19
MAI 2018 -
20h30
- St. Stephanskirche Leuk INTEGRATIONS
part I
20 MAI 2018 - 17h - Schloss Leuk
INTEGRATIONS part II
21 MAI 2018 - 14h
- Schloss Leuk INTEGRATIONS part
III
TALLER SONORO (Sevilla)
TALLER SONORO
Jesús Sánchez, flauta
Camilo Irizo, clarinete
Baldomero Lloréns, percusion
Ignacio Torner, piano
Alejandro Tuñón, violín
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.
http://www.tallersonoro.com/
Für die Instrumentenleihen
danken wir insbesonders:
Geigenbau Thomas Bellwald, Visp (Streichinstrumente)
Musikgesellschaft Vispe, Visp (Schlagwerk)
Jonas Imhof, Naters (Schlagwerk)
INTEGRATIONS
Integrations kontextualisiert das
Neue Musik-Ensemble anhand von spezifischen Auftragswerken und Improvisationskonzepten
neu. An den Konzerten in Leuk beteiligen sich Manuel Mengis, Hanspeter
Pfammatter, Yannick Barman, UMS 'n JIP der österreichische Komponist
Wolfgang Mitterer sowie die Ensembles Taller Sonoro Sevilla und
dissonArt Thessaloniki.
WERKE VON
Panayiotis Kokoras (Pandora's Box, world
premiere, 20.5.18)
(Greece, 1974) studied composition with I. Ioannidi,
K. Varotsi, A. Kergomard and classical guitar with E. Asimakopoulo
in Athens, Greece. In 1999 he moved to England, for postgraduate
studies where he completed his MA and PhD in composition with T.
Myatt at the University of York with funds from Arts and Humanities
Research Board (AHRB) and Aleksandra Trianti Music Scholarships
(Society Friends of Music) among others. His works have been commissioned
by institutes and festivals such as FROMM (Harvard University) IRCAM
(France), MATA (New York), Spring Festival (The University of York),
Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), and regularly
performed in over 400 concerts in 70 cities around the world. His
compositions have received 40 distinctions and prizes in international
competitions among others Prix Ars Electronica 2011 (Austria), Métamorphoses
2010 & 2000 (Belgium), Giga-Hertz Music Award 2009 (Germany),
ECPNM 2009 (Sweden), Bourges 2009, 2008 and 2004 (France), Gianni
Bergamo 2007 (Switzerland), Pierre Schaeffer 2005 (Italy), Musica
Viva 2005 and 2002 (Portugal), Look and Listen Prize 2004 (New York),
Gaudeamus 2004 and 2003 (Holland), Jurgenson Competition 2003 (Russia),
Seoul international competition 2003 (Korea), Takemitsu Composition
Award 2002 (Japan), Noroit Prize 2002 (France), CIMESP 2002 (Brazil).
Moreover, they have been selected by juries at more than 100 international
call for score opportunities. Panayiotis Kokoras sound compositions
develop functional classification and matching sound systems written
on what he calls Holophonic Musical Texture. His works include significant
influences of the electroacoustic studio upon acoustic instrumental
compositions and vice versa. Panayiotis Kokoras' creative output
consists of 50 works ranging from acoustic works to mixed media,
improvisation and tape. He is founding member and currently Vice
President of the Hellenic Electroacoustic Music Composers Association
(HELMCA). He has taught at the HigherTechnological and Educational
Institute of Crete and the Aristotle University of Thessaloniki.
Since August 2012 he is Assistant Professor at the University of
North Texas. His music is published in 30 CD compilations by Spectrum
Press, NOR, Miso Musica, SAN / CEC, Independent Opposition Records,
ICMC2004 and distributed in limited editions by LOSS, Host Artists
Group, Musica Nova, Computer Music Journal (MIT Press), Dissonance
Records and others.
http://www.panayiotiskokoras.com
Jose Manuel Martinez (Monologo de Cientos
Yo, world premiere, 21.5.18)
José Manuel Martínez de la Torre (Jaén, 1987) studied
composition and musicology at the CSM Manuel Castillo in Seville.
As a composer, he manifests a growing interest in interdisciplinarity
and the concept of space. In 2011 he collaborated with some electroacoustic
musical backgrounds for the theatrical piece "Ensayo sobre
uno mismo" by Raúl Pérez, selected at the Festival International
et Universitaire des Arts de la Scène de l'Artois, and for the 26th
Interuniversity Festival of Live Show of Lille, successfully performed
in both cities. A year later, again at the Artois Festival, he also
composed an electroacoustic background for the work Nasz Dom by
the Polish Nana Cwujdzinska and the French Remy Cartier. Since 2012
he is in charge of the production and electroacoustic support of
the spanish vocal ensemble ProyectoEle. He performs his acousmatic
pieces in 10 collaborative projects: Chansons", "Dream"
(directed by Michael Thomas), “Nordavind”, “Litany for the soul”,
“…but listen”, “4”, “La luz vislumbrada”, “De mitos y sortilegios”,
“Dadá music room” (in which he premiered two own works for voice
and tape as soundtrack for two dadaist short films) and “Minimal”.
In 2017 he was selected for the composition course Cátedra Manuel
de Falla, with Leo Brouwer as guest professor. There, he premiered
the work Sillage, Op. 50 for violin and piano (performed by Taller
Sonoro). As a musicologist, his studies focus on the study of space
and concert ritual, breaking with traditional paradigms, considering
it like elements of distortion in the communicative process of art.
Their aesthetic proposals consider that the artistic work exists
at the moment of the interaction with the receiver (in the sensorial
experience). He believe that the listener is who have to complete
the semantic meaning that the art itself in its physical representation
does not have.
José María Ciria (Anon Murus, 2016, 20.5.18)
http://josemariaciria.com/
César Camarero (Reverso II, 2001, 20.5.18)
https://es.wikipedia.org/wiki/C%C3%A9sar_Camarero
Javier Hagen (eeeeiio-dklmrr, eeeeii-dhlnr,
world premieres, 20./21.5.18)
http://www.javierhagen.ch
Improvisationen (19./20./21.5.18)
CONCERT PICS
