDs with music by Slovak composers (Kmiťová, Čekovská, Lejava, Milaković, Papanetzová, Burlas, Kupkovič, Berger).

8 November, 2013 | 5 pm | Small Hall of the Slovak Philharmonic, Bratislava

Jean-Pierre Deleuze (Belgium; 1954) His musical language was initially influenced by Alexander Scriabin’s last works; a master class with Olivier Messiaen in 1987 had an important effect on his aesthetic orientation. Later he started to introduce microtones into some of his works and also became influenced by the spectral technique. In 1989 he was appointed Professor at the Conservatoire Royal de Mons (Belgium). He has developed an original pedagogical program using the critical study of syntax, techniques, forms and styles of great composers from the Renaissance and Baroque periods right through to the techniques of different 20th-century composers.

Boris Vaitovič (Slovakia; 1976) studied ethics at the Faculty of Humanities and art at the Faculty of Education of Constantine the Philosopher University in Nitra. Later, he also studied at the Department of Visual Arts and Intermedia of the Technical University in Košice and has been teaching there since 2005. He completed his PhD. at the Academy of Fine Arts in Banská Bystrica. His works include painting, graphic art, video art, photography, new media and underground music and have been exhibited in Slovakia, Italy, Germany, Hungary, Romania, Poland and Japan.

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The composition was conceived at Venice’s San Michele cemetery in 2011 while the composer was contemplating the tomb of Igor Stravinsky. He returned in 2013 to attend the Venice Biennale and decided to finish the piece (that finally became a four-movement suite for voice and chamber ensemble, with the original sketches used in its third movement) in the cemetery’s unique atmosphere. Both musical material and texts of the outer movements come from Yiddish and Hebrew songs originally prepared for a different project, the second movement combines the Aramaic Lord’s Prayer with the poetry of Julo Zborovjan from Vajó’s native town Košice. (Robert Kolář)

Friday, November 8, 2013 | 7 pm

Historical Building of the Slovak National Theatre, Bratislava

Sibyl Vane Helena Becse-Szabó/ Katarína Juhásová-Štúrová Mrs. Leaf Terézia Kružliaková/ Michaela Šebestová Brothel Madam Denisa Hamarová/ Denisa Šlepkovská Dorian Eric Fennell/ Eamonn Mulhall Alan Campbell Róbert Remeselník/ Martin Gyimesi James Vane Ján Ďurčo/ František Ďuriač Basil Ján Galla/ Martin Malachovský Lord Henry Aleš Jenis/ Pavol Remenár

Ľubica Čekovská, music Kate Pullinger, libretto Nicola Raab, director Christopher Ward, conductor Annemarie Legenstein, Alix Burgstaller, set and costume design Opera of the Slovak National Theatre

Christopher Ward (United Kingdom; 1980) began his musical education as a chorister at Magdalen College, Oxford. He was awarded a scholarship to attend Tonbridge School, Kent, before returning to Oxford to study music as organ scholar of Merton College. Having studied conducting with John Carewe, Colin Metters and George Hurst, Christopher went on to be conductor and répétiteur at the Guildhall School of Music and Drama, London and the Scottish Opera. Later he worked as Kapellmeister at Staatstheater Kassel, and as assistant to Sir Simon Rattle. Since 2009, Christopher Ward has been Kapellmeister and Assistant to the GMD at the Bavarian State Opera, Munich.

8 November, 2013 | 7 pm | Historical Building of the Slovak National Theatre, Bratislava

Nicola Raab (Germany; 1972) worked with such distinguished directors as Robert Carsen, Willy Decker, David Pountney, David Alden, Tim Albery, and Patrice Caurier amongst others. Her career has taken her to many of the finest theatres in the world, including Bayerische Staatsoper München, Staatsoper Wien, Welsh National Opera, Opernhaus Zürich, New Israeli Opera, Bregenzer Festspiele, Opera du Rhin/ Strasbourg, Salzburger Festspiele, Teatro Regio Turino, Teatro La Fenice Venezia, and Janáčkova opera Brno. Her work includes Soldier and Dancer by Martinů with Státní opera Praha, The Kiss by Smetana with Opera Theatre Company Dublin, Zora D by Isidora Žebeljan with IOCN Amsterdam, Kammeroper Wien and BEMUS Belgrade, and Moscow, Cheryomushki by Shostakovich with Kammeroper Wien.

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Ľubica Čekovská (Slovakia; 1975) During her studies of music theory, she took composition classes with Dušan Martinček. She pursued her postgraduate studies in composition at the Royal Academy of Music in London with Paul Patterson and in courses with Robert Saxton, Thomas Adès, Arvo Pärt and Harrison Birtwistle. Her works were performed at many festivals of contemporary music, such as Spitalfields Festival in London, Aspekte Festival in Salzburg, Prague Spring Festival or ISCM World New Music Days. Her composition awards include Cuthbert Nunn Prize for Fragment and Elegies (1999) and Ján Levoslav Bella Prize for Piano Concerto (2004). She is represented by the Bärenreiter Publishing Group. Dorian Gray The story of Dorian Gray is one of destruction and decay of the human soul. The ever young and handsome Dorian, who is always in the centre of attention for his unusual physical appearance, can freely decide upon the course of his life. Yet, under the predominantly negative influence of his surroundings (notably the Mephistophelian figure of Lord Henry), he gradually loses all sense of guilt and sin becomes the thriving soil for his further actions. It is his picture that bears the signs of his wrongdoings while his own appearance remains unchanged – until he eventually cannot bear the weight of the evil and decides to put an end to his suffering... My idea was that the picture would be present on stage not only visually, but it also could be heard – as the “Voices of Picture”. The plot unfolds on basis of dichotomies, such as good/evil, beauty/ugliness, light/darkness, etc., which are also reflected in the musical language of the opera. It moves from simplicity towards complexity, from plain motifs (even with a touch of naïveté) to complex melodic structures. On the compositional level, the musical material is basically self-similar: melody as a reflection of harmony and harmony as a reflection of melody. My desire was to create a musical structure in which it all coheres... (Ľubica Čekovská)

Saturday, November 9, 2013 | 7.30 pm

Concert Hall of the Slovak Philharmonic, Bratislava

The Slovak Philharmonic Zsolt Nagy, conductor

Jukka Tiensuu ISCM Finland Vie. Concerto for Orchestra (2007) 15’ Kaija Saariaho Aile du songe. Concerto for Flute and Orchestra (2001) 18’ I. Aérienne Prélude Jardin des oiseaux D’autres rives II. Terrestre L’oiseau dansant Oiseau, un satellite infime de notre orbite planétaire ———————————————————————

Peter Kolman Three Essays for Orchestra (2011) 12’ * world premiere Ferne Klänge Stop and Go Episoden Roman Berger Transformations. Four Pieces for Large Orchestra (1964–1965) 24’

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has also performed free improvisations with the international names in the field. He has led courses in several countries on Baroque music and on the music of our time. Just as Tiensuuâ&#x20AC;&#x2122;s repertoire as performer is exceptionally broad, his compositional output extends from works for folk instruments to choral and orchestral compositions, and from pieces for accordion ensemble or clarinet orchestra to electronic andÂ computer music. Vie A concerto for orchestra, commissioned by the Helsinki Philharmonic Orchestra. The work was premiered by the orchestra conducted by Leif Segerstam in 2007.

November, 2013 | 7.30 pm | Concert Hall of the Slovak Philharmonic, Bratislava

Jukka Tiensuu (Finland; 1948) Since the 1970s, Jukka Tiensuu has been a leading exponent of new Finnish music. Not only a prolific composer over the widest range of musical media, Tiensuu is an eminent harpsichordist, a conductor, and pianist as well. He was the first director of the Helsinki Biennale and the founder and first director of the Time of Music Festival in Viitasaari. Tiensuuâ&#x20AC;&#x2122;s concert appearances have taken him to North America, to Asia, and to most countries of Europe, and he

Saturday, November 9, 2013 | 7.30 pm Kaija Saariaho (Finland; 1952) is a prominent member of a group of Finnish composers and performers who are now, in mid-career, making a worldwide impact. She studied composition in Helsinki, Freiburg, and Paris, where she has lived since 1982. Her studies and research at IRCAM have had a major influence on her music and her characteristically luxuriant and mysterious textures are often created by combining live music and electronics. Although much of her catalogue comprises chamber works, from the mid-nineties she has turned increasingly to larger forces and broader structures, such as the operas L’Amour de loin and Adriana Mater and the oratorio La Passion de Simone. Aile du songe is a flute concerto composed in 2001, derives its inspiration from the poetry of Saint-John Perse, notably from his Oiseaux cycle. The bird for Saariaho is not merely a source of acoustic phenomena transposed into the flute part; it is a symbolic, dream-like creature, which can fly and defy gravity. The work is divided into two main sections, the calm and languid Aérienne, and the virtuosic, dance-like Terrestre, which also makes wide use of the flutist’s voice. Peter Kolman (Slovakia/Austria; 1937) studied composition at the Bratislava Conservatory and the Academy of Performing Arts (with J. Cikker). He worked in the Czechoslovak Radio, at first as a music editor and from 1965 as a director of the newly founded Electroacoustic Studio. As a result of the Communist regime’s persecution, in 1977 he left Czechoslovakia and settled in Austria. From 1977 until 2002, he worked as an editor in the Universal Edition in Vienna.

Concert Hall of the Slovak Philharmonic, Bratislava Three Essays for Orchestra 1. Distant Sounds. Indefinite sounds from a distance, also gently vibrating and seemingly impressionistic, interspersed with some more concrete, closer events. 2. Stop and Go. Stationary sounds, unexpectedly developing into a movement. The middle section comprises passages for three clarinets, three oboes and three bassoons with “solo” character. 3. Episodes. Framed by a rising and a falling pitch structure, various longer or shorter musical episodes are played. Some of them blend into each other; some are positioned next to each other as a contrast. (Peter Kolman) Roman Berger (Slovakia; 1930) The composer, pianist, and thinker Roman Berger was born in Cieszyn (Poland). He began studying at the State Music College in Katowice, which he had to leave as his family was forced to move to Bratislava as a consequence of the Stalinist repressions. There he studied piano and later composition (with D. Kardoš) at the academy. Expelled from the Union of Slovak Composers in 1972, he lost all possibilities of professional activity. From 1976 he worked in the Institute of Arts of the Slovak Academy of Sciences, from 1984 he organised the Mathematics and Music seminars. In 1988, he was awarded the Herder Prize by the University of Vienna. In 1991, he co-founded the Melos-Ethos Festival. His philosophical texts were published in Slovak and Polish language. Transformations is Berger’s final academic piece, showing enormous maturity of the young composer. In 1968, the work was programmed at the Warsaw Autumn festival. The performance was cancelled, as Roman Berger withdrew the composition in protest against the Warsaw Pact invasion of Czechoslovakia in August 1968. (Juraj Bubnáš)

9 November, 2013 | 7.30 pm | Concert Hall of the Slovak Philharmonic, Bratislava

Zsolt Nagy (Hungary; 1957) studied conducting at the Liszt Academy in Budapest (with István Párkai). Further study with Péter Eötvös led him to become Eötvös’ assistant at the Institute for New Music of the Staatliche Hochschule für Musik in Karlsruhe and for other projects including Guest Professor at the International Eötvös Institute in Stuttgart, Cologne, and Edenkoben. He has been active as an opera and concert conductor since 1987 and as leader of orchestra projects and master classes in European conservatories since 1992. In 1999, he was appointed Chief Conductor and Musical Advisor of the Israel Contemporary Players. Since 2002, he is Professor of Conducting at the Conservatoire national supérieur in Paris.

The Slovak Philharmonic was founded in 1949. Two internationally acclaimed personalities, Václav Talich and Ľudovít Rajter assisted at its birth. The Slovak Philharmonic Orchestra is the most significant symphony orchestra in Slovakia. The Orchestra regularly appears at music festivals all over Europe and records for radio broadcasts, television, and record companies. Every season the programme includes theme-orientated symphonic, vocal-symphonic and chamber concerts and concerts for children and the young. Since 2009, the French conductor Emmanuel Villaume is the orchestra’s Chief Conductor. Simultaneously the conductor Leoš Svárovský has been Permanent Guest Conductor since 2007 and from the 2011/2012 season also Rastislav Štúr.

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Camilla Hoitenga (USA) performs solo repertoire of music ranging from pre-Bach to post-Stockhausen in venues as diverse as Carnegie Hall in New York, the Kremlin in Moscow or Tongyeong, Korea. She has performed concertos written for her by composers Kaija Saariaho, Péter Köszeghy, Kenichiro Kobayashi and others with orchestras such as the London Philharmonic, Chicago Symphony, and Royal Philharmonic of Stockholm, as well as with the radio orchestras of Helsinki, Paris and Berlin. Her recordings, in particular those with Kaija Saariaho, have won awards in France, Great Britain and in North America.

Sunday, November 10, 2013 | 7.30 pm

Large Concert Studio of the Slovak Radio, Bratislava

Slovak Radio Symphony Orchestra Valentina Coladonato, soprano Chungki Min, conductor

Georgy Dorokhov individual submission/YCA candidate Deconstruction (2010) 11’ Andrej Slezák YCA candidate Pangaea (2013) 11’, Melos-Ethos festival commission, * world premiere Unsuk Chin snagS & Snarls for soprano and orchestra (2003–2004) 13’ György Ligeti Atmosphères (1961) 9’ Ivan Parík Music to a Ballet. Four Fragments for Large Orchestra (1968) 16’30”

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Orkest de Ereprijs (Apeldoorn, Netherland), Ancient Music Academy under direction of Tatyana Grindenko, and others. Deconstruction The main idea of this composition is a collision of several units facing each other and synthesising the whole through mutual destruction. Deconstruction consists of three sections with different instrumentation: 1st section for string orchestra only, 2nd section for tutti, and the 3rd section for chamber ensemble. The work was first performed on December 17, 2010, in the Great Hall of the Moscow Union of Composers. (Georgy Dorokhov)

November, 2013 | 7.30 pm | Large Concert Studio of the Slovak Radio, Bratislava

Georgy Dorokhov (Russia; 1984–2013) graduated from the Tchaikovsky Moscow State Conservatory (Prof. Vladimir Tarnopolsky). Holder of diplomas of the EDES Composition Competition 2007 and P. Jurgenson Young Composers Competition 2007 and 2009. His works have been performed by Nouvel Ensemble Moderne (Montreal), Ensemble Linea (Strasbourg), Ensemble Offspring (Sydney), Moscow Contemporary Music Ensemble (Moscow), eNsemble (St. Petersbourg), Ensemble Nostri Temporis (Kiev),

Sunday, November 10, 2013 | 7.30 pm

Large Concert Studio of the Slovak Radio, Bratislava

Andrej Slezák (Slovakia/Hungary; 1980) In 2003, he graduated in piano and composition at the Bratislava Conservatory. He continued at the Liszt Academy in Budapest. In 2006, he received a one-year scholarship at the CNSM in Paris. He holds various prizes at national and international competitions: Toru Takemitsu International Composition Competition (Tokyo, 2010), Dimitris Mitropoulos International Composition Competition (Athens, 2009), International Composition Competition “Zeitklang” (Vienna, 2008) International Jazz Composition Competition (Budapest, 2006). Pangaea The score of Andrej Slezák’s Pangaea immediately evokes the music of György Ligeti, notably Lontano. As its title might indicate, it is a singlemovement sonic landscape woven of “liquid harmonic crystals” emerging from silence and fading away again, at places disturbed by brief, gently eruptive passages. The more rhythmical central part gives the players (in contrast to Ligeti) some freedom in the execution of their patterns; yet, it is a freedom within a strictly conceived overall formal structure...

Philharmonic, Radio France Philharmonic Orchestra amongst others. snagS & Snarls The song cycle snagS & Snarls after texts from Lewis Carroll’s Alice-books was commissioned by the Los Angeles Philharmonic Orchestra and premiered under the direction of Kent Nagano at the Ojai Festival in August 2004. Unsuk Chin considers it a preliminary study for the opera Alice in Wonderland, which was premiered in 2007 at the Bavarian State Opera. All the songs from snagS & Snarls – except the first – were incorporated in the opera, albeit in modified form. The noun “snag” can be defined as an “unexpected obstacle” or as a “rough, sharp object”. “Snarl”, on the other hand, means either a “tangle” or a “confused state,” or to “speak in a bad-tempered voice” or (of dogs, etc.) to “show the teeth and growl angrily.”

Unsuk Chin (Republic of Korea; 1961) was born in Seoul, studied with Ligeti in Hamburg, and is now resident in Berlin. Winner of the 2004 Grawemeyer Award for her Violin Concerto and the 2005 Arnold Schoenberg prize. Her output features both electronic and acoustic scores. She has been championed by conductors Kent Nagano, Simon Rattle, Peter Eötvös, Myung-Whun Chung and George Benjamin, and performed by Bavarian State Opera, Berlin Philharmonic, Chicago Symphony Orchestra, Los Angeles Philharmonic, London

György Ligeti (Hungary/Austria; 1923–2006) see page 40 Atmosphères The work was an immediate success; at the première in Donaueschingen in 1961, the audience demanded its repetition, and many believed the sound was electronically manipulated, though only conventional orchestral instruments were used. Complete avoidance of melody or any sense of regular beat, a wide application of clusters, extremely dense polyphonic textures and extended playing techniques made the music sound astonishingly new even in context of the Western avant-garde. Since then, Atmosphères became one of Ligeti’s most frequently performed orchestral works; the work virtually put him on the map as a composer after he left Hungary in 1956. (Robert Kolář)

Slovak Radio Symphony Orchestra Founded in 1929 to serve Slovak Radio, the orchestra became particularly associated with the music of Slovak composers, notably Alexander Moyzes, Eugen Suchoň and Ján Cikker. Chief conductors of the orchestra have included Krešimir Baranović, Ľudovít Rajter, Ladislav Slovák, Václav Jiráček, Otakar Trhlík, Bystrík Režucha, Ondrej Lenárd, Róbert Stankovský, Charles Olivieri-Munroe, Oliver von Dohnányi, and Mario Košik. The orchestra has become well known abroad through its broadcasts and recordings, particularly for the Naxos Records label.

10 November, 2013 | 7.30 pm | Large Concert Studio of the Slovak Radio, Bratislava

Valentina Coladonato (Italy) is the winner of various international singing competitions: Valentino Bucchi, G. Di Stefano, Città di Alcamo, Toti Dal Monte, and several critics, audience and jury prizes. She made her debut in Cavalli’s L’Ormindo produced by W. Walton Foundation. She has sung many compositions in world premières; she is the preferred performer by the composer Ivan Fedele. Valentina made appearances at Teatro alla Scala, Opéra national de Paris, Salzburg Festival, Vienna Musikverein, Concertgebouw Amsterdam, Flanders Festival, and collaborated with conductors Riccardo Muti, David Robertson, Peter Eötvos, and others.

Chungki Min (Republic of Korea) studied composition and conducting at Seoul National University and Mozarteum University in Salzburg and graduated with top honours by Dennis Russell Davies. Received the B. Paumgartner-Medaille in 2007. He has worked with Münchner Philharmoniker, Mozarteumorchester Salzburg, Brucknerorchester Linz, and Bucheon Philharmonic Orchestra, Ensemble TIMF in South Korea. Since 2011, he teaches conducting, music analysis and introduction to and performing of new music at the Mozarteum. In 2013, he was appointed the conductor of the European Contemporary Composers’ Orchestra by the European Composers’ Forum.

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Ivan Parík (Slovakia; 1936–2005) studied composition privately with A. Albrecht, later at the Bratislava Conservatory (with A. Očenáš) and the Academy of Performing Arts (with A. Moyzes). For three decades, he was a pedagogue of music theory and composition in Bratislava, concluding his teaching career in Nitra (Constantine the Philosopher University). In the late 1960s, he was the co-organiser of the international summer courses for contemporary music in Smolenice. In 1981, he was awarded the Ján Levoslav Bella Prize. Music to a Ballet In Music to a Ballet. Four Fragments for Large Orchestra, inspired by Kōbō Abe’s novel The Woman in the Dunes, Ivan Parík emphasises detailed sound structures (including extended percussion techniques). Although the work’s title suggests a stage work, it is primarily intended to be an orchestral composition. But, without doubt, Parík already had in mind his later one-act ballet Fragments. (Juraj Bubnáš)

Sunday, November 10, 2013 | 10 pm

Chamber Studio | Slovak Radio, Bratislava

Enikő Ginzery, Monika Štreitová Theo Brandmüller individual submission Bilder der Nacht “Lass den Balkon geöffnet” (2008/2009) 11’, cimbalom István Láng ISCM Hungary ConcerDUOtante (2010) 10’, cimbalom, trombone Belma Bešlić-Gál, Bernhard Gál ISCM Austria Flut (2011) 8’30”, flute, electronics Hans Joachim Hespos individual submission Psallo Solo (2009) 10’, cimbalom Jorge Calleja ISCM Mexico

Tierra de Pantanos (2011) 7’30”, flute, electronics Enikő Ginzery, cimbalom Monika Štreitová, flute András Fejér, trombone Roman Laščiak, sound design

Peter Kolman Molisation (1965), flute, cimbalom Patrick Saint-Denis ISCM Canada Trombe (2010) 6’30”, flute, electronics, video projection

10 November, 2013 | 10 pm | Chamber Studio | Slovak Radio, Bratislava

Belma Bešlić-Gál (Austria; 1978) born in Tuzla (Bosnia), Austrian composer of Slovenian/Bosnian descent, living in Vienna and Salzburg. Studied piano at the Liszt School of Music in Weimar, composition and music theory at the University of Arts, Graz). She co-curates the “shut up and listen!” festival in Vienna. Her music has been heard in Europe, USA, and Argentina.

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Theo Brandmüller (Germany; 1948–2012) After studying composition and organ, Theo Brandmüller became professor of composition at the Saarland Academy in 1979. Co-director of the young composers competitions of the Musikalische Jugend Deutschlands e.V. at Schloss Weikersheim. Numerous prizes for his works, among them a scholarship of the Cité internationale des arts, Paris and the Rome Prize of the Villa Massimo in 1979. In 1986 and 1988 he was teacher and director of the ‘Table d’orgue’ at the International Summer Courses at Darmstadt. His Concerto for Organ and Orchestra (1981) stands out as his most important organ work. Bilder der Nacht The piece was written for Ginzery’s final recital at the Musikhochschule Saarbrücken.

