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Moscow
Contemporary Music Ensemble (Moscow Ensemble).
Moscow Contemporary Music Ensemble (MCME) was
founded in 1990 by Yuri Kasparov, under the
patronage of the famous Russian composer Edison
Denisov. The ensemble focuses on promoting 20th
and 21st century music. It is Russia’s foremost
contemporary chamber ensemble and consists of
some of the best Russian musicians specializing
in modern music. MCME has strong educational
goals and works closely with both Russian and
international cultural foundations to bring
contemporary music to a wide range of audiences.
As part of this goal, MCME has organized the
International Young Composers Academy
(Tchaikovsky City, Ural) to bring together both
young composers and internationally recognized
composers in workshops. The ensemble’s
repertoire is quite extensive and has included
the premiere of almost 800 different works.
Particularly, they champion the music of Russian
composers of the 1920’s and ‘30’s, such as
Nikolai Roslavets and Alexander Mosolov.
Additionally, they regularly perform music by
“Shestidesyatniki” (1960’s Russian) composers.
MCME regularly performs in many diverse locales
across Russia (80 cities) and elsewhere in the
world, including Armenia, Austria, Belorussia,
Czech Republic, Cyprus, Denmark, Finland,
France, Georgia, Germany, Great Britain, Italy,
Japan, Lithuania, Macedonia, Moldova, the
Netherlands, Poland, Romania, Slovakia, Spain,
Switzerland, Turkey, Ukraine, Uzbekistan and
USA. MCME performed on the best concert stages,
took part in the biggest international festivals
such as “Moscow Biennale for Contemporary Art”,
“DiaghilevFest” (Russia, Perm), “Radio-France
presences” (Paris), “FrankfurtFest”,
“Maerzmusik” (Germany), “Gaudeamus music week”,
“The Night of the Unexpected” (the Netherlands),
“Warsaw Autumn” (Poland), “Klangspuren”
(Austria) and other. MCME has recorded more
than 40 CDs for leading CD labels, including
Olympia (UK), Harmonia Mundi (France), Triton
(Japan), Donemus (The Netherlands), Fancymusic
(Russia), etc. Each season MCME gives around 70
concerts in Russia and abroad. The special place
in repertoire is allocated for music of young
Russian and foreign composers. The ensemble also
takes active part in the international
multimedia and theatrical projects. In 2009 MCME
became the winner of the Award ACTION in support
of theatrical initiatives. In 2013 MCME got the
Award GOLDEN MASK.
http://mcme.iscmrussia.ru/about.html
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dissonArt
ensemble Thessaloniki. The
Thessaloniki-based ensemble dissonArt was
founded in 2005 with the intention to
disseminate the stylistic diversity of new music
in Greece as well as internationally. Following
the model of similar contemporary orchestral
groups, the ensemble is organized around a core
of 6 soloists and associated partners, with a
flexible internal structure. The ensemble's
programmes aim to promote works of recognized as
well as emerging composers that deserve to be
heard. Music-theatre works and collaborations
with groups of other artistic disciplines that
result in the creation of original works are
among the main objectives of dissonArt. The
ensemble has closely collaborated with composers
such as G.Aperghis, B.Furrer and Manos Tsangaris
(music theatre commision: Love & Diversity).
dissonArt's activity spectrum includes, among
others, educational projects such as the
organization and realization of a bi-annual
Composition Competition in collaboration with
the State Orchestra of Thessaloniki, and
Composition/Performance Workshops held at the
Music Village-Pilion (www.music-village.gr). The
ensemble has also performed at the annual
Composition Workshop ( 2006-2011) organised by
Thessaloniki Concert Hall. dissonArt ensemble is
performing frequently in Greece and abroad in
prominent halls and festivals such as the
Darmstadt International Summer Course for New
Music, Ensembl[:E]uropa (Cologne), Klang
Festival ( Copenhagen), Kunstfestspiele
herrenhausen (Hannover), Forum Wallis
(Switzerland), Milano incontra la Grecia
(Milan), Klangspuren (Innsbruck ),4020. mehr als
Musik (Linz), Athens Festival, Brucknerhaus,
Minoritensaal, Piccolo Teatro, Onassis Cultural
Centre, Thessaloniki Concert Hall a.o. In 2012
their live concert in Cologne was released by
WDR3 and Dissonance Records.
http://www.dissonart.gr/en/
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Taller Sonoro Sevilla.
