Anton Webern — Sechs Stücke für Kammerorchester op. 6
Pierluigi Billone — Ebe und anders
Georg Friedrich Haas — ... wie stille brannte das Licht
Johannes Kalitzke — Angels Burnout Graffiti
Marisol Montalvo, Soprano
Anders Nyqvist, trumpet
Kevin Fairbairn, trombone
conductor: Johannes Kalitzke
Salvatore Sciarrino — Carnaval
EA der Gesamtfassung
Joonas Ahonen, piano
Neue Vocalsolisten Stuttgart
conductor: Tito Ceccherini
Salvatore Sciarrino — Carnaval
Joonas Ahonen, piano
Neue Vocalsolisten Stuttgart
conductor: Tito Ceccherini
Bernhard Lang — DW16 (Songbook 1)
Stefan Prins — Fremdkörper #3 (mit Michael Jackson)
Peter Jakober — Substantie UA
Jorge Sánchez-Chiong — Final Girl 2009
Agata Zubel, Sopran
Peter Böhm & Florian Bogner, sound design
conductor: Bas Wiegers
Salvatore Sciarrino — Carnaval
Neue Vocalsolisten Stuttgart
Joonas Ahonen, piano
conductor: Tito Ceccherini
Agata Zubel — Not I
Peter Jakober — Substantie
Pierluigi Billone — Ebe und anders
Beat Furrer — linea dell'orizzonte
Agata Zubel, Soprano
Anders Nyqvist, trumpet
Kevin Fairbairn, trombone
Florian Bogner & Markus Urban, sound design
conductor: Clement Power
Jean Françaix — Nonetto (nach W.A. Mozarts
Quintett in Es-Dur KV 452)
Morton Feldman — Atlantis
Beat Furrer — linea dell'orizzonte
— Nuun
Joonas Ahonen, Klavier
Florian Müller, Klavier
Dirigent: Beat Furrer
The Bai Chuan Award, taking place as a yearly event since 2009, is amongst the most important composers’ competitions in China. It is organized by the renowned music conservatory in Shanghai, which looks back on a long tradition and has, since its foundation, maintained an intensive dialogue with western culture.
The competition addresses young composers from China and abroad and is open to chamber music formations (3 to 6 players).
Klangforum Wien will perform the compositions of the nine finalists in the course of a closing concert. This is going to be the ensemble’s first guest appearance in China, before it will return to Shanghai in May 2016 in order to introduce Chinese audiences to Beat Furrer’s music theatre Fama at the international Spring Music Festival.
Alberto Posadas — La lumière du noir
— Tratado de lo inasible EA
— Anamorfosis EA
— Tres pinturas imaginarias EA
conductor: Nacho de Paz
Georg Friedrich Haas — in vain
conductor: Sylvain Cambreling
Kurt Weill — Die Dreigroschenoper
libretto: Bertolt Brecht
director: Keith Warner
set design: Boris Kudlička
costume design: Kaspar Glarner
choreography: Anthony van Laas
light design: Bruno Poet
soloists: Tobias Moretti, Florian Boesch, Anne Sofie von Otter, Nina Bernsteiner, Angelika Kirchschlager, Markus Butter
Arnold Schoenberg Chor (Ltg. Erwin Ortner)
Klangforum Wien
conductor: Johannes Kalitzke
Michael Pelzel — Sempiternal lock-in
Georg Friedrich Haas — Anachronism
Enno Poppe — Koffer
Virginie Tarrête, harp
conductor: Enno Poppe
Das Klangforum Wien und die Brunnenpassage laden an diesem Samstag ein zum Musikmachen, Zuhören, Experimentieren und Improvisieren.
17 Uhr: „Schlagen” / Rhythmus Workshop Teil I
Nach der Aufführung des Schlagzeugstücks „Schlagen” findet ein Workshop für die ZuhörerInnen statt.
Leitung: Björn Wilker
18 Uhr: Kleines Konzert
Roberto Gerhard — Bläserquintett
Heitor Villa Lobos — Quinteto en Forma de Coros
19 Uhr: Workshop Präsentation
Eine Gruppe junger Schutzsuchender arbeitete eine Woche lang im Klangforum Wien intensiv an einem gemeinsamen Musikstück.
Leitung: Florian Müller
20 Uhr: Kleines Konzert
Gideon Klein — Streichtrio
Leos Janacek — Mladi
21 Uhr: „Schlagen” / Rythmus Workshop Teil II
Leitung: Björn Wilker
Die Teilnahme ist kostenlos!
Alban Berg — Vier Stücke op. 5
— Kammerkonzert
Max Reger — Eine Romantische Suite op. 125 (II. Scherzo)
(arr. Arnold Schönberg)
Alexander Zemlinsky — Sinfonietta op. 23
(arr. Roland Freisitzer)
Bernhard Zachhuber, clarinet
Sophie Schafleitner, violin
Florian Müller, piano
Joonas Ahonen, piano
conductor: Stefan Asbury
Pavel Haas — Bläserquintett op. 10
Leo Ornstein — Poems of 1917 (N. 1-5)
Józef Koffler — Die Liebe op. 41
Gideon Klein — Streichtrio
Alexandre Tansman — Septett
Anna Maria Pammer, Soprano
Joonas Ahonen, piano
moderation: Lothar Knessl
Ever since the first appearance, in the middle of the 14th century, of this piece of cloth with its mysterious image, it has served as a projection surface for a great many expressions of faith, love and hope – but also as an enduring source of various forms of doubt.
Joseph Haydn — Die sieben letzten Worte unseres Erlösers am Kreuze (Sonata III, V-VII)
Bernhard Lang — Monadologie IX (Sonata I, II, IV)
Olivier Messiaen — Quatuor pour la fin du temps
(1. Liturgie de cristal, 6. Danse de la fureur,
pour les sept trompettes)
Salvatore Sciarrino — La Malinconia
— Due notturni crudeli
— Let me die before I wake
Speaker: Dörte Lyssewski und Hermann Schmid
Leoš Janáček — Mládí (Youth)
Arnold Bax — Nonet
Josef Matthias Hauer — Musik-Film op. 51
(arr. Johannes Schöllhorn)
Rudolf Karel — Nonett
Michael Dangl, speaker
Maurice Ohana — Enterrar y Callar
Heitor Villa Lobos — Quinteto em forma de chôros
Charles Koechlin — Les Heures Persanes op. 65
(La Caravane, Arabesques)
Roberto Gerhard — Bläserquintett
Ferruccio Busoni — Indianisches Tagebuch I
Béla Bartók — Sonate für zwei Klaviere und Schlagwerk
Dörte Lyssewski, speaker
Joonas Ahonen, piano
Florian Müller, piano
Lord Berners — L'Uomo dai Baffi
Charles Ives — Largo
Silvestre Revueltas — Planos
Alfredo Casella — L'Adieu à la vie
Stefan Wolpe — Konzert für neun Instrumente, op. 22
Janina Baechle, Mezzo Soprano
conductor: Emilio Pomàrico
Gesprächskonzert zum 100. Geburtstag von Karl Schiske
Wenn Österreich heute im Bereich der Neuen Musik zu den weltweit führenden Ländern zählt, verdankt es das zu einem nicht geringen Teil dem Vater des Klangforum-Schlagzeugers Lukas Schiske: Karl Schiske, dessen wir aus Anlass seines 100. Geburtstags am vergangenen 12. Februar gedenken wollen, hat nach dem Krieg als Komponist und Lehrer eine ganze Komponistengeneration mit der Idee der Neuen Musik vertraut gemacht.
Der bekannte Dokumentarfilmer Kurt Brazda wird das Gesprächskonzert am 14. April, bei dem der Komponist Gösta Neuwirth sich an seinen Lehrer erinnern wird, für seinen neuen Film über Karl Schiske aufzeichnen. Das Gespräch mit Gösta Neuwirth wird Christian Meyer, Vizerektor für Außenbeziehungen der Universität für Musik und darstellende Kunst Wien, führen. Wir freuen uns darauf, Sie zu diesem Anlass im Haus des Klangforum Wien begrüßen zu dürfen.
Karl Schiske — Divertimento op. 49
— Bläserquintett op. 24
Dirigent: Johannes Kalitzke
Die Pfarre St. Andrä im multikulturellen Bezirk Gries ist ein wichtiger Treffpunkt für Menschen, die nach Graz emigriert sind – darunter viele Jugendliche aus den aktuellen Krisenregionen. Die Idee des Projekts der PPCM-Klasse ist es, diese jungen Menschen in die jährliche Konzertpräsentation einzubinden. more informations
Die Pfarre St. Andrä im multikulturellen Bezirk Gries ist ein wichtiger Treffpunkt für Menschen, die nach Graz emigriert sind – darunter viele Jugendliche aus den aktuellen Krisenregionen. Die Idee des Projekts der PPCM-Klasse ist es, diese jungen Menschen in die jährliche Konzertpräsentation einzubinden. more informations
Das Klangforum Wien und die Brunnenpassage laden an diesem Samstag ein zum Musikmachen, Zuhören, Experimentieren und Improvisieren.
18 Uhr: Workshop Präsentation
Ein Gruppe junger Schutzsuchender arbeitete eine Woche lang im Klangforum Wien intensiv an einem gemeinsamen Musikstück.
Leitung: Florian Müller
18.30 Uhr: Konzert
Alexandre Tansman — Septett
Enno Poppe — Haare EA
Murray Schafer — The Crown of Ariadne
Bernhard Gander — Bourée bourée UA (Ein Kompositionsauftrag von Gertraud und Dieter Bogner)
Pavel Haas — Bläserquintett op. 10
19.30 Uhr: Schlagen” / Rhythmus Workshop Teil I
Nach der Aufführung des Schlagzeugstücks „Schlagen” findet ein Workshop für die ZuhörerInnen statt.
Leitung: Björn Wilker
Die Teilnahme ist kostenlos!
Die Befragung der scheinbar unverrückbaren Gesetze des Musiktheaters steht im Mittelpunkt eines neuen Projekts des Klangforum Wien mit netzzeit und den Studierenden der Klasse von Anna Viebrock an der Akademie der Bildenden Künste Wien.
Der Grundgedanke von ECHOTECTURE ist Opernarbeit, die nicht primär durch Libretto und Komposition bestimmt ist, sondern durch die Parameter der räumlichen Umgebung, in welcher das Werk von Librettisten, Komponisten, SzenografInnen und MusikerInnen gemeinsam geschaffen wird. Zu ihrer Verwirklichung wird auf die verlorengegangene
Idee des Theaterkomponisten zurückgegriffen, der in täglicher, enger Zusammenarbeit mit der Kompanie schnell, mit Frische und Leichtigkeit, zu Musik macht, was Raum und Tag ihm zutragen. Mit Peter Jakober und Matthias Kranebitter sind zwei Komponisten der jungen Generation eingeladen worden, diese Aufgabe zu übernehmen.
Nur wenige Meter von unserem Proberaum entfernt befindet sich die Volksschule Am Hundsturm, mit der eine langfristige Partnerschaft vereinbart werden konnte. Klangexperimente und musikalische Hör-Spiele stehen im Mittelpunkt der regelmäßig stattfindenden Workshops. Die Ergebnisse der aktuellen Zusammenarbeit werden am 24. Mai präsentiert, davor heißt es noch neun Mal tüfteln, üben, hören und erleben.
Das gemeinsame Abschlusskonzert von StudentInnen und DozentInnen im Grazer MUMUTH ist der jährliche Höhepunkt der Unterrichtstätigkeit des Klangforum Wien an der Kunstuniversität Graz (KUG).
In einer experimentellen Projektreihe werden spartenübergreifende Synergien zwischen den Instituten der KUG hergestellt und Neuformulierungen an Werken von KomponistInnen vorgenommen. Heuer wurden in Workshops Stücke von Klaus Lang sowie Alte Musik aus dem 17. Jahrhundert bearbeitet.
Klaus Lang — the book of serenity. (I-V)
Improvisation I
Diego Ortiz — Recercada II "La Spagna"
Ascanio Mayone — Recercare sopra il Canto Fermo di Costantio Festa (La Spagna)
Improvisation II
Klaus Lang — der dünne wal.
Improvisation III
Romanus Weichlein — Encaenia musices, Sonata 1
Klaus Lang — Weisse Schatten
Improvisation IIII
Klaus Lang — Origami
Giovanni Pierluigi da Palestrina — Lamentatio Jeremiae prophetae
Klaus Lang — Praeludium 1+2
Klaus Lang — the book of serenity. (VI-VII)
production early music: Andreas Böhlen
Concept, musical dramaturgy, production "Scan II": Klaus Lang, Dimitrios Polisoidis
Markus Deuter: oboe, conductor (Klaus Lang — the book of serenity., der dünne wal.)
Musical setting by Georg Friedrich Haas of Mira Lobe's classic children's novel.
Georg Friedrich Haas — das kleine ICH BIN ICH UA
Sabine Muhar, Soloist
conductor: Johannes Kalitzke
Musical setting by Georg Friedrich Haas of Mira Lobe's classic children's novel.