István Láng (Hungary; 1933) studied composition at the Academy of Music in Budapest. From 1973 to 2006, he was a lecturer and later on professor of the Chamber Music Faculty at the University of Music in Budapest. He worked in international competition juries: horn, trumpet, brass chamber music, oboe, choir, composition. He was invited to lecture at the State University of Colorado, CNM Mexico City, and the State University of New Mexico. Between 1984 and 1988, he was member of the ISCM Executive Committee. In 1994 he received the Bartók-Pásztory Prize. Since 1958, he has been in active in the fields of tape music and live electronics. ConcerDUOtante Enikő Ginzery and András Fejér separately asked me to compose concertos for them. I combined the possibilities, hence the ConcerDUOtante: chamber music and concerto without orchestra at the same time. Instead of dedication, the composition starts with the transformation of the two monograms (GA-FA) into notes played by cimbalom and trombone. The cimbalom takes up this double monogram in the main section (Molto quieto) of the piece over the organ point of the trombone. During the extremely difficult, very soft, rapid passagework of the cimbalom, the trombone closes its part with this monogram in reversed order. (István Láng)

Sunday, November 10, 2013 | 10 pm

Chamber Studio | Slovak Radio, Bratislava

Bernhard Gál (Austria) Austrian artist, composer and musicologist Bernhard Gál is equally at home within the domains of contemporary music, installation art and media art. Around 80 sound installations and intermedia art projects. Music for acoustic instruments and electracoustic music. Laptop performances. Sound art research. Artistic director of the Festival ‘shut up and listen!’. The usual awards. Ca. 30 audio publications, catalogue books and DVDs. www.bernhardgal.com

with Enikö Ginzery and the Radiosinfonieorchester Stuttgart. (Hans-Joachim Hespos)

Flut Audio recordings of sand are the prevailing source materials of the electroacoustic part of Flut. The envisioned relationship between the singular and the whole is reflected in the nature of the used sound materials. The acoustic features of the bass flute are understood as additional grains of sand, merging into a whole with the electroacoustic sound projection. The objective is to create a consistent monophonic experience composed of interwoven, yet discrete elements. Flut is based on a sound projection by Bernhard Gál. (Belma Bešlić-Gál) Hans-Joachim Hespos (Germany; 1938) has since 1964 composed a huge number of works that are usually extreme even by the standards of the German New Music. Perhaps one of the most remarkable features of Hespos’ music is that there would seem to have been no discernible process of development of technique or alteration in concerns during the last thirty years. Hespos writes as uncompromisingly today as he has always done and the unmediated forcefulness of his work remains almost without parallel even today. Psallo Solo was written in 2007 and is the solo part of Psallo, concerto for cimbalom and orchestra, a commission by Südwestrundfunk Stuttgart, first performed at the Stuttgart festival “éclat 2009”

Jorge Calleja (Mexico; 1971) is a polystylistic composer, guitarist and traditional Mexican guitar player. He studied composition at the National School of Music of the National Autonomous University of Mexico. His compositions have been recorded on 11 albums produced by AXOLOTL Records, TEMPUS Records and URTEX Records. In 2011 he received the grant of the National Fund for Culture and Arts (FONCA). In 2010 he composed the film score Juan Escopeta’s Revolution produced by AEROPLANO FILMS. He now works on a new project called GEA, for guitar, violoncello and flute, based on music and nature landscapes. Tierra de Pantanos (Land of Swamp) Music evocation of a distant population. This work shares the feeling of desolation; a place where the only fun for children is playing in the dangerous cold waters of the swamp. (Jorge Calleja) Peter Kolman (Slovakia/Austria; 1937) see page 74 Molisation The Slovak composer Peter Kolman was one of the greatest Slovak experimenters of the 1960s, and following a long neglect of his compositions, once again his works are intensively featured on concert podia. Hence the presentation of his aleatoric composition Molisation from 1966, for two unspecified instruments, which is to be performed by both soloists, will certainly be a unique experience.

András Fejér (Hungary; 1967) Born in Budapest, he graduated from the Liszt Academy of Music. He has been solo trombonist of the Deutsches Symphonie-Orchester Berlin since 1997 and also worked as assistant professor at the Liszt Academy of Music (State University) between 2001 and 2006. In 2007, he sat on the jury of the International Trombone Competition of Munich (ARD). His first CD released by Hungaroton Classic under the title Name-Game was awarded the Artisjus Prize in 2000. Roman Laščiak (Slovakia) studied at the Faculty of Electrical Engineering of the Slovak Technical University. Since 1983 he has worked at the Slovak Radio as a sound engineer He cooperated with the Experimental Studio of the Slovak Radio on a series of international festivals of electroacoustic music. He is devoted to the field of live performance of contemporary chamber, electroacoustic and electronic music and works with various Slovak composers, performers (Daniel Matej, Marek Piaček, Jozef Lupták, Ivan Šiller) and ensembles of contemporary music (VENI ensemble, Vapori del cuore, Over4tea, don@u.com).

10 November, 2013 | 10 pm | Chamber Studio | Slovak Radio, Bratislava

Enikő Ginzery (Slovakia) was born in Bratislava. She is a virtuoso cimbalom player, known for her imaginative style. Enikő studied at the Bratislava Conservatory, and continued at the Liszt Academy in Budapest. Next she enrolled at the HfM Saar in Germany. She became the laureate of the International Cimbalom Competition of 1997 in Valašské Meziříčí, Czech Republic. Since 1995 she regularly performs as a solo and chamber music player in Europe and in the USA. In 2012 she recorded her CD Overflowing Crystals (Hevhetia).

Monika Štreitová (Czech Republic) graduated at the Academy of Music and Performing Arts in Bratislava, where she also completed a PhD. on music performance, tutored by M. Jurkovič; now she is working on her Post-Doctorate at the Aveiro University. She has always kept in contact with contemporary composers and has premiered about 200 of their works at contemporary music festivals. She has worked with BBC, ORF2 Wien, BRB Berlin and RTP. Štreitová has recorded 17 CDs. She has given concerts in many countries of Europe, South America and Japan.

Sunday

Patrick Saint-Denis (Canada; 1975) studied composition at conservatories in Québec City, Montréal and The Hague. His music has been played at festivals, such as the International Gaudeamus Music Week (2003, 2004), Montréal Nouvelles Musiques (2005, 2009), the ISCM World Music Days (Croatia, 2005), the Mois Multi (Canada, 2008), the Cervantino Festival (Mexico, 2009) and the ICMC (UK, 2011). He received prizes including the Jules-Léger prize in 2004. He received support from the Canada Council for the Arts and from the Conseil des arts et des lettres du Québec. Trombe is part of a suite for solo instrument and automated objects. These works are about developing a relationship between an object from the real world (a bird feather, a signal lamp, etc.) and a solo instrument using different technological tools. The interactions between the objects and the instruments are oriented in order to have the multiple significations of the objects “transfer” themselves on the music. In this work, a special attention is given to the spatial qualities of the video projection by integrating the performer inside of it. Finally, a trombe in French is a very active storm carrying large amount of water. (Patrick Saint-Denis)

Monday, November 11, 2013 | 10.30 pm

A4 – Space for Contemporary Culture, Bratislava Porgy & Bess, Vienna

European Bridges Ensemble Georg Hajdu MindTrip Reloaded (2013) 9’ Bratislava: Stewart Collinson, video Georg Hajdu, conductor Kai Niggemann, Andrea Szigetvári, laptops

Kai Niggemann From the Distance There Is Harmony (2013) 9’ Ádám Siska YCA candidate 2’45” (2013) 9’ Johannes Kretz Mining (2013) 9’

Mahdieh Bayat, video

Andrea Szigetvári, Stewart Collinson ShadowPlace (2013) 9’

Johannes Kretz, Ivana Ognjanović, Ádám Siska, laptops

Ivana Ognjanović Lonesome Skyscraper (2013) 9’

Vienna:

Monday

MindTrip Reloaded With its premiere in the year 2000, MindTrip was the first composition ever performed with Quintet.net, my networked multimedia performance environment. The 13 years which separate the two performances, have lead to numerous general technological advances as well as a personal evolution which resulted in a sharpening of my conceptual, aesthetic and musical visions. The story is still the same: A man receives a brain implant in order to communicate with a distant civilisation. In the end, he has every reason to doubt that his experiences have been authentic. This can be taken as a metaphor for digital art with its Turing test-like issues. (Georg Hajdu)

November, 2013 | 10.30 pm | A4 – Space for Contemporary Culture, Bratislava

Georg Hajdu (Germany; 1960) is among the first composers of his generation dedicated to the combination of music, science and computer technology. After studies in Cologne and UC Berkeley and residencies at IRCAM and the ZKM, he co-founded the ensemble WireWorks. In 1999, he produced his full-length opera Der Sprung. In 2002, his Internet performance environment Quintet.net was employed in a Munich Biennale opera performance. In addition to his compositions, which have earned him, among others, the IBM-prize of the Ensemble Modern, Georg Hajdu published articles on several topics on the borderline of music and science.

Monday, November 11, 2013 | 10.30 pm Kai Niggemann (Germany; 1972) wears the composer, songwriter, musician or producer’s hat. He works on electronic/acoustic music for projects and soundtracks, for film, theatre and dance. He is a cofounder of the theatre production company “PARADEISER productions”, the music duo Resonator as well as EBE. He enjoys playing out live and runs his own label WAF80 music. His releases Trust (2011), menofgoodwill (2008), Catwalk (2006) and Red Room Diner (2003) can be found on iTunes and have been released on CD. From the Distance There Is Harmony is a piece for five networked performers and the network connecting them. The piece is about long-distance relationships, in every sense of the word relationship. It is also an exploration of how to use network parameters that signify distance to influence how the EBE performers interact musically. (Kai Niggemann) Ádám Siska (Hungary; 1983) studied composition with Zoltán Jeney at the Liszt Academy in Budapest and with Marco Stroppa at the Musikhochschule Stuttgart. After some early pieces for acoustic instruments he turned towards electronic music in 2006 and joined the European Bridges Ensemble in 2007. 2’45” is the approximate distance of Bratislava and Vienna – as perceived by the propagating sound. My work explores how this distance, both temporal and spatial, may influence our comprehension of matters that, at first glance, seem to be unambiguous. What may happen even to the most naive action once the tiny ‘distances’ in time and space, history and culture, people and values (etc.) reinforce themselves? Would these differ-

A4 – Space for Contemporary Culture, Bratislava Porgy & Bess, Vienna ences strengthen or destroy an initial coherence of our initiatives? (Ádám Siska) Johannes Kretz (Austria; 1968) was born in Vienna, studied composition with F. Burt and M. Jarrell and mathematics at the University in Vienna. In 1992/93 he studied at IRCAM with M. Stroppa and B. Ferneyhough. Cofounder of NewTonEnsemble, of the composer’s group PRISMA, of ikultur.com and aNOther festival. Since 1997 he teaches computer music at the University of Music and Performing Arts in Vienna, since 2004 composition, since 2008 head of the Centre for Innovative Music Technology, since 2013 dean of the Institute for Composition. Performances in Germany, Poland, France, Czech Republic, Turkey, Lithuania, Argentina, Mexico, Canada, USA, Japan, Korea, China. Mining The composition focuses acoustically and visually on the phenomenon of a uranium mine in Pécs, Hungary, with the characteristic emotionality of the miner’s village and the strange paradoxes between machines, propaganda and sentimentality. (Johannes Kretz) Andrea Szigetvári (Hungary; 1961) is a composer of electroacoustic music. Her creative and research interests are timbre in new music, interactive performance, and synchresis in audiovisual art. She studied in Warsaw and then as a Fulbright scholar in the USA, returning to Hungary to set up the Hungarian Computer Music Foundation. In addition to composing, she lectures on computer music composition and has organized international new music festivals, conferences and pan-European projects.

European Bridges Ensemble was established for Internet and network performance. Using the term bridges as a metaphor, their initiative makes an attempt to bridge cultures, regions, locations and individuals, each with their particular history. Their concerts, which bring together musicians from the former West (Germany and Austria) and East (Hungary) as well as a participant from Serbia, demonstrate the potential of Internet performance as a means to overcome national borders and political single-mindedness. The aim of the project is to further explore the potential of taking participating musicians and artists out of their political and social isolation by creating communities of like-minded artists.

11 November, 2013 | 10.30 pm | A4 – Space for Contemporary Culture, Bratislava

Ivana Ognjanović (Serbia; 1971) graduated in composition at Belgrade’s University of Art, Faculty of Music. She completed her MA in Multimedia Composition in HfMT, Hamburg. She is working on her DMA in composition at Belgrade’s University of Art. She collaborated with Joanna Mac Gregor, Jennifer Hymer, Ana Sofrenovic, Julia Hening, Marek Choloniewski and David Girten. Her music was performed in Greece, England, Serbia, Latvia, Macedonia, Hungary, Germany, Japan, Finland and USA. She has experience in multimedia, interactions in art, web programming, applied music and performance. Lonesome Skyscraper is an electronic version of the piece composed for Quintet.net software environment, inspired by a fascinating abandoned skyscraper in Pécs, Hungary.

Monday

Stewart Collinson (United Kingdom) Collinson’s work covers a range of activities: as an artist making moving image work for singlescreen viewing, gallery installation, live mixing, projection of video and digital imagery for performance. Collaboratively, he has created audio/ visual work for The Making New Waves Contemporary Music Festival, Sonic Arts Network, The Huddersfield Contemporary Music Festival and The BBC’s 21CC. Since 2006 he has been the member of the network music group, European Bridges Ensemble. He is a senior lecturer in Moving image on the BA Contemporary Lens Media and MA Fine Art Degree Courses at the Lincoln University, UK. Shadowplace Taking Tanizaki’s In Praise of Shadows as its starting point, the work explores the luminal zone existing between illumination and occultation, light and shade. The deep metaphors of occidental thought, identifiable in concepts such as “the dark ages” and “the enlightenment”, reveal a binary opposition, a division. Attempting a synthesis, Jung wrote, “Everyone carries a shadow and the less it is embodied in the individual’s conscious life, the blacker and denser it is.” Shadowplace is a meditation in sound and Super8 film on the inevitability of shadows.

Tuesday, November 12, 2013 | 7.30 pm

Dvorana Concert Hall, Bratislava

Österreichisches Ensemble für neue Musik Beat Furrer Presto (1997) 10’, flute, piano Branka Popović ISCM Serbia out of nowhere (2004) 7’, 2 violins, viola, violoncello Misato Mochizuki All That Is Including Me (1996) 11’, flute, clarinet, violin, violoncello Johannes Maria Staud Lagrein (2008) 13’, violin, clarinet, violoncello, piano ———————————————————————

Irmgard Messin, flute Theodor Burkali, clarinet Nora Skuta, piano Ivana Pristašová-Zaugg, Georges-Emmanuel Schneider, violin Jutas Jávorka, viola Peter Sigl, violoncello

Nicolas Tzortzis individual submission Femme-tête-temps (2010) 10’, 2 violins, viola, violoncello Peter Zagar Song for Emőke (2013) 6’, flute, clarinet, piano * world premiere Bernhard Gander Schlechtecharakterstücke (2008) 14’, violin, violoncello, piano

Misato Mochizuki (Japan; 1969) Born in Tokyo, Misato Mochizuki obtained a masters degree in composition at the National University of Fine Arts and Music in Tokyo in 1992. She then moved to Paris and obtained a first prize for composition at the Conservatoire national supérieur de musique in Paris in 1995 in the class of Paul Méfano and Emmanuel Nunes. She then integrated the “Composition and Computer Music” program at IRCAM in 1996 and 1997 under the direction of Tristan Murail. Her composition L’heure bleue was selected as “the most impressive work” at the UNESCO International Tribune of Composers in 2008 and she holds the 2010 Women Artists Prize in Heidelberg. All That Is Including Me The piece draws on several sources. The title comes from Buckminster Fuller’s improvised poem: Environment to each must be/“All that is excepting me”/Universe in turn must be/“All that is including me”. Further inspiration came from impressions of American cosmonauts from their flights and the mechanics of rotating planets (Sun – Earth – Moon). (Robert Kolář) Johannes Maria Staud (Austria; 1974) studied composition at the Vienna Musikhochschule with Michael Jarrell (composition), Dieter Kaufmann (electroacoustic composition),

12 November, 2013 | 7.30 pm Dvorana Concert Hall, Bratislava

Branka Popović (Serbia; 1977) graduated from both musicology and composition departments (composition studies with Zoran Erić) of the Belgrade Faculty of Music. She obtained her Master of Music Degree in composition at the Guildhall School of Music and Drama (composition studies with Judith Bingham). Her pieces were performed at International Review of Composers, KOMA Festival of New Music, Guildhall New Music Festival, City of London Festival, and Sir Harrison Birtwistle Festival. Her piece Dream (I. S. o. F) for clarinet, violoncello, and piano won a prize at the Summer Music Academy BudapestPrague-Vienna where she studied composition with Gyula Fekete. She was awarded for the best music in film The Breaking Point (directed by Igor

M. Toholj) at the 56th Belgrade Short and Documentary Film Festival (2009). out of nowhere The composition consists of six sections based on the same motive. The sections are extremely compressed so as to produce the effect of being mere fragments of a larger whole that cannot be seen in its entirety. The piece is inspired by Edvard Munch’s painting The Scream.

Tuesday

Beat Furrer (Austria; 1954) was born in Switzerland and moved to Vienna in 1975. He studied composition with Roman Haubenstock-Ramati and conducting with Otmar Suitner; in 1985, he founded the ensemble Klangforum Wien, which has established itself as one of Europe’s leading contemporary music groups. Since 1991, he has served as professor of composition at the Graz University of Music and Dramatic Arts. Furrer is the holder of the 2003 Music Prize of the City of Vienna and the Gold Lion at the 2006 Venice Biennale. Presto Built as a symmetrical scherzo, the composition evokes a kind of acrobatic dance of the flute around the heavily percussive piano. A whirlpool of extremely complicated rhythmic patterns spins out with energy reminiscent of Ligeti’s Etudes. In addition to the aura of a mechanical instrument, there is the flute, which carries a strong human gesture. (Robert Kolář)

Tuesday, November 12, 2013 | 7.30 pm

Dvorana Concert Hall, Bratislava

Iván Eröd (harmony and counterpoint) and with Hanspeter Kyburz at the Hanns Eisler-Hochschule für Musik in Berlin. He participated in master classes of Brian Ferneyhough and Alois Piňos. He went on to study philosophy and musicology and co-founded the composers group Gegenklang in Vienna. Staud received commissions form Sir Simon Rattle and the Berlin Philharmonic, and the Salzburg Festival, which established him as one of the most successful composers of his generation. Lagrein [This] synesthetic approach was my driving force whilst composing the piece. The tasting of sonorities; the description of light reflexes in sound; the translation of a soft, smooth taste, fullbodied with hints of leather and tar into musical textures and structures – all of this fascinated me during my work on the piece. (Johannes Maria Staud)

Peter Zagar (Slovakia; 1961) graduated at the Bratislava Academy of Performing Arts in 1986. He received commissions from the Slovak Philharmonic, Musica Aeterna, Arcana Ensemble, Slovak National Theatre, State Philharmonic Košice, and several contemporary dance groups. He holds several prestigious national music awards. His music was performed in Prague, Vienna, London, Paris, Amsterdam, New York, St. Petersburg, Philadelphia, etc. Recent performances include Pater noster by the Hilliard Ensemble in Košice and Apocalypsis Iohannis by Ensemble Opera Diversa in Brno. Song for Emőke When I was about thirty, I read The Legend of Emőke by Josef Škvorecký; I stumbled upon a paragraph that has stayed with me ever since: “…thirty years old, still single… a guy who didn’t believe in anything anymore or take anything very seriously, who knew what the world was all about, […] who was alone, not from incapacity but of necessity, quite successful, with a good salary and reasonable health, […] at an age when people get married at the last moment so as still to be able to have children and watch them grow up only to find out equally fast exactly what life’s all about…” (Peter Zagar)

Nicolas Tzortzis (Greece; 1978) Born in 1978 in Athens, living in Paris since 2002. Studied with Philippe Leroux and Georges Aperghis, in France, Switzerland, and Canada. Attended the IRCAM Cursus 1 and Cursus 2, where his Incompatible(s) V for silent piano and live electronics was presented. His music has been heard around the world (Europe, Americas, Asia, Australia); he holds more than 20 prizes in international competitions. His interests include musical theatre, idiomatic instrumental writing that pushes the limits of the doable, and nonlinear forms of narration. Femme-tête-temps Written at first between January and February 2009, then between July and September 2010, the work is inspired by the speed at which the human mind thinks, especially when one is in an alarming state.

Bernhard Gander (Austria; 1969) Born in Lienz, Gander studied piano and conducting at the Tyrolean Provincial Conservatory and composition with Beat Furrer in Graz. He also studied at the Studio UPIC in Paris with Julio Estrada and Curtis Roads and at the Swiss Centre for Computer Music in Zurich. He received the ‘Erste Bank Composition Prize’ as well as commissions from Klangforum Wien, Musikprotokoll, Konzerthaus, Wien Modern, Ensemble Modern and Donaueschingen.

91 Schlechtecharakterstücke

12 November, 2013 | 7.30 pm Dvorana Concert Hall, Bratislava

Österreichisches Ensemble für Neue Musik An international ensemble concentrating on the presentation of contemporary music, based in Salzburg. The ensemble was founded in 1975 by the composers Klaus Ager and Ferenc Tornai. From 1997, it has worked under the artistic direction of the violinist Frank Stadler and the cellist Peter Sigl. The ensemble has presented the premieres of more than 300 new works. It participates in international festivals of new music, principally in Europe (Warsaw Autumn, Milano Musica, Kunstfest Weimar, Aspekte Festival Salzburg, Ultraschall Festival Berlin). Currently its guest conductor is Johannes Kalitzke. The ensemble has also played under the baton of Tito Ceccherini, Beat Furrer, Rupert Huber, Franck Ollu, Oswald Sallaberger, and others.

Tuesday

These six short pieces derive their energy from various states of mind, usually seen as very negative. The “bad characters” depicted here are Greed, Envy and Avarice, each of them being followed by a Lamento. Although written for the conventional medium of piano trio, its rhythmic distortions and wide use of clusters reveal Gander’s inclinations to other, non-classical musical realms. (Robert Kolář)

A PLACE FOR EXCEPTIONAL PERSONS

IT´S AN EXTRAORDINARY MEETING POINT OF ARTS, LITERATURE, SCIENCE, CLASSICAL MUSIC AND JAZZ, AS WELL AS NONCOMMERCIAL MUSIC GENRES. THIS IS THE EXACT PLACE FOR ALL EXCEPTIONAL PERSONS. RECORDS OF CONCERTS PERFORMED AT THE ISCM WORLD NEW MUSIC DAYS 2013 WILL BE BROADCAST BY THE RADIO DEVIN.

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TUNE YOURSELF TO THE ARTS

Fringe Events

FRINGE EVENTS Concert Sunday, November 10

European Concert

concert of national-level EMCY competition winners Víťazoslav Kubička Forest Nymphs and Other Creatures Mária Reháková, flute PAS J. Kresánka, Bratislava, ped. Valéria Bánovská Jozef Chabroň, piano Evgeny Derbenko Baghdad Astor Piazzolla Contrabajeando Radovan Vrana, accordion PAS Tvrdošín, ped. Marek Kuka Ladislav Kupkovič Seven Little Compositions (selection: Allegro, Andante, Allegro)

Igor Dekleva Robba’s Three Carniolan Rivers Fountain (from the suite Ljubljana Postcards) Johny Fritz Molto percussivo Albena Petrovic-Vratchanska Crystal Dream (2013), * world premiere Zala Kravos (LUX), piano Music Chapel Queen Elisabeth in Brussels, ped. Maria João Pires

Július Letňan Four Sketches for Two Flutes Mária Reháková, Laura Nagyová, flutes PAS J. Kresánka, Bratislava, ped. Valéria Bánovská Evgeny Irshai: Lost Wor(l)ds, Four Songs on Poems by Emily Dickinson Slávka Zámečníková, voice Conservatory Bratislava, ped. Božena Ferancová Xénia Maskalíková, piano

Pawel Baranek Stars Erika Žitňáková, Jozef Piták, Radovan Vrana, accordion PAS Tvrdošín, ped. Marek Kuka

The search for and support of notably talented students is a very important sphere of musical education. Sponsoring Slovak national-level music competitions, EMCY Slovakia is an organisation that has these goals in view. Through its active membership and cooperation with EMCY (the European Union of Music Competitions for Youth), it has created an opportunity for many of our talented young musicians to gain experience in summer courses, workshops, European Concerts, and concert tours in many countries across Europe. The year 2013 will be remembered in the 15-year history of EMCY Slovakia. Thanks to the initiative of Ivan Šiller, President of ISCM Slovak Section, there will be an EMCY International Conference of National-Level Competitions held in November 2013 in Bratislava. The EMCY Conference will take place within the festival ISCM World New Music Days 2013; this creates space not only for tackling particular matters concerning individual organisations, but also for searching for new opportunities and inspiration in the interdisciplinary sense. It is a rare opportunity and we are proud that our capital will become, for few days, such a significant crossroad and a meeting point of music personalities not only from Europe but also from across the world. The “European Concert” of the national-level competition winners takes place within the EMCY International Conference of National-Level Competitions.

