Brandneue Werke für E-Gitarren-Quartett und Live-Elektronik


Brandneue Werke für E-Gitarren-Quartett und Live-Elektronik
Mi, 27.01.2010, 19:30 Uhr

Essl Museum

Das junge E-Gitarrenquartett ZWERM aus Antwerpen präsentiert gemeinsam mit dem Komponisten Stefan Prins unterschiedliche Positionen, ausgehend vom "klassischen" Sound der verzerrten Gitarre bis hin zu dessen Dekonstruktion.
ZWERM electric guitar quartet (Antwerpen)
Stefan Prins: Live-Elektronik

In Kooperation mit Champ d'Action (Antwerpen)


Agostino Di Scipio (* 1962): Modes of Interference III (2007)
E-Gitarren-Quartett und Elektronik

Stefan Prins (* 1979): Infiltrationen (2009)
E-Gitarren-Quartett und Elektronik

Karlheinz Essl (* 1960): 7x7 (2009)

Mario del Nunzio (* 1983): 27s(pNM) (2009)
E-Gitarren-Quartett und Elektronik

7x7 for 4 electric guitars
Essl Museum, Klosterneuburg (25 Jan 2010)

Wie kein anderes Instrument wurde die E-Gitarre in der zweiten Hälfte des 20. Jahrhunderts zur revolutionären Ikone hochstilisiert und entwickelte sich zum prototypischen Symbol des antibürgerlichen Aufbegehrens und der ungezügelten Leidenschaft. Heutzutage jedoch wirkt die heroische Spielattitüde, die mit diesem Instrument und seinen hervorragenden Propenenten verquickt ist, oftmals wie eine Karikatur ihrer selbst. Ungeachtet dessen haben sich in den letzten Jahren immer mehr KomponistInnen mit der E-Gitarre und ihren faszinierenden klanglichen Ausdrucksmöglichkeiten auseinandergesetzt und dafür Werke geschaffen, die ausserhalb des üblichen Rock- und Jazz-Kontextes stehen.

Das junge E-Gitarrenquartett ZWERM aus Antwerpen präsentiert gemeinsam mit dem Komponisten Stefan Prins unterschiedliche Positionen, ausgehend vom "klassischen" Sound der verzerrten Gitarre bis hin zu dessen Dekonstruktion.


Agostino di Scipio (1962) composes electro-acoustic music, sound installations and works for instruments and interactive electronics. In his most recent works, such as Modes Of Interference III, he investigates the 'man-machine-environment feedback loop' (the interaction between performer, instrument, electronics and its environment). Zwerm will premiere the "performance"-version of Modes Of Interference.

7x7 by Austrian composer Karlheinz Essl (1960) is a musical mobile for instrumental quartets dedicated to ZWERM. This piece deals with space (performers should surround the audience) and uses more conventional, contemporary electric guitar techniques as ebow, tapping, bottleneck and volumepedal. The young artist Jasper Braet made a visual score for audience and musicians.

Born in Sao Paulo, composer/guitarist Mario Del Nunzio (1983) knows the possibilities of the electric guitar very well. The use of electronics and unconventional playing-techniques (with hand and feet) form the basis of the work of this young Brazilian composer. His very energetic 27s(pNM) for ZWERM deals with the varying degrees of autonomy and independence of the instrumentalists' actions. Central in the piece is the dissociation of the activities of the performers' different limbs, reflected in a notation that deals with them separately. This can lead, in times of higher density, up to 16 (4x4) layers of independent activities.

The new piece for 4 electric guitars and live electronics Infiltrationen by Stefan Prins (1979) composed for ZWERM will on the one hand consist of the deconstructive techniques he already used in his work 'Not I' for solo electric guitar and live electronics and on the other hand will be a first (autonomous) sketch towards a larger work for 4 electric guitars, 4 saxes, 4 acoustic turntables and live electronics. Much like guitar pioneers such as Keith Rowe and Fred Frith, the deconstruction of the guitar will be pushed even further in this new work: the electric guitars are lying flat ('tabletop guitar') and are thought of as an open circuit of 6 strings which will translate the manipulations of the performer directly into sound. The purpose of the live-electronics on the other hand is to disturb this link between action and sound on different levels. One thing is certain; this piece will search for a dynamic and multi-layered sound world with a clear link to 70's-80's 'noise music'.