Georg Friedrich Haas — das kleine ICH BIN ICH
Sabine Muhar, Soloist
conductor: Johannes Kalitzke
Musical setting by Georg Friedrich Haas of Mira Lobe's classic children's novel.
Georg Friedrich Haas — das kleine ICH BIN ICH
Sabine Muhar, Soloist
conductor: Johannes Kalitzke
Workshop sessions for students in conducting studies with Sylvain Cambreling and Klangforum Wien.
Friedrich Cerha — Bruchstück, geträumt
conductor: Sylvain Cambreling
My music is theatre music; it is not incidental music, but theatre in and of itself (Peter Eötvös) more
Peter Eötvös — Shadows
— Sonata per sei
— Chinese Opera
Vera Fischer, flute
Olivier Vivarès, clarinet
Peter Böhm & Markus Urban, sound design
conductor: Peter Eötvös
A recording of this concert will be broadcasted by ORF on august 22 and 23 at 11:08 pm on the Ö1 channel.
They were born within two days of each other, about 500 kilometres separating their places of birth, and they shared a creative urge for new sounds – nothing, however, separated them as long and as decisively as the Iron Curtain. (Walter Weidringer for Salzburger Festspiele, translated by Alexa Nieschlag) more
If it wasn´t for him, I would have become someone else. On the occasion of Friedrich Cerha´s birthday (Georg Friedrich Haas) more
Friedrich Cerha — Bruchstück, geträumt
— Les Adieux
Anton Webern — Sechs Stücke op. 6
György Kurtág — Die Botschaften des verstorbenen Fräulein R.V. Trussowa, op. 17
Natalia Zagorinskaya, Soprano
Conductor: Sylvain Cambreling
A recording of this concert will be broadcasted by ORF on august 9 and august 16 at 11:08 pm on the Ö1 channel.
If it wasn´t for him, I would have become someone else. On the occasion of Friedrich Cerha´s birthday (Georg Friedrich Haas) more
Friedrich Cerha — 2. Streichquartett
— 9 Bagatellen für Streichtrio
— Deux éclats en réflexion
— Acht Sätze nach Hölderlin, fragments
— 3 Stücke für Cello und Klavier
Sophie Schafleitner, violin
Andreas Lindenbaum, violoncello
Florian Müller, piano
Andrea Cavallari, not only composer, but also visual artist, has invited Erwin Wurm to create a composition together. The first performande of Fallen Falls on the occassion of the festival opening 2106 is for sure a special concert evening as well as an example of the the value of both - fine art and music - at the Firenze Suona Contemporanea.
Beat Furrer — intorno al bianco UA
Erwin Wurm/ Andrea Cavallari — Fallen Falls (video-concert) UA
Gérard Grisey — Vortex temporum
video: Erwin Wurm
Giulia Peri, Soprano
Bernhard Zachhuber, clarinet
Florian Müller, piano
Michele Greco, sound- and videodesign
The composers about their new pieces:
Beat Furrer — intorno al bianco
Andrea Cavallari — Fallen Falls (video-concert)
Video extracts (7:34)
Beat Furrer — intorno al bianco & Andrea Cavallari/Erwin Wurm — Fallen Falls, Firenze Suona Contemporanea 2016
Supported by forum austriaco di cultura.
The programme of the closing concert of this year‘s Klangspuren Schwaz festival was compiled by Klangforum Wien, conductor Johannes Kalitzke and Klangspuren and summarizes the festival theme Comic. Cartoon. Graffiti. more
Johannes Kalitzke — Angels Burnout Grafitti
Bernhard Gander — Take nine
Ondřej Adamék — Ça tourne ça bloque
Eva Reiter — Alle Verbindungen gelten nur jetzt
Peter Böhm & Florian Bogner, sounddesign
conductor: Johannes Kalitzke
Djuro Zivkovic — Psalm XIII
Benjamin Scheuer — Nouveaux Agréments UA
Ernst Krenek — Pentagramm op.163
Erich Zeisl — aus: November. Sechs Orchesterskizzen op. 22 (2. Souvenir, 3. Ein Regentag)
Ernst Krenek — Symphonische Musik op. 11 (2. Satz)
Simone Movio — Incanto VII UA
Enno Poppe — Haare
John Dowland — Lachrimae tristes
— Semper Dowland semper dolens
Annette Bik, violine
Sophie Schafleitner, violine
conductor: Leonhard Garms
INTERVENTIONEN_Susanna Wagner, Sabine Kienzer
Esther Balfe with dancers of the MUK Privatuniversität der Stadt Wien
Elfie Aichinger, voice
video presentations:
Tatiana Lecomte — Ein mörderischer Lärm
Claudia Larcher — Self
Barbara Höller — Faltungen
Andres Ramirez Gaviria — -/
Herwig Weiser — untitled_analogfotografie_animiert
Sigi Fruhauf — Ground Control
Sofia Goscinski — without head
Sasha Pirker — Livepan
Claudia Plank and Hans Werner Poschauko — Verschwommenes Lächeln
Reza Abedini — In The Beginning
Anna Witt — Die Rechte des Gehsteigs
Michael Michelmayr — Escalator III
With RSO Wien and Klangforum Wien the two most important ensemble for contemporary music in Austria come together on one stage. The combination of the orchestra and the ensemble of soloists offer best preconditions for excellent New Music. Turkish Zeynep Gedizlioğlu was asked to compose a "Concerto Grosso" for this special costellation that will be premiered that day, conducted by Johannes Kalitzke. Slowenian Vito Žurajs Changeover is a composition for orchester and ensemble, too and will be presented for the first time in Austria.
Zeynep Gedizioglu — Verbinden & Abwenden UA
— Jetzt mit meiner linken Hand EA
Vito Žuraj — Quiet, please EA
— Changeover EA
— Runaround EA
RSO Wien
Klangforum Wien
Anders Nyqvist, Aleš Klančar, trumpet
Christoph Walder, horn
Andreas Eberle, trombone
concuctor: Johannes Kalitzke
Michael Wertmüller — discorde UA
Bernhard Gander — Cold Cadaver with Thirteen Scary Scars UA
Rebecca Sanders — Skin UA
Steamboat Switzerland
Klangforum Wien
Juliet Fraser, Soprano
conductor: Titus Engel
The composers about their new pieces:
Bernhard Gander — Cold Cadaver With Thirteen Scary Scars
Rebecca Saunders — Skin
Michael Wertmüller — discorde
Oxana Omelchuk — domkrat polej i pustot UA
Tatiana Kozlova-Johannes — Disintegration chain
Beat Furrer — intorno al bianco
Monika Mattiesen, flute
Bernhard Zachhuber, clarinet
Florian Zwissler, EMS synthesizer VCS3
video: Julie Pfleiderer
conductor: Clark Rundell
The composers about their new pieces:
Oxana Omelchuk — domkrat polej i pustot
Beat Furrer — intorno al bianco
Clear the ring for a class struggle of a special kind – musique savant vs. the rest of the sound-world! The sages from the forum meet the savages from Steamboat Switzerland, one of the most exciting bands currently active in the border realms between New Music, rock and improvisation – can the guys even read music?
Michael Wertmüller — discorde EA
Bernhard Gander — Cold Cadaver With Thirteen Scary Scars EA
Steamboat Switzerland
Klangforum Wien
conductor: Titus Engel
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2016/17
science? fiction!
The composers about their new pieces:
Bernhard Gander — Cold Cadaver With Thirteen Scary Scars
Michael Wertmüller — discorde
With this new piece by Georg Friedrich Haas a long lasting wish has come true for the New York based Austrian composer: for his youngest daughter he transforms the little I AM ME, a well known children's novel by Mira Lobe, into a music theater piece for young audience. The figures in this story of search for identity are represented by different instruments.
Georg Friedrich Haas — das kleine ICH BIN ICH
Peter Gruber, narrator
The Little I am Me: Franziska Adensamer
puppeteer: Angelo Konzett
director: Michael Scheidl
set design and visuals: Nora Scheidl
conductor: Bas Wiegers
As part of Wien Modern 2016 the piece will be performed in three languages - German, Arabic and Farsi - from October 30 to November 1, 2016.
The composer about his new piece:
Georg Friedrich Haas — das kleine ICH BIN ICH (Little I-Am-Me)
With this new piece by Georg Friedrich Haas a long lasting wish has come true for the New York based Austrian composer: for his youngest daughter he transforms the little I AM ME, a well known children's novel by Mira Lobe, into a music theater piece for young audience. The figures in this story of search for identity are represented by different instruments.
Georg Friedrich Haas — das kleine ICH BIN ICH
Massud Rahnama, narrator
The Little I am Me: Franziska Adensamer
puppeteer: Angelo Konzett
director: Michael Scheidl
set design and visuals: Nora Scheidl
conductor: Bas Wiegers
As part of Wien Modern 2016 the piece will be performed in three languages - German, Arabic and Farsi - from October 30 to November 1, 2016.
The composer about his new piece:
Georg Friedrich Haas — das kleine ICH BIN ICH (Little I-Am-Me)
With this new piece by Georg Friedrich Haas a long lasting wish has come true for the New York based Austrian composer: for his youngest daughter he transforms the little I AM ME, a well known children's novel by Mira Lobe, into a music theater piece for young audience. The figures in this story of search for identity are represented by different instruments.
Georg Friedrich Haas — das kleine ICH BIN ICH first performance of the scenic presentation
Peter Gruber, narrator
The Little I am Me: Franziska Adensamer
puppeteer: Angelo Konzett
director: Michael Scheidl
set design and visuals: Nora Scheidl
conductor: Bas Wiegers
As part of Wien Modern 2016 the piece will be performed in three languages - German, Arabic and Farsi - from October 30 to November 1, 2016.
The composer about his new piece:
Georg Friedrich Haas — das kleine ICH BIN ICH (Little I-Am-Me)
With this new piece by Georg Friedrich Haas a long lasting wish has come true for the New York based Austrian composer: for his youngest daughter he transforms the little I AM ME, a well known children's novel by Mira Lobe, into a music theater piece for young audience. The figures in this story of search for identity are represented by different instruments.
Georg Friedrich Haas — das kleine ICH BIN ICH
Peter Gruber, narrator
The Little I am Me: Franziska Adensamer
puppeteer: Angelo Konzett
director: Michael Scheidl
set design and visuals: Nora Scheidl
conductor: Bas Wiegers
As part of Wien Modern 2016 the piece will be performed in three languages - German, Arabic and Farsi - from October 30 to November 1, 2016.
The composer about his new piece:
Georg Friedrich Haas — das kleine ICH BIN ICH (Little I-Am-Me)
With this new piece by Georg Friedrich Haas a long lasting wish has come true for the New York based Austrian composer: for his youngest daughter he transforms the little I AM ME, a well known children's novel by Mira Lobe, into a music theater piece for young audience. The figures in this story of search for identity are represented by different instruments.
Georg Friedrich Haas — das kleine ICH BIN ICH
Peter Gruber, narrator
The Little I am Me: Franziska Adensamer
puppeteer: Angelo Konzett
director: Michael Scheidl
set design and visuals: Nora Scheidl
conductor: Bas Wiegers
As part of Wien Modern 2016 the piece will be performed in three languages - German, Arabic and Farsi - from October 30 to November 1, 2016.
The composer about his new piece:
Georg Friedrich Haas — das kleine ICH BIN ICH (Little I-Am-Me)
With this new piece by Georg Friedrich Haas a long lasting wish has come true for the New York based Austrian composer: for his youngest daughter he transforms the little I AM ME, a well known children's novel by Mira Lobe, into a music theater piece for young audience. The figures in this story of search for identity are represented by different instruments.
Georg Friedrich Haas — das kleine ICH BIN ICH
Peter Gruber, narrator
The Little I am Me: Franziska Adensamer
puppeteer: Angelo Konzett
director: Michael Scheidl
set design and visuals: Nora Scheidl
conductor: Bas Wiegers
As part of Wien Modern 2016 the piece will be performed in three languages - German, Arabic and Farsi - from October 30 to November 1, 2016.
The composer about his new piece:
Georg Friedrich Haas — das kleine ICH BIN ICH (Little I-Am-Me)
With this new piece by Georg Friedrich Haas a long lasting wish has come true for the New York based Austrian composer: for his youngest daughter he transforms the little I AM ME, a well known children's novel by Mira Lobe, into a music theater piece for young audience. The figures in this story of search for identity are represented by different instruments.
Georg Friedrich Haas — das kleine ICH BIN ICH
Peter Gruber, narrator
The Little I am Me: Franziska Adensamer
puppeteer: Angelo Konzett
director: Michael Scheidl
set design and visuals: Nora Scheidl
conductor: Bas Wiegers
As part of Wien Modern 2016 the piece will be performed in three languages - German, Arabic and Farsi - from October 30 to November 1, 2016.
The composer about his new piece:
Georg Friedrich Haas — das kleine ICH BIN ICH (Little I-Am-Me)
With this new piece by Georg Friedrich Haas a long lasting wish has come true for the New York based Austrian composer: for his youngest daughter he transforms the little I AM ME, a well known children's novel by Mira Lobe, into a music theater piece for young audience. The figures in this story of search for identity are represented by different instruments.