Peter Kopa Twelve Preludes (selection: No. 3, No. 8)

Mária Slaninová, EMCY Slovakia Secretary

Igor Frolov Souvenir Terézia Hledíková, Magdaléna Štefanicová, violins Beáta Kopačková, piano PAS J. Kresánka, Bratislava, ped. Jana Spálová and Ivona Trgová Peter Duchnický Two Songs Laura Nagyová, flute PAS J. Kresánka, Bratislava, ped. Valéria Bánovská Jozef Chabroň, piano Janusz Wojtarowicz Proms

FRINGE EVENTS

3 pm | Concert Hall, Bratislava Castle

FRINGE EVENTS Installations, Performances and Art Exhibitions Thursday, October 31–Thursday, November 14

9–11 am | Old Town Hall Daniela Valachová, Department of Visual Arts Education, Faculty of Education, Comenius University in Bratislava students of the Department, students of Grammar School, Košická St., Bratislava

Gate As a Labyrinth

Foyer | Slovak Radio students of the Department of Visual Arts Education, Faculty of Education, Comenius University in Bratislava

A labyrinth of visual elements and human bodies in an ever-changing choreography, engaging passers-by to slow down and perceive the gates as a place of ongoing communication.

Tutor: Stanislav Harangozó

Saturday, November 9–Sunday, November 10

The students focused on the basic idea of the given subject. They transported their visual concepts onto a spiritual level, in a broader sense of the given theme. Each individual approach contributed to the attractiveness of the resulting student works. “Gates” is the topic of the festival – and we want the gates in Bratislava to show off a little bit! Gates are spaces for communication between the new and the forgotten, the traditions and the innovations, between different artistic trends from different countries and generations of artists and audience. Our wish is that this idea strikes also those who pass through the gates on their daily routine.

4.30 pm–10 pm | The Slovak Philharmonic

Gates

Friday, November 8 9–11 am | Michael’s Gate Martina Pavlikánová, Department of Visual Arts Education, Faculty of Education, Comenius University in Bratislava students of the Department, students of Matka Alexia Grammar School

Fantasy Gate

A gate which opens into the realm of people’s own fantasies and conceptions, where they meet the today’s heroes (cinematic, literary and musical) and meditate with them on life in a silent conversation

Nox Borealis

General concept: Jean-Baptiste Barrière Music: Kaija Saariaho Realisation of the electronic part: Jean-Baptiste Barrière Avanti! Ensemble, Hannu Lintu, conductor Visual concept: Jean-Baptiste Barrière Images: François Galard Production: Cartes/Institut finlandais/Image Auditive Nox Borealis is a musical and visual installation, which finds its inspiration in two very different sources: one musical, the piece Lichtbogen by Kaija Saariaho, the other sonic, i. e. the recordings realised during aurora borealis by professor Unto K. Laine (Helsinki University of Technology). Lichtbogen (1986), “Arc of Light” in German, is a piece for instrumental ensemble and live electronics that Kaija Saariaho composed after a journey, in 1986, beyond the polar circle, where she could witness with Jean-Baptiste Barrière the magical and enigmatic spectacle of aurora borealis unfolding in the sky. For Nox Borealis, a multi-track studio recording of Lichtbogen, which was remixed, processed and spatialised for eight-track surround system, Saariaho and Barrière imagined a visual dimension with a synthesis of abstract images. These images are inspired by the music as well as aurora borealis, and projected on a largest possible screen on the

95 ceiling of a hall, the spectators lying comfortably on the ground, immersed in sound and image in a situation evocating the one of the spectators of these natural phenomena, lying in the snow and scanning the vast movements of lights which furrow the Nordic winter skies. Starting from this reflexion on aurora borealis and from the analysis of musical forms, and more specifically of timbres in Lichtbogen, this visual part sketches a speculative work about the exploration of cross relations of music and images, through an exploration of light and colour.

Discussion Tuesday, November 12 10 pm | Slovak Radio

Is Music Just Air?

Discussion with students and representatives of SOZA (Slovak Performing and Mechanical Rights Society) Host: Juraj Kušnierik Guests: Anton Popovič, director of SOZA, Adrian Rajter, PR Manager of SOZA Is music just air? What is intellectual property? Does society need authors’ rights protection? How is history of music related to history of authors’ rights? How do authors’ rights influence the work of a performer – musician? Which activities does collective management of authors’ rights involve?

Other Activities All the Gates in Your Pocket

Dominika Horáková, Department of Visual Arts Education, Faculty of Education, Comenius University in Bratislava, students of the Department The photographs for the “Gates” theme were created during the Photography and New Media courses by graduates as well as postgraduate students. The theme is transformed in a variety of way, from narrative pictures to metaphors of the gate. The project's result constitutes a collection of photographs that is also a postcard gift for the participants. Moreover, there will be a presentation of the “Gates” album, which will be available for review.

Melos-Ethos, Bratislava complete programme CONCERTS

Sunday, November 10

Friday, November 8

10.30 am | Mirbach Palace

5 pm | Small Hall of the Slovak Philharmonic

Melos Ethos Ensemble Daniel Gazon Sabine Kezbere, Alexey Shmurak, Kári Bæk, Eric Nathan, Juraj Vajó, Jean-Pierre Deleuze 7 pm | Historical Building of the Slovak National Theatre

Dorian GrAy

Opera of the Slovak National Theatre, Christopher Ward Ľubica Čekovská/Kate Pullinger Saturday, November 9 1 pm | St. Martin’s Cathedral

IAMIC Concert 1

Marek Štrbák Tecwyn Evans, Hugi Guðmundsson, Iris Szeghy, Dariusz Przybylski, Andrew Batterham 2 pm | Tesco My Department Store Bratislava

Kolokoly Jonáš Gruska

Laureates of the 2013 Rajec Musical Spring International Competition Tomáš Boroš, Víťazoslav Kubička, Jana Kmiťová, Daniel Chudovský, Michal Paľko, Július Letňan, František Kadera, Pavol Krška, Ján Zach, Miloš Betko 1 pm | Concert Hall of the Slovak Philharmonic

IAMIC Concert 2

Monika Melcová Rhian Samuel, Richard Lane, Juraj Filas 5 pm | Small Concert Studio of the Slovak Radio

Quasars Ensemble

Camilla Hoitenga, Eva Šušková, Lionel Peintre, Ivan Buffa, Jean-Baptiste Barrière Kaija Saariaho 7.30 pm | Large Concert Studio of the Slovak Radio

Slovak Radio Symphony Orchestra

Valentina Coladonato, Chungki Min Georgy Dorokhov, Andrej Slezák, Unsuk Chin, György Ligeti, Ivan Parík

5 pm | Small Hall of the Slovak Philharmonic of the Slovak Philharmonic

10 pm | Chamber Studio of the Slovak Radio

Jozef Malovec, Luciano Berio, Luca Francesconi, Jana Kmiťová, György Kurtág

András Fejér Theo Brandmüller, István Láng, Belma Bešlić-Gál/Bernhard Gál, Hans-Joachim Hespos, Jorge Calleja, Peter Kolman, Patrick Saint-Denis

Stadler Quartet

7.30 pm | Concert Hall of the Slovak Philharmonic

The Slovak Philharmonic

Enikő Ginzery, Monika Štreitová,

Camilla Hoitenga, Zsolt Nagy Jukka Tiensuu, Kaija Saariaho, Peter Kolman, Roman Berger

Monday, November 11

9 pm | Klarisky Concert Hall

Ján Vladimír Michalko Pēteris Vasks, Roman Berger, Roger Steptoe

Reflections

Jonáš Gruska, Kateryna Zavoloka Jonáš Gruska, Kateryna Zavoloka

1 pm | Large Evangelical Lutheran Church

IAMIC Concert 3

97 7.30 pm | Small Concert Studio of the Slovak Radio

Orkiestra Muzyki Nowej

Petra Noskaiová, Agata Zubel, Jozef Benci, Szymon Bywalec Witold Lutosławski, Juraj Beneš, Cezary Duchnowski, Ilja Zeljenka, Lukáš Borzík, Agata Zubel 10.30 pm | A4 (Bratislava), Porgy & Bess (Vienna)

European Bridges Ensemble

Andrea Szigetvári, Stewart Collinson, Georg Hajdu, Kai Niggemann, Johannes Kretz, Ádám Siska, Ivana Ognjanović, Mahdieh Bayat Georg Hajdu, Kai Niggemann, Ádám Siska, Johannes Kretz, Andrea Szigetvári/Stewart Collinson, Ivana Ognjanović Tuesday, November 12 7.30 pm | Dvorana Concert Hall

Österreichisches Ensemble für Neue Musik Irmgard Messin, Theodor Burkali, Nora Skuta, Ivana Pristašová-Zaugg, Georges-Emmanuel Schneider, Jutas Jávorka, Peter Sigl Beat Furrer, Branka Popović, Misato Mochizuki, Johannes Maria Staud, Nicolas Tzortzis, Peter Zagar, Bernhard Gander Wednesday, November 13 5 pm | Tesco My Department Store Bratislava

Kolokoly Jonáš Gruska

FRINGE EVENTS Distinguished Guest Composer Kaija Saariaho Saturday, November 9 – Sunday, November 10 4.30 pm – 10 pm | The Slovak Philharmonic

Nox Borealis

musical and visual installation Kaija Saariaho, Jean-Baptiste Barrière Sunday, November 10 10 am | Falkensteiner Hotel Bratislava

Kaija Saariaho in discussion with Pekka Hako Tuesday, November 12 10 am | Small Concert Hall of the Academy of Performing Arts

Kaija Saariaho, Camilla Hoitenga, Quasars Ensemble workshop

Conference Friday, November 8 – Wednesday, November 13

“Success in Music – Self-commitment or Claim of the Market?”

Annual Conference of the International Association of Music Information Centres Bratislava – Vienna

7.30 pm | A4 – Space for Contemporary Culture

Agon Orchestra

Petr Kofroň Ivan Acher, Peter Machajdík, Martin Burlas, Jan Jirucha, Petr Kofroň, Marek Piaček, Petr Wajsar Thursday, November 14 7.30 pm | City Theatre of P. O. Hviezdoslav

la passion de simone

La Chambre aux échos, Secession Orchestra Clément Mao-Takacs Kaija Saariaho/Amin Maalouf

Presentation Wednesday, November 13 6 pm | Pálffy Palace, Zámocká Street New CD by Zita Slavíčková & Erik Rothenstein Playing “Šach” with Mr. Bach

Discussion Friday, November 15 8.30 am | KC Dunaj Creative Morning with Juraj Ďuriš and Jonáš Gruska

ISCM WORLD NEW MUSIC DAYS 2013

Vienna WIEN MODERN CONCERTS Monday, November 11

5 pm | Berio-Saal, Wiener Konzerthaus

PHACE

Germán-Toro Pérez, Dániel Péter Biró, Simon Christensen, Yuan Guo, Peter McNamara, Bernhard Gander 7.30 pm | Berio-Saal, Wiener Konzerthaus

ensemble reconsil

Roland Freisitzer Roberto David Rusconi, Aaron Michael Helgeson, Christina Athinodorou, Anna Pidgorna, Neville John Rotherham Hall, Marcus Maroney, Sang Song, Silvia Borzelli 10.30 pm | Porgy & Bess (Vienna), A4 (Bratislava)

European Bridges Ensemble

Georg Hajdu, Kai Niggemann, Ádám Siska, Johannes Kretz, Andrea Szigetvári, Stewart Collinson, Ivana Ognjanović, Mahdieh Bayat

Tuesday, November 12

5 pm | Schubert-Saal, Wiener Konzerthaus

Ensemble Platypus

Jaime Wolfson Carlo Alessandro Landini, Avner Finberg, Ji-Hyang Kim, Ansgar Beste, José María Sánchez-Verdú, Marcel Reuter, Julia Purgina 7.30 pm | Mozart-Saal, Wiener Konzerthaus

Klangforum Wien

Enno Poppe Vladimir Gorlinsky, Tomoko Fukui, Ernstalbrecht Stiebler, Bernd Richard Deutsch

Wednesday, November 13

5 pm | Mittlerer Saal, Urania Observatory

Camerata Silesia Katowice

Anna Szostak William Rowe, Stefan Thorsson,Yasunoshin Morita, Tapio Nevanlinna, Ryszard Gabryś, Benedikt Burghardt, Paweł Szymański 7.30 pm | Großer Sendesaal, ORF Radiokulturhaus

Webern Symphony Orchestra

Simeon Pironkoff Bart Vanhecke, Atli Ingólfsson, Jana Kmiťová, Manos Panayiotakis, Mihyun Woo, Dimitris Mousouras

10.30 pm | Porgy & Bess

Solos & Electronics Sylvie Lacroix, Petra Stump, Heinz-Peter Linshalm Yu-Chung Tseng, Cheong Li, Bojana Šaljić-Podešva, Yoly Rojas

Low Frequency Orchestra / Junctions

Angélica Castelló, Matija Schellander, Thomas Grill, Maja Osojnik, Anthea Caddy, Bernd Thurner Katharina Klement, Jennifer Walshe, Maximilian Marcoll, Wilfrido Terrazas, Peter Ablinger, Joëlle Léandre

WIEN MODERN Thursday, November 14 5 pm | Studio, Palais Kabelwerk

die reihe

Alexander Drcar Dragomir Yossifov, Elisabeth Harnik, Violeta Dinescu, Simeon Pironkoff, Joanna Wozny 7.30 pm | Großer Saal, Palais Kabelwerk

Theresa Dlouhy, Ingrid Habermann, Richard Klein, Johann Leutgeb, Ivaylo Guberov Jaime Wolfson, Antonio Fian, Mirela

progetto semiserio PHACE

Kaoko Amano, Levent Bakırcı, Benjamin Çabuk, Ingrid Habermann, Paul Schweinester Jörg-Ulrich Krah, Susanne Felicitas Wolff, Oliver Weber, Nurkan Erpulat, Tamara Friebel, Nathalie Latham, Jorge Sánchez-Chiong, Thomas Jelinek

FRINGE EVENTS

Museumsquartier, Room D Tetsuya Umeda

Concert

Presentation: Wednesday, November 13, | 2 pm (Bernd Bösel)

Monday, November 4 7 pm | Radiokulturhaus, Vienna

Youth Performs Young Music Presentation: Irene Suchy, Cordula Bösze

Installations November 11 – November 14 Museumsquartier, Tonspur Passage Georg Nussbaumer

Walküren, reitend (2013)

Presentation: Monday, November 11 | 2 pm (Georg Weckwerth, Stephanie Schwarz) Museumsquartier, quartier21 – Quartier für digitale Kultur Jan Martin Smørdal, Lars Kristian Røed

feedbox (2012)

Presentation: Tuesday, November 12 | 2 pm (Tobias Nöbauer)

Project A

Opening hours: November 11–November 14, 2 pm–8 pm

Symposium November 12 – November 13

Intercultural Modernity and Contemporary Music – a Paradox? Tuesday, November 12 9.30 am – 1 pm | Leonie Rysanek-Saal, Konservatorium Wien Privatuniversität Sandeep Bhagwati, Sebastian Kiefer, Katharina Klement, Nina Polaschegg, Christian Utz and others Wednesday, November 13 9.30 am – 1 pm | Leonie Rysanek-Saal, Konservatorium Wien Privatuniversität Heekyung Lee, Kyle Gann, Alper Maral, Andreas Engström, Fernando Riederer, Nadja Kayali, Nina Polaschegg and others

For complete program of the WIEN MODERN festival see: www.wienmodern.at

NEW MUSIC DAYS 2013 WIEN MODERN

sirene Operntheater Ensemble Platypus

Ivičević, Radek Knapp, Fernando Riederer, Brigitta Falkner, Bernhard Lang, Lorenzo da Ponte/Bernhard Lang

Monday ISCM WORLD

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Monday, November 11, 2013 | 5 pm

Berio-Saal, Wiener Konzerthaus

PHACE

Germán Toro Pérez Ordo (2006) 12’, violin, viola, violoncello, piano Dániel Péter Biró individual submission Kivrot Hata’avah (2010) 10’, solo flute Simon Christensen ISCM Denmark Towards Nothingness (2008–2009) 9’, string quartet

Sylvie Lacroix, flute Reinhold Brunner, clarinet Mathilde Hoursiangou, piano Ivana Pristašová-Zaugg, 1st violin Thomas Wally, 2nd violin Petra Ackermann, viola Roland Schueler, violoncello

Yuan Guo ISCM Chengdu The Acoustics of Trills II (2010) 12’, clarinet, piano Peter McNamara ISCM Australia/YCA candidate Distorted Waters (2007) 10’, flute, violoncello Bernhard Gander Schlechtecharakterstücke (2008) 14’, violin, violoncello, piano

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experimental video. Since 2007 he is director of the Institute for Computer Music and Sound Technology and teaches at the Zurich University of the Arts. Ordo was conceived as a study on order/disorder, symmetry/asymmetry, regularity/irregularity, sharpness/unfocus. The piece unfolds out of basic composition models based on such dichotomies leading to the generation of vibrating textures and colours, where expectations are constantly deceived by irregularities. It finally moves towards a situation, where the unforeseen reappears in form of unpredictable melodic sequences and gestures. (Germán Toro Pérez)

November, 2013 | 5 pm | Berio-Saal, Wiener Konzerthaus

Germán Toro Pérez (Colombia; 1964) was born in Bogotá. First music theory studies at the Universidad de los Andes in Bogotá, composition studies with Erich Urbanner at the University of Music and Performing Arts, Vienna. Conducting courses with Karl Österreicher and Dominique Rouits. Studies of electroacoustic and computer music in Vienna and Paris. His catalogue includes instrumental, electroacoustic and mixed compositions, as well as works in collaboration with graphic design, painting and

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Monday, November 11, 2013 | 5 pm

Berio-Saal, Wiener Konzerthaus

Dániel Péter Biró (Hungary/Canada; 1969) is the Associate Professor of Composition and Music Theory at the University of Victoria. He was awarded the Kodály Award for Hungarian composers and the Gigahertz Prize for Electronic Music Composition. Kivrot Hata’avah (Graves of Craving)

premiered the version with electronics at the Nordic Music Days in Copenhagen 2010. It can be performed with or without live electronics. (Simon Christensen)

The composition is based on the following Hebrew text from Numbers chapter 11: “A wind went forth from the Lord and swept quails from the sea and spread them over the camp about one day’s journey this way and one day’s journey that way, around the camp, about two cubits above the ground. The people rose up all that day and all night and the next day and gathered the quails. [Even] the one who gathered the least collected ten heaps. They spread them around the camp in piles. The meat was still between their teeth; it was not yet finished and the anger of the Lord flared against the people, and the Lord struck the people with a very mighty blow. He named that place Kivroth Hata’avah, for there they buried the people who craved.” (Dániel Péter Biró) Simon Christensen (Denmark; 1971) is one of the most exciting Danish composers of our time. With a background in both classical and electric underground music he stands for a completely new pulsating form of expression. He pushes the forefront of technology in his works and is one of the most innovative artists on the Copenhagen scene with, inter alia, a number of large dance performances behind him. Christensen’s works are released by the music publisher Edition•S – music¬sound¬art. Towards Nothingness was composed for The Silesian String Quartet. They have recorded the music on DaCapo Records and premiered the acoustic version of the piece in Copenhagen 2009. Kairos Quartet

Yuan Guo (China; 1965) holds a PhD. in composition from the Tokyo University of the Arts and is now a professor at the Sichuan Conservatory of Music. His works are varied in genre, including solo pieces, chamber music, Chinese traditional instrumental music, symphonic music, etc. His works have been performed in the US, Japan, Korea, Poland, Taiwan and received national and international prizes, including two Merit Prizes at the Tokyo International Competition for Chamber Music Composition, Japan; honourable mention at the ‘Lutosławski Award 2004’ International Composers’ Competition, Poland; 2nd prize at the International Composition Competition ‘Music from China’, New York (1997); and 3rd prize in the Taiwan Symphony Orchestra Composition Competition (1995). The Acoustics of Trills II The work consists of two parts, which are connected by a piano intermezzo. As the title indicates, the work tries to create an acoustics by the use of trills, silences, simple lines and changes in timbre, thus displaying a water ink painting of acoustics typical of Chinese style. (Yuan Guo)

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gier: jeder für sich, anhäufung, immer schneller, immer mehr, immer höher, immer lauter, atemlos, aggressiv, trügerische eintracht neid: argwöhnisches beobachten des anderen trotz ähnlicher besitzverhältnisse, bohrende eifersucht geiz: jeder für sich, festklammern, zurückhalten, auf der stelle treten, rückläufige entwicklung lamento: trügerisch einträchtiges jammern, beinahe im einklang (Bernhard Gander) PHACE has been active in the contemporary music scene for many years, and is one of the most innovative and versatile Austrian ensembles for new music. Alongside the focus on classical contemporary chamber music, the artistic range reaches from music and dance theatre productions all the way to multidisciplinary projects. The ensemble has commissioned and premiered more than 250 compositions so far. Since the mid-1990s, the ensemble has appeared in the most renowned concert halls and festivals in Austria and abroad. Since the season 2012/13, PHACE has its own concert cycle at the Vienna Konzerthaus.

11 November, 2013 | 5 pm | Berio-Saal, Wiener Konzerthaus

Bernhard Gander (Austria; 1969) Born in Lienz, Gander studied piano and conducting at the Tyrolean Provincial Conservatoire and composition with Beat Furrer in Graz. He also studied at the Studio UPIC in Paris and at the Swiss Centre for Computer Music in Zurich. In 2004 he received the Musikförderungspreis of the City of Vienna, Erste Bank Composition Prize, a government grant in 2005. Also he received commissions from Klangforum Wien, Musikprotokoll, Konzerthaus Wien, Donaueschinger Musiktage,Wiener Festwochen, etc.

Schlechtecharakterstücke These six short pieces derive their energy from various states of mind, usually seen as very negative. The “bad characters” depicted here are Greed (gier), Envy (neid) and Avarice (geiz), each of them being followed by a Lamento. Although written for the conventional medium of piano trio, its rhythmic distortions and wide use of clusters reveal Gander’s inclinations to other, non-classical musical realms.