Toon Callier (Belgium, 1983) studied classical guitar and chamber music at the Royal Conservatory of Antwerp. Afterwards he studied a 'master after master' in contemporary music at the conservatory of Ghent. His teacher was Tom Pauwels who is guitarist and artistic advisor of the Brussels based ensemble Ictus. Toon plays both classical and electric guitar. On his repertoire you find music of Hans Werner Henze, Fausto Romitelli, Steve Reich, Lois V.Vierk, George Crumb, Larry Polansky… Toon is a founding member of the electric guitarquartet ZWERM (, he is also artistic assisitent of the Belgian ensemble of contemporary music Champ d'Action ( and works as freelance musician with ensembles as Nadar, Besides and Brussels Philharmonic.

Matthias Francisco Koole (Belgium, 1982) is active as a guitarist in written and improvised contemporary music. He studies with Tom Pauwels, is a founding member of the quartet ZWERM and plays regurarly with ensembles such as Champ d’Action and Collectief Reflexible. As a free-lance guitarist he has also played with Ensemble Cairn of Paris and the Brussels Philharmonic. In duo with Kobe Van Cauwenberghe he plays pieces by Lachenmann, Ferneyhough, Globokar etc. As a soloist he is currently working on a program with pieces that find themselves on the edge between music and performance (David Helbich, Simon Steen-Andersen, Mario Del Nunzio, Stefan Prins...) He has premiered pieces by Richard Barrett, Stefan Prins, Karlheinz Essl, Larry Polansky, Cristian Morales-Ossio, Nico Sall, Sérgio Ribeiro Lacerda among others...

Bruno Nelissen (The Netherlands, 1979) studied classical guitar until 2002 with Hein Sanderink, and composition with Alexandre Hrisanide, at the Fontys conservatory in Tilburg, Netherlands. Before, during and after he played electric guitar in bands and contemporary music ensembles; he sang in choirs and French chanson groups; he wrote operas, music theatre works and lots of chamber music for lots of different musicians and ensembles; he took lessons and masterclasses with guitarists and composers; he played classical guitar in various ensembles with various musical backgrounds, contemporary music, tango, classical music, world music; he was programmer at the contemporary music venue DE LINK; he tought guitar and composition at music schools: In short, he was and is a musician.

Johannes Westendorp (Germany, 1979) studied classical guitar with Hein Sanderink at the Fontys Conservatory of Tilburg (Netherlands). He continued his studies for two years at the Conservatory of Gent (Belgium) with Tom Pauwels for contemporary guitar music and courses composition and free improvisation with Dr. Godfried-Willem Raes, and graduated cum laude in 2005. In the same year he founded Cluster Klankcollectief with Merijn Bisschops; a pool of young Dutch composers and performers of new music. In 2005 Cluster cooperated with Muzieklab Brabant in the Volume 1 project investigating the relation between sound and space. He made Tijdwerk (2006) a performance for temporary and self destructing instruments. And .../Obstructie (2008), a sound installation in which the musical instruments are connected to the three players in a way that they obstruct each other and eventually inevitable result in silence. As a writer he is currently involved in the opera Halfgeleiders produced by Productiehuis Brabant and November Music. Johannes is participating in the organisation of DE LINK concertserie in Tilburg. As a guitarist he performs regular with the electric guitar quartet Zwerm. In his solo guitar program for both electric and acoustic guitars he is focusing on American minimalism vs (European) new complexity. Since 2008 he doing a master study artistic research at the University of Amsterdam on a project called Displacement and three movements towards artistic production.
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