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, in the Ciclo de
Música Comtemporanea in Córdoba, Malaga,
Alicante, San Sebastian, KLEM (Bilbao) and
ENSEMS (Valencia). 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
(Bordeaux, Paris, Brest, Frankfurt a. Main,
Berlin, Bremen, Musikverein Wien) and,
singularly, it is a group of remarkable presence
in Latin American latitudes. 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, Cesar Camarero
and David del Puerto. Moreover, the pedagogical
work of Taller Sonoro and its collaboration with
the promotions of younger composers has been a
fundamental constant in its career. 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 Música
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.
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.
http://www.tallersonoro.com/
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Zafraan steht für Musik,
die das heutige Leben, die heutige Gesellschaft,
die heutige Realität in all ihren Facetten
reflektiert. Gemeinsam mit anderen Kunstformen
beobachtet, erforscht und verarbeitet Zafraan das,
was uns umgibt: die Menschen, das Geschehen, die
Natur, die Technologien, die Normalitäten und die
Absurditäten von heute. Die aus zehn festen
Instrumentalisten aus Spanien, Frankreich,
Neuseeland, Australien und Deutschland bestehende,
basisdemokratisch organisierte Gruppe formierte
sich 2009 in Berlin und spielt vorzugsweise
aktuelles Repertoire, das von der Kernbesetzung
mit Violine, Viola, Cello, Bass, Flöte,
Klarinette, Saxophon, Harfe, Klavier und
Percussion abgedeckt wird. Die Musiker fordern
sich selbst und das Publikum, probieren aus und
überraschen. In Zusammenarbeit mit Dirigenten wie
Titus Engel oder Manuel Nawri, mit Künstlerinnen
wie Chiharu Shiota, Aliénor Dauchez und Louise
Wagner, mit Komponisten wie Samir Odeh-Tamimi,
Alexander Schubert, Elena Mendoza, Stefan Keller,
Johannes Borowski, Eres Holz und Helmut Oehring
gehen sie ans Limit, provozieren, riskieren und
schaffen Neues. Dabei entfaltet Zafraan die
erzählerische Kraft der Musik, um das erlebbar zu
machen, was erzählt werden muss.
Das Zafraan Ensemble setzt sich
aus folgenden Mitgliedern zusammen: Liam Mallett
(Flöten), Miguel Pérez Iñesta (Klarinetten),
Martin Posegga (Saxophone), Anna Viechtl
(Harfe), Daniel Eichholz (Schlagwerk), Clemens
Hund-Göschel (Klavier), Emmanuelle Bernard
(Violine/Viola), Josa Gerhard (Viola/Violine),
Martin Smith (Violoncello) und Beltane Ruiz
Molina (Kontrabass).
2017 erhält das Zafraan Ensemble
eine Basisförderung durch der Senatsverwaltung
für Kultur und Europa des Landes Berlin.
http://zafraanensemble.com/ensemble/
Photo: Neda Navaee
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Con el objetivo de estimular el
desarrollo de la música contemporánea en México a
través del fomento, la experimentación,
producción, difusión y formación de la
creación musical actual, el CONACULTA, el INBA y
el FONCA fundaron en 2012 el CEPROMUSIC,
cuyas actividades dieron inicio
artísticamente con la presentación de su ensamble
permanente con la interpretación de Tlachtli de
Manuel Enríquez, y del Kammerkonzert
de György Ligeti. Bajo la dirección
artística de José Luis Castillo, el CEPROMUSIC se
ha caracterizado por ser un espacio en el que
convergen actividades artísticas y académicas
en favor de la creación y difusión de la música
contemporánea. En ese sentido el Ensamble
CEPROMUSIC es uno de los instrumentos que
permiten llevar a cabo los objetivos del Centro.