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Peter McNamara (Australia; 1980) was born and educated in Sydney’s suburbs and is gaining a reputation as one of Australia’s talented emerging composers; his works have been performed by a variety of major orchestras and ensembles in Australia and overseas including Ensemble Modern, the Melbourne Symphony Orchestra, Ensemble Insomnio, Orkest de Ereprijs, the Tokyo Sinfonietta and Ensemble Nomad. His work has appeared at numerous international events, including a number of performances at the ISCM World New Music Days conference and the Gaudeamus Music Week. Distorted Waters has a sense of timelessness, and is divided into various events or gestures that are allocated a length in seconds rather than any rhythm. The listener’s aural expectations are frequently distorted by taking advantage of similar timbres between the flute and cello, such as harmonics. The pitch material used is often very vague, with much of the work focusing on timbres and colouristic effects rather than pitch. These features express the work’s concept to deceive the listener and the state of water shortage in Australia at the time when the work was written. (Peter McNamara)

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Monday, November 11, 2013 | 7.30 pm

Berio-Saal, Wiener Konzerthaus

ensemble reconsil Roland Freisitzer, conductor

Roberto David Rusconi ISCM UK De Materia Solida et Corporea (2011) 9’, ensemble Aaron Helgeson individual submission/YCA candidate Never Thoughts for Us to Forget (2011) 7’, flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, double bass

Alexander Wagendristel, flute Helene Kenyeri, oboe Thomas Schön, clarinet Sabine Zwick, clarinet/saxophone Matthew Gregory Smith, bassoon Peter Putzer, French horn Peter Travnik, trumpet Jürgen Sklenar, trombone

Christina Athinodorou individual submission/YCA candidate Olkás (2011) 8’, flute, clarinet, bassoon, string quartet, double bass Anna Pidgorna ISCM Canada/YCA candidate Light-play Through Curtain Holes (2010) 6’, accordion Neville Rotherham Hall ISCM New Zealand lifeless air become sinewed (2009) 7’, bassoon

Kaori Nishii, piano

Marcus Maroney ISCM Texas Chamaeleon II (2009) 10’, clarinet, saxophone

Bojidara Kouzmanova-Vladar, Fani Vovoni, violin

Sang Song individual submission Homestretch (2011) 11’, violin

Maria Frodl, violoncello

Silvia Borzelli individual submission Sur-itinéraire (2008–2009) 11’, ensemble

Alfred Melichar, accordion

Barbara Binder, double bass

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Aaron Helgeson (USA; 1982) Helgeson’s music explores the poetic boundaries of musical perception. His work has been championed by Grammy-winning soprano Susan Narucki, the Arditti Quartet, Yarn/Wire and Les Cris de Paris, receiving awards from ASCAP, the Fulbright Institute, American Composers Forum, the Eiler Foundation and others. An occasional essayist, he recently penned an upcoming article for Perspectives of New Music entitled What is Phenomenological Music? He is currently a visiting professor at the Oberlin Conservatory of Music. Never Thoughts for Us to Forget There are two silences. One when no word is spoken. The other when perhaps a torrent of language is being employed. This speech is speaking of a language locked beneath it. The speech we hear is an indication of that which we don’t hear. It is a necessary avoidance, a violent, sly, anguished or mocking smoke screen which keeps the other in its place. When true silence falls we are still left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness. (Harold Pinter)

NOVEMBER, 2013 | 7.30 PM | BERIO-SAAL, WIENER KONZERTHAUS

Roberto David Rusconi (Italy/UK; 1976) Born in Venice, Rusconi graduated from Padua Conservatory in composition, piano, and choir conducting. Rusconi won several international prizes and was invited in many continental residencies and fellowships. The composer catalogue includes a wide number of acclaimed chamber and orchestral works. In 2011 he won the ZEITKlang and BBVA Prize, in 2012 the ECPNM and in 2013 he is finalist at the prestigious Pablo Casals Composition Prize in Prades. His works have been performed all over Europe, South Korea, Russia, Canada and USA. Rusconi is completing his PhD. at King’s College London with George Benjamin. He works in London. De Materia Solida et Corporea In this piece my architectures and universes are drawn between polarised suspended pitches constantly stretching towards a comprehension always researched in real time and never pursued in a previous or posterior approach. This work of mine has, as final result, the deep transformation of the listener and the performer; both, at the end of the journey, obtain a deeper and more intelligible knowledge and consciousness of themselves. (Roberto David Rusconi)

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Monday, November 11, 2013 | 7.30 pm

Berio-Saal, Wiener Konzerthaus

Christina Athinodorou (Cyprus; 1981) studied at the Guildhall School of Music and Drama, London and the CNSMD de Lyon. Resident at the Cité des Arts, Paris. Performances in the Venice Biennale, Salle Pleyel, Konzerthaus Berlin, MITO Settembre, by Ensemble Aleph, Pierrot Lunaire Ensemble Wien, State Academic SO of St. Petersburg (6th Prokofiev Competition finalist).

Light-play Through Curtain Holes This piece was inspired by a play of light on a wall that I once observed during a rather boring lecture in university. The light was coming through cracks and holes on top of a heavy curtain, which was swaying slightly in the wind. The motion of the curtain produced mesmerizing light patterns on the wall behind the lecturer. This work was written for and premiered by the German accordionist Olivia Steimel. (Anna Pidgorna)

Recently awarded with both the Prix du Jury and the Coup de Cœur du Public in the competition Île de Créations of the Orchestre National d'Île-de-France. A PhD. holder, she teaches at the European University Cyprus. Olkás A type of ancient Greek merchant ship, Olkás is also a name ascribed to the Virgin Mary (‘the one that carries those who wish to be saved’) in a hymn from the Salutations. Gestures and ‘colourings’ generate momentum while a wavering in pulse produces notions of ‘carrying’. (Christina Athinodorou) Anna Pidgorna (Ukraine/Canada; 1985) is a composer and media artist who works in both the acoustic and electronic realms, and particularly enjoys working with voice and solo instruments. Her second chamber opera, On the Eve of Ivan Kupalo, was premiered in January 2013 at Calgary’s Happening New Music Festival. Thanks for a generous grant from the Canada Council for the Arts, Ms. Pidgorna spent three months in Fall 2012 exploring Ukrainian villages and collecting folksongs. The material she recorded is slowly seeping into her music. Ms. Pidgorna holds a BA from Mount Allison University in Sackville, Canada and an MMus from the University of Calgary in Calgary, Canada.

Neville Hall (New Zealand; 1962) studied composition at Auckland University with John Rimmer and John Elmsly. He then furthered his studies at master classes in Europe with Franco Donatoni, Witold Lutosławski and Brian Ferneyhough. Since 1993, Neville Hall has lived in Ljubljana, Slovenia, where he works as a freelance composer. He has received a number of awards for his work, including a recommendation in the 2001 UNESCO Paris Rostrum of Composers. lifeless air become sinewed for solo bassoon is part of a cycle of pieces for wind instruments composed for the Slovene wind quintet Slowind. Fragments of sound conceived as timbral cells gradually grow and expand over a background of the sound of the instrumentalist breathing through the instrument in various ways. The process of growth of timbral material is punctuated by a layer of more active gestures. (Neville Hall) Marcus Karl Maroney (USA; 1976) studied composition and horn at The University of Texas at Austin and Yale School of Music. Commissions have come from eighth blackbird, the Orchestra of St. Luke’s, Timothy McAllister and The Norfolk Chamber Music Festival. He has taught

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Silvia Borzelli (Italy; 1978) Born in Rome, currently living in Amsterdam. Her music has been performed in festivals such as Festival Musica, Festival Rondò, Holland Festival, Gaudeamus Muziekweek New York, commissioned by the French Ministry of Culture, Fonds Podiumkunsten Netherlands, broadcasted by Radio France and Radio 4 and published by Donemus. In 2009 she started to work on a cycle around the concept of amnesia and the processes of recodification of memories. Sur-itinéraire In this piece, I imagined and described a route, an itinerary. The protagonist of this journey is a sort

Roland Freisitzer was born in 1973 in Vienna. He began his musical studies in 1987 at the Vienna Conservatory. In 1989 he moved to Moscow to study composition with Alfred Schnittke and Edison Denisov. In 1994, he founded “The Moscow Orchestra”, which he led as music director and principal conductor until 1999. From 1992 to 1997 he was First Guest Conductor of the Armenian and Azerbaijan Philharmonic Orchestras. In 2002, together with A. Wagendristel and Th. Heinisch, he founded “ensemble reconsil vienna” with which he has since given more than 100 world premieres. ENSEMBLE RECONSIL was founded in 2002 by Alexander Wagendristel, Roland Freisitzer and Thomas Heinisch and is now recognised as one of Austria’s leading ensembles for contemporary music. In it’s now nearly 11 years, the ensemble has premiered more than 100 works by composers from Austria and internationally renowned composers from all over the world. The ensemble has performed to high critical acclaim at festivals like Wien Modern and the “Carinthischer Sommer”, outside Austria in Barcelona, Munich and at the Ohrid Festival, Seoul, Baku, Bishkek, Almaty, Skopje and Kharkiv.

11 NOVEMBER, 2013 | 7.30 PM | BERIO-SAAL, WIENER KONZERTHAUS

Sang Song (Republic of Korea; 1971) Sang Song is a Koreanborn composer based in New York City. Homestretch Each of the four movements of this work is an iteration of one or more of the following ideas: (i) home, (ii) stretch (or stretched) and (iii) homestretch. The third movement also bears the subtitle “(Self-Portrait)”. The work was composed in 2011, and this performance marks its world premiere. (Sang Song)

of “musical character” whom I have called ego. Its trajectory will lead it into three formal/musical spaces, autonomous and not relational, functioning as mechanisms (non-places). I wanted to work mainly on an idea of strong formal and linguistic counterposition between homorhythm and out of sync, breathy and squared, repetition and difference. The prefix sur of the title defines this excess of contrasts and identities in the attempt, however, of not creating a mere disjunction but a complex continuity. (Silvia Borzelli)

MONDAY

at the Yale School of Music and is currently Associate Professor of Music at the University of Houston and is on the Artistic Board of MUSIQA. Chamaeleon II was composed in 2009. It is the second in a series of works for the various permutations of the clarinet-saxophone-piano ensemble. Each work explores illusions of similarity, both in terms of instrumental colour and compositional material. This duo for the winds is in four movements akin to a symphony and includes the motivic material used in all six works in the series. (Marcus Karl Maroney)

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Monday, November 11, 2013 | 10.30 pm

Porgy & Bess, Vienna A4 – Space for Contemporary Culture, Bratislava

European Bridges Ensemble Georg Hajdu MindTrip Reloaded (2013) 9’ Vienna: Mahdieh Bayat, video Johannes Kretz, Ivana Ognjanović, Ádám Siska, laptops Bratislava: Stewart Collinson, video Georg Hajdu, conductor Kai Niggemann, Andrea Szigetvári, laptops

Kai Niggemann From the Distance There Is Harmony (2013) 9’ Ádám Siska YCA candidate 2’45” (2013) 9’ Johannes Kretz Mining (2013) 9’ Andrea Szigetvári, Stewart Collinson ShadowPlace (2013) 9’ Ivana Ognjanović Lonesome Skyscraper (2013) 9’

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11 November, 2013 | 10.30 pm | Porgy & Bess, Vienna

MindTrip Reloaded With its premiere in the year 2000, MindTrip was the first composition ever performed with Quintet.net, my networked multimedia performance environment. The 13 years which separate the two performances, have lead to numerous general technological advances as well as a personal evolution which resulted in a sharpening of my conceptual, aesthetic and musical visions. The story is still the same: A man receives a brain implant in order to communicate with a distant civilization. In the end, he has every reason to doubt that his experiences have been authentic. This can be taken as a metaphor for digital art with its Turing test-like issues. (Georg Hajdu)

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Monday, November 11, 2013 | 10.30 pm Kai Niggemann (Germany; 1972) wears the composer, songwriter, musician or producer’s hat. He works on electronic-acoustic music for projects and soundtracks, for film, theatre and dance. He is a cofounder of the theatre production company “PARADEISER productions”, the music-duo Resonator as well as EBE. He enjoys playing out live and runs his own label WAF80 music. His releases Trust (2011), menofgoodwill (2008), Catwalk (2006) and Red Room Diner (2003) can be found on iTunes and have been released on CD. From the Distance There Is Harmony is a piece for five networked performers and the network connecting them. The piece is about long-distance relationships, in every sense of the word relationship. It is also an exploration of how to use network parameters that signify distance to influence how the EBE performers interact musically. (Kai Niggemann) Ádám Siska (Hungary; 1983) studied composition with Zoltán Jeney at the Liszt Academy in Budapest and with Marco Stroppa at the Musikhochschule Stuttgart. After some early pieces for acoustic instruments he turned towards electronic music in 2006 and joined the European Bridges Ensemble in 2007. 2’45” is the approximate distance of Bratislava and Vienna – as perceived by the propagating sound. My work explores how this distance, both temporal and spatial, may influence our comprehension of matters that, at first glance, seem to be unambiguous. What may happen even to the most naive action once the tiny ‘distances’ in time and space, history and culture, people and values (etc.) reinforce themselves? Would these differ-

Porgy & Bess, Vienna A4 – Space for Contemporary Culture, Bratislava ences strengthen or destroy an initial coherence of our initiatives? (Ádám Siska) Johannes Kretz (Austria; 1968) was born in Vienna, studied composition with F. Burt and M. Jarrell and mathematics at the University in Vienna. In 1992/93 he studied at IRCAM with M. Stroppa and B. Ferneyhough. Cofounder of NewTonEnsemble, of the composer’s group PRISMA, of ikultur.com and aNOther festival. Since 1997 he teaches computer music at the University of Music and Performing Arts in Vienna, since 2004 composition, since 2008 head of the Centre for Innovative Music Technology, since 2013 dean of the Institute for Composition. Performances in Germany, Poland, France, Czech Republic, Turkey, Lithuania, Argentina, Mexico, Canada, USA, Japan, Korea, China. Mining The composition focuses acoustically and visually on the phenomenon of a uranium mine in Pécs, Hungary, with the characteristic emotionality of the miner’s village and the strange paradoxes between machines, propaganda and sentimentality. (Johannes Kretz) Andrea Szigetvári (Hungary; 1961) is a composer of electroacoustic music. Her creative and research interests are timbre in new music, interactive performance, and synchresis in audiovisual art. She studied in Warsaw and then as a Fulbright scholar in the USA, returning to Hungary to set up the Hungarian Computer Music Foundation. In addition to composing, she lectures on computer music composition and has organized international new music festivals, conferences and pan-European projects.

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11 November, 2013 | 10.30 pm | Porgy & Bess, Vienna

Shadowplace Taking Tanizaki’s In Praise of Shadows as its starting point, the work explores the luminal zone existing between illumination and occultation, light and shade. The deep metaphors of occidental thought, identifiable in concepts such as “the dark ages” and “the enlightenment”, reveal a binary opposition, a division. Attempting a synthesis, Jung wrote, “Everyone carries a shadow and the less it is embodied in the individual’s conscious life, the blacker and denser it is.” Shadowplace is a meditation in sound and Super8 film on the inevitability of shadows.

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Tuesday, November 12, 2013 | 5 pm

Schubert-Saal, Wiener Konzerthaus

ENsEmblE plAtypus Jaime Wolfson, conductor

Carlo Alessandro Landini ISCM Italy This heart thy center is, this flesh thy sphere (2011) 11’, clarinet, piano Avner Finberg ISCM Israel/YCA candidate Kinah (2011) 9’, flute, clarinet, violin, violoncello, piano Ji-Hyang Kim ISCM Korea Moiré (2009) 8’, flute, clarinet, violoncello, piano Ansgar Beste ISCM Gotland/YCA candidate Incontro concertante (2010) 12’, prepared flute, clarinet, piano José María Sánchez-Verdú ISCM Spain Arquitecturas del límite (2011) 6’30”, flute, clarinet, piano, violin, violoncello Sieglinde Grössinger, flute Theresia Schmidinger, clarinet Marianna Oczkowska, violin Tomasz Skweres, violoncello Jaime Wolfson, piano, conductor

Marcel Reuter ISCM Luxembourg Interludio (2007) 3’, clarinet, violoncello, piano Julia Purgina YCA candidate Fatrasien (2013) 7’, clarinet, violin, violoncello

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12 NOVEMBER, 2013 | 5 PM | SCHUBERT-SAAL, WIENER KONZERTHAUS

Carlo Alessandro Landini (Italy; 1950) A former student of the Conservatoire national supérieur de musique in Paris (Prix de Composition in 1981), and a Fulbright Award recipient, Landini is a winner of the Bucchi Competition in Rome (1986), the Serocki (2004) and the Lutosławski Competition in Warsaw (2007). Since spring 2003, he has been the Fellow of the Italian Academy of NYC and Research Scientist at the Music Department of Columbia University in NYC. He

Avner Finberg (Israel; 1982) is an Israeli composer, currently based in New York City. His compositions are carefully structured, blending virtuosic melodies for individual instruments with jazz and pop rhythm within a tonally centred, chromatic musical style. He studied composition with Menahem Zur and Ari Ben-Shabtai in Jerusalem, Robert Cuckson in Mannes, and Susan Botti in Manhattan School of Music. His repertoire includes music for orchestra, musical theatre, concertos and chamber music. Kinah was written for Meitar Ensemble, and premiered in October 2010 in Haifa, Israel. Kinah is a Hebrew word for lamentation, and the piece takes the bass line from Purcell’s aria “Dido’s Lament” as it’s opening motive, using it as the basis for a series of variations. Those eventually dissolve, giving way to a series of solos, becoming denser until they eventually merge into a single melody. The piece is dedicated to Shragah Ben-Zvi. (Avner Finberg)

TUESDAY

has taught seminars at prestigious universities in the US, Germany and Czech Republic. Visiting Professor at the University of Maryland in Baltimore (2006). This heart thy center is, this flesh thy sphere To what extent music might act like a psychotropic substance able to expand the shared area of attention and the horizon of conscience (as it can restrict it)? Here, the time frame appears almost suspended, similar to what happens when taking some psychedelic drugs. A deficient perception of time, gone astray by default, ends up by cognitively “reducing” every event. If it is true that time is capable of modifying the “normal” perception of harmony (Ezra Pound), the contrary is equally true: harmony, rhythm, the timbre are perfectly capable, in turn, of falsifying a listener’s time perception. (Carlo Alessandro Landini)

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Tuesday, November 12, 2013 | 5 pm

Schubert-Saal, Wiener Konzerthaus

Ji-Hyang Kim (Republic of Korea; 1970) received her bachelor’s degree in composition from Seoul National University and got her Diploma from Hochschule der Künste Berlin. She studied under the supervision of Jung-sun Park, Byung-dong Paik and Friedrich Goldmann. Currently she is a guest-professor at Kyungwon University in Korea. Moiré indicates a formed pattern combined with two or more structural elements. Juxtaposing one element with another generates a synthetic pattern that may be much more than the sum of its parts. The idea of this piece came from such moiré patterns. Each of the four different metric layers has its own cycle – cycle that consists of 8, 9, 12, and 18 beats. And making moiré patterns with these cycles produces 72-beat unit, the Least Common Multiple (LCM) of all four metric layers, which is the main pattern of this piece. And it produces more LCMs, sub-patterns, such as 18-beat, 24-beat, 36-beat, 48-beat, and 52-beat unit using two or three layers. In conclusion, four different metric layers constantly reproduce themselves in different and very complicated moiré patterns. (Ji-Hyang Kim)

Ansgar Beste (Sweden; 1981) studied composition with Michael Obst, Luca Francesconi, Adriana Hölszky, Wolfgang Rihm, Hanspeter Kyburz, Beat Furrer. Three main concerns in composing: innovative sounds, structure and theatricality. Incontro concertante The main idea behind the work Incontro concertante is to combine the rich sound world of prepared musical instruments on a chambermusical level with the classical concertante idea of dialoguing or contesting. In a sometimes speedy, sporty and lively match the prepared piano as a soloist is confronted with the opposing team of the prepared trio consisting of flute, clarinet and violoncello. Finally, whether the trio on the one hand comes out as loser after a powerful kick-off phase and some desolate closing minutes and whether the piano on the other hand comes out as winner after a sleepy start and a fulminant final, these questions are completely left to the judgment of the listeners. (Ansgar Beste) José M. Sánchez-Verdú (Spain; 1968) His works have been performed at ECLAT (Stuttgart), MaerzMusik Berlin, Ultraschall Berlin, Warsaw Autumn Festival, Ars Musica Brussels, Concertgebouw, Deutsche Oper Berlin, Munich Biennal, Venice Biennale, Beethoven-Festspiele Bonn, Salzburg Biennale, etc. He is teacher of Composition at the R. Schumann Hochschule in Düsseldorf and at the Carl Maria von Weber Musikhochschule in Dresden, and since 2008 Professor of Composition in Zaragoza. First Composition Prize of the Junge Deutsche Philharmonie, finalist at the Irino Prize Tokyo, Förderpreis of the Ernst von Siemens Foundation Munich, Spain’s National Music Award.

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Julia Purgina (Austria; 1980) studied viola and composition (Urbanner, Czernowin). She gained several prices, scholarships and residencies (i. e. Staatsstipendium 2013). In 2013/2014 she is composer-in-residence at the Wiener Konzertverein. Her pieces have been internationally performed and recorded by various ensembles. Julia Purgina is co-founder of

Jaime Wolfson was born in Mexico and is a pianist, conductor and composer of Lithuanian origin based in Vienna for 15 years. He studied music at the University of Music in Vienna and the Bruckner University of Music in Linz. He was influenced by a master class of interpretation given by G. Kurtág. He gained experience especially during the work with the Ensemble Wiener Collage under the conductor René Staar since 2002. Wolfson founded the Ensemble Platypus and performs concerts as a conductor and pianist. In 2013 Wolfson received the Austrian Staatsstipendium für Komposition. Concert tours led him to Japan, South America and Europe. Ensemble Platypus Platypus New Music Group was founded in order to promote new music in all its varieties. Based in Vienna, the group is internationally configured and actively aspires a broadening of horizons. The Ensemble Platypus founded in 2009 with the explicit ambition to stimulate the production and performance of music by young composers around the world. The ensemble performed works by more than 200 composers, many of the pieces having been written for Platypus, resulting in an increasing number of premieres.

12 November, 2013 | 5 pm | Schubert-Saal, Wiener Konzerthaus

Marcel Reuter (Luxembourg; 1973) is a composer and pianist who focuses on chamber music, a genre that reflects his idea of music as an intimate medium of communication. His works have been performed at some major music festivals (Salzburger Festspiele, Wien Modern, Gaudeamus, Ars Musica) as well as in Buenos Aires, Hongkong, London, Montreal, New York, Tokyo. Marcel Reuter has held teaching positions at the University of Music in Vienna and the Conservatoire du Nord in Luxembourg. He has lectured at Music Academy Sarajevo and Musikhochschule Freiburg among others. Interludio is haunted by the memory of the aria of the Goldberg variations. I was especially thinking of Glenn Gould’s performance and the “autumnal calm” he more and more looked for in his performances towards the end of his life. (Marcel Reuter)

ensemble LUX and member of ensemble reconsil and the jazz group Studio Dan. As a soloist she has performed in many countries at international festivals and several composers dedicated viola concertos to her. Her own viola concerto has been recorded with ensemble reconsil and released by Spektral records. Fatrasien is a short piece for clarinet, violin and violoncello, based on medieval French poems, characterised by their surrealistic elements.

Tuesday

Arquitecturas del límite This short piece was a work in progress between 2005 and 2012. The whole version was premiered at the Donaueschingen Musica Nova Festival in 2013. The “limit” is presented through the piece in the instrumentation, musical material and form: limits in the time (8 years in order to write the piece), limits in the velocity of material, of tempi, of the perception, of the information, saturation, etc. (José M. Sánchez-Verdú)

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Tuesday, November 12, 2013 | 7.30 pm

Schubert-Saal, Wiener Konzerthaus

Klangforum Wien Enno Poppe, conductor

Vladimir Gorlinsky ISCM Russia/YCA candidate Bramputapsel #2 (2011) 8’, flute, clarinet Tomoko Fukui ISCM Japan Doublet I (2011) 9’, violin, violoncello Ernstalbrecht Stiebler ISCM Germany …fast ohne bewegung… (2007) 15’, alto flute, violin, violoncello Bernd Richard Deutsch Dr. Futurity (2013) 28’, ensemble I. …trip – from Mars to here II. Chimaera III. Replicants IV. Red Alert! Bernd Richard Deutsch Mad Dog (2012) 21’, ensemble

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Ernstalbrecht Stiebler (Germany; 1934) studied composition with Prof. Klussmann and music education and theory at the Hamburg Musikhochschule. Scholarship of the Hamburg Bachpreis in 1966. Appointed producer for contemporary music programmes and concerts at the Hessischer Rundfunk. Frequent cooperation with Dieter Schnebel in performances of Choralvorspiele and Maulwerke. In 1991 he participated at

12 November, 2013 | 7.30 pm | Schubert-Saal, Wiener Konzerthaus

Vladimir Gorlinsky (Russia; 1984) was born in Moscow. He graduated at Moscow Conservatory (Prof. V. Tarnopolski). His works have been performed by M. Blaauw, J. Hagen, E. Poppe, T. Currentzis, ensemble Klangforum Wien, Nadar, Insomnio, Studio for New Music, MCME and Russian National Orchestra. The collective opera Boxing Pushkin had its premiere in the Netherlands. Orchestra work Paramusic #2 was performed in Fort Liefkenshoek island space (Kallo, Belgium).