Georg Friedrich Haas — das kleine ICH BIN ICH
Elsayed Kandil, narrator
The Little I am Me: Franziska Adensamer
puppeteer: Angelo Konzett
director: Michael Scheidl
set design and visuals: Nora Scheidl
conductor: Bas Wiegers
As part of Wien Modern 2016 the piece will be performed in three languages - German, Arabic and Farsi - from October 30 to November 1, 2016.
The composer about his new piece:
Georg Friedrich Haas — das kleine ICH BIN ICH (Little I-Am-Me)
With this new piece by Georg Friedrich Haas a long lasting wish has come true for the New York based Austrian composer: for his youngest daughter he transforms the little I AM ME, a well known children's novel by Mira Lobe, into a music theater piece for young audience. The figures in this story of search for identity are represented by different instruments.
Georg Friedrich Haas — das kleine ICH BIN ICH
Peter Gruber, narrator
The Little I am Me: Franziska Adensamer
puppeteer: Angelo Konzett
director: Michael Scheidl
set design and visuals: Nora Scheidl
conductor: Bas Wiegers
As part of Wien Modern 2016 the piece will be performed in three languages - German, Arabic and Farsi - from October 30 to November 1, 2016.
The composer about his new piece:
Georg Friedrich Haas — das kleine ICH BIN ICH (Little I-Am-Me)
Eva Reiter — Noch sind wir ein Wort... UA
— In groben Zügen
— Alle Verbindungen gelten nur jetzt
Sofia Gubaidulina — Quattro
Friedrich Cerha — Relazioni fragili
John Cage — One3 = 4‘33“ (0‘0“) + [G clef]
Ursula Langmayr, Soprano
Johanna von der Deken, Mezzo Soprano
Eva Reiter, contrabassrecorder, performance
Florian Müller, harpsicord
Uli Fussenegger, doublebass
Peter Bohm & Christina Bauer, sound design
conductor: Bas Wiegers
Eva Reiter about her new composition:
Eva Reiter – Noch sind wir ein Wort… [Still We Are A Word…]
Enlightenment may have banished the demons to the underworld of non-existence, but this doesn’t prevent them from ruling our hearts and senses. Georg Friedrich Haas and Mollena Lee Williams-Haas know how to deal with them.
Georg Friedrich Haas — HYENA UA
Georg Friedrich Haas (music)/ Mollena Lee Williams-Haas (text)
Mollena Lee Williams-Haas, Soloist
Klangforum Wien
conductor: Bas Wiegers
Georg Friedrich Haas — 9. Streichquartett UA
JACK Quartet
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2016/17
science? fiction!
Georg Friedrich Haas and Molleena Lee Williams-Haas about their piece HYENA:
Georg Friedrich Haas — HYENA
HYENA is a composition on a commission from Wien Modern.
Georg Friedrich Haas — HYENA
Georg Friedrich Haas (music)/ Mollena Lee Williams-Haas (text)
Mollena Lee Williams-Haas, Soloist
Klangforum Wien
conductor: Bas Wiegers
Georg Friedrich Haas — String Quartet No 10 UA
Arditti Quartet
Georg Friedrich Haas about his piece HYENA:
Georg Friedrich Haas — HYENA
HCMF Huddersfield Contemporary Music Festival
Rebecca Saunders — Skin
Eva Reiter — Noch sind wir ein Wort
Bear Furrer — intorno al bianco
Reinhard Fuchs — MANIA
Juliet Fraser, Soprano
Eva Reiter, Paetzold contrabass recorder
Bernhard Zachhuber, clarinet
Uli Fussenegger, doublebass
Peter Böhm & Christina Bauer, sound design
conductor: Bas Wiegers
Rebecca Saunders about her composition Skin:
Rebecca Saunders — Skin
Eva Reiter about her composition Noch sind wir ein Wort:
Eva Reiter — Noch sind wir ein Wort... [Still We Are A Word…]
Beat Furrer about his compositio intorno al bianco:
Beat Furrer — intorno al bianco
Videoextracts (7:34)
Beat Furrer — intorno al bianco & Andrea Cavallari/Erwin Wurm — Fallen Falls, Firenze Suona Contemporanea 2016
Three-day symposion on the occasion of Hans Zender's 80th Birthday with lectures of philosophers, mucicologists, linguists and theologists, presenting Hans Zender as composer as well as great thinker.
November 27-29, 2016
Speakers: Martin Vöhler (Thessaloniki), Roland Reuss (Heidelberg), Helmut Jakob Deibl (Wien), Violetta L. Waibel (Wien), Jörn-Peter Hiekel (Dresden), Jörg Quenzer (Hamburg), Georg Stenger (Wien) et. al.
Concerts:
Hölderlin lesen...
November 28, 2016
Hölderlin lesen...
November 29, 2016
With the kind support of Ernst von Siemens Music Foundation.
Part of Wort. Ton. Gestalt — Concert Symposion
Three-day symposion on the occasion of Hans Zender's 80th Birthday
November 27.-29., 2016
Universität Wien, Neues Institutsgebäude (NIG)
Speakers: Martin Vöhler (Thessaloniki), Roland Reuss (Heidelberg), Helmut Jakob Deibl (Wien), Violetta L. Waibel (Wien), Jörn-Peter Hiekel (Dresden), Jörg Quenzer (Hamburg), Georg Stenger (Wien) et. al.
Hans Zender — Ein Wandersmann... zornig... (Hölderlin lesen V)
— Denn wiederkommen (Hölderlin lesen III)
Friedrich Cerha — 8 Sätze nach Hölderlin-Fragmenten
Salome Kammer, voice
Krassimir Sterev, accordion
2nd Concert:
Hölderlin lesen...
November 29, 2016
Symposion:
Wort. Ton. Gestalt — Concert Symposion
November 27–29, 2016
With the kind support of Ernst von Siemens Music Foundation.
Part of Wort. Ton. Gestalt — Concert Symposion
Three-day symposion on the occasion of Hans Zender's 80th Birthday
November 27.-29., 2016
Universität Wien, Neues Institutsgebäude (NIG)
Speakers: Martin Vöhler (Thessaloniki), Roland Reuss (Heidelberg), Helmut Jakob Deibl (Wien), Violetta L. Waibel (Wien), Jörn-Peter Hiekel (Dresden), Jörg Quenzer (Hamburg), Georg Stenger (Wien) et. al.
Hans Zender — LO-SHU I
— FŪRIN NO KYŌ
— 4 Enso (LO-SHU VII) EA
Giacinto Scelsi — Anahit
Klaus Huber — Ein Hauch von Unzeit VII
Claron McFadden, Soprano
Gunde Jäch-Micko, violin
Uli Fussenegger, contrabass
Olivier Vivarès, clarinet
conductor: Emilio Pomàrico
1st Concert:
Hölderlin lesen...
November 28, 2016
Symposion:
Wort. Ton. Gestalt — Concert Symposion
November 27-29, 2016
With the kind support of Ernst von Siemens Music Foundation.
We have absolutely no proof that there exists a life after death. This is self-evident, as rational argument has no access to realms in which nothing can be counted, weighed or measured. Music, however, likes to stray every now and then into the sphere beyond the threshold in order to have a look around.
Fausto Romitelli — Your time is over EA
Clara Iannotta — Intent on Resurrection – Spring or Some Such Thing EA
Gérard Grisey — Quatre chants pour franchir le seuil
Claron McFadden, Soprano
Benedikt Leitner, violoncello
conductor: Sylvain Cambreling
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2016/17
science? fiction!
Respectable science won’t ever venture to take a look behind the mirrors because there is nothing for it to find. This, however, doesn’t apply to Alice and other visionaries – and of course even less to music.
Pierluigi Billone — AN NA
Alberto Posadas — Anamorfosis
Mauricio Kagel — …, den 24.xii. 1931, Verstümmelte Nachrichten für Bariton und Instrumente EA
Otto Katzameier, Baritone
Klangforum Wien
Peter Böhm, Florian Bogner, sound design
conductor: Emilio Pomàrico
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2016/17
science? fiction!
change of program:
Mauricio Kagel — …, den 24.xii. 1931, Verstümmelte Nachrichten für Bariton und Instrumente
instead of
Mauricio Kagel — In der Matratzengruft
Friedrich Cerha — Deux éclats en réflexion
— Acht Bagatellen für Klarinette und Klavier
— Liederzyklus nach Texten von Ilija Jovanovic
— 3 Stücke für Cello und Klavier
— acht sätze nach hölderlin-fragmenten
Wolfgang Holzmair, Baritone
Florian Müller, piano
If it wasn´t for him, I would have become someone else. On the occasion of Friedrich Cerha´s birthday (Georg Friedrich Haas)
Sternstunde klassischer zeitgenössischer Musik auf höchstem Niveau, (Drehpunkt Kultur), review (in German language)
The assertion that intelligence can be measured is a fiction. That it can be produced artificially is another one. Science? fiction – at its best
Iannis Xenakis — Phlegra
Rebecca Saunders — Skin EA
Enno Poppe — Koffer EA
Juliet Fraser, Soprano
Klangforum Wien
conductor: Baldur Brönnimann
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2016/17
science? fiction!
Rebecca Saunders about her composition Skin:
Rebecca Saunders — Skin
There exists a kind of knowledge which doesn’t depend on learning – nor can it be acquired that way. A close kin to the axioms of scientific thought, it requires no proof and is indeed inaccessible to any kind of evidence. Déjà-vu.
Dieter Ammann — Le réseau des reprises EA
Ondrěj Adámek — Ça tourne ça bloque
Klangforum Wien — SCAN over Bernhard Lang — Monadologie VII und XII UA
concept SCAN: Uli Fussenegger, Dimitrios Polisoidis
Peter Böhm, Florian Bogner, sound design
conductor: Bas Wiegers
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2016/17
science? fiction!
Gyorgy Ligeti — Zehn Stücke für Bläserquintett
Gyorgy Kurtág — 12 Mikroludien op. 13 (Hommage à Mihály András)
— 4 Lieder auf Gedichte von János Pilinszky op. 11
Adriana Hölszky — Segmente I
Henryk Górecki — Musiquette 4, op. 28
Galina Ustwolskaja — Komposition Nr. 1 (Dona nobis pacem)
Martin Winkler, Bass-baritone
Stefan Obmann, trombone
conductor: Leonhard Garms
laudatio: Armin Thurnher
Workshop presentation with young refugees and concert by Klangforum Wien musicians.
5.30 p.m. Workshop Presentation
Young refugees perform music, they have been working on in a workshop at Klangforum Wien.
John Cage — Variations III
Instruction: Florian Müller
6 p.m.: Instruments
Experiencing and trying out Klangforum Wien's instruments.
7 p.m.: Concert / Rhythm Workshop
Open workshop for visitors after the percussion solo piece Rebonds B.
Iannix Xenakis — Rebonds B
Instruction: Björn Wilker
8 p.m.: Concert
Terry Riley — In C
Free admission!
The international colloquium THE VISUAL DIMENSION will attempt a critical review of the effects that current trends towards visualisation or the integration of visual elements have on contemporary music. Possible new strategies in the relationship between film and music will also be discussed. With contributions by Georg Friedrich Haas, Jennifer Walshe, Iris ter Shiphorst, Christops Carras, Ludger Brümmer and others.
The conference will be accompanied by a workshop which is designed as a kick-off event for a multi-media project developed in cooperation between Klangforum Wien and tricky women: ten female film artists and ten female composers will start their collaboration on animation movies about the Economy of the Common Good. The première of the movies together with the compositions performed live by Klangforum Wien is scheduled for October 2018.
Thursday, May 11, 2017
2.30 p.m. – Opening
Christos Carras (Onassis Cultural Centre/Interfaces)
2.45 p.m. – The Visual Dimension
Key note Georg Friedrich Haas
Visual elements as a means of musical expression. An account of a composer's experiences
4.15 p.m. – Music & Film
Kick-off by Iris ter Schiphorst
New strategies and options
Friday, May 12, 2017
3 p.m. – Extending the narrative, augmented reality in music projects
Lecture by Ludger Brümmer (ZKM/Interfaces)
Demonstration of technology’s special features and potentials through samples of augmented narration
4.30 p.m. – Film and movement as polyphonic layers in musical performance
Lecture by Jennifer Walshe
Technical and aesthetic approaches – workflow, notation
6 p.m. – Conclusions & Farewell
Sven Hartberger (Klangforum Wien/Interfaces)
The colloquium will be held in English language.
Please register via email to info@klangforum.at
Free admission!
Co-organised by Klangforum Wien, Tricky Women, and Amour Fou, in cooperation with mica and Internationale Musikforschungsgesellschaft (Wiener Konzerthaus).
The Colloquium is organized in the framework of the INTERFACES project supported by the Creative Europe Programme of the European Union.