Así pues, desde noviembre de 2012, el Ensamble ha
ejecutado 105 conciertos con un total de 335
obras, de las cuales 113 han sido
estrenos. Además de sus temporadas regulares
en el Palacio de Bellas Artes, el ensamble
CEPROMUSIC ha realizado residencias al interior de
México y Estados Unidos y colabora
habitualmente con otras disciplinas como vídeo,
cine silente, teatro, danza y multimedia. El
Ensamble CEPROMUSIC ha realizado tres giras
internacionales presentándose con éxito en Estados
Unidos (Center for New Music, Boston University y
Americas Society, Nueva York. 2014),
Inglaterra (Huddersfield Contemporary Music
Festival, 2015, Escocia (Dundee Rep Theatre, sede
de la compañía Scottish Dance Theatre, 2016),
Estados Unidos (Multicultural Education and
Counseling through the Arts, MECA, Houston, 2017)
y España (U. de Alcalá de Henares, Projecte
Rafel Festival y XXXVIII Encontre Internacional de
Compositors, Madrid-Valencia-Mallorca, 2017). Su
producción discográfica incluye la integral
para ensamble de Manuel Enríquez así como
Denudatio perfecta, que incluye obras de nueve
creadores mexicanos a partir de una propuesta
plástica de Sandra Pani. El repertorio del
CEPROMUSIC reúne lo más amplio de la escena
musical en la actualidad: de la nueva complejidad
a la improvisación o del macro timbre al
código en tiempo real; todo esto siempre con el
fin de promover y difundir la creación
contemporánea mexicana. Durante 2017,
Ensamble CEPROMUSIC programó dos giras
internacionales (Estados Unidos y España) y, antes
de cerrar el año, grabará su
quinta producción discográfica y ofrecerá su
concierto de cierre de temporada el día 9 de
diciembre.
https://cepromusic.inba.gob.mx
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Das Klangforum
Wien – Eine Veranstaltung zur Verbesserung
der Welt. 24 MusikerInnen aus zehn Ländern
verkörpern eine künstlerische Idee und eine
persönliche Haltung, die ihrer Kunst
zurückgeben, was ihr im Verlauf des
20. Jahrhunderts allmählich und fast
unbemerkt verloren gegangen ist: Einen Platz in
ihrer eigenen Zeit, in der Gegenwart und in der
Mitte der Gemeinschaft, für die sie komponiert
wird und von der sie gehört werden will.
Seit seinem ersten Konzert,
welches vom Ensemble noch als „Société de l’Art
Acoustique“ unter der musikalischen Leitung
seines Gründers Beat Furrer im Palais
Liechtenstein gespielt wurde, hat das Klangforum
Wien unversehens ein Kapitel Musikgeschichte
geschrieben: An die fünfhundert Kompositionen
von Komponist*innen aus drei Kontinenten hat das
Ensemble uraufgeführt und so zum ersten Mal ihre
Notenschrift in Klang übersetzt. Auf eine
Diskographie von mehr als 70 CDs, auf eine
Reihe von Preisen und Auszeichnungen und auf
2000 Auftritte in den ersten Konzert- und
Opernhäusern Europas, Amerikas und Japans, bei
den großen Festivals ebenso wie bei jungen
engagierten Initiativen könnte das Klangforum
Wien zurückblicken, wenn das Zurückblicken denn
seine Sache wäre. Über
die Jahre sind tiefe Künstlerfreundschaften mit
herausragenden Komponist*innen, Dirigent*innen,
Solist*innen, Regisseur*innen und engagierten
Programmmacher*innen gewachsen. Am Profil des Klangforum Wien haben
sie ebenso Anteil, wie dieses seinerseits ihr
Werk mitgetragen und -geformt hat. In den
letzten Jahren haben sich einzelne Mitglieder
wie auch das Ensemble als Ganzes zunehmend um
die Weitergabe von Ausdrucksformen und
Spieltechniken an eine neue Generation von
Instrumentalist*innen und Komponist*innen
bemüht. Seit dem Jahr
2009 könnte sich das Klangforum Wien auf Grund
eines Lehrauftrags der Kunstuniversität Graz
auch in corpore „Professor“ nennen. Das alles würde äußerlich bleiben,
wäre es nicht das Ergebnis des in den
monatlichen Versammlungen aller Musiker*innen
des Ensembles permanent neu definierten Willens
eines Künstlerkollektivs, dem Musik letztlich
nur ein Ausdruck von Ethos und Wissen um die
eigene Verantwortung für Gegenwart und Zukunft
ist. Und so wie die
Kunst selbst ist auch das Klangforum Wien nichts
anderes als eine durch ihr Metier nur sehr
behelfsmäßig getarnte Veranstaltung zur
Verbesserung der Welt. Wenn sie das Podium
betreten, wissen die Musiker*innen des
Ensembles, dass es nur um eines geht: Um alles.
