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JUNI 2017 - 19h00 - Schloss Leuk
(La Musique du Lieu) TALLER SONORO (Sevilla)
TALLER SONORO
Since its creation in 2000, Taller Sonoro has tirelessly advanced in two main directions, the interpretation of the latest and most radical music in its aesthetic proposal, with the aim of offering it to the Spanish and international public with the highest degree of rigor and commitment; and support for young composers, offering the group itself as a useful and professional tool to fully develop their creative bet. The deployment of these two lines of action has been unstoppable in the last decade as it has been proven in a regular way in the Ciclo de Música Contemporanea in Seville and Granada from 2002, in seasons of CDMC at the Museo Reina Sofia Art Center, 2006, 2007 (and soon 2012), in the Ciclo de Música Comtemporanea in Córdoba (2005), the Ciclo de Música Contemporanea Orquesta Sinfónica of Malaga (2007), the Festival de Música Contemporanea of Alicante (2008), the Quincena Musical of San Sebastian (2006) and festivals KLEM (Bilbao, 2009) and ENSEMS (Valencia, 2010) … landmarks of an Iberian Peninsula which also lists the names of Almería (Ciclo de Música de Cámara of Unicaja), Santander (Universidad Internacional Menendez Pelayo), Murcia (II Festival de Música Contemporanea in Molina de Segura) and, again, Madrid (Auditorio Nacional de Musica). Simultaneously, the international diffusion of the activity of Taller Sonoro has been one of its prime objectives, contributing to the knowledge of current Spanish repertoires in European scope- Cycle OPUS 5.1 (Bordeaux, 2005), Cycle “Spirals” ( Paris, 2005), Hochschule für Musik (Frankfurt am Main, 2005), Instituto Cervantes Berlin (2006, 2007) and Bremen (2007), Colegio de España and Instituto Cervantes de Paris (2007), Theatre Quartz (Brest, 2008) Academia de España in Rome (2010) and recently in the Vienna Musikverein (May 2011) and, singularly, it is a group of remarkable presence in Latin American latitudes, from Peru (Festival de Música Contemporanea in Lima, 2007 and 2008) to Mexico (Festival Múisca contemporanea in Morelia, 2010) and Argentina (2011). Certainly, the collaboration with other musical groups and access to the recording market decisively enriches the contribution of Taller Sonoro to the national scene: with several projects in which the group has collaborated with the Ensemble Organum Marcel Peres and the Ensemble Gilles Binchois conducted by Dominique Vellard, the phonographic presence of our group covers monographs devoted to composers such as José María Sánchez-Verdú, Juan Cruz and Cesar Camarero, within the first edited series by Anemos in 2009 – as well as two live recordings devoted to the work of David del Puerto (Sendesaal, Radio Bremen, 28/11/2007) and finalists composers Premio Fundación de Autor SGAE (Auditorio 400, National Museum Art Centre Reina Sofia, 12.03.2007). Moreover, the pedagogical work of Taller Sonoro and its collaboration with the promotions of younger composers has been a fundamental constant in its career: thus in 2005 at the Hochschule für Musik in Frankfurt am Main and between 2004 and 2006 as resident group in the Curso Internacional de Analisis y Composición de Villafranca del Bierzo ( International Course on Analysis and Composition ), led by Cristóbal Halffter, and, in very significant way , the group is a fundamental part of the activities of the Chair of Composition “Manuel de Falla” in Cádiz promoted by Junta de Andalucía since 2004, which has become Taller Sonoro into a regular group in the planning of Festival de Música Española which is held annually in the Andalusian city. As evidence of this interest in direct and intimate contact with the composers at an early stage of professionalization, Taller Sonoro has undertaken several projects in recent years, currently valid thus, in 2008 established the position of “Resident Composer “, annually renewed and has already gone to Joav Pasowsky, Victor Ibarra and Christian Morales, and that in the same year the organization started an annual course, the “Taller Instrumental de Múisca Actual” (TIMAC), aimed at conservatory students and teachers in order to familiarize them with the current repertoire. Finally, Taller Sonoro, which since 2008 is managed from the promotional, administrative and artistic point of view by the company Ensemble Sonoro S. L. – has not forgotten the research, analysis and theoretical thoughts on the contemporary music: with more than twenty thousand visitors annually, the online magazine Espacio Sonoro, included since 2004 in the band’s website (www.tallersonoro.com) which is held every four months, it has become an essential reference for music lovers and for professionals who are interested in the sonic adventure of our time. Plural lines thrown into the future: in recent months, one of the initiatives received with greater expectations has been the creation of the Laboratorio de Música Electrónica de Andalucia Taller Sonoro (Laboratory of Electronic Music) (LEMAts), with the intention of making it an essential tool in our country for the composition of electronic music, both acousmatic and mixed, opened , like the instrumental group, to young composers. This is not, obviously, the only ajar door: We are aware of the necessity for opening horizons of repertoire, Taller Sonoro expects, in shortly, to make its staff more flexible; based on the initial organic-seven instrumentalists, held since its foundation- for specific projects in which the group will count on outside conductors ad hoc and visual artists who complete comprehensive proposals, so seductive in sound,spatial and visual fields, with the decisive addition of the fruits of LEMAts. These are our proposals and our renewed hope, based in a reality which is more than a decade behind but we only consider as the necessary impulse for further and more profound accomplishments.