Tomoko Fukui (Japan; 1969) was invited and commissioned by Darmstadt New Music Festival, La Biennale di Venezia, Maerz Music Days in Berlin, Eclat Musik Festival in Stuttgart, etc. Selected for ISCM World New Music Days in Hong Kong and Zagreb, Croatia. Her pieces are performed in many place in Europe or Asia, etc. by many performers. She organises the Ensemble “Next Mushroom Promotion“, which plays mainly contemporary music. Doublet I I have composed some pieces concerning the accuracy of the ensemble as the concept which is the meaning what the ensemble should be. In this piece, the relations of duo should be very accurate and tight. It has the structure of two characters circulating in diverse variations. One of the main characters is written with the vertical sound mainly, and the other is horizontal movements. This work has been commissioned by the Takefu Festival. (Tomoko Fukui)

Tuesday

Bramputapsel #2 “Bramputapsel” – it’s been written as it’s been heard. This word doesn’t have a meaning just a phonetic sound. Also it brings great memories of the summer of 2011... some improvisations with my friends which were performed in several weird places in Moscow. (Vladimir Gorlinsky)

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Tuesday, November 12, 2013 | 7.30 pm

Schubert-Saal, Wiener Konzerthaus

the seminar on “Quiet Music” at the Künstlerhaus Boswil (1st prize). …fast ohne bewegung… means very slow, but not a state of halt, as it may seem. Deceleration it is called, and it takes place in minimalist sequences that leave the ear the time to perceive the microtonal changes. They open a microtonal timespace that corresponds to the apparently quiescent period. (Ernstalbrecht Stiebler)

Mad Dog A piece of music, as if taken from real life. The three movements may include a 24-hour cycle, starting with the noon and the afternoon (it pushes, pulls, jumps, sniffs, drinks) throughout the evening and the night (the time of dreams/ nightmares) until the morning or the forenoon (anger, conflict, a fixed idea – end = start). A zoomorphic play: Man likes to humanise the dog. Or is it rather the dog who “dogisises” the man..?

Bernd Richard Deutsch (Austria; 1977) was born in Mödling and resides in Vienna. From 1995 to 2003 he studied composition at the University of Music and Performing Arts in Vienna with E. Urbanner and D. Kaufmann. He won several prizes including the Ernst Křenek Prize, the 2nd prize in the Toru Takemitsu Composition

Enno Poppe (Germany; 1969) was born in Hemer, Germany. Studied conducting and composition with F. Goldmann and G. Neuwirth. Studies in sound synthesis and algorithmic composition at the Berlin Technical University and at the ZKM Karlsruhe. Winner of numerous awards and grants. Commissions from Ensemble Modern, Klangforum Wien, German Symphony Orchestra Berlin, Westdeutscher Rundfunk, Deutschland Radio Berlin. Pianist and conductor member of ensemble mosaik since 1998.

Award 2011 and the Erste Bank Composition Prize 2013. Commissions by Klangspuren Schwaz, the ORF, the SWR Stuttgart, Staatstheater Stuttgart and Wien Modern. Dr. Futurity is the last of three works that were written in immediate succession (the other two works are Mad Dog and the 2nd String Quartet) and could be united to form of a triptychon. The reading of numerous novels and short stories by the US-American science fiction author Philip K. Dick may have had an inspiring influence on the composer.

Klangforum Wien Founded in 1985 by Beat Furrer, Klangforum Wien today comprises 24 members – all of which hold the right to democratically meet decisions with respect to artistic matters. The ensemble has premiered roughly 500 new pieces, received a series of honours and prizes and can look back on around 2000 appearances in the premier concert houses and opera venues in Europe US and Japan, for renowned festivals as well as youthful and idealistic initiatives. (Bernd Richard Deutsch)

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Tuesday

November, 2013 | 7.30 pm | Schubert-Saal, Wiener Konzerthaus

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Wednesday, November 13, 2013 | 5 pm

Mittlerer Saal, Urania Observatory, Vienna

Camerata Silesia Katowice Anna Szostak, conductor

William Rowe ISCM USA/YCA candidate The House on the Street (2010–2011) 6’30” Stefan Thorsson ISCM Gotland Auto Body (2003) 7’ Yasunoshin Morita individual submission/YCA candidate The History of Songs & Words (2008) 5’ Tapio Nevanlinna ISCM Finland

Punaiset poijut (2007/2008) 8’ Ryszard Gabryś Voyelles de Arthur Rimbaud (2012/2013) 12’ Benedikt Burghardt Unmerklich (2007) 10’ Paweł Szymański In Paradisum deducant te Angeli… (1995) 10’

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13 November, 2013 | 5 pm | Mittlerer Saal, Urania Observatory, Vienna

Stefan Thorsson (Sweden; 1968) is a Swedish composer based in Berlin, who works mainly with contemporary stage art, theatre and film. He finished his master studies in composition 2008 at the Academy of Stage and Music at the University of Gothenburg with the dissertation Dialogue Music – The Dead Angles of Contemporary Music. In the text as well as in his art, there’s a pronounced hope and will that contemporary music must be in a constant dialogue with reality to a greater extent; equal to the political, historical, psychological and philosophical tentacles of all other art forms. The dead angles hide different views of the surrounding environment that we are either incapable or not willing to see. Besides composing he also works as a music editor for a Swedish newspaper.

Wednesday

William Rowe (USA; 1992) is a composer from Oxford, MI, who is currently working on a BM in Composition at Indiana University’s Jacobs School of Music. Will is a proud winner in the 2011 BMI Student Composer Awards as well as runner-up in the 2011 League of Composers/ISCM Composers Competition. In addition to his involvement in composition, Will is also an active cellist, performing frequently in the new music scene around Bloomington. The House on the Street was composed in 2011 and set to a poem written by Will Rowe. The text is about a single uninhabited building that once housed the lover of the narrator. The narrator revisits the house several years later and reflects on both the relationship and the passage of time. The soloist acts as the narrator’s inner voice, beginning a thought before the choir overtakes and animates it. (William Rowe)

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Wednesday, November 13, 2013 | 5 pm

Mittlerer Saal, Urania Observatory, Vienna

Auto Body My words begin plucking at threads nervously, seeking purchase, a weak point, a vulnerable ear. That’s when it comes, the urge to shout in the church, the nursery, the crowded movie house. It’s an itch at first. Inconsequential. But that itch is soon a torrent behind a straining dam. Noah’s flood. That itch is my whole life. Here it comes now. Cover your ears. Build an ark. EAT ME! I scream. (Stefan Thorsson)

in the Department of Composition and Music Theory at the Sibelius Academy, and as a lecturer in composition in 2006–2011. Nevanlinna’s own compositions consist of orchestral works, chamber music, works for solo instruments, vocal compositions and electroacoustic works. Punaiset poijut (Red Buoys) is a song cycle with four short texts (in Finnish) taken from Harri Nordell’s collection of poems Veden kuvat (Pictures of Water). Harri Nordell’s poems are the cave paintings of our time – but they are also like music. Perhaps for this reason they are not at all suitable to be set to music. I would have preferred to act as a choreographer who can keep his fingers off the markings in the score and musical expression. The song cycle was commissioned by Tampere Biennale, where the Näsin Ääni Chamber Choir gave the work its first performance in summer 2008, when it was conducted by Kari Turunen. (Tapio Nevanlinna)

Yasunoshin Morita (Japan; 1978) Studied composition under Yori-aki Matsudaira and Frederic Durieux. Prize-winner in the composition competition of ISCM Japanese Section, the Bucchi International Composition Competition in Italy, and in the Composition Prize for Orchestra of Japan. Gives lectures about Japanese traditional music in CNSMDP in Paris. The History of Songs & Words What kind of thing was the world’s first created song? This work came out of such a question. In this work, audience may hear the process of the enumerations of a syllable that evolves into meaningful words. Based on the assumption that “the ancient songs were to tempt the opposite sex”, the voices, like crying, develop into a waka, a 31-syllable Japanese poem, and continue to change into a modern song. This is the magnificent fiction that compresses the history of the song of 200.000 years into seven minutes. (Yasunoshin Morita) Tapio Nevanlinna (Finland; 1964) studied at the Sibelius Academy, to start with viola and percussion, and later, composition and musical theory under Paavo Heininen. He received his composition diploma in 1986. Since 1982, Nevanlinna has worked as a teacher

Ryszard Gabryś (Poland; 1942) studied with Bolesław Szabelski and with Constantin Regamey in Switzerland. He is a composer, theoretician, teacher at the University of Silesia and Academy of Music in Katowice, initiator in musical life and radio commentator. He uses various musical genres the characteristics of which are: stylistic pluralism, theatricality, his inspiration being poetry, folklore and the sacred. He is performed in Poland and Europe and is constantly searching for new solutions. His oeuvre comprises of some 150 works and several hundred texts on new music. Voyelles de Arthur Rimbaud is the seventh of my works written for the Came rata Silesia and Anna Szostak, who is also the singer here. The primary impetus comes from the poet and his synaesthetic poem. In the role of Arthur’s alter ego I immediately imagined Wojciech Myrczek, a baritone with great musical potential. (Ryszard Gabryś)

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Anna Szostak is a top Polish choir conductor known for her exquisite interpretations of choral music presented on both concerts and recordings. She founded the Katowice based ensemble Camerata Silesia, which has achieved superb performance skills in early and contemporary music. The renderings of the latter are often the result of fruitful collaboration with contemporary composers. In 1993 Szostak was awarded the Ministry of Culture and Arts Prize for her special cultural achievements. In 2004 she was awarded the Jerzy Kurczewski Prize, the only prize of this kind in Poland, for achievements in the choral field. Camerata Silesia Katowice is the most instantly recognisable Polish ensemble specializing in the performance of both early and contemporary music. Camerata’s concerts are dignified and wild, elegant and nonchalant, angelic even when on the verge of fallen angels’ insolence. Brilliant when consisting of solo pieces; rousing when filled with ensembles; delightful when a choral music a cappella resounds. Camerata Silesia Katowice – a group of vocal music enthusiasts who by their indomitable demeanour and persistence, their extraordinary skills and international successes have founded a chamber choir without which it is difficult to imagine contemporary music.

13 November, 2013 | 5 pm | Mittlerer Saal, Urania Observatory, Vienna

Paweł Szymański (Poland; 1954) studied composition with Włodzimierz Kotoński and Tadeusz Baird. Szymański won numerous composing competitions including the Young Composers’ Competition of The Polish Composers’ Association in 1979 or in the category Works by Young Composers at the UNESCO International Composers’ Rostrum in Paris in 1981. In 1993 Szymański received the annual award of the Polish Composers’ Union, followed by the Grand Prix of the Culture Foundation in January 1994. In Paradisum deducant te Angeli… a motet for male choir was composed in June 1995 at the invitation of Marek Trojanowicz, President of the Foundation for Promotion of Polish Music, to take part in a closed competition for compos-

ers organised by this Foundation. The subject of the competition was a work with a Latin text, for male choir, composed for the Japanese of Sendai. In June 1995, the Jury, chaired by Nobuaki Tanaka, awarded the main prize to Szymański. The “Palinka” Choir performed the composition for the first time in Sendai, the motet was first performed in Poland on 12 May 1996 by Schola Cantorum Gedanensis.

Wednesday

Benedikt Burghardt (Germany; 1960) studied music in Essen, Darmstadt and Buenos Aires. He worked as a composer, conductor and music professor in Vienna for many years, since 2002 he has lived in Hamburg. His works have been performed at international festivals (e. g. Maribor/Slovenia, Vienna/Austria, Skopje/Macedonia) and received many prizes in international composition competitions. Unmerklich consists of five settings of Japanese Haiku-poetry, describing moments of transition, which are foreshadowed by imperceptible changes, passing thematically from foretime to present and future. The musical structure consists of a free rhythmical notation, giving space for breath and gesture, and a free-tonal speech. By the way, the 5 pieces are also thought to be like ‘etudes’ of modern choir-music, offering a practicable way of engagement with contemporary choir-sound. This music is dedicated to the memory of Peter-Michael Riehm. (Benedikt Burghardt)

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Wednesday, November 13, 2013 | 7.30 pm

Großer Sendesaal, ORF Radiokulturhaus, Vienna

Webern Symphony Orchestra Simeon Pironkoff, conductor

Dimitris Mousouras YCA candidate Light Passages (2013) 16’ Mihyun Woo YCA candidate Metamorphose – After Escher (2011) 12’ Jana Kmiťová ISCM Slovakia

Drei Psalmfragmente (2007) 18’ ——————————————————————— Manos Panayiotakis ISCM Greece/YCA candidate Echosymplokon (2009) 10’ Atli Ingólfsson ISCM Iceland Mani (2011) 5’30” Bart Vanhecke ISCM Flanders Danse de la terre (2008) 8’

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13 November, 2013 | 7.30 pm | GroSSer Sendesaal, ORF Radiokulturhaus, Vienna

Mihyun Woo (Republic of Korea; 1980) Born in Seoul, Korea, Mihyun Woo has made an impressive start to her career in both Korea and Europe. Among Mihyun’s prizes are: Grand prix at George Enescu Composition Competition (2011), 2nd prize at Erick Court Composition Prize 2011, Special Mention Award at Val Tidone International Music Competitions 2010, Artist-in-residence prize at George Enescu Composition Competition (Romania), etc. Metamorphose – After Escher I have been interested in works which show an unusual structure. One day, I saw Maurits Cornelis Escher’s Metamorphose. I had to think how the structural idea can be used in music. The painting is divided into fifteen sections. Each section is connected with the other. My intention is to make the audience listen to the obscuring and subsequent clarification of musical gestures. (Mihyun Woo)

Wednesday

Dimitris Mousouras (Greece; 1983) Born in Athens, Dimitris Mousouras studied music theory, counterpoint, composition and byzantine music in conservatories in Athens. Since 2008 he lives in Vienna and studies for his master degree in composition with D. Schermann, M. Jarrell and R. Karger. He has attended various composition seminars (with J. Papadatos, H. Lachenmann, Tristan Murail, F. Levy, a. o.). Light Passages A three-part orchestral work themed by the physical phenomenon of ‘Light’. How we conceive it, where does it come from, how does it spread, where does it go and similar questions were the starting point of the work. Through timbres, sound surfaces, rhythmical patterns, stillness, low or high register motions the listener is trying to set all these questions in his perception. (Dimitris Mousouras)

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Wednesday, November 13, 2013 | 7.30 pm Jana Kmiťová (Slovakia; 1976) was born in Prešov (Slovakia). She studied piano and composition in Košice, in Bratislava and in Vienna. She took part in the Takefu Music Festival in Japan. She has collaborated with Klangforum Wien, Deutsches Symphonie Orchester, Arditti Quartet a. o. For the year 2013 she became a grant recipient of the Federal Ministry of Education, the Arts and Culture of Austria. Drei Psalmfragmente was a commission of the Deutsches Symphonie Orchester. The debut performance was in March 2007 in Berlin with Toshio Hosokawa as a conductor. Manos Panayiotakis (Greece; 1982) studied musicology at the University of Athens, and composition at Musical Horizons Conservatory in Athens. Between 2007 and 2011 he studied composition with Thomas Simaku for a Master and a PhD. degree at the University of York, funded by IKY (State Scholarships Foundation). He is a member of the Greek Composers Union and today he works as a teacher of music in primary education. Echosymplokon was composed in York during the year 2010. It is an orchestral approach to the exploration and combination of modal and spectral harmonic surfaces, based on various sequences of triangular numbers. The complex word “Echosymplokon” (in Greek “Ηχοσύμπλοκον”) means “sound complexity”, referring to the contrasting ideas and the interacting methods used to form the harmonic, timbral and structural plan. (Manos Panayiotakis)

Großer Sendesaal, ORF Radiokulturhaus, Vienna Atli Ingólfsson (Iceland; 1962) has been active as a composer since 1990. His output includes a series of solo pieces, two music theatre works, an orchestral piece, a concerto for piano and orchestra besides the number of chamber works he has written on commission for various ensembles in Europe. He now lives in Reykjavík and besides composing he teaches composition at the Iceland Academy of the Arts. Mani Mani was commissioned by the Cottbus Symphony Orchestra in Germany. It was to relate somehow to the idea of folk music. I extrapolated a melody and inserted it in a pattern where the single notes start ringing out independently of the others, and each of them acquires its own overtone structure until the sum of the overtones yields the original melody. Mani is a term for a Tibetan prayer-wheel. (Atli Ingólfsson) Bart Vanhecke (Belgium; 1964) studied composition with André Laporte and Franco Donatoni. Danse de la terre is the first in a cycle of three orchestral pieces, as part of the artistic output of my doctoral research on the systematisation of atonality and dissonance. The piece can be interpreted as a dance of the element earth, but it can also represent the motion of the earth around the sun: if we look at the earth from a position outside the solar system, we witness a slow, elegant cyclic movement around the sun, but when we bear in mind the fact that the earth weighs a sloppy 6 x 1021 ton and moves at more than 100.000 kilometres per hour, every romantic connotation quickly disappears. Danse de la terre may evoke both images simultaneously. (Bart Vanhecke)

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13 November, 2013 | 7.30 pm | GroSSer Sendesaal, ORF Radiokulturhaus, Vienna

Webern Symphony Orchestra The orchestra of the University of Music and Performing Arts Vienna (MDW) is almost as old as the university itself. Since its founding in 1812 the orchestra has cultivated the performance style and sound typical of Vienna and need not be apprehensive about comparisons with renowned orchestras. Celebrated guest conductors were R. Muti, P. Boulez, F. Welser-Möst, K. Petrenko, Z. Mehta, amongst others. The MDW regards itself as a university combining “future with tradition” – this orchestra is the artistic culmination of this motto.

Wednesday

Simeon Pironkoff was born in 1965 in Sofia (Bulgaria). Since 1992 he holds a professorship in conducting at the Music University of Vienna. 1992 he founded ensemble on_line (since 2009 PHACE | contemporary music) – one of the most important ensembles for contemporary music in Austria. As composer he received commissions and performances at many major festivals and venues in Europe and the world.

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Wednesday, November 13, 2013 | 10.30 pm

Porgy & Bess, Vienna

Solos & Electronics Sylvie Lacroix, flutes

Petra Stump, clarinets Heinz-Peter Linshalm, clarinets

Yu-Chung Tseng ISCM Taiwan

Rhapsody (2007–2012) 9’, clarinet and electronics Cheong Li ISCM Hong Kong/YCA candidate Impromptu II (2011) 8’, alto flute and live electronics Bojana Šaljić-Podešva ISCM Slovenia Highway to Dadaab (2011) 14’, clarinet and 4-channel electronics Yoly Rojas ISCM Venezuela Warao (2007) 6’, flute and electronics

Yu-Chung Tseng (Taiwan; 1960) composes both instrumental and electroacoustic music. His music has been recognized with awards from Pierre Schaeffer Competition (1st Prize), Musica Nova Competition (1st Prize). Currently, he serves as associate professor of computer music composition, director of music technology master program and of laptop orchestra at National Chiao Tung University in Taiwan.

Solos & Electronics | Low Frequency Orchestra/Junctions

Bojana Šaljić-Podešva (Slovenia; 1978) is a Slovene composer of mainly electroacoustic music, including live performance, music installation and collaboration in visual and performing art projects. She presented works at IRC, IREM, Synthese Bourges, LIEU project,

Yoly Rojas (Venezuela; 1978) is a Venezuelan composer, researcher and singer. She obtained the Master in composition (U. Simón Bolivar) and musicology (U. Politécnica de Valencia). Studied composition with Blas Atehortúa, Federico Ruiz, Diana Arismendi, Adina Izarra and Alfredo Del Monaco and modern singing with Cesar Muñoz. She won the Latin American Competition “Matiz Rangel Editores” (2006) and a “Municipal Award – Best Original Music” (2012, film Él). Warao This work is inspired by the philosophy of the Warao, a Venezuelan original ethnic group, based on a deep respect to the nature, against the progress culture which has been sustained in the violation of our ecosystem.

13 November, 2013 | 10.30 pm | Porgy & Bess, Vienna

Cheong Li (Hong Kong, China; 1980) studied composition at the Chinese University of Hong Kong with Prof. Chan. Currently attending a PhD. programme at the University of York with R. Marsh and T. Simaku. Besides composition, he plays erhu and the piano, and is interested in improvisation and electroacoustic music. His recent compositions include Responses for dizi duet and Chinese ensemble (commissioned by Hong Kong Arts Festival 2011). Impromptu II This is the second piece in a series incorporating improvisation as part of the composition. The flautist is given certain freedom in deciding pitch, rhythm and timbre at different moments. Live electronics interacts with the alto flute in many ways: by imitating the flute part, adding all kinds of sound effects that accumulate to create a cluster of sounds, and adding another dimension by tracking the flutist’s motion with webcam. (Cheong Li)

Art of Sounds etc. She won several composition prizes for concert works, scene and film music. www.bojanasaljic.si Highway to Dadaab World 2011: Greece: 14,000 people are always in circulation with the white slave trade. Slovenia: Every fifth woman beaten, every seventh raped. India: 15,000 girls are missing every year; 12,600,000 children forced to work for survival. Numbers. Facade, which hides real people, each one with her or his own story. Higher the numbers, sooner we become apathetic. The title refers to the mass migration of people from the Horn of Africa into the refugee camps, and to the other hardships of people in this area as a result of war and drought. The clarinet takes the role of the one who faces, mourns and searches for answers through various situations in the unfriendly desert. (Bojana Šaljić-Podešva)

Wednesday

Rhapsody The poetic background of the work was inspired by Drinking Alone Under the Moon, a poem by Lee Po, a poet in Tang Dynasty. For reflecting particular oriental quality of the work, idioms drawn from oriental instruments were employed, such as rapid alternating figures from shakuhachi, and the embroidery tone techniques from various Chinese music. The work won the 3rd prize at the 2007 Pierre Schaeffer Competition. (Yu-Chung Tseng)

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Porgy & Bess, Vienna

Low Frequency Orchestra/ Junctions Katharina Klement Chaotic Bands in Canonical Form (2008) 12’30”

Angélica Castelló, recorders, devices Matija Schellander, double bass Thomas Grill, digital sounds Maja Osojnik, recorders, devices Guests: Anthea Caddy, violoncello Bernd Thurner, percussion

Jennifer Walshe Silently & Very Fast (2012), recorders, devices, double bass, digital sounds and voice Maximilian Marcoll YCA candidate Compound No. 7: OPERATION ENOK (2013) 10’, narrator, subcontrabass recorder with live electronics, ad-hoc player, samples, violoncello, double bass and 5-channel tape * premiere

Solos & Electronics | Low Frequency Orchestra/Junctions

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13 November, 2013 | 10.30 pm | Porgy & Bess, Vienna

Wilfrido Terrazas Retrato de Walter Lärmer (2011–2012), ad libitum Peter Ablinger Weiß/Weißlich 17: 17h – Bass und Rauschen (2011) 1’30”, radio, bass, loudspeaker+sub Kleine Trommel und UKW-Rauschen (“Conceptio”) (2000) 6’, snare drum, loudspeaker Jöelle Léandre OXION 5 (2013), recorders, devices, double bass, digital sounds * premiere

Katharina Klement (Austria; 1963) Born in Graz, Austria, she studied piano, composition and electroacoustic music at Vienna Music University. Works as a composer-performer of notated and improvised, instrumental and electronic music, sound installations, crossover projects in music/text/video. Particular interest lays on the piano. Founder and member of numerous ensembles for improvised and collectively composed music. Lives in Vienna.