Eros und Unbedingtheit dieses Wissens machen das
Besondere der Konzerte des Klangforum Wien aus. Wer über die Geschichte des Ensembles
gerne mit Zahlen, Daten und Fakten bedient sein
will, ist herzlich willkommen, diese auf www.klangforum.at
nachzulesen. Für eine kurze Biographie des
Ensembles schien es uns aber richtig, entgegen
einer mehr dem Statistischen verpflichteten
Konvention den Versuch einer Skizze des inneren
Wesens des Klangforum Wien zu unternehmen.
Die Mitglieder des Klangforum Wien
stammen aus Australien, Bulgarien, Deutschland,
Finnland, Frankreich, Griechenland, Italien,
Österreich, Schweden und der Schweiz. Sylvain
Cambreling, Friedrich Cerha und Beat Furrer sind
die drei herausragenden Musiker, denen das
Klangforum Wien im Verlauf seiner 25-jährigen
Geschichte durch jeweils einstimmigen Beschluss
aller Musiker*innen die Ehrenmitgliedschaft des
Ensembles verliehen hat. Mit Beginn der Saison
2018/2019 hat Bas Wiegers die Aufgabe des Ersten
Gastdirigenten von Sylvain Cambreling
übernommen, der dem Ensemble als Erster
Gastdirigent emeritus verbunden bleibt.
www.klangforum.at
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WOLFGANG
MITTERER
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EGIDIUS STREIFF
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TAKAO HYAKUTOME
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Wolfgang Mitterer lives
in Vienna. Mitterer studied organ, composition
and electroacoustics in Vienna and Stockholm. He
is not only one of the Austrian specialists for
electronics as well as being equally brilliant
on the keyboard and on the slide controls, but
is also one of the most innovative composers.
His work oscillates between composition and open
form. Apart from music for organ and orchestra,
a piano concerto and an opera he has produced
electronic pieces, conceptualized sound
installations, and engaged in collective
improvisation with diverse groups, developing a
language of extremes, tension and complexity.
The pleasure he takes in experimenting leads him
to combine contrasting elements in the creation
of unpredictable musical events. In one major
composition, for instance, he juxtaposes musical
bands and children’s choirs with specialized
instrumentalists and singers, while filling the
hall with surround sound created by live
electronics. But his work transcends the merely
spectacular, precisely because of his musical
presence and the high – deeply moving –
intensity and complexity of his compositions.
Listening intensely to low sounds has its place
just as much as the “installing” of exploding
sound fragments in the listeners’ minds. Far
from being smoothly pleasurable, Mitterer’s
music is still uncannily beautiful at times.
http://www.wolfgangmitterer.com/ |
Egidius Streiff ist
leidenschaftlich Geiger. Er unterrichtet an der
Musikakademie Basel und unternimmt Tourneen um die
ganze Welt. Aufnahmen für Radio und TV (u.a. CCTV
9 Direktübertragung des Konzerts von Wang Xi-Lin).
Unzählige Werke sind ihm gewidmet worden - allein
seit 2012 hat er vier neue Violinkonzerte
erfolgreich zur Uraufführung gebracht.
Gründer der Chuluun Foundation Ulan Bator für den
kulturellen Austausch mit Zentralasien;
Initiant von www.pyongyangklang.ch
unter dem Patronat von BR Micheline Calmy-Rey.
Heute ist Streiff künstlerischer Ko-Leiter von
Klangraum Riehen Marlboro und des CD-Labels streiffzug.com,
http://egidiusstreiff.ch
Photo: Friedel Ammann
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Born in Sapporo, Takao
Hyakutome started violin lessons at the age
of 4. He studied at the Conservatory of Maastricht
(Bachelor degree) and the Royal Flemish
Conservatory of Antwerp (Master degree with high
honours) with Prof. Dirk Verelst (violin and
chamber music) and Prof. Wim Henderickx
(composition). After having won several prizes at
international competitions, he is now preeminently
a solo violinist and violist, and regularly
premieres works for both violin solo and ensemble.