The international colloquium THE VISUAL DIMENSION will attempt a critical review of the effects that current trends towards visualisation or the integration of visual elements have on contemporary music. Possible new strategies in the relationship between film and music will also be discussed. With contributions by Georg Friedrich Haas, Jennifer Walshe, Iris ter Shiphorst, Christops Carras, Ludger Brümmer and others.
The conference will be accompanied by a workshop which is designed as a kick-off event for a multi-media project developed in cooperation between Klangforum Wien and tricky women: ten female film artists and ten female composers will start their collaboration on animation movies about the Economy of the Common Good. The première of the movies together with the compositions performed live by Klangforum Wien is scheduled for October 2018.
Thursday, May 11, 2017
2.30 p.m. – Opening
Christos Carras (Onassis Cultural Centre / Interfaces Network)
2.45 p.m. – The Visual Dimension
Key note Georg Friedrich Haas
Visual elements as a means of musical expression. An account of a composer's experiences
4.15 p.m. – Film & Music
Kick-off by Iris ter Schiphorst
New strategies and options
Friday, May 12, 2017
3 p.m. – Extending the narrative, augmented reality in music projects
Lecture by Ludger Brümmer (ZKM / Interfaces Network)
Demonstration of technology’s special features and potentials through samples of augmented narration
4.30 p.m. – Film and movement as polyphonic layers in musical performance
Lecture by Jennifer Walshe
Technical and aesthetic approaches – workflow, notation
6 p.m. – Conclusions & Farewell
Sven Hartberger (Klangforum Wien)
The colloquium will be held in English language.
Please register via email to info@klangforum.at
Free admission!
Co-organised by Klangforum Wien, Tricky Women, and Amour Fou, in cooperation with mica and Internationale Musikforschungsgesellschaft (Wiener Konzerthaus).
The Colloquium is organized in the framework of the INTERFACES project supported by the Creative Europe Programme of the European Union.
Seeking encounters with the local population, Klangforum Wien gladly took the chance to make contact with the elementary school Am Hundsturm, which is only a few meters from the ensemble's rehearsal space.
Final workshop presentation by children of the Volksschule Am Hundsturm.
workshop coordinator: Björn Wilker, Vera Fischer
Students of Performance Practice in Contemporary Music (PPCM) interpret works by three of their lecturers at the University of Music and Performing Arts Graz, who are among the mort important composers of contemporary music (Classic Voice, 2017) at the same time: Bernhard Lang, Klaus Lang, Georg Friedrich Haas.
Bernhard Lang — DW29
Klaus Lang — Origami
Gerd Kühr — Come una Pastorale
Beat Furrer — Spazio immergente
Georg Friedrich Haas — Tria ex uno
Albert Hosp, presentation
main coordinator: Dimitrios Polisoidis
Life could be so harmonious without man’s irrationality and unpredictability. Serial composition techniques constitute a remarkable contribution towards the elimination of individual capriciousness; or you could also say: towards getting rid of man as source of error in the process of composition. Science? Music!
Pierre Boulez — … explosante-fixe …
— Répons
Eva Furrer, midi-flute
Vera Fischer, Thomas Frey, flute
Lukas Schiske, xylophone, glockenspiel
Alex Lipowski, vibraphone
Virginie Tarrête, harp
Joonas Ahonen, Florian Müller, piano
Jan Rokyta, cimbalom
Peter Böhm, Florian Bogner, Gilbert Nouno, sound design
conductor: Baldur Brönnimann
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2016/17
science? fiction!
Subscription Series 2017/18
Boundary. Value
Wiener Konzerthaus
Portrait Pierre Boulez
38. Internationales Musikfest
Philippe Boesmans — Pinocchio UA
libretto, director: Joël Pommerat
Pinocchio: Chloé Briot
Mauvais élève entraineur, ami de Pinocchio: Julie Bouliane
Directeur de petit cirque: Stéphane Degout
Le Père: Vincent Le Texier
Klangforum Wien
Fabrizio Cassol, saxophon
Tcha Limberger, violin
Philippe Turiot, accordeon
conductor: Emilio Pomàrico
The story invented by the Tuscan writer Carlo Collodi in 1881 describes the many adventures of a puppet following his whims and desires. After playing hooky from school to follow two miscreants, Pinocchio lets himself be drawn into the world of toys with a number of successive roles – a donkey, in a circus and in the belly of a whale – until the day arrives when the puppet transforms himself into a responsible little boy.
After turning his play Grâce à mes yeux (Thanks to my Eyes) into his first opera, presented at the 2011 Festival d’Aix, Joël Pommerat returns with this creation of an opera for all audiences, to the music composed by Philippe Boesmans. Pinocchio will mark his second collaboration with the Belgian composer – the first gave rise to the opera Au Monde created in 2014.
The staging is at the crossroads of wonderland and reality. It looks at the real world through the concrete vision of a tree trunk that takes shape under the carpenter’s plane to create a theatre of planks and trestles. This creation brings together the Ensemble Klangforum from Vienna in the orchestra pit and several on-stage musicians, under the baton of conductor Emilio Pomarico. Stephane Degout swaps his costume of Pelléas for that of the leader of the troupe whose main mission is to tell the story, while Chloé Briot, with her experience in playing children’s roles (Yniold in 2016 and the title role of L’Enfant et les sortilèges in 2012) plays the puppet. (Festival d’Aix-en-Provence)
New production of the Festival d'Aix-en-Provence. In coproduction with La Monnaie / De Munt, the Opéra de Dijon, and the Opéra national de Bordeaux.
Philippe Boesmans — Pinocchio
libretto, director: Joël Pommerat
Pinocchio: Chloé Briot
Mauvais élève entraineur, ami de Pinocchio: Julie Bouliane
Directeur de petit cirque: Stéphane Degout
Le Père: Vincent Le Texier
Klangforum Wien
Fabrizio Cassol, saxophon
Tcha Limberger, violin
Philippe Turiot, accordeon
conductor: Emilio Pomàrico
The story invented by the Tuscan writer Carlo Collodi in 1881 describes the many adventures of a puppet following his whims and desires. After playing hooky from school to follow two miscreants, Pinocchio lets himself be drawn into the world of toys with a number of successive roles – a donkey, in a circus and in the belly of a whale – until the day arrives when the puppet transforms himself into a responsible little boy.
After turning his play Grâce à mes yeux (Thanks to my Eyes) into his first opera, presented at the 2011 Festival d’Aix, Joël Pommerat returns with this creation of an opera for all audiences, to the music composed by Philippe Boesmans. Pinocchio will mark his second collaboration with the Belgian composer – the first gave rise to the opera Au Monde created in 2014.
The staging is at the crossroads of wonderland and reality. It looks at the real world through the concrete vision of a tree trunk that takes shape under the carpenter’s plane to create a theatre of planks and trestles. This creation brings together the Ensemble Klangforum from Vienna in the orchestra pit and several on-stage musicians, under the baton of conductor Emilio Pomarico. Stephane Degout swaps his costume of Pelléas for that of the leader of the troupe whose main mission is to tell the story, while Chloé Briot, with her experience in playing children’s roles (Yniold in 2016 and the title role of L’Enfant et les sortilèges in 2012) plays the puppet. (Festival d’Aix-en-Provence)
New production of the Festival d'Aix-en-Provence. In coproduction with La Monnaie / De Munt, the Opéra de Dijon, and the Opéra national de Bordeaux.
Philippe Boesmans — Pinocchio
libretto, director: Joël Pommerat
Mauvais élève entraineur, ami de Pinocchio: Julie Bouliane
Directeur de petit cirque: Stéphane Degout
Le Père: Vincent Le Texier
Klangforum Wien
Fabrizio Cassol, saxophon
Tcha Limberger, violin
Philippe Turiot, accordeon
conductor: Emilio Pomàrico
The story invented by the Tuscan writer Carlo Collodi in 1881 describes the many adventures of a puppet following his whims and desires. After playing hooky from school to follow two miscreants, Pinocchio lets himself be drawn into the world of toys with a number of successive roles – a donkey, in a circus and in the belly of a whale – until the day arrives when the puppet transforms himself into a responsible little boy.
After turning his play Grâce à mes yeux (Thanks to my Eyes) into his first opera, presented at the 2011 Festival d’Aix, Joël Pommerat returns with this creation of an opera for all audiences, to the music composed by Philippe Boesmans. Pinocchio will mark his second collaboration with the Belgian composer – the first gave rise to the opera Au Monde created in 2014.
The staging is at the crossroads of wonderland and reality. It looks at the real world through the concrete vision of a tree trunk that takes shape under the carpenter’s plane to create a theatre of planks and trestles. This creation brings together the Ensemble Klangforum from Vienna in the orchestra pit and several on-stage musicians, under the baton of conductor Emilio Pomarico. Stephane Degout swaps his costume of Pelléas for that of the leader of the troupe whose main mission is to tell the story, while Chloé Briot, with her experience in playing children’s roles (Yniold in 2016 and the title role of L’Enfant et les sortilèges in 2012) plays the puppet. (Festival d’Aix-en-Provence)
New production of the Festival d'Aix-en-Provence. In coproduction with La Monnaie / De Munt, the Opéra de Dijon, and the Opéra national de Bordeaux.
Philippe Boesmans — Pinocchio
libretto, director: Joël Pommerat
Pinocchio: Chloé Briot
Mauvais élève entraineur, ami de Pinocchio: Julie Bouliane
Directeur de petit cirque: Stéphane Degout
Le Père: Vincent Le Texier
Klangforum Wien
Fabrizio Cassol, saxophon
Tcha Limberger, violin
Philippe Turiot, accordeon
conductor: Emilio Pomàrico
The story invented by the Tuscan writer Carlo Collodi in 1881 describes the many adventures of a puppet following his whims and desires. After playing hooky from school to follow two miscreants, Pinocchio lets himself be drawn into the world of toys with a number of successive roles – a donkey, in a circus and in the belly of a whale – until the day arrives when the puppet transforms himself into a responsible little boy.
After turning his play Grâce à mes yeux (Thanks to my Eyes) into his first opera, presented at the 2011 Festival d’Aix, Joël Pommerat returns with this creation of an opera for all audiences, to the music composed by Philippe Boesmans. Pinocchio will mark his second collaboration with the Belgian composer – the first gave rise to the opera Au Monde created in 2014.
The staging is at the crossroads of wonderland and reality. It looks at the real world through the concrete vision of a tree trunk that takes shape under the carpenter’s plane to create a theatre of planks and trestles. This creation brings together the Ensemble Klangforum from Vienna in the orchestra pit and several on-stage musicians, under the baton of conductor Emilio Pomarico. Stephane Degout swaps his costume of Pelléas for that of the leader of the troupe whose main mission is to tell the story, while Chloé Briot, with her experience in playing children’s roles (Yniold in 2016 and the title role of L’Enfant et les sortilèges in 2012) plays the puppet. (Festival d’Aix-en-Provence)
New production of the Festival d'Aix-en-Provence. In coproduction with La Monnaie / De Munt, the Opéra de Dijon, and the Opéra national de Bordeaux.
Philippe Boesmans — Pinocchio
libretto, director: Joël Pommerat
Pinocchio: Chloé Briot
Mauvais élève entraineur, ami de Pinocchio: Julie Bouliane
Directeur de petit cirque: Stéphane Degout
Le Père: Vincent Le Texier
Klangforum Wien
Fabrizio Cassol, saxophon
Tcha Limberger, violin
Philippe Turiot, accordeon
conductor: Emilio Pomàrico
The story invented by the Tuscan writer Carlo Collodi in 1881 describes the many adventures of a puppet following his whims and desires. After playing hooky from school to follow two miscreants, Pinocchio lets himself be drawn into the world of toys with a number of successive roles – a donkey, in a circus and in the belly of a whale – until the day arrives when the puppet transforms himself into a responsible little boy.
After turning his play Grâce à mes yeux (Thanks to my Eyes) into his first opera, presented at the 2011 Festival d’Aix, Joël Pommerat returns with this creation of an opera for all audiences, to the music composed by Philippe Boesmans. Pinocchio will mark his second collaboration with the Belgian composer – the first gave rise to the opera Au Monde created in 2014.
The staging is at the crossroads of wonderland and reality. It looks at the real world through the concrete vision of a tree trunk that takes shape under the carpenter’s plane to create a theatre of planks and trestles. This creation brings together the Ensemble Klangforum from Vienna in the orchestra pit and several on-stage musicians, under the baton of conductor Emilio Pomarico. Stephane Degout swaps his costume of Pelléas for that of the leader of the troupe whose main mission is to tell the story, while Chloé Briot, with her experience in playing children’s roles (Yniold in 2016 and the title role of L’Enfant et les sortilèges in 2012) plays the puppet. (Festival d’Aix-en-Provence)
New production of the Festival d'Aix-en-Provence. In coproduction with La Monnaie / De Munt, the Opéra de Dijon, and the Opéra national de Bordeaux.