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Wednesday, November 13, 2013 | 10.30 pm

Porgy & Bess, Vienna

Chaotic Bands in Canonical Form The piece is written for any 4 players with any instruments, voice or sound producing media. The score gives exact timing and playing rules, but the sound material is free. The title and idea for the piece was inspired from structures you can find in a Mandelbrot set as well as in growing structures of subshrubs (small plants). (Katharina Klement)

Maximilian Marcoll (Germany; 1981) studied percussion, instrumental and electronic composition, lives in Berlin. He is a member of the artist group stock11. Compound No. 7: OPERATION ENOK The pieces of the “Compound” series are based on a collection of transcriptions of recordings of my personal environment. For No. 7 I abandoned the technique of precise transcription to achieve a more open relation between the “original” recordings, the tape and the performers. Of course, the tape does dictate a fixed temporal structure which the performers have to follow, but everything else happens around it, not on top of it (like a transcription played in synchronicity). My focus is not so much on an aural scanning of a flow of sound but on a side-by-side coexistence of several contexts. (Maximilian Marcoll)

Jennifer Walshe (Ireland, 1974) was born in Dublin, Ireland. Her music has been commissioned, broadcast and performed all over the world. She has been the recipient of fellowships and prizes from the Foundation for Contemporary Arts, New York; the DAAD Berliner Künstlerprogramm, the Internationales Musikinstitut, Darmstadt and Akademie Schloss Solitude among others. Walshe has written a large number of operas and theatrical works. Silently & Very Fast

Wilfrido Terrazas (Mexico; 1974) is a Mexican flutist and composer. He collaborates with composers, improvisers, performers, and artists from all disciplines, and has premiered over 200 works to the date. He is a member of Gene ración Espontánea and Liminar, and teaches at the Conservatorio de las Rosas in Morelia, and at the Escuela Superior de Música in Mexico City. In his music, Wilfrido seeks to explore different forms of dialogue between composition and improvisation. Retrato de Walter Lärmer is an essay on collective improvisation and mobile temporality, and an homage to the legendary German philologist Walter Lärmer (1898–1968). It comprises three successive parts, called Wind, Regen and Wüste. The piece is dedicated to Walter Terrazas, who shares not only Lärmer’s name, but also his unbent spirit of freedom. (Wilfrido Terrazas)

Solos & Electronics | Low Frequency Orchestra/Junctions

The Low Frequency Orchestra / Junctions The music of the Low Frequency Orchestra emphasises open concepts and all projects connect improvised and composed instrumental and electronic components. This is also reflected in the selection of works for the ISCM World New Music Days 2013. Pieces by six international composers, including several world premieres questioning performing and listening habits. For this concert the Low Frequency Orchestra will be extended by two very special guests: Anthea Caddy on violoncello and Bernd Thurner on percussion.

13 November, 2013 | 10.30 pm | Porgy & Bess, Vienna

Joëlle Léandre (France; 1951) double bass player, improviser and composer is one of the dominant figures of the new European music. She has played with Itinéraire, 2e2m and Pierre Boulez’s Ensemble intercontemporain. Joëlle Léandre has worked with M. Cunningham and J. Cage, who composed for her – as did Scelsi, Fénelon, Jolas and Clémenti. She writes for dance and theatre and creates multidisciplinary performances. Léandre received the Chaire Darius Milhaud, Visiting Professor for composition and improvisation at Mills College in USA. OXION 5 is a succession of different “events” like little “vignettes” as colour, dynamics, materials, interactions, which are built into an “open” organisation in a slow and intense crescendo. Some duet or trio followed by a tutti will be played as a consequence of the musical concept.

Wednesday

Peter Ablinger (Austria; 1959) is an Austrian composer based in Berlin. Weiß/Weißlich 17: 17h – Bass und Rauschen Rauschen (white noise) is the totality of sounds – “everything always” in its acoustic representation. Comparable to white light that contains all colours, white noise contains all frequencies, and – poetically speaking – all music. Kleine Trommel und UKW-Rauschen (“Conceptio”) From 8 loud ossia-beats on snare drum written in the score a maximum of only one per performance is played and, in every performance another of the ossia-beats. Or OFTEN NONE. (And, only “once in a life time” of an interpreter – and only if he/she had played the piece several times – maybe 2 beats). (Peter Ablinger)

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Thursday, November 14, 2013 | 5 pm

Studio, Palais Kabelwerk,Vienna

die reihe Alexander Drcar, conductor

Dragomir Yossifov ISCM Bulgaria …Phrase/Face/Phace… (2010–2011) 11’, clarinet, trombone, percussion, violin, violoncello and piano Elisabeth Harnik re-framing I (2010) 9’, flute, clarinet, soprano saxophone, horn, trumpet, string quartet and double bass Violeta Dinescu Lugar para uma pedra mole (1995) 15’, septet Simeon Pironkoff skin.double (2009–2010) 15’, quintet Joanna Wozny stairs (2013) 14’, flute, accordion, piano, violin, viola and violoncello

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14 November, 2013 | 5 pm | Studio, Palais Kabelwerk, Vienna

Elisabeth Harnik (Austria; 1970) was born in Graz. Besides composing she works as a pianist and singer in various areas of improvised music. She also has worked with artists and ensembles such as the Ensemble für Neue Musik Graz, Ensemble Zeitfluss Graz, RSO Vienna, Klangforum Wien, Ensemble Reconsil, Ensemble PHACE, Trio AMOS, Trio EIS, Haydn-TrioEisenstadt, Thürmchen Ensemble Cologne, Fidelio Trio London, Cantus Ensemble Zagreb, Ensemble mise-en New York, etc. re-framing I I constructed a ‘basic pattern’ to help form the timbral organisation for the piece. This pattern served to create multiple mirror sequences, rotations, displacements and shifted structures. For me the interplay between the planned and un-

Thursday

Dragomir Yossifov (Bulgaria; 1966) graduated from the State Academy of Music in Sofia where he studied conducting and composition with Lazar Nikolov and Bozhidar Spassov. He founded and leads Musica Nova Sofia chamber ensemble. His works have been performed at Musikprotokoll, Wien Modern, Moscow Autumn, Festival in Bitom, Poland, “Velvet Curtain” in Lvov by ensembles like ensemble recherché, Agon Orchestra,Prague, Moscow Ensemble for New Music, PHACE, etc. …Phrase/Face/Phace… I cannot deny a certain brutality of expression, or panic-stricken demolition of sound construction, and also the two basic states taken from Heidegger’s philosophy of ‘Being and Time’. This is a piece of paradoxical connections and ‘transitions where the beginnings die away to endings’, passing to serene cadences, played against the backdrop of a gentle Largo. The piece is dedicated to Simeon Pironkoff. (Dragomir Yossifov)

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Thursday, November 14, 2013 | 5 pm

Studio, Palais Kabelwerk,Vienna

predictable create an openness that allows new perspectives to emerge which in turn influence and shape the course of the whole piece. (Elisabeth Harnik)

Joanna Wozny (Poland; 1973) was born in the Polish city of Zabrze. She earned a master’s degree in philosophy studying in Katowice, Poland. She studied music theory in Graz with Gerd Kühr and Beat Furrer. Wozny also received composing instruction from Younghi Pagh-Paan. Her compositions have been featured at numerous major festivals including Wien Modern, Musikprotokoll Graz, Ultraschall Festival Berlin, Warsaw Autumn and Forum Neuer Musik in Cologne. stairs The musical scene in stairs prevents transitions and cuts. The music manifests itself in a constant “now” so to speak and tries in every moment to be selfemployed. Nevertheless, it is in continual change; some considered, in its smallest facets at once oversized and may appear “like new” as a subject over and over again from a different perspective.

Violeta Dinescu (Romania/Germany; 1953) studied composition, piano and pedagogy at the Ciprian Porumbescu Conservatoire in Bucharest. From 1978 to 1982 she was teaching theory, piano and aesthetics at the George Enescu Music School in Bucharest. Since 1982 she has been living in Germany where her works have received numerous international prizes and awards. Dinescu became a composition professor at the Carl von Ossietzky University in Oldenburg since 1996. Lugar para uma pedra mole (Place for a Soft Stone) The piece suggests an imaginary sound atmosphere for an imaginary sounding stone that can be heard in a certain sound context. The abyss between sound and silence is increasingly abrogated, up to the point where they almost switch places. The resulting sound-spaces are accumulated like deep layers of earth or they gradually disappear like a breath of distant clouds. (Violeta Dinescu) Simeon Pironkoff (Bulgaria/Austria; 1965) see page 127 skin.double (oscillation) between the sound as skin (the skin of a character) and character which has become sound. This is about the exploitation of re-interpretation capability of a pre-structured material with the instruments of the disguise, camouflage, doubling. Here I consider my task as a composer to ask questions about sound and character. (Simeon Pironkoff)

Alexander Drcar was born in Munich, Germany, in 1966. He studied conducting in Vienna, directly after his diploma in 1992 he was employed as a conductor of Stadttheater Klagenfurt. Later he became there also the Musical Director. Since many years he is active in performing contemporary operatic works. This engagement brought him to various important stages in Europe and the world; several music theatre pieces had their world premiere under his direction. As a concert conductor he works with many important orchestras in German-speaking countries. die reihe was formed in 1958 by Friedrich Cerha and Kurt Schwertsik and is one of the most long-standing groups for the performance of new music in Europe. Its repertoire includes all styles of music of the 20th and 21st centuries, an important part being the music of the Second Viennese School (Schönberg, Berg and Webern). Emphasis is also given to works written after 1945 from both Austria and abroad and also to world premieres.

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Thursday

14 November, 2013 | 5 pm | Studio, Palais Kabelwerk, Vienna

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Thursday, November 14, 2013 | 7.30 pm

Großer Saal, Palais Kabelwerk, Vienna

GATES Guests! sirene Operntheater

Kristine Tornquist, artistic and stage director François-Pierre Descamps, musical director

Jaime Wolfson, Antonio Fian Axi (2013) 15’, soprano, mezzo-soprano, tenor, flute, accordion, violoncello, percussion * world premiere Kristine Tornquist The Long Farewell, pantomime Mirela Ivičević YCA candidate, Radek Knapp Carrousel (2013) 15’, baritone, tenor, soprano, flute, clarinet, violoncello, percussion * world premiere Kristine Tornquist Culture Clash, pantomime Theresa Dlouhy, soprano Ingrid Habermann, mezzo-soprano Richard Klein, tenor Johann Leutgeb, baritone

Fernando Riederer, Brigitta Falkner Inventory (2013) 15’, baritone, soprano, flute, accordion, violoncello, percussion * world premiere

Ivaylo Guberov, bass

Kristine Tornquist Idealsymbiosis, pantomime

Ensemble Platypus:

Bernhard Lang, Lorenzo da Ponte/Bernhard Lang Monadologie XXIV… The Stoned Guest (2013) 15’, 2 baritones, tenor, flute, accordion, violoncello, percussion * world premiere

Doris Nicoletti, flute Ryuta Iwase, clarinet Irene Frank, violoncello Christoph Hofer, accordion Igor Gross, percussion

Kristine Tornquist Please, invite me!, pantomime

Composition commission by ISCM, funded by the

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Thursday

Markus Kuscher, costume design Uschi Braun, masks Svetlana Schwin, light design Jan Lauth, Kristine Tornquist, trick film Benjamin McQuade, Gernot Schedlberger, répétiteurs Isabelle Gustorff, literary director Barbara Emilia Dauer, assistant to the stage director Marit Nelson, assistant to the artistic director Michael Liszt, assistant to the stage designer Bruno Strobl, Šimon Voseček, Kristine Tornquist, Jury Everhartz, concept and idea Jury Everhartz, creative producer

November, 2013 | 7.30 pm | GroSSer Saal, Palais Kabelwerk, Vienna

Jakob Scheid, stage design

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Thursday, November 14, 2013 | 7.30 pm

Großer Saal, Palais Kabelwerk, Vienna

The four “operellas” – short operas, created by four authors and four composers – concentrate on the strange and ambiguous relationship between hosts and guests – hospitality with its unwritten duties, widespread rights and mysterious bans. The pleasures and struggles of hospitality in a small setting also reflect emblematically the great political challenge of closed borders and open gates. The program consists of four operellas and four short pantomimic interludes.

Axi Jaime Wolfson, music, Antonio Fian, libretto Two women spend their time watching their neighbours on observation cameras. They are so occupied with the shocking news – the lover of the younger lady is dating an unknown woman – that they don’t notice what’s going on behind them. A thief breaks into the flat and tries to steal the jewellery of the older lady. But then he notices the observation monitor....

Jaime Wolfson (Mexico; 1974) is a pianist, conductor and composer of Lithuanian origin who is based in Vienna for 15 years. He studied music at the University of Music in Vienna and the Bruckner University of Music in Linz, Austria. He gained most of his experience in conducting especially during the work with the Wiener Collage since 2002 under the conductor René Staar. Wolfson founded the Ensemble Platypus with which he performs concerts as a conductor and pianist. In 2013 Wolfson received the scholarship of Austria Staatsstipendium für Komposition. Concert tours led him to Japan, South America and Europe.

Mirela Ivičević (Croatia; 1980) was born in Split, Croatia. She studied composition, music theory and media composition at the Music Academy in Zagreb and at the University of Music in Vienna. Her work focuses on the exploration of reflective and subversive potential of sound, dealing mostly with issues of identity, otherness and freedom in contemporary social environments, and resulting often in a patchwork of extremes. Orgy of references at cargocollective.com/mirelaivicevic

Antonio Fian (Austria; 1956) is Austrian writer, essayist and dramatist and lives in Vienna. No other writer, with the possible exception of Helmut Qualtinger, has captured Austrian mentality – whether of intellectuals or the general populace – more accurately than Antonio Fian. His basic formats are “dramolettes” – satirical mini-dramas capturing in Fian’s unique tone the absurdity of everyday, political and cultural life.

Radek Knapp (Poland; 1964) was born in Warsaw and lives in Vienna since 1976. He has been writing since 1994 – his career started with a collection of short stories Franio. His most popular book is Herrn Kukas Empfehlungen. Carrousel Mirela Ivičević, music, Radek Knapp, libretto Unexpected guests oust their defenceless host and redesign his house completely, until he must admit, that his home is no longer his castle... Radek Knapp wrote a parable about the dominance of zeitgeist and lifestyle. I was invited by sirene to be the musical guest in Radek Knapp’s story Carrousel. Although more

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Short Operas

Brigitta Falkner (Austria; 1959) lives in Vienna. Publications: TOBREVIERSCHREIVERBOT – Palindrome, Ritter Verlag 1998, Fabula rasa oder Die methodische Schraube, Ritter Verlag 2001, Bunte Tuben – Anagramm, Urs Engeler-Editor, 2004, Populäre Panoramen I, Klever-Verlag 2010. Radio and audiovisual works, exhibitions. Literature prize of the city of Vienna. https://vimeo.com/channels/46835 Inventory Fernando Riederer, music, Brigitta Falkner, libretto Chelifer Cancroides, the book scorpion, and Psocides, the book louse, fight their battles in the library. The lyrical text of Brigitta Falkner

Bernhard Lang (Austria; 1957) studied jazz piano, arranging and classical piano in Graz. Since 1988 he has been teaching music theory, harmony and counterpoint at the University of Music and Dramatic Arts in Graz, where he is also professor of composition. His pieces have been performed at the Steirische Herbst Festival, at the Moscow Modern Festival, Resistance Fluctuation Los Angeles, Darmstädter Ferienkurse, Salzburger Festspiele, Donaueschingen and others. In 2006 he was featured artist of the Wien Modern Festival in Vienna. He currently lives in Vienna. http://members.chello.at/bernhard.lang Monadologie XXIV… The Stoned Guest Bernhard Lang, music, Lorenzo da Ponte/Bernhard Lang, libretto Bernhard Lang is deconstructing and rewriting the famous finale of Don Giovanni. The statue of the Commendatore visits from the afterworld to take furious revenge. sirene Operntheater sirene evolved from the cooperation between Kristine Tornquist and Jury Everhartz in 1998 with first performance of Hirlanda and operates since then – on one hand with absolute terms, on the other with variable casts of characters, not known before 2002 under the name sirene Operntheater. Altogether sirene performed world premieres of 52 opera pieces visiting different stages and playhouses. www.sirene.at

14 November, 2013 | 7.30 pm | GroSSer Saal, Palais Kabelwerk, Vienna

Fernando Riederer (Brazil; 1977) studied composition with Professor Maurício Dottori in Brazil. Since 2003 lives in Vienna, Austria and studies at the Universität für Musik und darstellende Kunst in Wien with Dieter Kaufmann, German Toro-Pérez and Karlheinz Essl. Finalist in many competitions and festivals in Europe, South and North America, stipends (Austrian Ministry of Culture, Foundation Theodor Körner and Siemens Musik Stiftung). In 2002 he founded the Ensemble EntreCompositores, a composers group focusing at collective works and new music projects, and in 2006 he founded Platypus New Music Group, and in 2009 Ensemble Platypus. http://soundcloud.com/fernando-riederer

introduces the audience to the microscopic world of clandestine guests. Short opera? Shorter than Wagner’s Operas. An Opera, shorter than Wagner’s, about insects. Insects? Yes, scorpions, Acari, lice and the like. A grotesque short insect opera about two people (are they woman and man?) and their small demands in a microscopic world.

Thursday

used to the role of the concept’s “host” I easily got to the “feeling myself at home” part of the visit, as me and Radek share the same desire to question the contemporary social – in this case consumerist – conformities and their impact on the freedom and life quality of the individual. (Mirela Ivičević)

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Thursday, November 14, 2013 | 7.30 pm

Großer Saal, Palais Kabelwerk, Vienna

Theresa Dlouhy (Austria) studied at the University of Music and Performing Arts in Vienna with Lydia Vierlinger. She worked with Ensemble Die Reihe, das Bach Consort Wien, Balthasar Neumann Ensemble, Franui, L’Orfeo Barockorchester, Wiener Aka demie and Johannes Kalitzke, Thomas Hengelbrock, Martin Haselböck, Peter Rudnel, Luca Pianca, Friedrich Cerha and Wolfgang Mitterer. Concerts abroad with Ensemble Mikado (CDs with Gramola) und UNIDAS (CD release early 2011). Focus on English Renaissance music. Another focus is contemporary opera, projects with Wolfgang Mitterers and Franui.

Richard Klein (Austria) first studied jazz piano at the conservatory in Tirol and after that began to study classical singing. From 2006 to 2012 he studied at the University of Music and Performing Arts in Vienna with Prof. Karlheinz Hanser and Prof. Charles Spencer. He has performed in the Tiroler Landestheater, Berliner Staatsoper unter den Linden, Innsbrucker Festwochen, Kinderzelt der Wiener Staatsoper, Sommertraum-Festival am Semmering and sirene Operntheater in Vienna. He has worked with conductors such as Rene Jacobs, Konrad Junghänel and Dietfried Bernet.

Ingrid Habermann (Austria) studied at Mozarteum as well as Romance and Slavonic studies in Salzburg. Widespread repertoire from baroque via lieder through to contemporary music. Engagements at Stadttheater Bern, Landestheater Linz, Wiener Kammeroper, Seefestspiele Mörbisch, Opera Festival Reinsberg, Opera Graz, De Vlaamse Opera Antwerpen, Théatre de la Monnaie in Brussels, New Opera Vienna. As soloist also in Germany, Switzerland, France, United Kingdom, Netherlands, Belgium, Finland, Czech Republic, Armenia, Portugal and Japan. Ivaylo Guberov (Bulgaria) studied at the music universities of Dresden and Leipzig. Engagements at Staatstheater Kassel, Semperoper Dresden, Nationaltheater Mannheim and Theatre Vorpommern. Currently Guberov is living in Vienna, where he debuted 2006 at the Volksoper and where he is well known as singer in concert and on stage. Many performances in Poland, Czech Republic, Germany, Spain, France, America and Japan. Performed parts: Ochs von Lerchenau (Rosenkavalier), Osmin (Entführung aus dem Serail), Don Basilio/Dr. Bartolo (Barbier von Sevilla), Gremin (Eugen Onegin), Daland (Flie gender Holländer) and Sarastro (Die Zauberflöte).

Jury Everhartz (Germany/Austria; 1971) lives in Vienna. Composer (12 dramatic works were performed on stage internationally). Choirmaster and organist (Mariahilf and St. Augustin Vienna). Conductor (among others Egypt State Opera Cairo). Curator (State Department of Art and Culture, ISCM, Belvedere Competition at Vienna State Opera). Joint founder and artistic co-advisor of sirene Operntheater. Kristine Tornquist (Austria; 1965) was born in Graz. As a studied sculptor and skilled goldsmith Kristine Tornquist now lives in Vienna. Her work rotates between writing, artwork, theatre and thinking. Interested in cooperation she founded the art groups 31. Mai and Burkert/Tornquist, the Theater am Sofa and together with Jury Everhartz the sirene Operntheater. For sirene she wrote 30 libretti and staged 42 operas and short operas. François-Pierre Descamps (France; 1962) was born in Lille. He is composer, conductor and cellist. He studied at the Paris Conservatoire and at the Hochschule für Musik und darstellende Kunst in Vienna. Choirmaster of the Wiener Sängerknaben and at the Wiener Staatsoper, preceptor for musical direction at the Mozarteum Salzburg/Innsbruck. Plenty of concerts all over the world, especially in France, Germany, Austria, Romania, Slovakia and the Czech Republic.

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ISCM-IAMIC Young Composers Award 2013 Candidates Jae-Moon Lee 1982 Rain Falling on Stained Glass/ Stained Glass Falling on Rain...

Nov. 4, 8 pm

Košice

Olga Bochikhina 1980 Koru Kari

Nov. 4, 8 pm

Košice

Francisco Alvarado 1984 Tricycle

Nov. 5, 6 pm

Košice

Egidija Medekšaitė 1979 Dhani

Nov. 5, 6 pm

Košice

Elmira Galimova 1982 Diary of Soul

Nov. 5, 8 pm

Košice

Alyson Barber 1983 Twists and Turns

Nov. 7, 6 pm

Košice

Toru Nakatani 1979 2_1/128_1+1/2

Nov. 7, 6 pm

Košice

Diana Rotaru 1981 Glossolalia

Nov. 7, 6 pm

Košice

Alexey Shmurak 1986 In the Chasm of Ouzel

Nov. 8, 5 pm

Bratislava

Sabine Kezbere 1985 Monologue

Nov. 8, 5 pm

Bratislava

Eric Nathan 1983 Paestum

Nov. 8, 5 pm

Bratislava

Georgy Dorokhov 1984 Deconstruction

Nov. 10, 7.30 pm

Bratislava

Andrej Slezák 1980 Pangaea

Nov. 10, 7.30 pm

Bratislava

Peter McNamara 1980 Distorted Waters

Nov. 11, 5 pm

Vienna

Aaron Helgeson 1982 Never Thoughts for us to Forget

Nov. 11, 7.30 pm

Vienna

Christina Athinodorou 1981 Olkás

Nov. 11, 7.30 pm

Vienna

Anna Pidgorna 1985 Light-play Through Curtain Holes

Nov. 11, 7.30 pm

Vienna

Ádám Siska 1983 2’45“

Nov. 11, 10.30 pm

Vienna

Avner Finberg 1982 Kinah

Nov. 12, 5 pm

Vienna

Ansgar Beste 1981 Incontro concertante

Nov. 12, 5 pm

Vienna

Julia Purgina 1980 Fatrasien

Nov. 12, 5 pm

Vienna

Vladimir Gorlinsky 1984 Bramputapsel #2

12.11.2013, 7.30 pm

Vienna

Wen Liu 1988 Penumbra

Nov. 13, 1 pm

Vienna

Irene Malizia 1987 AD MAIORA!

