PROGRAMM
Alexander Chernyshkov: drafo
Konzertinstallation mit Motoren, Relais und präparierten Instrumenten - 12'
Dedicated to Alejandro del Valle-Lattanzio
Alexander Chernyshkov: Solo
Clio Montrey: Three Musical Haiku, on Three Japanese Haiku by Matsuo Basho
für Stimme und Elektronik - 10'
Clio Montrey: Stimme, Elektronik, Sounds
Lucía Jurado: allgegenwärtig
für 3 Schlagzeuger und 1 Dirigenten - 8'
Airi Kitamura: Schlagzeug
Ferenc Regős: Schlagzeug
Ivan Bulbitski: Schlagzeug
Marie Jacquot: Dirigentin
Sebastian Adams: One
für Viola und Live-Elektronik - 20'
Sebastian Adams: Viola und Live-Elektronik
Alejandro del Valle-Lattanzio: agua viva
für Klarinette, Akkordeon und elektronische Äolsharfe - 20'
Moderato cantabile, intensiv Andante espressivo Ein wenig schneller (Variationen)
Robert Corazza: Klarinette
Bojana Foinidis: Akkordeon
Alejandro del Valle-Lattanzio: elektronische Äolsharfe
Roozbeh Nafisi: 37
für Santur und Live-Elektronik - 10'
Roozbeh Nafisi: Santur, Live-Elektronik
Erik Emil Eskildsen: I Call It Harry, Part 2 (Ode to Mendra)
"Virtual" guitar quartet - 9'
Erik Emil Eskildsen: Klangprojektion
Alessandro Baticci: Alles im Schatten - Alles im Kopf
Instrumentalszenen aus der Oper N.N. - 16'
für Flöten, Keyboard und Elektronik
Alessandro Baticci: Flöte
Ting-Wei Chen: Flöte
Luca Lavuri: Keyboard
Philipp Waldenberger: Live-Elektronik
WERKKOMMENTARE & BIOGRAPHIEN
Alexander Chernyshkov is born in 1983 in Omsk, Russia. At 12 years old moves to Verona, Italy. Guitar player in different Rock and Jazz groups.
Studies at Verona State Conservatory classical guitar, composition and theory. In 2007 moves to Vienna where he studies at
Universität für Musik und darstellende Kunst Wien. Participating at the Darmstadt Ferienkurse für neue Musik, where his
pieces Sakhar (wind instruments) and Almatiki daechta (solo voice) have been performed. His pieces are performed by ensembles
such as musikFabrik, Nikel, Phace, Pro Arte, Masm. Since 2011 he plays and performs solo and in duo with other composers in
little galleries and abandoned factories. Builds instruments of strictly acoustical and mechanical origin. Eats and sleeps
in Vienna.
drafo
Each moment is by definition extraordinary, it's just that we are less or more ready to perceive it. And now, by reading these
lines and deciding whether stop here or go until the end, your time and reality's perception is flowing differently and you
are hoping in an extraordinariness of this text. Please, make an effort and don't read further, just listen to the acoustic
space arrrr rrr r ound y
o
u
something is always
vibrating
somewhere all the time .
Sometimes we hear it, sometimes we don't. Everything I do is focus my attention on a phenomenon that interests me and transfigure
it. Everyone could do it.
Clio Montrey is a postgraduate student in the composition class of Karlheinz Essl at MDW. She earned her Bachelor of Music (Honours) in
composition with a concentration in piano from McGill University in 2008, where she held the composer-in-residence position
for the McGill Chamber Singers during the 2007-2008 academic year. Clio earned her Master's in Composition from the Konservatorium
Wien in June 2011, thesis with distinction, where she studied with Christian Minkowitsch. Clio studied classical vocal techique
with with Gabriele Sima and Helen Tintes-Schürmann, and graduated with a University Diploma in Classical Operetta under the
direction of Wolfgang Dosch at the Konservatorium Wien (2012). She currently studies singing with American soprano Anne Wieben.
In 2012, Clio was awarded two composition grants from the Bundesministerium für Unterricht, Kunst, und Kultur (BMUKK).
Three Musical Haiku
Three different musical haiku, based on Matsuo Basho's poems, speak through female voice, water, and paper. Electronic echoes
and communications continue the tale. The first poem tells of an old pond and of a frog jumping into the sound of water. The
second speaks of the sea, and the third paints a picture of life and of cherry blossoms. Together, the poems form a narrative
that can be interpreted in many ways. In one interpretation, the three haiku can be considered a representation of the resilience
of the human spirit in the face of the 2011 Tohoku tsunami. We see the face of life and the face of the elements, coexisting
despite harshness.
Roozbeh Nafisi was born on the longest night of 1979 in Tehran. Nine years later he started his study of music there through santur which
continues to this date. Musically he has been influenced namely by children songs of Hengameh Yashar, mallet strokes of Ardavan
Kamkar, and horn playing mindset of Liz Barton. Roozbeh teaches santur since 1999. He studied composition at California State
University Sacramento, Hochschule für Musik Trossingen, Kunitachi College of Music in Tokyo, Bruckner University in Linz,
and Universität für Music und darstellende Kunst Wien. He is a PhD candidate in acoustics at the latter university.
37
the momenT is left - sHortly (time comes, time goes). when i try to transfer "it" on paper (as i imagIne or remember "it")
- so "it" does not fade - "it" magically alteRs. then "it", even at a very accurate performance, transforms into something
else (to[/so] whaT?). that moment of crYstallization is perhapS this music. how lucky is existEnce: the one neVer fading out
- i realize - is that which nEver existed: quasi nieNte.