PROGRAMM Integrations kontextualisiert das Neue Musik-Ensemble anhand von spezifischen Improvisationskonzepten und Auftragswerken neu. An den Konzerten in Leuk beteiligen sich Le Pot, UMS 'n JIP der österreichische Komponist Wolfgang Mitterer sowie die Ensembles Taller Sonoro Sevilla und dissonArt Thessaloniki. Jedes der Integrations-Konzerte wird gemeinsam gestaltet, legt aber einen Fokus auf jeweils eines der Ensembles. 2 JUNI Pierre Mariétan (CH) 4 JUNI Daniel Fueter (CH) Max E. Keller (CH) UMS (CH) JIP (CH) MANUEL AÑON Denis Schuler (CH) Christophe Schiess (CH) UMS (CH) Beat Furrer (CH/A) JIP (CH) Georges Aperghis (GR) Haris Kittos (GR) 6 JUNI Christophe Schiess (CH) UMS (CH) Beat Furrer (CH/A) JIP (CH) Georges Aperghis (GR) Max E. Keller (CH)
MITWIRKENDE Ensemble
Taller Sonoro
Aurélio Edler-Copes, geboren 1976 in Brasilien, studierte Gitarre und Komposition an der Hochschule für Musik in San Sebastian, Baskenland und bei Georges Apeghis an der Hochschule der Künste in Bern. Zudem absolvierte er ein postgraduales Studium am Pariser IRCAM. Seine Kompositionen wurden mehrfach prämiert und werden heute von vielen namhaften Orchestern und Ensembles zeitgenössischer Musik wie u.a. dem Klangforum Wien, der musikFabrik und dem Ensemble Quatour Diotima interpretiert. Er erhielt Kompositionsaufträge von der französischen, brasilianischen, spanischen und baskischen Regierung. Edler-Copes ist Mitbegründer und Künstlerischer Leiter des spanischen Krater Ensembles und arbeitet in verschiedenen Kompositionsprojekten mit. Von Juli bis September 2013 war er Composer in Residence am Kyoto Arts Centre in Japan und am Centre National de Création Musicale in Marseilles.
