|
19
MAI 2018 - 20h30 - St. Stephanskirche
Leuk INTEGRATIONS part I UMS 'n JIP
UMS 'n JIP UMS 'n JIP (Ulrike Mayer-Spohn und Javier Hagen) forschen und arbeiten im Grenzbereich zwischen musikalischer Avantgarde und Pop, zwischen Konzert und Musiktheater, zwischen europäischer und aussereuropäischer Musik und arbeiteten unter anderem mit Komponisten wie Goebbels, Rihm, Eötvös, Reimann, Kagel, Oña, Dayer, Gysin, Huang Ruo, Guo Wenjing und Deqing Wen zusammen. In 10 Jahren über 900 Konzerte auf mittlerweile allen Kontinenten, über 20 internationale Auszeichnungen, darunter das prestigeträchtige Dreijahresstipendium MusiquePRO des Kantons Wallis, 8 Musiktheaterpremieren (wovon 3 am Teatro Colon in Buenos Aires), 2 internationale Forschungsprojekte, Gastvorlesungen an bedeutenden Universitäten der USA, Russlands, Chinas, Hong Kongs, Australiens, Griechenlands, Ägyptens, Spaniens, der Türkei, der Schweiz und Frankreichs sowie ihr Engagement innerhalb der ISCM (Int. Society for Contemporary Music) und der ECPNM (European Conference for Promoters of New Music) sind nur einige Mosaiksteine einer ebenso aussergewöhnlichen wie konsequenten künstlerischen Démarche: Beinahe jedes der über 200 in Auftrag gegebenen Werke ist das meistgespielte Werk des jeweiligen Komponisten. Seit 2011 werden sie musikalisch von einem der bedeutendsten Interpreten für Neue Musik gecoacht: Irvine Arditti (Arditti Quartet London).
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.
Javier Hagen (eeeeiio-dklmrr, aeeio-cdllrr, eeeeii-dhlnr, world premieres, 20./21.5.18)
Ulrike Mayer-Spohn (fEdA+_2018, world premiere, 21.5.18)
Reuben de Lautour (ifadeh, 2017, 20.5.18)
Improvisationen (19./20./21.5.18)
CONCERT PICS
|
|
|
|