Philippe Boesmans — Pinocchio
libretto, director: Joël Pommerat
Pinocchio: Chloé Briot
Mauvais élève entraineur, ami de Pinocchio: Julie Bouliane
Directeur de petit cirque: Stéphane Degout
Le Père: Vincent Le Texier
Klangforum Wien
Fabrizio Cassol, saxophon
Tcha Limberger, violin
Philippe Turiot, accordeon
conductor: Emilio Pomàrico
The story invented by the Tuscan writer Carlo Collodi in 1881 describes the many adventures of a puppet following his whims and desires. After playing hooky from school to follow two miscreants, Pinocchio lets himself be drawn into the world of toys with a number of successive roles – a donkey, in a circus and in the belly of a whale – until the day arrives when the puppet transforms himself into a responsible little boy.
After turning his play Grâce à mes yeux (Thanks to my Eyes) into his first opera, presented at the 2011 Festival d’Aix, Joël Pommerat returns with this creation of an opera for all audiences, to the music composed by Philippe Boesmans. Pinocchio will mark his second collaboration with the Belgian composer – the first gave rise to the opera Au Monde created in 2014.
The staging is at the crossroads of wonderland and reality. It looks at the real world through the concrete vision of a tree trunk that takes shape under the carpenter’s plane to create a theatre of planks and trestles. This creation brings together the Ensemble Klangforum from Vienna in the orchestra pit and several on-stage musicians, under the baton of conductor Emilio Pomarico. Stephane Degout swaps his costume of Pelléas for that of the leader of the troupe whose main mission is to tell the story, while Chloé Briot, with her experience in playing children’s roles (Yniold in 2016 and the title role of L’Enfant et les sortilèges in 2012) plays the puppet. (Festival d’Aix-en-Provence)
New production of the Festival d'Aix-en-Provence. In coproduction with La Monnaie / De Munt, the Opéra de Dijon, and the Opéra national de Bordeaux.
A mass by Johann Sebastian Bach. A symphony by Philip Glass. Utility music? Music as art? The one thing and/or the other?
Arnold Schönberg — Begleitungsmusik zu einer Lichtspielscene op. 34
Unsuk Chin — Gougalon
Mauricio Kagel — from: Die Stücke der Windrose. Südwesten
Bernd Alois Zimmermann — Metamorphose
conductor: Sylvain Cambreling
Gérard Grisey — Solo pour deux
Simone Movio — Logos III World première
Liza Lim — Wild winged-one
Hannes Kerschbaumer — schraffur World première
Beat Furrer — linea dell’orizzonte
Bernhard Zachhuber, clarinet
Anders Nyqvist, trumpet
Kevin Fairbairn, trombone
Krassimir Sterev, accordion in quarter tones
conductor: Bas Wiegers
Simone Movio — Logos III
Hannes Kerschbaumer — schraffur
Alexander Kaiser — Schwarzes Licht World prèmiere of the 1st part
Noa Frenkel, Alto
Daniel Gloger, Countertenor
Krassimir Sterev, accordion in quarter tones
conductor: Bas Wiegers
[TRANSART_17] SCHWARZES LICHT (BECOMING KASER) from Festival Transart on Vimeo.
Philippe Boesmans — Pinocchio
Joël Pommerat, Libretto and staging
Éric Soyer, set design and lighting
Isabelle Deffin, costumes
Video: Renaud Rubiano
Troupe Director, Crook, Murderer: Stéphane Degout
Father, Murderer, School Master: Vincent Le Texier
Pinocchio: Chloé Briot
Cabaret Director, Judge, Crook, Murderer, Donkey Merchant: Yann Beuron
Bad Student, Cabaret Singer: Julie Boulianne
Fairy: Marie-Ève Munger
Klangforum Wien
Fabrizio Cassol, saxophon
Tcha Limberger, violin
Philippe Turiot, accordeon
conductor: Emilio Pomàrico
The story invented by the Tuscan writer Carlo Collodi in 1881 describes the many adventures of a puppet following his whims and desires. After playing hooky from school to follow two miscreants, Pinocchio lets himself be drawn into the world of toys with a number of successive roles – a donkey, in a circus and in the belly of a whale – until the day arrives when the puppet transforms himself into a responsible little boy.
After turning his play Grâce à mes yeux (Thanks to my Eyes) into his first opera, presented at the 2011 Festival d’Aix, Joël Pommerat returns with this creation of an opera for all audiences, to the music composed by Philippe Boesmans. Pinocchio will mark his second collaboration with the Belgian composer – the first gave rise to the opera Au Monde created in 2014.
The staging is at the crossroads of wonderland and reality. It looks at the real world through the concrete vision of a tree trunk that takes shape under the carpenter’s plane to create a theatre of planks and trestles. This creation brings together the Ensemble Klangforum from Vienna in the orchestra pit and several on-stage musicians, under the baton of conductor Emilio Pomarico. Stephane Degout swaps his costume of Pelléas for that of the leader of the troupe whose main mission is to tell the story, while Chloé Briot, with her experience in playing children’s roles (Yniold in 2016 and the title role of L’Enfant et les sortilèges in 2012) plays the puppet. (Festival d’Aix-en-Provence)
New production of the Festival d'Aix-en-Provence. In coproduction with La Monnaie / De Munt, the Opéra de Dijon, and the Opéra national de Bordeaux.
Philippe Boesmans — Pinocchio
Joël Pommerat, Libretto and staging
Éric Soyer, set design and lighting
Isabelle Deffin, costumes
Video: Renaud Rubiano
Troupe Director, Crook, Murderer: Stéphane Degout
Father, Murderer, School Master: Vincent Le Texier
Pinocchio: Chloé Briot
Cabaret Director, Judge, Crook, Murderer, Donkey Merchant: Yann Beuron
Bad Student, Cabaret Singer: Julie Boulianne
Fairy: Marie-Ève Munger
Klangforum Wien
Fabrizio Cassol, saxophon
Tcha Limberger, violin
Philippe Turiot, accordeon
conductor: Emilio Pomàrico
The story invented by the Tuscan writer Carlo Collodi in 1881 describes the many adventures of a puppet following his whims and desires. After playing hooky from school to follow two miscreants, Pinocchio lets himself be drawn into the world of toys with a number of successive roles – a donkey, in a circus and in the belly of a whale – until the day arrives when the puppet transforms himself into a responsible little boy.
After turning his play Grâce à mes yeux (Thanks to my Eyes) into his first opera, presented at the 2011 Festival d’Aix, Joël Pommerat returns with this creation of an opera for all audiences, to the music composed by Philippe Boesmans. Pinocchio will mark his second collaboration with the Belgian composer – the first gave rise to the opera Au Monde created in 2014.
The staging is at the crossroads of wonderland and reality. It looks at the real world through the concrete vision of a tree trunk that takes shape under the carpenter’s plane to create a theatre of planks and trestles. This creation brings together the Ensemble Klangforum from Vienna in the orchestra pit and several on-stage musicians, under the baton of conductor Emilio Pomarico. Stephane Degout swaps his costume of Pelléas for that of the leader of the troupe whose main mission is to tell the story, while Chloé Briot, with her experience in playing children’s roles (Yniold in 2016 and the title role of L’Enfant et les sortilèges in 2012) plays the puppet. (Festival d’Aix-en-Provence)
New production of the Festival d'Aix-en-Provence. In coproduction with La Monnaie / De Munt, the Opéra de Dijon, and the Opéra national de Bordeaux.
Philippe Boesmans — Pinocchio
Joël Pommerat, Libretto and staging
Éric Soyer, set design and lighting
Isabelle Deffin, costumes
Video: Renaud Rubiano
Troupe Director, Crook, Murderer: Stéphane Degout
Father, Murderer, School Master: Vincent Le Texier
Pinocchio: Chloé Briot
Cabaret Director, Judge, Crook, Murderer, Donkey Merchant: Yann Beuron
Bad Student, Cabaret Singer: Julie Boulianne
Fairy: Marie-Ève Munger
Klangforum Wien
Fabrizio Cassol, saxophon
Tcha Limberger, violin
Philippe Turiot, accordeon
conductor: Emilio Pomàrico
The story invented by the Tuscan writer Carlo Collodi in 1881 describes the many adventures of a puppet following his whims and desires. After playing hooky from school to follow two miscreants, Pinocchio lets himself be drawn into the world of toys with a number of successive roles – a donkey, in a circus and in the belly of a whale – until the day arrives when the puppet transforms himself into a responsible little boy.
After turning his play Grâce à mes yeux (Thanks to my Eyes) into his first opera, presented at the 2011 Festival d’Aix, Joël Pommerat returns with this creation of an opera for all audiences, to the music composed by Philippe Boesmans. Pinocchio will mark his second collaboration with the Belgian composer – the first gave rise to the opera Au Monde created in 2014.
The staging is at the crossroads of wonderland and reality. It looks at the real world through the concrete vision of a tree trunk that takes shape under the carpenter’s plane to create a theatre of planks and trestles. This creation brings together the Ensemble Klangforum from Vienna in the orchestra pit and several on-stage musicians, under the baton of conductor Emilio Pomarico. Stephane Degout swaps his costume of Pelléas for that of the leader of the troupe whose main mission is to tell the story, while Chloé Briot, with her experience in playing children’s roles (Yniold in 2016 and the title role of L’Enfant et les sortilèges in 2012) plays the puppet. (Festival d’Aix-en-Provence)
New production of the Festival d'Aix-en-Provence. In coproduction with La Monnaie / De Munt, the Opéra de Dijon, and the Opéra national de Bordeaux.
Seeking encounters with the local population, Klangforum Wien gladly took the chance to make contact with the elementary school Am Hundsturm, which is only a few meters from the ensemble's rehearsal space.
Pupils of the elemantary scholl will be presenting, what they have been exploring in their workshops, in a final presentation at the end of the school year.
Workshop coordinator: Björn Wilker, Vera Fischer
Peter Eötvös — Shadows
— Sonata per sei
— Chinese Opera
Vera Fischer, flute
Olivier Vivarès, clarinet
Peter Böhm & Florian Bogner, sound design
concuctor: Peter Eötvös
Portrait – focus, concentration, clear delineation. But also: representation of all kinds of transgression of limits, adaptation, divergence, which constitute an oeuvre. No-one is an island.
Peter Eötvös — Shadows
— Sonata per sei
— Chinese Opera
Vera Fischer, flute
Olivier Vivarès, clarinet
Peter Böhm & Florian Bogner, sound design
conductor: Peter Eötvös
Part of Klangforum Wien subscription series Boundary. Value and Wien Modern 2017 programme.
Workshop in musical interpretation
Main coordinator: Gerald Preinfalk
Klangforum Wien musicians are working with students of Vienna's Music School and Johann Sebastian Bach Music School on various forms of interpretation of contemporary music. In a final concert new pieces will be premiered by the Youth Ensemble of Vienna's Music School.
Alexander Kral — Turmbau zu Babel World premiere
Gerald Resch — Fingerspitzentänze
Helmut Schmidinger — Jet-Set-Trio
Rainer Bischof — Quartett World premiere
Gerald Preinfalk — Gradec
Shigehiro Yamamoto — Shula World premiere
Pia Palme — My room until yesterday [Mein Zimmer bis gestern] World premiere
Hannes Kerschbaumer, who was born in Brixen in South Tyrol in 1981 and now lives in Innsbruck, is this year’s winner of the Erste Bank Prize. Two of the four of his works being performed at this year’s festival will be on program of the prizewinners’ concert, alongside Grisey’s magnificent "Four Songs for Crossing the Threshold". (Wien Modern)
Gérard Grisey — Quatre chants pour franchir le seuil
Hannes Kerschbaumer — schraffur Austrian Premiere
— schurf I World Premiere
Beat Furrer — Kaleidoscopic Memories Austrian Premiere
Katrien Baerts, Soprano
Sophie Schafleitner, violin
Uli Fussenegger, double bass
Krassimir Sterev, accordion in quarter tones
Peter Böhm, sound design
conductor: Emillio Pomàrico
Hannes Kerschbaumer about his new compositions:
Hannes Kerschbaumer — schraffur
Hannes Kerschbaumer — schurf
French music. Is there such a thing? In the 21st century? And if so – how does one define the maximum permissible value of "world" that can be absorbed by the French (or indeed any other idiom) before it disappears?
Mark Andre — riss 2
Raphaël Cendo — Corps Austrian Premiere
Yann Robin — Arkham Austrian Premiere
Joonas Ahonen, piano
conductor: Emilio Pomàrico
What is dream, what reality when we speak of music? How real are the dream worlds of Vivier and Kyriakides? And how unreal is Varèse’s objectivity? Is each concert, as the kind of experience par excellence in which time comes to a halt, not in any case always a dream world? A real one, of course.
Edgard Varèse — Ionisation
Johannes Maria Staud — Auf die Stimme der weißen Kreide EA
Claude Vivier — Bouchara
Yannis Kyriakides — dreams of the blind
Juliet Fraser, Soprano
Peter Böhm & Florian Bogner, sound design
conductor: Bas Wiegers
On the occasion of his 100th birthday on January 24th, 2018, Klangforum Wien celebrates Gottfried von Einem with films, word- and sound-documents as well as with performances of some of his chamber music works.