He also works with ChampdAction and many other
chamber music groups. He has performed in
festivals like Ultraschall in Berlin, Biennale
Musiques en Scène in Lyon, ME_MMIX in Palma de
Mallorca, Mixtur in Barcelona, Forum Wallis in
Leuk, and many others. Besides being active as a
performer, Takao also does research on extended
violin techniques and 5 string violin/viola. He is
often invited to give masterclasses and workshops
lecturing on these subjects. Furthermore, he is a
member of the research group performance practice
in perspective at the
Conservatory of Antwerp. Takao performs on the
violin, Edoardo Marchetti, Torino, 1910; the 5
string violin, Stefan Jarosz, 2013, Antwerp; and
the electric 5 string violin, John Jordan,
Concord, 2011.
http://takaohyakutome.com/
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CHAO-MING
TUNG
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MANUEL MENGIS
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HANS-PETER
PFAMMATTER |
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Chao-Ming Tung is a
Taiwanese-born composer and gu-zheng
player (Chinese zither). His music
encompasses stage, instrumental, vocal, and
electro-acoustic works,
and multimedia-performances with visual arts
and dance. Since 2000 he has gradually
incorporated Chinese instruments into his music,
and improvises with gu-zheng and live
electronics in concerts. In 1988 he began
composition studies with Chien Nan-Chang in
the Chinese-Culture-University Taipei. He
continued his training from 1990 -1997 at the
Musikhochschule Köln Germany with Johannes
Fritsch and Mauricio Kagel, and later at the
Folkwang-Hochschule Essen with Nicolaus A.
Huber, where he graduated with distinction. Since
1999 he has worked as a freelance composer
and musician, and facilitates East-West
cultural exchanges. Tung's work has been
presented in concerts of numerous
festivals throughout Europe, Asia, and the
USA. He has collaborated with choreographers,
dancers, painters, musicians, ensembles,
sound-, media- and video artists, e.g.
Annegret Heiln, René Pieters, Bernhard Gal,
Klang Forum Wien, Ensemble Ictus, Ensemble Modern,
ensemble 2e2m, Ensemble On-Line Vienna ,
ensemble DEDALO, and China Found Music
Workshop Taipei. He was awarded the Bernd
Alois Zimmermann Scholarship for Composers
from the City of Cologne in 1999, the Scholarship
of National Culture and Arts Foundation
Taiwan in 2001 and the Scholarship of Villa
Aurora Los Angles, second award of
international Xu Chang Hui composition
competition Taiwan. He is a composer in
residence of China Found Music Workshop
Taipei since 2006 and guest professor for
composition at the National Ciao Tung
University 2007. |
Manuel Mengis, 1972 in
Visp geboren, Musiker/Bergführer, Ausbildung an
der Hochschule Luzern, erhielt mehrere
Preise und Auszeichnungen, spielt seit Jahren
im In- und Ausland, hauptsächlich im Bereich der
improvisierten Musik, daneben Projekte im
Feld der E-Musik/ Theater. Kollaboration mit:
Bruno Amstadt, Arthur Blythe, Pierre Audetat,
Stefanie Ammann, Christoph Coburger, Roberto
Domeniconi, Achim Escher, Christoph Erb, Donat
Fisch, Lionel Friedli, Roland von Flue,
Andy Guhl, Flo Götte, Vincent Glanzmann,
Hämmi Hämmerli, Barbara Heynen, Franz Hellmüller,
Harald Haerther, Gilbert Jossen, Jonas Imhof,
Hans Koch, Valentin Kessler, Vera Kappeler, Peter
Landis, Patrice Moret, Vincent Membrez,
Christian Niederer, Jonathan Nott, Roman
Novka, Bänz Oester, Adrian Pflugshaupt, Andre
Pousaz, Hans-Peter Pfammatter, Marcel Papaux,
Norbert Pfammatter, Luca Ramella, Samuel Rohrer,
Bruno Spoerri, Co Streiff, Flo Stoffner, Fredy
Studer, Irene Schweizer, Julian Sartorius,
Luca Sisera, Marcel Stalder, Philipp
Schaufelberger, Peter Schärli, Rafael Schilt, Reto
Suhner, Tobias Schramm, Manuel Troller,
Christian Weber und anderen.