Nov. 13, 1 pm

Vienna

Alexander Kaiser 1985 …if…

Nov. 13, 1 pm

Vienna

Alireza Toghiyani Rizi 1990 Transfer ‫ لاقتنا‬

Nov. 13, 1 pm

Vienna

Julian Gamisch 1990 Haut

Nov. 13, 1 pm

Vienna

William Rowe 1992 The House on the Street

Nov. 13, 5 pm

Vienna

Yasunoshin Morita 1979 The History of Songs & Words

Nov. 13, 5 pm

Vienna

Manos Panayiotakis 1980 Echosymplokon

Nov. 13, 7.30 pm

Vienna

Mihyun Woo 1980 Metamorphose – after Escher

Nov. 13, 7.30 pm

Vienna

Dimitris Mousouras 1983 Light Passages

Nov. 13, 7.30 pm

Vienna

Cheong Li 1980 Impromptu II

Nov. 13, 10.30 pm

Vienna

Maximilian Marcoll

Nov. 13, 10.30 pm

Vienna

Nov. 14, 7.30 pm

Vienna

Mirela Ivičević

1981 1980

Compound No. 7: OPERATION ENOK Carousel (Karussell)

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Thursday, November 14, 2013 | 7.30 pm

Großer Saal, Palais Kabelwerk, Vienna

GATES/ Zwischen? Raum progetto semiserio

Peter Pawlik, stage director

Kaoko Amano, soprano Levent Bakırcı, baritone Benjamin Çabuk, actor Ingrid Habermann, soprano Paul Schweinester, tenor PHACE Asim Al-Chalabi, oud Lars Mlekusch, saxophone Roland Schueler, violoncello Berndt Thurner, percussion Ruei-Ran Wu, bandoneon

Jörg Ulrich Krah, Susanne Felicitas Wolf Seelentore (2013) 15’ * world premiere Tamara Friebel, Nathalie Latham Wärme (2013) 15’ * world premiere Oliver Weber, Nurkan Erpulat Gate As My Asshole (2013) 15’ * world premiere Jorge Sánchez-Chiong, Thomas Jelinek BILL – eine installative Raumklang Oper (2013) 15’ * world premiere

Composition commission by ISCM, funded by the

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Hari Michlits, set design Nora Scheidl, costume design Thomas Jelinek, light design Peter Koger, video projections Florian Bogner, sound design Nina Sabary, mask design Thomas Wagensommerer, video (BILL) Georg Steker, dramaturgy and programme director

Susanne Felicitas Wolf (Germany; 1964) studied theatre in Vienna. She has commissioned works, written texts for or cooperated with Schauspielhaus Wien, Volkstheater Wien, Wiener Lustspielhaus, Seefestspiele Mรถrbisch, the theatre in St. Gallen, the Komische Oper Berlin, the German Mozart Festival in Augsburg, Staatsoperette Dresden, among others. She is guest lecturer at the Institute for Theatre, Film and Media Studies at the University of Vienna. She received the Gold Medal for services to the Republic of Austria.

14 November, 2013 | 7.30 pm | GroSSer Saal, Palais Kabelwerk, Vienna

Jรถrg Ulrich Krah (Germany; 1976) is a composer, cellist, music director born in Munich. Compositional oeuvre: all genres, focused on music theatre, mixed media, chamber music. Productions: Schauspielhaus Wien, Berliner Ensemble, Sydney Opera House, Grand Theatre Luxembourg, ORF. Festivals: Edinburgh, StyriArte, Biennale Munich, Wien Modern. Awards: T. Kรถrner, Wendl&Lung, Musica Antiqua Brugge, Linzer Podium. Cello repertoire: 16th to 21st centuries. Collaborations: Concentus Musicus, Phace.

Thursday

Four works of contemporary music theatre are searching for the Inter?space (Zwischen?Raum), for true points of contact in the seeming isolation of our coexisting society. They search for moments and places of social permeability between cultures, but also generations or ways of life within our surrounding everyday society. A progetto semiserio production in coproduction with ISCM World New Music Days 2013 and in collaboration with PHACE, and MediaOpera.

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Thursday, November 14, 2013 | 7.30 pm

Großer Saal, Palais Kabelwerk, Vienna

Seelentore Jörg Ulrich Krah, music, Susanne Felicitas Wolf, libretto Three people – three prototypes of society tell of their feelings: a stranger, an established man, and an old woman. Poetic, tragicomic, oppressive, overexcited, soliloquising, they emit their thoughts. They rub up against their own history, their lives and their surroundings – parallelism in the seemingly irreconcilable. But they are not as separate as they feel themselves to be; the essential questions of human existence build a bridge, and open gates between souls.

Wärme Tamara Friebel, concept, music, libretto, Nathalie Latham, video In a visual and auditory way, this piece explores the schizophrenic and dissociative aspects of a personality, which is trying to feel at home in a new and foreign culture. For this, Tamara Friebel writes music whereby the juxtaposition of fragmented sound material in Japanese and German forms a new language. For the Japanese singer Kaoko Amano, who has lived in Austria for 10 years and directly experienced the process of cultural assimilation, the work’s new and slightly incoherent form expresses her being lost between two homelands.

Tamara Friebel (Australia; 1975) is an Australian composer and artist educated in composition, electroacoustic composition at the University for Music and Dramatic Arts in Vienna, Huddersfield University and in architecture at the University for Applied Arts Vienna, RMIT. Recent Projects with Jeunesse, Ensemble Platypus, SNIM, Klingekunst, Elektronischer Frühling, Brut Künstlerhaus, V’elak Gala, Porgy & Bess, Jazzwerkstatt, Moë, Szene Salzburg, Ensemble Reconsil, The Arches Glasgow, E-may, Wien Modern, Ensemble Phace, Huddersfield Contemporary Festival, IEM Graz, Qubit New York. Nathalie Latham (Australia; 1969) was born and educated in Australia, post graduate studies in Kyoto, Japan before finishing her Masters at Sydney University. Documentary film productions in Paris; from filmmaking to video art and the art world; collaborations with other artists and choreographers in the contemporary dance world, awarded residencies in Berlin, Beijing, Moscow and France. Exhibitions as photographer all over Europe, USA, Canada, Australia.

Oliver Weber (Switzerland; 1974) studied musicology, organ and composition at the University of Zürich and then electroacoustic and instrumental composition at the University of Vienna. He has written compositions for Wien Modern, the SICMF (Seoul International Computer Music Festival), the New Music Week Shanghai, the Electronic Spring Festival in Vienna, the Grabenfesttage Wien, the Nikel Ensemble, the Radio Symphony Orchestra of Vienna, the Tonkünstler, the Ensemble Phace, the sirene Operntheater, and others. Nurkan Erpulat (Turkey; 1974) studied theatre directing in Berlin and has been working since then all over the German-speaking Europe as a director and author. Since the 2011/2012 season, he has been the main director at the Schauspielhaus Düsseldorf. His play Verrücktes Blut (Crazy Blood) was chosen as the German language play of the year in the critics’ survey of the magazine Theater Heute. In the

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Short Operas

Jorge Sánchez-Chiong (Venezuela; 1969) has been living and working in Vienna since 1988. His works go beyond the bounds of concert music and extend to the domains of experimental theatre, video art, dance and electronics. His works have been premiered, among other ve nues, in the Musikverein in Vienna, the Konzert haus in Berlin, the Mozarteum in Salzburg, the Concerthus in Odensee/Denmark, the Konzert haus in Vienna, and also during the Salzburg Festival and the Steirischer Herbst and Wien Modern festivals. Thomas Jelinek (Austria; 1964) has been involved in room installations and lightand video-installations, performance and theatre projects, as well as directing for television and architecture projects. He has developed a special interest in transdisciplinary development processes and formats, and has carried out a series of international collaborative projects, for example projects, which link different parts of Europe or East and West – such as the TRANSART Festival in Croatia or the Vienna-Bratislava

BILL – eine installative Raum-Klang Oper Jorge Sanchez-Chiong, music, musical realisation, Thomas Jelinek, concept, libretto, stage design The title of this performance first and foremost evokes the association with Microsoft and Bill Gates. But “bill” also implies reckoning, and so this piece is type of reckoning or interim reckoning with the present – an opera of numbers. Opera means work and Bill means reckoning – a reckoning work, an absurd homage to money and numbers in a Dadaistic seemingly concrete poetry. Mathematics like music is a language and so the text is the formula. It includes the reckoning which the world imposes on us. progetto semiserio That progetto semiserio is open and willing to experiment is owed to the lived and mediated joy of direct communication with the audience. Constantly changing forms transport current topics that show the political, social, and psychological individual in the context of current social phenomena. Our basic assumption is clear: Content defines form; the statement defines the degree of abstraction. Projects like progetto semiserio take shape with persistent attempts to redefine the genre of musical theatre. Kaoko Amano (Japan) was born in Tokio. Studies at Gakugei University in Tokio as well as Konservatorium Wien with Yuly Khomenko. Widespread repertoire from opera to contemporary music. Solo and guest appearances amongst others at Wien Modern, Klangspuren, Wiener Musikverein, Konzerthaus Wien, A. Schönberg Centre, Wiener Festwochen as well as many other shows at home and abroad.

14 November, 2013 | 7.30 pm | GroSSer Saal, Palais Kabelwerk, Vienna

Gate As My Asshole Oliver Weber, music, Nurkan Erpulat, libretto This piece shows in an oppressive way the way of life of a man who is a declared member of two minority groups in Austria. Gay and Turk. The attempt to adjust and remain ‘undiscovered’ has emptied him of hate for both Turks and Austrians. This compound fracture in cultural diversity and sexual orientation seems to be incurable and assimilation is an unsatisfactory way of rediscovering himself as a human being.

Exchange. The company Liquid Loft, for whom Jelinek did the dramatisation, was awarded the Golden Lion for the best performance at the Biennale di Venezia in 2007.

Thursday

same year, Nurkan Erpulat was honoured as young director of the year.

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Thursday, November 14, 2013 | 7.30 pm

Großer Saal, Palais Kabelwerk, Vienna

Ingrid Habermann (Austria) see page 142

Peter Pawlik (Austria) studied stage direction from 1989 to 1994 at the University of Music in Vienna. During this time he was director of the Wiener Taschenoper. After this he started to work as stage manager at Wiener Staatsoper. 2000–2003 he worked as resident director for Stadttheater Hildesheim (Germany). Since 2003 he is a freelancing director and also teacher at Bruckner-Universität-Linz for classical and contemporary repertoire in Austria, Germany, Italy, Romania and Croatia.

Paul Schweinester (Austria;1985) was born in Innsbruck. Studied at Universität für Musik und darstellende Kunst in Vienna with Karl Heinz Hanser. In 2009–2013 member of Wiener Volksoper, during this time he also appeared as guest at Salzburger Festspiele, Wiener Festwochen, Festspiele Reinsberg (Vienna Academy), Gärtnerplatztheater as well as Philharmonie am Gasteig at Munich, as soloist at Wiener Konzerthaus, also in France and in the USA. Levent Bakırcı (Turkey) was born in Ankara. Studies of engineering and first private classes in singing, later singing studies at Accademia d’arte liricia in Osimo (Italy) and at the Academy of Vocal Arts in Philadelphia (USA). 2006 debut at Teatro Verdi Triste. Engagements in different operas in Ankara, Istanbul and guest appearances in Tel Aviv. 2008–2011 member of the Theater Bremen, 2002 laureate of the Aslico competition (Milan), 2006 semi-finalist in the competition Operalia (Valencia), 2007 in the international competition Neue Stimme (Gütersloh). Benjamin Çabuk (Turkey) was born in Istanbul. He studied acting at the Istanbul Conservatory and at the Actor Studio in Vienna as well as theatre studies and philosophy at Vienna University. Since 1983 he worked with Peter Zadek, Airan Berg, Luc Bondy, George Tabori, Claus Peymann amongst others, at theatres and festivals, including Burgtheater Wien, Wiener Festwochen, Salzburg Festival, Münchner Kammerspiele, Schaubühne Berlin, Hamburger Schauspielhaus, Deutsches Theater Berlin and Berliner Ensemble.

Hari Michlits (Austria; 1955) was born in Kittsee. Apprenticeship at Der Kreis with George Tabori. Freelancing for several theatres in different areas of responsibility: amongst others as lighting designer for Schauspielhaus Wien, Wiener Kammeroper, Bregenzer Festspiele, Wiener Akademie, Wiener Festwochen, etc., as stage designer for Linz09, Neuberger Kulturtage and many others, as technical manager he worked for Steirischer Herbst and Linz09. Nora Scheidl (Austria; 1960) was born in Vienna. Studied at Universität für angewandte Kunst with Erich Wonder and Axel Manthey, graduated with honour in 1987. Since 1983 freelancing as stage and costume designer for Wiener Volksoper, Ensembletheater Wien, Wiener Volkstheater, Jugendstiltheater Wien, Schönbrunner Schlosstheater, Wiener Kammeroper, Odeon, Bregenzer Festspiele, as well as theatres and festivals in Italy, Luxembourg, Hungary, Germany and Switzerland. Advancement award from the Austrian government for Die Nacht aus Blei by Henny Jahnn

Short Operas

Georg Steker (Austria; 1973) was born in Vienna. He studied singing as well as economic history, then postgraduate studies of cultural management. Co-founder and currently artistic and financial director of progetto semiserio (since 2009). Beyond that, production manager for international music and theatre institutions (Wiener Festwochen, Schauspielhaus Wien, Linz – Cultural Capital 2009, a. o.)

14 November, 2013 | 7.30 pm | GroSSer Saal, Palais Kabelwerk, Vienna

Florian Bogner (Austria; 1978) was born in Klosterneuburg. Studies at the electroacoustic institute of the University of Music and Performing Arts Vienna. 2003–2005 university lecturer at the University of Applied Arts Vienna. Freelance worker in the field of sound design, live electronics and computer music. Recording and mastering engineer. Electroacoustic conceptions, supervisions and realisations for the Klangforum Wien. Several concerts and CD-releases in Austria and Europe with the duo KILO.

Thursday

Peter Koger (Austria) trained sound engineer, freelancing as visual artist, programmer and animator mainly for video and performing art, lecturer at Universität für angewandte Kunst. Co-founder and companion of MediaOpera. Some examples of work: live-visuals during the opening-ceremony of the Austrian pavilion at the Venice Biennale, animation and motion-control for Trespass, Toys to Enter the World, Homage to Hans Richter, Mad, Radio Revolution.

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Monday, November 11 – Thursday, November 14

FRINGE EVENTS Monday, November 11 | 2 pm

Tuesday, November 12 | 2 pm

Museumsquartier, Tonspur Passage Georg Nussbaumer

Museumsquartier, quartier21 – Quartier für digitale Kultur Jan Martin Smørdal, Lars Kristian Røed ISCM Norway

Walküren, reitend (2013) Introductory words: Georg Weckwerth, Stephanie Schwarz, 2 pm

Feedbox (2012)

Introductory words: Tobias Nöbauer, 2 pm

Georg Nussbaumer (Austria, 1984) frequently works with musical instruments expanded into installations employing diverse organic and inorganic materials. The scores to what are usually full-length works are manifested in a plastic event, acoustically and visually, and that is sometimes also tactile or olfactory. He is known for spectacular large-scale projects, which he has realised at prominent venues, like the Bregenz and Berlin Festivals, the opera houses of Rotterdam and Mannheim, the Wien Modern and Steirischer Herbst festivals or the Los Angeles Ring Festival LA. Walküren, reitend (Valkyries, Riding) Georg Nussbaumer presents the contemporary ‘call’ of his Valkyries to the master from Bayreuth for his 200th birthday. The sounds are sourced from eight Honda F6C Valkyrie motorcycles, recorded during a road trip with the Valkyrie Riders Austria. The ride repeats itself again and again in an 8-channel audio installation – a still-standing movement that awakens associations with the ferocity of the Valkyries and with their wait for the Twilight of the Gods.

Jan Martin Smørdal (Norway, 1978) is constantly concerned with topics where improvisation meets composing. Commissioned works for chamber musicians, solo pieces, sinfonietta ensembles, choirs, and installations for bridges, mills and rooms. Also a renowned arranger and guitar player. Worked as teacher in improvisation at the Academy of Music, and as supervisor for master students at the University of Oslo.

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Fringe Events

Wednesday, November 13 | 2 PM Museumsquartier, Room D Tetsuya Umeda

Project A

Introductory words: Bernd Bösel, 2 pm

Tetsuya Umeda (Japan, 1980) Umeda Tetsuya works in various fields such as performing art, improvisational music and exhibition. He has actively collaborated with a number of visual artists and musicians. He focuses on time-process with simple physical phenomena of light and sound and expands them into live installation as site-specific. Project A In his room-filling installations, Umeda works as part of the installation and thus brings performance and sculpture together. These complex sound arrangements, sound machineries and chaotic self-reflexive systems use everyday objects and things which have been thrown away to produce unusually light sounds and real spectral wave pools. Feedbox Five sound sculptures produce feedback loops in themselves and resonate with one another and with the room. The objects are tuned and co-ordinated with each other and with the room and thus structures which are variable and rich in overtones emerge, as do complex modulations and continually permuting patterns. As a visitor, you can be included in this process, as the sound of the room changes as people walk through.

Opening hours: Monday, Nov. 11 – Thursday, Nov. 14, 2 pm – 8 pm An event of the International Society for New Music (IGNM), inco-operation with WIEN MODERN, TONSPUR for a public space, Quarter for Digital Culture (QDK) and Raum D/quartier 21.

FRINGE EVENTS

Lars Kristian Røed (Norway; 1978) Master of Arts from KHiO, Oslo. Exhibitions and projects in Norway, Turkey, China, Germany and Denmark the last 10 years. Skilled crafter of ceramics and wood, but a constant curious cross-expression collaborator

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Photo credits Peter Ablinger: Siegrid Ablinger Milan Adamčiak: Michal Murin Juraj Beneš: Milan David; archive of Music Centre Slovakia Roman Berger: archive of Music Centre Slovakia Ansgar Beste: Beate Heidecke Dániel Péter Biró: Linda Sheldon Denis Bosse: Isabelle Français Theo Brandmüller: Charlotte Oswald Martin Burlas: Martin Burlas John Cage: Rex Rystedt, courtesy of the Cage Trust Camerata Silesia Katowice: Piotr Chlipalski Unsuk Chin: Eric Richmond Conservatory Ensemble: Lukáš Gál Alvin Curran: Susan Levenstein Ľubica Čekovská: Dušan Křistek Jean-Pierre Deleuze: Isabelle Français Bernd Richard Deutsch: Tony Gigov Nurkan Erpulat: Ute Langkafel Fama Quartet: Karel Šuster Antonio Fian: Nikolaus Korab Tamara Friebel: Rania Moslam Beat Furrer: © With kind permission by Universal Edition, A. G., Vienna Bernhard Gander: Lukas Beck Enikő Ginzery: Jan Varchola Vladimír Godár: Pavel Kastl; archive of Music Centre Slovakia Jozef Grešák: archive of Music Centre Slovakia Elisabeth Harnik: Beba Fink Aaron Helgeson: Rosen-Jones Photography Hans Joachim Hespos: Konczak Simon Christensen: Lars Svankjær Atli Ingolfsson: Horst Schmeck Thomas Jelinek: Andrea Peller Klangforum Wien: Lukas Beck Radek Knapp: Thomas Lehmann

Peter Kolman: Pavel Kastl; archive of Music Centre Slovakia Johannes Kretz: Kai Niggemann Bernhard Lang: Kristine Tornquist István Láng: F. Neubauer György Ligeti: © Schott Music Daniel Matej: Adam Matej Peter McNamara: Kylie Lyons Melos Ethos Ensemble: Peter Brenkus, archive of Music Centre Slovakia Misato Mochizuki: Jérémie Souteyrat Eric Nathan: Rebecca Fay Photography Tapio Nevanlinna: Saara Vuorjoki/Music Finland Kai Niggermann: Torsten Meyer-Bautor Milan Novák: Pavel Kastl; archive of Music Centre Slovakia Georg Nussbaumer: Kai Bienert Ivana Ognjanović: Kai Niggeman Österreichisches Ensemble für Neue Musik: Anja Köhler Milan Paľa: Julián Veverica Ivan Parík: Pavel Kastl; archive of Music Centre Slovakia PHACE: Oliver Topf Marek Piaček: Natália Zajačiková Ensemble Platypus: Anna Kromer Simeon Pironkoff: Oliver Topf Jozef Podprocký: Pavel Kastl; archive of Music Centre Slovakia “Portraits”: Lukáš Gál Ensemble Reconsil: Markus Christof Keller die reihe: Fabian Dembski Frederic Rzewski: Michael Wilson Kaija Saariaho: Priska Ketterer Jorge Sanchez-Chiong: Jana Wilfing José María Sánchez-Verdú: Patrica Díez Nora Skuta, Miki Skuta: Lenka Rajčanová The Slovak Philharmonic: Peter Brenkus, archive of the Slovak Philharmonic Slovak Radio Symphony Orchestra: Ladislav Brüll The Slovak State Philharmonic Košice: archive of ŠfK “Solos & electronics”: Lukáš Gál

Johannes Maria Staud: Jonathan Irons Igor Stravinskij: © Boosey & Hawkes/Gene Fenn Monika Štreitová: Jindřich Buxbaum Henrik Strindberg: Filip Melo Andrea Szigetvári: Kai Niggemann Wilfrido Terrazas: Yair López Germán Toro Perez: Ellen Mathys Bart Vanhecke: johanna.vdw VENI ACADEMY: Lukáš Gál „Walkürn, fliegend”: © NASA Anton Webern: © With kind permission by Universal Edition, A. G., Vienna Webern Symphony Orchestra: Nancy Horowitz Susanne Felicitas Wolf: Pilo Pichler Joanna Wozny: J. J. Kucek Peter Zagar: Roman Hüttner Wojciech Ziemowit Zych: Marta Filipczyk

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ISCM WNMD 2013 – Venues Košice

Bratislava

Vienna

House of Arts (Dom umenia) Moyzesova 66, Košice

The Slovak Philharmonic Nám. Eugena Suchoňa 1, Bratislava

Wiener Konzerthaus Lothringerstraße 20, A-1030 Wien

Slovak Radio Mýtna 1, Bratislava

Porgy & Bess Riemergasse 11, 1100 Vienna

A4 – Space for Contemporary Culture Karpatská 2, Bratislava

Konservatorium Privatuniversität Wien Johannesgasse 4A, 1010 Vienna

Kasárne/Kulturpark Kukučínova 22, Košice Kunsthalle/Hala umenia Košice Rumanova 2, Košice Košice Conservatory Timonova 2, Košice DIG Gallery Slovenskej jednoty 42, Košice

Slovak National Theatre Historical Building Hviezdoslavovo námestie, Bratislava Dvorana Concert Hall Zochova 1, Bratislava Bratislava Castle Zámocká, Bratislava

Urania Observatory, Vienna Uraniastrasse 1, 1010 Vienna Radiokulturhaus Wien Argentinierstrasse 30A, 1040 Vienna Palais Kabelwerk Oswaldgasse 35A, 1120 Vienna

Michalská Gate Michalská, Bratislava Old Town Hall Hlavné námestie/Radničné námestie, Bratislava

Museumsquartier Museumsplatz 1, 1070 Vienn

ISCM festivals 1923–2013 1923 Salzburg 1924 Prague/Salzburg 1925 Prague/Venice 1926 Zurich 1927 Frankfurt 1928 Siena 1929 Geneva 1930 Liège/Brussels 1931 Oxford/London 1932 Vienna 1933 Amsterdam 1934 Florence 1935 Prague 1936 Barcelona 1937 Paris 1938 London 1939 Warsaw/Krakow 1940 New York (non-official meeting) 1941 San Francisco (non-official meeting) 1946 London 1947 Copenhagen

1971 London 1972 Graz 1973 Reykjavik 1974 Rotterdam 1975 Paris 1976 Boston 1977 Bonn 1978 Stockholm/Helsinki 1979 Athens 1980 Tel-Aviv 1981 Brussels 1982 Graz 1983 Aarhus 1984 Toronto/Montreal 1985 The Netherlands 1986 Budapest 1987 Cologne/Bonn/Frankfurt 1988 Hong Kong 1989 Amsterdam 1990 Oslo 1991 Zurich 1992 Warsaw 1993 Mexico

1948 Amsterdam 1949 Palermo/Taormina 1950 Brussels 1951 Frankfurt 1952 Salzburg 1953 Oslo 1954 Haifa 1955 Baden-Baden 1956 Stockholm 1957 Zurich 1958 Strasbourg 1959 Rome 1960 Cologne 1961 Vienna 1962 London 1963 Amsterdam 1964 Copenhagen 1965 Madrid 1966 Stockholm 1967 Prague 1968 Warsaw 1969 Hamburg 1970 Basel

1994 Stockholm 1995 Ruhrgebiet, Germany 1996 Copenhagen 1997 Seoul 1998 Manchester 1999 Romania and Republic of Moldova 2000 Luxembourg 2001 Yokohama 2002 Hong Kong 2003 Ljubljana 2004 Switzerland 2005 Zagreb 2006 Stuttgart 2007 Hong Kong 2008 Vilnius 2009 Visby, Växjö, Gothenburg 2010 Sydney 2011 Zagreb 2012 Belgium 2013 Košice, Bratislava, Vienna

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International Jury Zygmunt Krauze, chairman Violeta Dinescu Christopher Fox Daniel Matej Bruno Strobl

List of selected compositions submitted by ISCM members and as Individual submissions ISCM Members ISCM – Argentine Section Marcela Beatriz Pavia: Pain is Not Linearw

ISCM – Danish Section Simon Christensen: Towards Nothingness

ISCM – Hungarian Section István Láng: ConcerDUOtante

ISCM – Australian Section Peter McNamara: Distorted Waters

ISCM – Estonian Section Tõnu Kõrvits: Chaconne

ISCM – Icelandic Section Atli Ingolfsson: Mani

ISCM – Austrian Section Belma Bešlić-Gál, Bernhard Gál: Flut

ISCM – Faroe Islands Section Kári Bæk: Askur & Embla

ISCM – British Section Roberto David Rusconi: De Materia Solida et Corporea

ISCM – Finnish Section Jukka Tiensuu: Vie Tapio Nevanlinna: Punaiset poijut

ISCM – Irish Section Alyson Barber: Twists and Turns ISCM – Israeli Section Avner Finberg: Kinah (Lamentation)

ISCM – Bulgarian Section Dragomir Yossifov: Phrase / Face / Phase…

ISCM – Flanders Section Bart Vanhecke: Danse de la terre

ISCM – Canadian Section Anna Pidgorna: Light-play Through Curtain Holes Patrick Saint-Denis: Trombe

ISCM – German Section Ernstalbrecht Stiebler: ...fast ohne bewegung...