Lucía Jurado was born in Málaga in 1984. She began her musical studies at the age of 9. She learned to play piano and she specialized
in violin at the Conservatory of Music Málaga. Looking for a global vision of music, she goes into composition. Currently
she lives in Vienna where study electroacustic composition during the academic year 2012/13 at the University of Music and
Performing Arts Vienna.
allgegenwärtig
The title of this work makes an allusion to the omnipresence of time. It starts with a simple and stable element, and by the
superposition of three different pulses, that represent the individual temporal perception, and the implementation of more
complex rhythms, it looks for the chaos and finally the disappearance of rhythm, where we can just talk about lengths that
come to an end.
Sebastian Adams (born 1991) has studied in Vienna with Karlheinz Essl and is studying with Kevin O’Connell and Jonathan Nangle at the Royal
Irish Academy of Music. His music has been performed all over Ireland by Crash Ensemble, Kirkos, Kate Ellis, Andrew Zolinsky,
Cora Venus Lunny and many others. Upcoming projects include a work for the RTÉ National Symphony Orchestra. Prizes have included
the West Cork Chamber Music prize and the IMRO Composition prize, as well as being a finalist in the Sorodha International
Composition Competition. Sebastian is founder and director of Kirkos, and chairman of the Irish Composers’ Collective.
One
This piece takes an improvisation as the starting point for a fully argued sonata form movement for my own instrument. It
was the outcome of four months spent experimenting with live electronics in the class of Dr. Karlheinz Essl. Shortly before
writing this piece I declared that I had no interest in writing for the viola. How wrong I was!
Alejandro del Valle-Lattanzio, geboren 1986 in Bogotá, Kolumbien. Studiert, lebt und arbeitet in Wien seit 2007. Studium der elektroakustischen Komposition
an der Universität für Musik und darstellende Kunst bei Karlheinz Essl sowie der Bildhauerei an der Akademie der bildenden
Künste bei Heimo Zobernig. Künstlerische Tätigkeit als Komponist, Aufführender, Improvisator, und bildender Künstler in Österreich,
Deutschland und Kolumbien. Theodor Körner Preis 2012, Stipendiat der Deutschen Gesellschaft für Musiktheorie, SYLFF, Gewinner
des Komposition-Nachwuchswettbewerbes der GMTH, des Kompositionspreises "Atmosphären" des ZKM, sowie des „Towards the next
100 Years“ des Wiener Konzerthauses.
agua viva
"Lebendiges Wasser": Auf keinen Fall eine Metapher oder bloßes Bild sondern der konkrete musikalische Ausdruck der uralten,
unerschöpflichen Quelle!
Manantial de aguas vivas
Manantial que me curó
Que nos sanó
Que me curó
Andrés Córdoba
Erik Emil Eskildsen is a Danish experimental guitarist and composer currently living in Vienna, Austria. Born in 1983, playing music since the
age of 8 and living abroad for over a third of his life, Erik has performed and worked with musicians internationally. His
main focus as a musician is free improvisation, both as a solo performer and together with other musicians in different formations.
Since September 2012 Erik's main project is The Friendly Guitar Trio, an electric guitar trio with Georg Wollmann and Markus
Schneider. Erik attended several Guitar Craft courses from 2007 to 2009 where he studied with guitarist Robert Fripp (King
Crimson) and has been a student of composer, guitarist, and producer Markus Reuter (centrozoon, Stick Men, The Crimson Projekct)
since 2008.
I Call It Harry, Part 2 (Ode to Mendra)
is a fixed media piece for a virtual guitar quartet, composed of material sourced from different solo guitar improvisations.
Each member of the quartet is represented by a loudspeaker. The virtual guitar quartet will be placed around the room surrounding
the audience.
Alessandro Baticci, geboren 1991 in Mailand, studierte seit 2002 Flöte am Conservatorio G. Verdi. 2009 Diplomabschluss mit summa cum laude.
2007-2010 studiert er dort elektroakustische Komposition bei Giuseppe Giuliano. Seit 2010 studiert er Komposition (Karlheinz
Essl) und Querflöte (Barbara Gisler-Haase) an der Universität für Musik und darstellende Kunst Wien. Zahlreiche Masterkurse
als Komponist mit Dorothée Hahne, Yuri Kasparov, sowie Brian Ferneyhough, Vykintas Baltakas bei den Darmstädter Ferienkursen
für Neue Musik und als Flötist u.a. bei Carin Levine. Zahlreiche Preise u.a. bei "Jugend musiziert". 2011 wurde sein Werk
"Season of the Livings" für Flöte und Elektronik bei der Universal Edition veröffentlicht.
Alles im Schatten - Alles im Kopf
Dieses Stück ist die instrumentale Fassung einer Szene aus einem Musiktheater, an dem ich momentan arbeite, zusammen mit Susanne
Unah, die die Texte dafür verfasst. Zwei Personen erwachen in einem surrealen weißen leeren Raum ohne zu wissen wer sie sind,
wie sie dort gekommen sind und was sie dort machen. Als einziges Werkzeug steht ihnen nur die eigene Sprache zur Verfügung,
mit der sie miteinander kommunizieren, spielen, experimentieren und auch kämpfen. Diese Szene besteht aus viele kleine Mikroszenen,
in denen die zwei Figuren verschiedene emotionale Stadien durchleben.
Langeweile
Geborgenheit
Freiheit
Angst
Erleichterung
Macht
Lachen
Hysterie
Paranoia
Die Flöten stellen die musikalische Verkörperung der zwei Figuren dar, die, ebenso wie im Text, sich auch musikalisch konfrontieren
und oft gegeneinander kämpfen. Die Elektronik filtert dabei deren Stimme und erzeugt einen Gesamtklang mit dem Raum, in dem
sie sich befinden, wo auch ihre Gedanken miteinander verschmelzen.