Ich habe immer Glück gehabt
Gottfried von Einem
Gottfried von Einem — Miniaturen op. 91
— Bläserquintett op. 46
Vera Fischer, flute
Helene Kenyeri, oboe
Bernhard Zachhuber, clarinet
Lorelei Dowling, bassoon
Christoph Walder, horn
Due to the limited number of seats available, this performance will only be accessible for holders of a General Pass for the Festive Days 2018.
Klangforum Wien pays homage to three Austrian composers who, in various ways, have significantly influenced the younger generation after the Second World War in making a new start. Images, texts and sound documents, as well as the performance of some of their chamber music works, will allow us to experience the ideas and aims of a historical avant-garde whose impact takes full effect in our present times. The second portrait is dedicated to Erich Apostel.
Zu Gast bei
HANS ERICH APOSTEL
Hans Erich Apostel — Kubiniana op. 13
— Quartett op. 14
Eva Furrer, flute
Olivier Vivarès, clarinet
Lorelei Dowling, bassoon
Christoph Walder, horn
Joonas Ahonen, piano
Due to the limited number of seats available, this performance will only be accessible for holders of a General Pass for the Festive Days 2018.
Klangforum Wien pays homage to three Austrian composers who, in various ways, have significantly influenced the younger generation after the Second World War in making a new start. Images, texts and sound documents, as well as the performance of some of their chamber music works, will allow us to experience the ideas and aims of a historical avant-garde whose impact takes full effect in our present times. The third portrait is dedicated to Karl Schiske.
Evolution auf B
KARL SCHISKE
Karl Schiske — Drei Stücke nach Volksweisen op. 35
— Bläserquintett op. 24
Eva Furrer, flute
Helene Kenyeri, oboe
Olivier Vivarès, clarinet
Edurne Santos, bassoon
Christoph Walder, horn
Florian Müller, piano
Due to the limited number of seats available, this performance will only be accessible for holders of a General Pass for the Festive Days 2018.
The Festive Days of Early Music 2018 present four concerts with a selection of outstanding works from the decades in which the fundamental principles of musical thought of the present times were first developed.
Leopold Spinner — Passacaglia
Hanns Aldo Schimmerling — Sechs Miniaturen für Kammerorchester
Alban Berg — 5 Orchester-Lieder op. 4
Wladimir Vogel — Epitaffio per Alban Berg
Arnold Schönberg — Lied der Waldtaube
Sarah Wegener, Soprano
Janina Baechle, Mezzo Soprano
Florian Müller, piano
conductor: Peter Rundel
Centre and Periphery
Vienna was, beyond doubt, at the epicentre of the convulsions which irreversibly altered the musical world at the beginning of the 20th century. Here began what to this day is mourned by some as the expulsion from the paradise of major and minor tonality, and hailed as well as exploited by others as the beginning of a seemingly unlimited freedom.
The strong centrifugal forces of these new sounds asserted themselves not only within Europe, but also advanced the incipient process of musical self-discovery across the Atlantic. The results and inventions of this rapidly developing and independent avant-garde in their turn exerted a centripetal influence on the epicentre.
The Festive Days of Early Music 2018 present four concerts with a selection of outstanding works from the decades in which the fundamental principles of musical thought of the present times were first developed.
Charles Ives — Scherzo: All The Way Around and Back
Henry Cowell — The Banshee
Wallingford Riegger — Bläserquintett op. 51
Carl Ruggles — Evocations
Marion Bauer — Four Piano Pieces op. 21
Conlon Nancarrow — Sarabande and Scherzo
Louis Gruenberg — White Lilacs
Silvestre Revueltas — Caminando
Gunde Jäch-Micko, violin
Joonas Ahonen, Florian Müller, piano
Centre and Periphery
Vienna was, beyond doubt, at the epicentre of the convulsions which irreversibly altered the musical world at the beginning of the 20th century. Here began what to this day is mourned by some as the expulsion from the paradise of major and minor tonality, and hailed as well as exploited by others as the beginning of a seemingly unlimited freedom.
The strong centrifugal forces of these new sounds asserted themselves not only within Europe, but also advanced the incipient process of musical self-discovery across the Atlantic. The results and inventions of this rapidly developing and independent avant-garde in their turn exerted a centripetal influence on the epicentre.
The Festive Days of Early Music 2018 present four concerts with a selection of outstanding works from the decades in which the fundamental principles of musical thought of the present times were first developed.
Erwin Schulhoff — Divertissement
Arthur Lourié — Formes en l‘air
Matyas Seiber — Permutazioni a Cinque
Ernst Krenek — 12 Variationen in drei Sätzen
Bohuslav Martinů — Sextett für Klavier und Bläserquintett
Florian Müller, piano
Centre and Periphery
Vienna was, beyond doubt, at the epicentre of the convulsions which irreversibly altered the musical world at the beginning of the 20th century. Here began what to this day is mourned by some as the expulsion from the paradise of major and minor tonality, and hailed as well as exploited by others as the beginning of a seemingly unlimited freedom.
The strong centrifugal forces of these new sounds asserted themselves not only within Europe, but also advanced the incipient process of musical self-discovery across the Atlantic. The results and inventions of this rapidly developing and independent avant-garde in their turn exerted a centripetal influence on the epicentre.
The Festive Days of Early Music 2018 present four concerts with a selection of outstanding works from the decades in which the fundamental principles of musical thought of the present times were first developed.
Boris Blacher — Divertimento op. 38
Dora Pejačević — Drei Gesänge op. 53
Egon Wellesz — Persisches Ballett op. 30
Frank Bridge — There Is A Willow Grows Aslant A Brook
Aarre Merikanto — Concerto
Shirin Asgari, Soprano
Annette Bik, violin
Olivier Vivarès, clarinet
Christoph Walder, horn
Florian Müller, piano
conductor: Johannes Kalitzke
Centre and Periphery
Vienna was, beyond doubt, at the epicentre of the convulsions which irreversibly altered the musical world at the beginning of the 20th century. Here began what to this day is mourned by some as the expulsion from the paradise of major and minor tonality, and hailed as well as exploited by others as the beginning of a seemingly unlimited freedom.
The strong centrifugal forces of these new sounds asserted themselves not only within Europe, but also advanced the incipient process of musical self-discovery across the Atlantic. The results and inventions of this rapidly developing and independent avant-garde in their turn exerted a centripetal influence on the epicentre.
Iannis Xenakis — Psappha
Bernhard Gander — Call me: 0666/666 666 World Premiere
Jennifer Walshe — XXX_LIVE_NUDE_GIRLS!!!
direction: Kabinetttheater
main coordinator: Julia Reichert
puppeteers: Katarina Csanyiova, Tanja Ghetta, Walter Kukla
set & puppet design: Maxe Mackinger, Julia Reichert
costumes: Burgis Paier
video: Nicole Aebersold
light & video technic: Jan Wielander
Andreas Fischer, double bass
Jennifer Walshe, Juliet Fraser, voice
Björn Wilker, percussion
conductor: Brad Lubman
With the kind support of SKE / austro mechana.
The composers about their pieces:
Bernhard Gander — Call me: 0666/666 666
Jennifer Walshe — XXX_LIVE_NUDE_GIRLS!!!
Doubt invades knowledge. The invasion of uncertainty in the global empire of enlightenment. Natural sciences on the threshold of the inexplicable.
Joseph Haydn — Die sieben letzten Worte unseres Erlösers am Kreuze, Hob. III / 50-56
Giacinto Scelsi — Quattro Pezzi per tromba sola
Georges Aperghis — Babil
Iannis Xenakis — Jalons
Klaus Lang — the book of serenity.
Gérard Grisey — Berceuse
Martin Mosebach — Das Tuch
Dörte Lyssewski, speaker
Hermann Schmid, speaker
Katrien Baerts, Soprano
Olivier Vivarès, clarinet
Anders Nyqvist, trumpet
conductor: Sylvain Cambreling
La Sindone di Torino – doubt, love and hope, materialised in the form of a piece of cloth. The shroud, which is kept safe at Milan Cathedral, clearly shows the image of a dead body bearing the marks of abuse and torture that Jesus of Nazareth had to suffer according to the corresponding reports of the Synoptic Gospels. more
Those who remain within an enclosure of their own can have their peace. Hopefully. Unless, of course, two (or more) souls, alas, are housed within their breast. One can come up against boundaries and their values – unless one simply wants to play with them.
Bernhard Lang — DW 24
James Clarke — Ritornelli Austrian Premiere
Alexander Schubert — Sugar, Maths and Whips Austrian Premiere
James Clarke — Ritornelli Austrian Premiere
Lukas König — Stereogram 1 World Premiere
Audrey Chen, voice
Gerald Preinfalk, saxophone
Manu Mayr, electric bass
Lukas König, drums, synthesizer, voice
Markus Wallner, sound design
conductor: Baldur Brönnimann
Lukas König about his new composition:
Lukas König — Stereogram 1
With the kind support of SKE / austro mechana.
America, Australia, Europe. – The snug fit of the shelves’ margins, of the continents’ coastlines covered by water, reveals the boundaries to be no dividing lines, but connecting seams. Pangaea – one earth.
Ashley Fure — A Library on Lightning Austrian Premiere
Vito Žuraj — Tension Austrian Premiere
Liza Lim — Extinction Events and Dawn Chorus Austrian Premiere
Sophie Schafleitner, violin
conductor: Peter Rundel
Die KomponistInnen über ihre neuen Werke:
Ashley Fure — A Library on Lightning
Vito Zuraj — Tension
Liza Lim — Extinction Events and Dawn Chorus
Enno Poppe — Speicher I
Luboš Mrkvička — For Large Ensemble, Part D World Premiere
Bernhard Lang — Monadologie XII
Olivier Vivarès, clarinet
Gerald Preinfalk, saxophon
Anders Nyqvist, trumpet
conductor: Bas Wiegers
Luboš Mrkvička about his new work:
Luboš Mrkvička — For Large Ensemble, Part D
Enlightenment may have banished the demons to the underworld of non-existence, but this doesn’t prevent them from ruling our hearts and senses. Georg Friedrich Haas and Mollena Lee Williams-Haas know how to deal with them. learn more
Georg Friedrich Haas — Sayaka
— de terrae fine
— HYENA (music Georg Friedrich Haas/ text Mollena Lee Williams-Haas)
Mollena Lee Williams-Haas, voice
Krassimir Sterev, accordeon
Alexander Lipowski, percussion
Gunde Jäch-Micko, violin
conductor: Bas Wiegers
A vividly described account of alcoholic addiction and rehab by the composer's wife Mollena Lee Williams–Haas.
The Times
Georg Friedrich Haas — HYENA
Klangforum Wien — SCAN ΙV over Streichquartett Nr. 3 by Georg Friedrich Haas
Mollena Lee Williams-Haas, voice
Students in Performance Practice of Contemporary Music
main coordinators: Dimitrios Polisoidis, Andreas Lindenbaum
Musicians of Klangforum Wien
conductor: Bas Wiegers
With SCAN, its young concert project on the fringes between interpretation and improvisation, Klangforum Wien strikes out in a new direction with the aim of shedding a fresh and different light on composed music by means of re-instrumentation, improvisation, electronics, fragmentation and re-constitution of the parts. Expanding the areas for music making, stretching the limits drawn by the musical text and the conductor, freedom instead of security, liberating the musical routine – this is what SCAN is all about. Starting with a composition which is fixed on the page of a score, the ensemble creates a new work by freely treating the defined specifications, thus arriving at a “piece about a piece”, which comes into being live, in front of the audience’s ears at the concert venue.
The interactive composition project SCAN is part of the Klangforum Wien lectures in "Performance Practice in Contemporary Music" (PPCM) at the University of Music and Performing Arts Graz. A concert performed by students and as well their lecturers in the MUMUTH is the highlight of every year's PPCM course.
MUMUTH Lounge, 6.45 p.m.
Klangforum Wien is focusing its activities of solidarity on its primary area of expertise – in collaboration with the refugees – and offers workshops, concerts and music lessons. The Brunnenpassage's Sommerfest is the first public event for the new students of this cooperation with Brunnenpassage. Musical direction: Bernhard Zachhuber
Seeking encounters with the local population, Klangforum Wien gladly took the chance to make contact with the elementary school Am Hundsturm, which is only a few meters from the ensemble's rehearsal space. In the autumn of 2012, the first workshop with students from this school was realised; it was hugely successful for both sides and laid the foundation for a more long-term cooperation between these two institutions, which is currently planned to last two years.
Workshopteam: Björn Wilker, Vera Fischer
Agata Zubel — Bildbeschreibung World Premiere
Agata Zubel, Soprano
Frank Wörner, Bariton
Vera Fischer, bass flute
Eva Furrer, contrabass flute
Olivier Vivarès, contrabass clarinett
Gerald Preinfalk, saxophon,tubax
Anders Nyqvist, trumpet
Benedikt Leitner, violoncello
Aleksander Gabryś, doublebass
Florian Müller, keyboard
Peter Böhm & Markus Urban, sound design
conductor: Titus Engel
The composer on her new work: Agata Zubel — Bildbeschreibung
Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multi-annual programme NIEPODLEGŁA 2017-2021. Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music programme and POLSKA 100, the international cultural programme celebrating the centenary of Poland regaining independence.