ISCM – Chile SCD Section Francisco Alvarado: Tricycle ISCM – Chinese Chengdu Sichuan Section Yuan Guo: The Acoustics of Trills II ISCM – Croatian Section Krešimir Seletković: NO music

ISCM – Gotland Section Ansgar Beste: Incontro Concertante Stefan Thorsson: Auto Body

ISCM – Italian Section Carlo Alessandro Landini: This heart thy center is, this flesh thy sphere ISCM – Japanese Section Tomoko Fukui: Doublet I ISCM – Korean Section Ji-Hyang Kim: Moire ISCM – Latvian Section Sabine Kezbere: Monologue

ISCM – Greek Section Manos Panayiotakis: Echosymplokon

ISCM – Lithuanian Section Egidija Medekšaitė: Dhani

ISCM – Hong Kong, China Section Cheong Li: Impromptu II

ISCM – Luxembourg Section Marcel Reuter: Interludio ISCM – Mexican Section Jorge Calleja: Tierra de pantanos

155 ISCM – Netherlands Section Peter Adriaansz: Wave 3

ISCM – Russian Section Vladimir Gorlinsky: Bramputapsel #2

ISCM – Taiwan Section Yu-chung Tseng: Rhapsody

ISCM – New Zealand Section Neville John Rotherham Hall: lifeless air become sinewed

ISCM – Serbian Section Branka Popović: out of nowhere

ISCM – Tatarstan Section Elmira Galimova: Diary of Soul

ISCM – Slovak Section Jana Kmiťová: Drei Psalmfragmente

ISCM – Turkey Section Tolga Yayalar: Alliteratio

ISCM – Slovenian Section Bojana Šaljić Podešva: Highway to Dadaab

ISCM – Ukraine Section Alexey Shmurak: In the Chasm of Ouzel

ISCM – Spanish Section Jose Maria Sanchez-Verdu: Arquitecturas del límite

ISCM – USA Section William Rowe: The House on the Street

ISCM – Norwegian Section Jan Martin Smørdal, Lars Kristian Røed: Feedbox ISCM – Polish Section Wojciech Ziemowit Zych: Gesture and Pulse ISCM – Portuguese Section Pedro Rebelo: Trio ISCM – Romanian Section Octavian Nemescu: Concentric

ISCM – Swedish Section Henrik Strindberg: The 5th String

ISCM – Wallonien Section Denis Bosse: Flou sifflé

ISCM – Swiss Section Victor Cordero: Herbst

ISCM Associate members ARFA, Romania Diana Rotaru: Glossolalia

JFC, Japan Federation of Composers Isao Matsushita: A Shining Firmament

Florida International University Per Bloland: “...walk now and then into the breath that blows coldly past...”

Stephen F. Austin State University Marcus Maroney: Chamaeleon II Sociedad Venezolana de Musica Contemporánea Yoly Rojas: Warao

Society for Contemporary Music, Russia Olga Bochikina: Koru Kari

Individual submissions Canada Daniel Peter Biró: Kivrot HaTa'avah (Graves of Craving) Cyprus Christina Athinodorou: Olkás Germany Theo Brandmüller: Bilder der Nacht Hans-Joachim Hespos: Psallo solo

Greece Nicolas Tzortzis: Femme-tête-temps Italy Silvia Borzelli: Sur-itinéraire Japan Toru Nakatani: 2_1/128_1+1/2 Chieko Doi: Splicing Yasunoshin Morita: The History of Songs & Words

South Korea Jae-moon Lee: Rain Falling on Stained Glass/ Stained Glass Falling on Rain... Sang Song: Homestretch USA Aaron Michael Helgeson: Never Thoughts for Us to Forget

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All works selected for the ISCM WNMD 2013 Peter Ablinger: Kleine Trommel und UKW-Rauschen ("Conceptio"); Weiß/Weißlich 17: 17h Bass und Rauschen Milan Adamčiak: Adizione; Heterophonica Peter Adriaansz: Wave 3 Francisco Alvarado: Tricycle Louis Andriessen: Workers Union Christina Athinodorou: Olkás Kári Bæk: Askur & Embla Alyson Barber: Twists and Turns Juraj Beneš: Intermezzo No. 3 Roman Berger: Transformations. Four Pieces for Large Orchestra Belma Bešlić-Gál, Bernhard Gál: Flut Ansgar Beste: Incontro concertante Dániel Péter Biró: Kivrot HaTa'avah (Graves of Craving) Per Bloland: “...walk now and then into the breath that blows coldly past...” Olga Bochikina: Koru Kari Vladimír Bokes: Concertino for Cello and Chamber Ensemble Tomáš Boroš: Bausteine Silvia Borzelli: Sur itinéraire Denis Bosse: Flou sifflé Theo Brandmüller: Bilder der Nacht (selection) Benedikt Burghardt: Unmerklich Martin Burlas: 7th Day Record John Cage: Two Pieces; Music of Changes Jorge Calleja: Tierra de pantanos Unsuk Chin: snagS&Snarls Simon Christensen: Towards Nothingness Ján Cikker: What the Children Told Me (Piano aquarelles) Victor Cordero: Herbst Alvin Curran: Inner Cities 5 Ľubica Čekovská: Dorian Gray Jaromír Dadák: Miniature (from the cycle Greetings from Beskydy) Jean-Pierre Deleuze: Et les sonances montent du temple qui fût Matej Demko: Trio Bernd Richard Deutsch: Dr. Futurity; Mad Dog Violeta Dinescu: Lugar para uma pedra mole (Place for a Soft Stone) Chieko Doi: Splicing Georgy Dorokhov: Deconstruction Peter Duchnický: GON Antonio Fian, Jaime Wolfson: Axi Avner Finberg: Kinah Christopher Fox: schwarz-weiss Alexej Frušenkov: Lens Grinder

Tomoko Fukui: Doublet I Beat Furrer: Phasma; Presto Ryszard Gabryś: Voyelles de Arthur Rimbaud Elmira Galimova: Diary of Soul Oleg Gamayunov: Excercise Julian Gamisch: Haut Bernhard Gander: Schlechtecharakterstücke Vladimír Godár: Déploration sur la mort de Witold Lutosławski Vladimir Gorlinsky: Bramputapsel #2 Jozef Grešák: Améby (Amebae) Yuan Guo: The Acoustics of Trills II Georg Hajdu: MindTrip Reloaded Neville Rotherham Hall: lifeless air become sinewed Elisabeth Harnik: re-framing Aaron Helgeson: Never Thoughts for us to Forget Hans Joachim Hespos: Psallo solo Samuel Hvozdík: Five Jokes with No Punch Line; Fragments from the Blue Sky Atli Ingolfsson: Mani Mirela Ivičević, Radek Knapp: Carrousel (Karussell) Alexander Kaiser: ...if... Sabine Kezbere: Monologue Ji-Hyang Kim: Moire Fero Király: Haiku for Extended Piano to the Texts by Jakub Erich Groch Katharina Klement: Chaotic Bands in Canonical Form Jana Kmiťová: Drei Psalmfragmente Peter Kolman: Three Essays Ikov Kopáčik: Ice Cream Cup Tõnu Kõrvits: Chaconne Jörg-Ulrich Krah, Susanne Felicitas Wolf: Seelentore Zygmunt Krauze: Piano Quintet Johannes Kretz: Mining Pavol Krška: Frescos (selection): No. 1 György Kurtág: Games, Vol. 2 (selection) Carlo Alessandro Landini: This heart thy center is, this flesh thy sphere Bernhard Lang: Monadologie XXIV...The Stoned Guest István Láng: ConcerDUOtante Nathalie Latham, Tamara Friebel: Wärme Joelle Leandre: OXION 5 Jae-Moon Lee: Rain Falling on Stained Glass / Stained Glass Falling on Rain... Cheong Li: Impromptu II György Ligeti: Drei Stücke für zwei Klaviere; Study no. 13: L’escalier du diable; Atmosphères

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Wen Liu: Penumbra Celso Machado: Piazza Vittorio Irene Malizia: AD MAIORA! Maximilian Marcoll: Compound No. 7: OPERATION ENOK Marcus Maroney: Chamaeleon II Daniel Matej: NICE Isao Matsushita: A Shining Firmament Jarmila Mazourová: Prelude and Toccatina III Peter McNamara: Distorted Waters Egidija Medekšaitė: Dhani Misato Mochizuki: All That Is Including Me Yasunoshin Morita: The History of Songs & Words Dimitris Mousouras: Light Passages Toru Nakatani: 2_1/128_1+1/2 Eric Nathan: Paestum Octavian Nemescu: Concentric Tapio Nevanlinna: Punaiset poijut Kai Niggermann: From the Distance There is Harmony Milan Novák: Dream – Four Songs for Soprano and Piano Georg Nussbaumer: Walküren, reitend (Valkyries, riding) Ivana Ognjanović: Lonesome Skyscraper Manos Panayiotakis: Echosymplokon Ivan Parík: Music to a Ballet, Four Fragments for Large Orchestra Marcela Beatriz Pavia: Pain is Not Linear Arvo Pärt: Spiegel im Spiegel Anna Pidgorna: Light-play Through Curtain Holes Simeon Pironkoff: skin.double Jozef Podprocký: A Capricious Interlude, Op. 56 Branka Popović: out of nowhere Alexis Porfiriadis: Drops Julia Purgina: Fatrasien Pedro Rebelo: Trio Marcel Reuter: Interludio Fernando Riederer, Brigitta Falkner: Inventur (Inventory) Yoly Rojas: Warao Diana Rotaru: Glossolalia William Rowe: The House on the Street Roberto David Rusconi: De Materia Solida et Corporea Frederic Rzewski: Three Piano Pieces 2011 Kaija Saariaho: Aile du songe Patrick Saint-Denis: Trombe Bojana Šaljić-Podeśva: Highway to Dadaab Jorge Sanchez-Chiong, Thomas Jelinek: BILL José María Sánchez-Verdú: Arquitecturas del límite Giacinto Scelsi: Kya

Krešimir Seletković: NO music Alexey Shmurak: In the Chasm of Ouzel Dmitri Shostakovich: Chamber Symphony in C minor, Op. 110 Ádám Siska: 2'45'' Andrej Slezák: Pangaea Jan Martin Smørdal, Lars Kristian Røed: Feedbox Sang Song: Homestretch Johannes Maria Staud: Lagrein Ernstalbrecht Stiebler: ...fast ohne bewegung... Igor Stravinskij: Greeting Prelude; The Rite of Spring Henrik Strindberg: The 5th String Iris Szeghy: Joking Monkeys; Little Dancing Swan Girl; The Larker Hummingbird Andrea Szigetvári, Stewart Collinson: ShadowPlace Karol Szymanowski: 3 Fragments, Op. 5 (selection) Paweł Szymański: In Paradisum deducant te Angeli… Wilfrido Terrazas: Retrato de Walter Lärmer Stefan Thorson: Auto Body Jukka Tiensuu: Vie Alireza Toghiyani Rizi: Transfer ‫لاقتنا‬ Germán Toro Perez: Ordo Yu-chung Tseng: Rhapsody Nicolas Tzortzis: Femme-tête-temps Tetsuya Umeda: Project A Juraj Vajó: San Michele Bart Vanhecke: Danse de la terre Jennifer Walshe: Silently & Very fast Oliver Weber, Nurkan Erpulat: Gate as My Asshole Anton Webern: String Quartet Op. 28 Christian Wolff: Bratislava Mihyun Woo: Metamorphose – after Escher Joanna Wozny: stairs Tolga Yayalar: Alliteratio Dragomir Yossifov: ...Phrase/Face/Phase... Peter Zagar: Song for Emőke Ruben Zahra: Teqbil Ilja Zeljenka: Musica Slovaca Wojciech Ziemowit Zych: Gesture and Pulse

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ISCM Executive Committee John Davis, President j.davis@australianmusiccentre.com.au

Nina Čalopek, Member nina.calopek@hds.hr

Peter Swinnen, Vice-President voorzitter@iscm-vlaanderen.be

Riin Eensalu, Member riineensalu@gmail.com

Arthur van der Drift, Secretary General arthur@iscm.org

Alper Maral, Member alpermaral@yahoo.com

Lars Graugaard, Treasurer lars@graugaard-music.dk

ISCM Secretariat Loevenhoutsedijk 301 3552 XE Utrecht The Netherlands Tel: +31-6-29069173 inf0@iscm.org www.iscm.org

Franz Eckert, Legal Counsel mybeckert@aon.at

ISCM Members Sections ISCM – ARGENTINE SECTION Fundacion Encuentros www.aliciaterzian.com.ar ISCM – AUSTRALIAN SECTION Australian Music Centre www.australianmusiccentre.com.au ISCM – AUSTRIAN SECTION www.ignm.at ISCM – BEIJING SECTION Beijing Modern Music Festival, China www.bmmf.org.cn/en/index.html ISCM – BULGARIAN SECTION Union of Bulgarian Composers www.ubc-bg.com ISCM – CANADIAN SECTION Canadian League of Composers www.clc-lcc.ca ISCM – CHENGDU SICHUAN SECTION Sichuan Conservatory of Music, China www.sccm.cn

ISCM – CHILE SECTION Sociedad Chilena del Derecho de Autor SCD www.scd.cl ISCM – CROATIAN SECTION Croatian Composers’ Society www.hds.hr ISCM – DANISH SECTION SNYK: Secretariat for Contemporary Music www.snyk.dk ISCM – ESTONIAN SECTION Estonian Composres Union www.helilooja.ee ISCM – FAROE ISLANDS SECTION Faroe Islands Faroese Composers Association http://heima.olivant.fo/~summar/ composers.html ISCM – FINNISH SECTION Society of Finnish Composers www.composers.fi

ISCM – FLEMISH SECTION ISCM-Vlaanderen VZW www.iscm-vlaanderen.be ISCM – GERMAN SECTION Gesellschaft für Neue Musik www.ignm-deutschland.de ISCM – GOTLAND SECTION Visby International Centre for Composers www.vicc.se ISCM – GREAT BRITAIN SECTION c/o Sound and Music www.soundandmusic.org ISCM – GREEK SECTION Greek Composers Union www.eem.org.gr www.iscm.gr ISCM – HONG KONG, CHINA SECTION Hong Kong Composers’ Guild www.hkcg.org

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ISCM – HUNGARIAN SECTION Hungarian Composers’ Union ISCM – ICELANDIC SECTION Society of Icelandic Composers www.mic.is ISCM – IRISH SECTION c/o IMRO www.composers.ie ISCM – ISRAELI SECTION The Israeli Composers’ League www.israelcomposers.org ISCM – ITALIAN SECTION Società Italiana Musica Contemporanea www.novurgia.it ISCM – JAPANESE SECTION c/o Japan Society for Cont. Music www.jscm.net ISCM – SOUTH KOREAN SECTION www.iscm.or.kr ISCM – LATVIAN SECTION Latvian Composers Union www.komponisti.lv ISCM – LITHUANIAN SECTION c/o Lithuanian Composers Union www.mic.lt ISCM – LUXEMBOURG SECTION Luxembourg Society for Contemporary Music www.lgnm.lu ISCM – MEXICAN SECTION c/o SACM www.sacm.org.mx

ISCM – NETHERLANDS SECTION Gaudeamus Muziekweek www.muziekweek.nl ISCM – NEW ZEALAND SECTION Composers Association of New Zealand www.canz.net.nz ISCM – NORWEGIAN SECTION c/o Ny Musikk www.nymusikk.no ISCM – POLISH SECTION c/o Polish Society for Contemporary Music www.ptmw.art.pl ISCM – PORTUGUESE SECTION Miso Music Portugal www.misomusic.com ISCM – ROMANIAN SECTION Union of Romanian Composers & Musicologists www.cimec.ro/Muzica/SNR/default. htm ISCM – RUSSIAN SECTION Intl. Association of Composers Organisations www.iscmrussia.ru ISCM – SERBIAN SECTION c/o Union of Serbian Composers www.serbcompo.org.rs ISCM – SLOVAK SECTION www.iscm-slovakia.org ISCM – SLOVENIAN SECTION Society of Slovene Composers www.dss.si/?spada=1&lang=en

ISCM – SPANISH SECTION Musica Moderna – c/o Grup Instrumental de Valencia www.grupinstrumental.com ISCM – SWEDISH SECTION www.iscm.se ISCM – SWISS SECTION nicolas.farine@bluewin.ch ISCM – TAIWAN SECTION http://taiwanesemusic.blogspot. com ISCM – TATARSTAN SECTION c/o Tatar Union of Composers www.rashidkalimullin.com ISCM – TURKEY SECTION Borusan Kocabiyik Vakfi, Kultur ve Sanat Isletme www.borusansanat.com ISCM – UKRAINE SECTION Association New Music www.anm.odessa.ua ISCM – USA SECTION League of Composers www.leagueofcomposers.org ISCM – WALLONIAN SECTION Le Forum des Compositeurs www.compositeurs.be

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Full Associate Members ARFA, Romania http://www.cimec.ro/muzica/inst/arfa Florida International University – The School of Music, USA www.fiu.edu/~garciao/Miami_ISCM_ Information.html JFC, Japan Federation of Composers, Japan www.jfc.gr.jp/contents/jfc/ AbouttheJFC.html

Society for Contemporary Music c/o Centre for Contemporary Music, Russia www.ccmm.ru Stephen F. Austin State University – School of Music, Texas, USA www.sfasu.edu Soc. Venezolana de Musica Contemporánea, Venezuela www.musica.coord.usb.ve/svmc/

Allied Associate Members Festival l’Art pour l’Aar, Bern, Switzerland www.jean-luc-darbellay.ch/pdf/ l_art_pour_l_aar_07.pdf

Affiliated Associate Members NewMusicSA, South Africa www.newmusicsa.org.za

MACM, Malta Association for Contemporary Music, Malta www.maltacontemporarymusic.org

ISCM HONORARY MEMBERS Louis Andriessen

Paul Hindemith

Reinhard Oehlschlägel

Milton Babbitt

Arthur Honegger

Krzysztof Penderecki

Béla Bartók

Klaus Huber

Goffredo Petrassi

Sten Broman

Sukhi Kang

Willem Pijper

Ferruccio Busoni

Zoltán Kodály

Maurice Ravel

John Cage

Charles Koechlin

Hans Rosbaud

Elliott Carter

Zygmunt Krauze

Hilding Rosenberg

Alfredo Casella

Ernst Křenek

Albert Roussel

Friedrich Cerha

György Kurtág

Antonio Rubin

Chou Wen-chung

André Laporte

Kaija Saariaho

Edward Clar

Doming Lam

Paul Sacher

Paul Collaer

György Ligeti

Hermann Scherchen

Aaron Copland

Witold Lutosławski

Arnold Schönberg

Luigi Dallapiccola

Walter Maas

Roger Sessions

Edward Dent

Gian Francesco Malipiero

Jean Sibelius

Franz Eckert

Yori-Aki Matsudaira

Igor Stravinsky

Oscar Espla

Arne Mellnäs

Karol Szymanowski

Manuel de Falla

Olivier Messiaen

Toru Takemitsu

Michael Finnissy

Darius Milhaud

Chris Walraven

Sofia Gubaidulina

Conlon Nancarrow

Ralph Vaughan Williams

Vinko Globokar

Arne Nordheim

Yannis Xenakis

Alois Hába

Per Nørgård

Joji Yuasa

Ernst Henschel

Vítězslav Novák

Isang Yun

ISCM WORLD NEW MUSIC DAYS 2013 festival programme book Editor Daniel Matej Editorial Board Eva Hausegger, Irena Lányiová, Šimon Voseček, Peter Zagar Texts © Juraj Bubnáš, Robert Kolář, Andrej Šuba, editorial board, authors and performers Translations © Jana McCuskey, Peter Zagar, Marcus Zagorski, editorial board, authors and performers Cover Design and Layout © Marián Preis Cover Photo © Lukáš Gál Photos Copyrights, see page 152 Published by Medzinárodná spoločnosť pre súčasnú hudbu – Slovenská sekcia Medená 29 811 02 Bratislava, Slovakia Internationale Gesellschaft für Neue Musik – Sektion Österreich Ungargasse 11/12 1030 Wien, Austria Printed by NEUMAHR tlačiareň, spol. s r. o.