Javier Hagen. Composer and singer born 1971 in Barcelona, raised between 6 languages in Wallis and the Mediterranean. Composition under the tutelage of Heiner Goebbels and Wolfgang Rihm. As a singer both tenor and countertenor, Javier Hagen is one of the most surprising classical singers of his generation. With an exceptional 4 octave vocal range, he has premiered more than 200 oeuvres at the most prestigious European contemporary music festivals collaborating with some of the most distinguished 20th century composers such as Aribert Reimann, Mauricio Kagel, Pierre Mariétan, Peter Eötvös and leading concrete poetry and constructive art artists such as Eugen Gomringer, Mauricio Rosenmann, Rolf Schroeter, Günther Uecker. Guest at festivals for new and early music in Donaueschingen, New York, Hong Kong, Strasbourg, Karlsruhe, Zurich, Lucerne, Geneva, Prague, Bologna, Milan, Amsterdam, Paris and Berlin. Numerous recordings for German, French, Czech and Swiss Radio and TV stations. Besides "standard" opera roles like Dardanus, Giulio Cesare, Zsupan and Pappacoda Javier Hagen premiered major roles in contemporary operas such as 'air à l'en verre' by Daniel Mouthon 1997, 'eismeer' by Christoph Schiller 2004, 'poem ohne held' by Regina Irman 2005, 'esther de racine' by Boris Yoffe 2006, 'Marienglas' by Beat Gysin 2010, 'Les Musiciens de Brème' by Wen Deqing 2011, 'Keyner Nit' by Mathias Steinauer 2011, 'Nothing and More' by Jack Fortner 2014, 'Ushba et Tetnuld' by Nicolas Vérin 2014. Prize winner of international new music and composition competitions in 2001/4/8 in Basel, Lausanne and Düsseldorf. 2003 publication of his ver-rückten Volkslieder "s´sch mr alles 1 Ding" by "musiques suisses" on CD. Hagen's compositional oeuvre includes the instrumental, scenical and vocal genres as well as electroacoustic and installative works. His vocal works receive particular appreciation and are performed at festivals all around Europe (Europa Cantat Mainz, Klagenfurt and Basel 2004/06/08, Centre Culturel Suisse Paris) as well as in Central America (America Cantat), Canada, China, Corea, Lituania, Israel and the U.S. Together with Ulrike Mayer-Spohn, Hagen forms the duo UMS ´N JIP, which is dedicated to new musical settings for recorder, voice and electronics, being one of the activest contemporary music ensembles worldwide. Jury member of national and international contemporary music and composition contests, among others Young Composers Award at the ISCM World Music Days 2014. Board member of both Swissfestivals Association and European Conference of Promoters of New Music ECPNM. He presides ISCM Switzerland and the Int. Society for Contemporary Music Valais/Switzerland IGNM-VS and is the director of Swiss contemporary music festival Forum Wallis. Lectures and masterclasses at the universities of Shanghai and Hong Kong, China. Calls for expertises for the Hochschule der Künste HdK Berne as well as for Valais Government (MusiquePRO) and UNESCO. In 2007 Hagen was nominated "Valaisan of the Year". 2013 he is awarded the "Prix Culturel du Canton du Valais".
Ulrike Mayer-Spohn. Extraordinary diversity describes the composer and multi-instrumentalist Ulrike Mayer-Spohn who plays the recorder (with focus on contemporary music), as well as historical string instruments (fiddle and baroque violin). She studied composition and audio design with Erik Oña at the Studio of Electronic Music, Academy of Music, Basel, beginning to compose in 2007, and receiving commissions from the festival forum Valais and the international New Music Days, Shanghai. Her work has been performed by the Stuttgart Vocal soloists, Ensemble Phoenix Basel, Vertigo, DissonArt, L'Arsenale, cool a cappella (1st Prize world choir games 2008) and her own ensemble Ums' n Jip in Switzerland, France, Greece, Italy, Russia, Australi , the USA and China, premiered under the baton of Beat Furrer, Mark Foster, Tsung Yeh, Jürg Henneberger and Filippo Perocco and broadcast by the Swiss radio. She was awarded the 2nd Prize in the composition competition Culturescapes 2010, 2nd Prize in the composition competition at the Bern music festival 2011, the Scholarship Award for 2011 at the Music Village Mount Pelion in Greece and the Call for Scores Award L'Arsenale Treviso, Italy 2011. With the ensemble Ums' n Jip she has undertaken research in the field of musical theater (chamber operas One, Two, Three, Four, Five), live electronic music and sound spacialization. She studied recorder with Ulrike Mauerhofer at the Musikhochschule Karlsruhe, with Conrad Steinmann and Corina Marti at the Schola Cantorum Basel before specializing in contemporary music and studying with Dorothea Winter at the Royal Conservatory in The Hague. From 2009-11 she received a specialized master in contemporary performance at the HSM in Basel supervised by Jürg Henneberger, Marcus Weiss and Mike Svoboda and has taken masterclasses with Marion Verbruggen, Peter van Heyghen, Sebastien Marq and Gerd Lünenbürger. She studied baroque violin and viola with Martina Graulich and David Plantier and fiddle with Randal Cook in Basel. Ulrike Mayer-Spohn works with internationally leading composers and annually plays more than 20 world premieres dedicated to her, which she has recorded for the radio as well as VDE Gallo on CD. Together with the Swiss composer and singer Javier Hagen, she established the experimental new music duo Ums `N Jip for voice, recorder and electronics, which, alongside Ensemble Modern, Intercontemporain and Kronos is one of the most active ensembles worldwide and in 2011 won the prestigious MusiquePro scholarship. Since 1999, Ulrike Mayer-Spohn has also performed as a recorder player, violinist, violist and fiddle player in specialized early music ensembles such as the Amsterdam Barok Compagnie, Freitagsakademie, Collegium Musicum Stuttgart, La Chapelle Ancienne, Musica Poetica, Muscadin and La Morra and has performed in Germany, China, the Netherlands, France, Spain, Italy and Switzerland.