The multimedia musical theater work Carlota’s Room, a monodrama by Arturo Fuentes tells the story of the unhappy Belgian princess Charlotte who was gradually overcome by madness. After the death of her husband she continued to write letters to him for 60 years.
Arturo Fuentes — Carlota's Room – Monodrama of a Forgotten Empress World premiere
Texts from Fernando del Paso — Noticias del Imperio (News from the Empire)
Sarah Maria Sun, soprano
Alice Crepaz-Fuentes, Carlota as child
Sandra Victoria Aguilar, film actress
Arturo Fuentes, staging
Eva Praxmarer, costumes and make-up
Günter Brus, textile painting
Werner Angerer, sound design
conductor: Johannes Kalitzke
The composer on his new piece:
Arturo Fuentes — Carlota's Room
Reading
11 am, Buchhandlung liber wiederin, Innsbruck
Fernando del Paso "News from the Imperium - Noticias del Imperio" (1986)
Lutz Kliché, the German translator of "Noticias del Imperio" reads passages from the novel
Concert introduction
7.15 pm, Knappensaaal im SZentrum, Schwaz
Matthias Osterwold in conversation with the composer Arturo Fuentes
Artist Talk
Following the premiere, artist talk with soprano Sarah Maria Sun.
The multimedia musical theater work Carlota’s Room, a monodrama by Arturo Fuentes tells the story of the unhappy Belgian princess Charlotte who was gradually overcome by madness. After the death of her husband she continued to write letters to him for 60 years.
Arturo Fuentes — Carlota's Room - Monodrama of a Forgotten Empress
Texts from Fernando del Paso — Noticias del Imperio (News from the Empire)
Sarah Maria Sun, soprano
Alice Crepaz-Fuentes, Carlota as child
Sandra Victoria Aguilar, film actress
Arturo Fuentes, staging
Eva Praxmarer, costumes and make-up
Günter Brus, textile painting
Werner Angerer, sound design
conductor: Johannes Kalitzke
The composer on his new piece:
Arturo Fuentes — Carlota's Room
www.klangspuren.at
Young Performers Repertoire, part of the larger Interfaces EU-funded project, aims to cover up the indisputable lack of sufficient repertoire of innovative, New Music for children aged 6 -10. Therefore, international composers have been commissioned to compose works between 5 to 8 minutes for commonly played instruments and/or chamber music groups adding to the repertoire taught at music schools or within the music classes of schools where feasible. The culmination of the project will be concerts of this new repertoire together with the creation of an open electronic archive of scores. A training seminar will be held in Cyprus for preparing the instructors who are involved in the teaching of this new repertoire.
An eight-hour listening experience modeled on the Athenian symposia, where cushions, futons and comfortable seating create an installation, and where guests are served meals and wines in longer breaks.
Gustav Mahler — Das Trinklied vom Jammer der Erde
Dieter Ammann — Le réseau des reprises
Clara Iannotta — il colore dell'ombra
Enno Poppe — Speicher I
Klaus Lang — der pythagoräische fächer. world premiere
Beat Furrer — Linea dell’orizzonte
Iannis Xenakis — Psappha
Salvatore Sciarrino — Let Me Die Before I Wake
Bernd Richard Deutsch — Dr. Futurity
Terry Riley — in C
Olga Neuwirth — Un posto nell'aqua
Nora Scheidl, design
Michael Scheidl, production
Michael Pflumm, tenor
Klaus Lang, organ
Bernhard Zachhuber, clarinet
Björn Wilker, percussion
Peter Böhm & Florian Bogner, sound design
conductor: Bas Wiegers
The composer Klaus Lang on his new piece:
Klaus Lang — der pythagoräische fächer.
Coproduced by netzzeit and Klangforum Wien.
In the framework of the Austrian Presidency of the Council of the European Union
www.bozar.be/en
Agata Zubel — Bildbeschreibung Polish Premiere
Agata Zubel, Soprano
Frank Wörner, Bariton
Vera Fischer, bass flute
Eva Furrer, contrabass flute
Olivier Vivarès, contrabass clarinett
Anders Nyqvist, trumpet
Gerald Preinfalk, saxophon, tubax
Florian Müller, keyboard
Benedikt Leitner, violoncello
Aleksander Gabryś, doublebass
Peter Böhm & Markus Urban, sound design
conductor: Titus Engel
The composer on her new work: Agata Zubel — Bildbeschreibung
Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multi-annual programme NIEPODLEGŁA 2017-2021. Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music programme and POLSKA 100, the international cultural programme celebrating the centenary of Poland regaining independence.
With support of
A man and a woman, captured in an image, enclosed by frozen time. Heiner Müller has put what is not easily descried in the picture into words. Agata Zubel goes a level deeper.
Agata Zubel — Bildbeschreibung Austrian premiere
Agata Zubel, Soprano
Frank Wörner, Bariton
Vera Fischer, bass flute
Eva Furrer, contrabass flute
Olivier Vivarès, contrabass clarinett
Anders Nyqvist, trumpet
Gerald Preinfalk, saxophon,tubax
Florian Müller, keyboard
Benedikt Leitner, violoncello
Aleksander Gabryś, doublebass
Peter Böhm & Markus Urban, sound design
conductor: Titus Engel
The composer on her new work: Agata Zubel — Bildbeschreibung
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2018/19
Appearances
Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multi-annual programme NIEPODLEGŁA 2017-2021. Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music programme and POLSKA 100, the international cultural programme celebrating the centenary of Poland regaining independence.
With RSO Wien and Klangforum Wien the two most important ensembles for contemporary music in Austria come together on one stage. The combination of the orchestra and the ensemble of soloists offer best preconditions for excellent New Music. (musikprotokoll)
Bernd Richard Deutsch — Murales World Premiere
RSO Wien
Klangforum Wien
Dimitrios Polisoidis, viola
Yaron Deutsch, electric guitar
Krassimir Sterev, accordion
conductor: Johannes Kalitzke
Unsuk Chin — Mannequin
RSO Wien
The composer Bernd Richard Deutsch on his new piece:
Bernd Richard Deutsch — Murales
Afterwards: Kurzzeit
9.00 p.m., Helmut List Halle, Graz
Artist Talk/Keynote: Chaya Czernowin
1 p.m., Palais Meran, Florentinersaal, Graz
The composition by Bernd Richard Deutsch was funded by the Ernst von Siemens Musikstiftung.
Klangforum Wien invites you to a musical journey with Houses, the world premiere of young American composer Jeff Weston. The subsequent piece for electric guitar and accordion comes from the composer Chaya Czernowin. This is followed by a solo piece for viola, a composition by Fred Frith, which will be premiered in Austria by Klangforum violist Dimitrios Polisoidis. Friedrich Cerha is represented in the 51st edition of the festival with his new work Kurzzeit. (musikprotokoll)
Chaya Czernowin — Knights of the strange
Fred Frith — Woulda, coulda, shoulda
Jeff Weston — houses World Premiere
Friedrich Cerha — Kurzzeit World Premiere
Dimitrios Polisoidis, viola
Yaron Deutsch, electric guitar
Krassimir Sterev, accordion
conductor: Johannes Kalitzke
The composers on their new pieces:
Jeff Weston — houses
Friedrich Cerha — Kurzzeit
Artist Talk/Keynote: Chaya Czernowin
1 p.m., Palais Meran, Florentinersaal, Graz
Jeff Weston's composition is commissioned by the Ernst Krenek Institute in cooperation with impuls. International Ensemble and Composers Academy.
The ear is more receptive than the eye. That’s the way it is. Audible images of very diverse scenes are received in Being and Time.
Beat Furrer — Konzert für Klavier und Ensemble
— intorno al bianco
— linea dell’orizzonte
— studie II – à un moment de terre perdue
Joonas Ahonen, piano
conductor: Beat Furrer
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2018/19
Appearances
The fact that new music is being performed at a high level in Vienna will be impressively demonstrated to you by the next generation: students of the Vienna Music School and the Johann Sebastian Bach Music School Vienna will play works by John Cage up to their own self-composed premiere. Cordula Bösze, Michael Weber, the Klangforum Wien and the International Society for Contemporary Music in Austria provide professional support for this long-term project. (wien modern)
John Cage — Bacchanale
David Punto — The Chair-Men of the Bored
György Ligeti — Musica ricercata. Elf Stücke für Klavier (selection)
Anestis Logothetis — Impulse (selection)
Julius von Lorentz — One I, III, IV
Bruno Strobl— Lazy. Crazy
— Harfen. Wellen
Daniel Riegler — Luft. Strom (after George Gruntz)
Beat Furrer — still
— linea dell’orizzonte
Rebecca Saunders — fury II
Jan van de Putte — Cette agitation perpétuelle, cette turbulence sans but World Premiere
Aleksander Gabryś, double bass
conductor: Bas Wiegers
Before the concert:
1.00 p.m.
Public dress rehearsal of Jan van de Putte's new work Cette agitation perpétuelle, cette turbulence sans but
The access to the public rehearsal is free. Registration is required, under: www.muziekgebouw.nl
7.15 p.m.
Introduction with Thea Derks
The composer Jan van de Putte on his new work:
Jan van de Putte — Cette agitation perpétuelle, cette turbulence sans but
Rebecca Saunders — fury II
— Skin
Jan van de Putte — Cette agitation perpétuelle, cette turbulence sans but
Juliet Fraser, Soprano
Aleksander Gabryś, double bass
conductor: Bas Wiegers
Beat Furrer — linea dell’orizzonte
— intorno al bianco
— still
Jan van de Putte — Cette agitation perpétuelle, cette turbulence sans but
conductor: Bas Wiegers
Artur Malawski — Trio
Roman Haubenstock-Ramati — Konstellation Nr. 2
— 1. Streichtrio
— jeux 2
— Pluriel
— Konstellation Nr. 1
— Konstellation Nr. 3
Roman Haubenstock-Ramati/Bernhard Lang — Morendo – double/echo
Vera Fischer, bass flute
Lukas Schiske, percussion
Björn Wilker, percussion
Peter Böhm, sound design
wienmodern.at
With kind support of:
The virus series is an expedition into acoustic perception, a sounding of the responses of our brains in the span of milliseconds, a plea for the precise acoustic moment.
Elisabeth Schimana — Virus #3.3 world premiere
wienmodern.at
With the kind support of SKE / austro mechana.
The composer Elisabeth Schimana on her new piece:
Elisabeth Schimana — Virus #3.3
Vito Žuraj — Contour
Beat Furrer — Retour an dich
Enno Poppe — Brot
Nina Šenk — Gouache world Premiere
Vinko Globokar — Bouquet de paramètres sauvages world Premiere
Slowind Wind Quintet
Klangforum Wien
conductor: Steven Loy
The composer Nina Šenk on her new piece:
Nina Šenk — Gouache
The composer Vinko Globokar on his new piece:
Vinko Globokar — Bouquet de paramètres sauvages
Composer, singer, bundle of energy and one-off phenomenon – Agata Zubel, winner of this year’s Erste Bank Composition Prize 2018, will perform live on stage. Inspired by Shakespeare, her hard-hitting mono-drama "Cleopatra’s Songs" is about one of history’s strongest women. The Klangforum Wien will also give the first performance in Vienna of Friedrich Cerha’s most recent work for ensemble,"Kurzzeit". The evening will begin with a major world premiere, Wolfram Schurig’s "fünf ostinati das vaterland zu besingen" based on poems by Daniela Danz, in which the writer examines what holds Europe together. (wien modern)
Agata Zubel — Cleopatra's Songs Austrian premiere
Friedrich Cerha — Kurzzeit
Wolfram Schurig — fünf ostinati World premiere
Agata Zubel, Soprano
conductor: Johannes Kalitzke
With the kind support of SKE / austro mechana.
The composer Wolfram Schurig on his new composition:
Wolfram Schurig — fünf ostinati
Working in close collaboration, composer Stefan Prins and choreographer Daniel Linehan create a hybrid music-dance performance concerned with the themes and paradoxes contained in the idea of "private matters".
Stefan Prins / Daniel Linehan — Third Space
From Isolation to Exposure: The Ambiguity of Privacy in an Increasingly Transparent World learn more
Stefan Prins / Daniel Linehan — Third Space
Hiatus,dance
Daniel Linehan: choreography and concept
Stefan Prins: composition and concept & sound
Karel Burssens & Jeroen Verrecht, stage design
Alain Franco, dramaturgy
Frédérick Denis, Kostüme
Ralf Nonn, lighting design
Damien Petitot, Video
Peter Böhm, sound design
Conductor: Bas Wiegers
An eight-hour listening experience modeled on the Athenian symposia, where cushions, futons and comfortable seating create an installation, and where guests are served meals and wines in longer breaks.
Gustav Mahler — Das Trinklied vom Jammer der Erde
Dieter Ammann — Le réseau de reprises
Salvatore Sciarrino — Let Me Die Before I Wake
Bernd Richard Deutsch — Dr. Futurity
Klaus Lang — der pythagoräische fächer.