http://manuelmengis.ch
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Hans-Peter Pfammatter (*
1974 in Sierre) ist ein Schweizer Jazzpianist und
Komponist. Pfammatter spielte als
Kind zunächst Trompete, bevor er
dreizehnjährig zum Klavier wechselte. Er spielte
in verschiedenen Rock-, Pop- und
Jazzbands und studierte von 1995 bis 1999 an
der Jazzschule von Luzern. Er spielte dann in
Aufnahmen von Bänz Oester, Gilbert Paeffgen
und Werner Hasler und trat in Konzerten mit Corin
Curschellas, Ray Anderson, Christy Doran, Fredy
Studer, Tony Overwater, Fee Claasen, Brad
Dutz und Alexander Sipiagin auf. 2001 wurde er
Mitglied der Gruppe New Bag von
Christy Doran. Mit dem Klarinettisten Lucien
Dubuis, dem Bassisten Urban Lienert und dem
Schlagzeuger Lionel Friedli gründete er die
Gruppe Scope, mit der er 2007 das Album Nu Gara
herausbrachte. Daneben komponierte Pfammatter
Musiken für Schauspiele (unter anderem Tag
des Jammers mit Peter Schärli), Kurzfilme und
Hörspiele sowie mehrere Streichquartette.
http://www.scopesonic.ch/ |
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UMS 'n JIP ['umsnjip].
Founded by Ulrike
Mayer-Spohn [UMS] and Javier Hagen [JIP],
UMS 'n JIP is one of the most active
contemporary music ensembles worldwide
performing >100 international concerts
annually, including mobile chamber operas &
multimedia performances. They can look back on
more than 1000 concerts and 300 commissioned
works since 2007. Since their studies
(composition, audio design & musical
performance) in the Netherlands, Germany, Italy
and Switzerland, UMS and JIP have been invited
to prestigious contemporary music and theatre
festivals (Avignon, Paris, Strasbourg,
Marseille, TKF Zürich, TKF Lausanne, Lucerne,
Basel, Bern, Shanghai, Beijing, Hong Kong, Ulan
Bator, New York, Donaueschingen, Stuttgart,
Karlsruhe, Berlin, Moscow, St. Petersburg, Riga,
Thessaloniki, Istanbul, Adelaide) where they
have premiered hundreds of works as
soloists and as a duo, collaborating with both
world famous and aspiring young composers such
as Heiner Goebbels, Wolfgang Rihm, Mauricio
Kagel, Aribert Reimann, Peter Eötvös, Luis
Codera Puzo, Erik Ona, Vladimir Gorlinsky,
Chikashi Miyama, Huang Ruo, Wen Deqing and Guo
Wenjing. UMS 'n JIP explore new musical and
scenic settings for voice, recorders and
electronics ranging from live to digital
performance as well as European and non-European
music. Collaboration providing common research,
rehearsals and recordings with the individual
composers over several years as well as an
exceptionally high number of performances all
around the world mean that the works
commissioned by UMS 'n JIP are among the most
often performed compositions by such composers.
Although UMS ’n JIP do handle an impressive
workload, their aim is not to premiere as much
as possible but to perform new works as often as
possible - since works basically grow by being
performed. UMS 'n JIP are also involved in the
direction of the Swiss Contemporary Music
Festival Forum
Wallis, chaired by the International
Society for Contemporary Music
Wallis/Switzerland IGNM-VS.
JIP is the current president of ISCM
Switzerland as well as board member of the
European Conference of Promoters of New Music
ECPNM (2014-8), Swissfestivals (2012-18), the
UNESCO
Commission for the Inventory of Intangible
Cultural Heritage in the Canton of Valais
(2009-18), SME and ScoreFollower. Within these
structures, UMS 'n JIP have initiated more than
300
additional projects and commissions. Since 2013
UMS 'n JIP have taken part in two international
research projects: The Recorder
Map and i-Treasures.