Max E. Keller was one of the first free jazz musicians in Switzerland. From 1966 until 1973 he followed his own concept performing free jazz and improvised music on the piano and electronic instruments in concerts or for radio recordings in Switzerland, Germany, Belgium, Poland and Czechoslovakia. Since 1973 Keller has produced over 90 compositions for various forces including electronic music. He often sets texts to music, examples include his ‘Gesänge II’ (Erich Fried); ‘Gesänge III’ (Jürg Weibel) and ‘Gesänge IV’ (Kurt Marti); ‘Konfigurationen’ (I, II and III – various authors); ‘Deformationen’ (self-written texts); the feature-length cantata ‘Fontamara’ (Ignazio Silone), the mini-opera ‘Egon – aus dem Leben eines Bankbeamten’ (Hans Suter) and the chamber opera ‘Die Axt’ after Max Frisch’s ‘Graf Öderland’ (2004-2006), a commission for the Komischen Oper Berlin. Performances and radio broadcasts in the whole of Europe, Australia, North and South America, Russia, Mongolia, Korea and Azerbaijan are a part of his career history. Keller began improvising again after 1985 and since 1985 is responsible for the programme and organisation of contemporary music and jazz concerts at the ‘Theater am Gleis’ in Winterthur. 1985 - Swiss representative at the biennale in Berlin, 1991 - Swiss representative at the IGNM Weltmusiktagen in Zurich, 1993 - Swiss representative in Mexico, 1997 - Art prize of the Carl-Heinrich-Ernst-Foundation in Winterthur, 1999 - Berlin stipend, 2001 - Project contribution (commission from the Tonhalle-Orchester Zürich), 2003 - Contribution to the artistic work of the Aargauer Kuratorium. ‘Sicher sein ...’ (speaker and electronic tape) and ‘Repetitionen I-V’ (harpsichord) were recorded onto LP and ‘Pentalog’ (orchestra) and ‘Sie’ (speaker and electronic tape) onto CD; two CDs (col legno and Jecklin Edition) are dedicated solely to his chamber musical works, a third CD (Grammont-Portrait) containing five chamber musical works and one orchestral work (Tonhalle-Orchester conducted by David Zinman) was released in 2003.
Born in Zurich in 1949, Daniel Fueter studied piano at the Zurich Academy of Music and graduated with a teaching and concert diploma. Since 1973 he has been active in music education and has taken up several administrative roles, such as the one of rector of the former Zurich Academy of Music and Theater Zurich, between 2003 and 2007. Daniel Fueter wrote about a hundred stage pieces for theatre in Switzerland’s German speaking area. Furthermore, he composed chansons, Lied, piano and chamber music as well as choir and theatre pieces. Among his most extensive works are an opera and an operetta on Libretti by Thomas Hürlimann, a chamber opera on texts by Lukas Bärfuss and an oratory on a text by Jürg Jegge. Daniel Fueter also acts as Lied accompanist. He currently teaches a Lied class at the Zurich University of Arts and in master classes around Europe. Daniel Fueter is father of two daughters and grandfather of two grandchildren. He is married to pianist Eriko Kagawa.
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