The duo are coached by Irvine Arditti, leader of
the world renowned London-based Arditti Quartet.
http://umsnjip.ch/
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UMS (BIOGRAPHY).
Extraordinary
diversity describes the composer and
multi-instrumentalist Ulrike
Mayer-Spohn who plays the recorder
(with a 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, Australia, 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. In 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 studied for a specialized
master's degree 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 the 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. www.ulrikems.info
JIP
(Biography).
Javier
Hagen is one of the most astonishing
classical singers of his generation: new music,
performance art and Swiss folk music rank
equally in his repertoire alongside opera and
early music. Hagen was born in 1971 in Barcelona
on the Mediterranean and raised in the Valais
Alps. He studied classical singing (both tenor
and countertenor) in Germany, Italy and
Switzerland with Roland Hermann, Alain Billard
and Nicolai Gedda, and composition with Heiner
Goebbels and Wolfgang Rihm. He studied Lied with
Irwin Gage, Hartmut Holl and Ernst Haefliger and
early music with Karel van Steenhoven and Kees
Boeke. He has a four-octave vocal range. Hagen
has worked with world-class composers such as
Reimann, Kagel, Rosemann and Eötvös and leading
artists from the worlds of poetry and
constructivist art. Guest appearances have taken
him to the modern music festivals in
Donaueschingen, Zurich, Geneva, Lucerne,
Karlsruhe, Amsterdam, Strasbourg, Bologna,
Milan, Prague, New York, Hong Kong, Shanghai,
Moscow, St. Petersburg, Adelaide, Riga, Avignon
and Berlin. Alongside operatic roles such as
Handel's Giulio Cesare, Zsupan (Kalman),
Dardanus (Rameau), Stanislaus (Zeller) and
Pappacoda (Strauss), Javier Hagen has premiered
more than 200 works, including operas 'à l'air
en verre' by Daniel Mouthon 'eismeer' by
Christoph Schiller, 'poem ohne held' by Regina
Irman, 'esther de racine' by Boris Yoffe, 'The
Madman's Diary' by Guo Wenjing, 'Marienglas' by
Beat Gysin, 'Les Musiciens de Brème' by Wen
Deqing, 'Keyner nit' by Mathias Steinauer and
almost all vocal works by Maria Porten. He has
made more than 50 recordings and broadcasts for
Swiss and German radio and television. He won
prizes at international contemporary music and
composition competitions in 2001, 2004 and 2008
in Basel, Lausanne and Dusseldorf. In 2003, his
distorted folk song arrangements "s´sch mr alles
1 Ding" were released on CD on the Swiss label
"musiques suisses". His compositions, in
particular the vocal works, are performed
throughout Europe, Israel, China, Korea, Russia,
Australia, North and Central America, by
ensembles and conductors including Titus Engel,
Ensemble Phoenix, Basler Madrigalisten,
Schweizer Jugendchor, Philip Bride, Eliana
Burki, Amar Quartet. In 2012, a selection of his
graphic scores was shown at the prestigious
Museum of Modern Art ‘haus konstruktiv’ in
Zurich. At the European Youth Choir Festival
2012, Javier Hagen represented German-speaking
Switzerland in the context of 'Swiss Composers
meet Europe'. With Ulrike Mayer-Spohn, Hagen
formed the experimental new music duo UMS 'N
JIP, which, with over 100 concerts annually is
one of the most active contemporary music
ensembles around the world and winner of the
prestigious scholarship MusiquePro. Javier
Hagen, who speaks 6 languages, also directs the
international contemporary music festival Forum
Wallis. He is an expert on experimental music
theater for the University of Arts in Bern,
President of the International Society for
Contemporary Music Wallis / Switzerland ISCM VS,
as well as a board member of ISCM Switzerland.
He presents guest lectures at universities in
Shanghai, Moscow, Adelaide, Thessaloniki,
Barcelona, Paris, Riga and Hong Kong. He is a
jury member at national and international
composition and new music competitions and a
member of various committees on behalf of Valais
and for the inventory of the cultural heritage
on behalf of UNESCO. In 2007 he was nominated
for "Walliser of the Year." In 2013 he was
awarded the Prix Culturel de l'Etat du Valais. www.javierhagen.ch
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