Beat Furrer — linea dell’orizzonte
Enno Poppe — Speicher I
Clara Iannotta — Il colore dell'ombra
Iannis Xenakis — Psappha
Terry Riley — In C
Olga Neuwirth — Un posto nell'aqua
Nora Scheidl, design
Michael Scheidl, production
Sascha Emanuel Kramer, Tenor
Klaus Lang, harmonium
Bernhard Zachhuber, clarinet
Björn Wilker, percussion
Peter Böhm, sound design
conductor: Bas Wiegers
Coproduced by netzzeit and Klangforum Wien.
www.elbphilharmonie.de
The focus of this concert evening will be on two Austrian premieres by Slovenian composers - by the young and internationally acclaimed Nina Šenk and Vinko Globokar, a legend of the European avant-garde. The works are commissions for both ensembles on the occasion of this year's 20th Slowind Festival in Ljubljana, where they had their world premiere on November 15, 2018.
Vito Žuraj — Contour
Beat Furrer — Retour an dich
Enno Poppe — Brot
Nina Šenk — Gouache Austrian Premiere
Vinko Globokar — Bouquet de paramètres sauvages Austrian Premiere
Slowind Wind Quintet
Klangforum Wien
conductor: Steven Loy
An event of Slowind, Klangforum Wien and SKICA. With the kind support of Stadtgemeinde Ljubljana, Alukönigstahl Wien and Inotherm.
At the end of the year the Brunnenpassage celebrates the Winterfest including special guests and an improvised composition led by Michael Fischer. At the end of the evening, the DJn collective Brunnhilde provides the right party atmosphere. Come and celebrate! (Brunnenpassage)
Special Guests:
The clarinet class of Bernhard Zachhuber (Klangforum Wien).
Participants of the trumpet and trombone workshop of Christof Spanring.
What we see and what we miss depends on our perspective; on the angle we adopt before the object.
Olga Neuwirth — Hooloomooloo
— Un posto nell´aqua (Melville Skizze I)
— Hommàge à Klaus Nomi
Andrew Watts, countertenor
Peter Böhm, sound design
conductor: Sylvain Cambreling
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2018/19
Appearances
December 12th - 16th, 2018
Intensive seminar for composition with one-to-one lessons, master classes, rehearsals, discussions and performances centering on submitted compositions for string quartet. A cooperation between Kunst Uni Graz, Aristotle University Thessaloniki and the Municipality of Larissa.
At the end of the master classes Klangforum Wien will perform the newly composed works.
Javier Quislant — erinnerungs.vermögen
Dylan Lardelli — Mapping, an Inlay
Jorge Diego Vazquez Salvagno — De noche la puerta abierta world premiere
Zhuosheng Jin — Immobilized Motions
Alejandro Mata — Transitions
Alexandros Spyrou — (sic) world premiere
Annette Bik, violin
Gunde Jäch-Micko, violin
Dimitrios Polisoidis, viola
Andreas Lindenbaum, violoncello
Lecturers:
Dimitri Papageorgiou (Aristotle University Thessaloniki)
Orestis Toufektsis (KUG)
Clemens Gadenstätter (KUG)
A Triptych both reveals and conceals. In the overview, the seemingly disparate becomes the meaningful new.
Francesco Filidei — Ballata Nr. 7 Austrian premiere
Eduardo Moguillansky — Resilienztraining Austrian premiere
Jorge E. López — Triptychon op. 25 Austrian premiere
Christoph Walder, horn
Peter Böhm & Markus Urban, sound design
conductor: Ilan Volkov
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2018/19
Appearances
An eight-hour listening experience modeled on the Athenian symposia, where cushions, futons and comfortable seating create an installation, and where guests are served meals and wines in longer breaks.
Gustav Mahler — Das Trinklied vom Jammer der Erde
Dieter Ammann — Le réseau de reprises
Salvatore Sciarrino — Let Me Die Before I Wake
Bernd Richard Deutsch — Dr. Futurity
Klaus Lang — der pythagoräische fächer.
Beat Furrer — linea dell’orizzonte
Enno Poppe — Speicher I
Clara Iannotta — Il colore dell'ombra
Iannis Xenakis — Psappha
Terry Riley — in C
Roman Haubenstock-Ramati — Konstellation
Nora Scheidl, design
Michael Scheidl, production
Sascha Emanuel Kramer, Tenor
Klaus Lang, harmonium
Bernhard Zachhuber, clarinet
Björn Wilker, percussion
Peter Böhm, sound design
conductor: Johannes Kalitzke
Starts at 5 p.m., ends around midnight.
Admission: 115 euro / reduced: 95 euro (for Ö1 Club members, DER STANDARD subscribers & students).
The ticket price includes a six course menu and all wines.
Tickets exclusively at:
Ticket & Service Center of the Wiener Konzerthaus
Lothringenstr. 20, 1030 Vienna, T +43 1 242 002 (with credit card)
ticket@konzerthaus.at
Coproduced by netzzeit and Klangforum Wien.
An eight-hour listening experience modeled on the Athenian symposia, where cushions, futons and comfortable seating create an installation, and where guests are served meals and wines in longer breaks.
Gustav Mahler — Das Trinklied vom Jammer der Erde
Dieter Ammann — Le réseau de reprises
Salvatore Sciarrino — Let Me Die Before I Wake
Bernd Richard Deutsch — Dr. Futurity
Klaus Lang — der pythagoräische fächer.
Beat Furrer — linea dell’orizzonte
Enno Poppe — Speicher I
Clara Iannotta — Il colore dell'ombra
Iannis Xenakis — Psappha
Terry Riley — in C
Roman Haubenstock-Ramati — Konstellationen
Nora Scheidl, design
Michael Scheidl, production
Sascha Emanuel Kramer, Tenor
Klaus Lang, harmonium
Bernhard Zachhuber, clarinet
Björn Wilker, percussion
Peter Böhm, sound design
Dirigent: Johannes Kalitzke
Starts at 5 p.m., ends around midnight.
Admission: 115 euro / reduced: 95 euro (for Ö1 Club members, DER STANDARD subscribers & students).
The ticket price includes a six course menu and all wines.
Tickets exclusively at:
Ticket & Service Center of the Wiener Konzerthaus
Lothringenstr. 20, 1030 Vienna, T +43 1 242 002 (with credit card)
ticket@konzerthaus.at
Coproduced by netzzeit and Klangforum Wien.
Music for a farewell: before the Wien Museum at Karlsplatz will go into recess for a major renovation and extension, the Klangforum Wien will once again bring the house to life. As part of the farewell, solo pieces by Luciano Berio, György Kurtág, Michalis Lapidakis, Gerald Preinfalk, Rebecca Saunders and James Tenney will be heard in various places in the museum before the musicians gather for a joint final improvisation in the atrium.
James Tenney — Having Never Written a Note for Percussion
Michalis Lapidakis — Play on Words
Luciano Berio — Sequenza V
Gerald Preinfalk — Little Lola
György Kurtág — In nomine all'ungherese
Rebecca Saunders — Flesh
Final: Improvisation
In ten animated films and ten new compositions, women artists of eleven European countries propose an alternative to the prevailing capitalist economic system.
Matthias Meinharter — Tiki Tiki Men
Elizabeth Hobbs/Carola Bauckholt — The Flounder
Sven Hartberger
Rebecca Blöcher/Eva Reiter — Lickalike
Gerald Preinfalk
Eni Brandner/Misato Mochizuki — PANTOPOS
Vera Fischer
Joanna Kożuch/Ying Wang — Music Box
Andreea Dosa
Samantha Moore/Malin Bång — Bloomers
—
Vera Fischer
Vessela Dantcheva/Electric Indigo — Hierarchy Glitch
Christoph Walder
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Mikael Rudolfsson
Susi Jirkuff/Joanna Bailie — Measuring the Distance
Günther Bernhart
Andrea Schneider/Marianthi Papalexandri-Alexandri — Generator/ Operator
Andreas Eberle
Michelle Kranot/Iris ter Schiphorst — Suggestion of Least Resistance
Anders Nyqvist
Rebecca Saunders — Sole
Klangforum Wien
Musical direction: Konstantia Gourzi
Staging: Jacqueline Kornmüller
Dramaturgy: Peter Wolf
Musical dramaturgy: Uli Fussenegger, Krassimir Sterev
Sound design: Peter Böhm & Markus Urban
Film projection: Martin Repka
The artists on their works:
Happiness Machine – The Movies and the Compositions
Happiness Machine is a project of Klangforum Wien, Musik der Jahrhunderte and Amour Fou Vienna in cooperation with Tricky Women.
Funded by Cultural Affairs Department of the City of Vienna and Federal Chancellery of Austria with special funding from the German Federal Cultural Foundation and Interfaces/Creative Europe Programme of the European Union.
The commissions to Iris ter Schiphorst, Malin Bång, Eva Reiter, Carola Bauckholt and Marianthi Papalexandri-Alexandri are funded by the Ernst von Siemens Music Foundation.
The video projections for "Happiness Machine" were realized with the software Isadora programmed by Mark Coniglio.
As part of "impuls" the Klangforum Wien opens its doors for a public rehearsal. Afterwards, the conductor Ilan Volkov, the musicians of the Klangforum Wien, and the composers Nuno Costa, Timothy McCormack, Jungeun Park, Chris Swithinbank and Hakan Ulus, entrusted with impuls composition commissions, discuss which synergies, but also which difficulties, are being exchanged between composers and performers. Moderated by Doris Weberberger.
The talk is being held in English!
Chris Swithinbank - this line comes from the past (public rehearsal)
Q & A session with the musicians
Discussion with Ilan Volkov, the composers and the musicians of Klangforum Wien
conductor: Ilan Volkov
An event by impuls in cooperation with mica - music austria and the Klangforum Wien.
Nuno Costa — Lillar-D World premiere
Timothy McCormack — Sediment World premiere
Jungeun Park — Stained-echo World premiere
Chris Swithinbank — this line comes from the past World premiere
Hakan Ulus — TāHā World premiere
conductor: Ilan Volkov
Before the concert:
Composers´ Talk
with Nuno Costa, Timothy McCormack, Jung-Eun Park, Chris Swithinbank and Hakan Ulus, 6.30 p.m
The composers on their new works:
Nuno Costa — Lillar-D
Timothy McCormack — Sediment
Jungeun Park — Stained-echo
Chris Swithinbank — this line comes from the past
Hakan Ulus — Tā Hā
On top of premiering 5 new "impuls" commission, Klangforum Wien and Ilan Volkov offer a full day with reading-sessions for young composer participants of the impuls Academy, where, amongst others, questions on formal and esthetic aspects, notation and instrumentation are discussed.
An eight-hour listening experience modeled on the Athenian symposia, where cushions, futons and comfortable seating create an installation, and where guests are served meals and wines in longer breaks.
Gustav Mahler — Das Trinklied vom Jammer der Erde
Dieter Ammann — Le réseau de reprises
Salvatore Sciarrino — Let Me Die Before I Wake
Bernd Richard Deutsch — Dr. Futurity
Klaus Lang — der pythagoräische fächer.
Beat Furrer — linea dell’orizzonte
Enno Poppe — Speicher I
Clara Iannotta — Il colore dell'ombra
Iannis Xenakis — Psappha
Terry Riley — in C
Roman Haubenstock-Ramati — Konstellationen
Nora Scheidl, design
Michael Scheidl, production
Sascha Emanuel Kramer, Tenor
Bernhard Zachhuber, clarinet
Aleksey Vylegzhanin, organ
Björn Wilker, percussion
Peter Böhm, sound design
Dirigent: Johannes Kalitzke
Starts at 5 p.m., ends around midnight.
Admission: 115 euro / reduced: 95 euro (for Ö1 Club members, DER STANDARD subscribers & students).
The ticket price includes a six course menu and all wines.
Tickets exclusively at:
Ticket & Service Center of the Wiener Konzerthaus
Lothringenstr. 20, 1030 Vienna, T +43 1 242 002 (with credit card)
ticket@konzerthaus.at
Coproduced by netzzeit and Klangforum Wien.
An eight-hour listening experience modeled on the Athenian symposia, where cushions, futons and comfortable seating create an installation, and where guests are served meals and wines in longer breaks.
Gustav Mahler — Das Trinklied vom Jammer der Erde
Dieter Ammann — Le réseau des reprises
Clara Iannotta — Il colore dell'ombra
Enno Poppe — Speicher I
Klaus Lang — der pythagoräische fächer.
Beat Furrer — linea dell’orizzonte
Iannis Xenakis — Psappha
Salvatore Sciarrino — Let Me Die Before I Wake
Bernd Richard Deutsch — Dr. Futurity
Terry Riley — in C
Roman Haubenstock-Ramati — Konstellationen
Nora Scheidl, design
Michael Scheidl, production
Sascha Emanuel Kramer, Tenor
Bernhard Zachhuber, clarinet
Aleksey Vylegzhanin, organ
Björn Wilker, percussion
Peter Böhm, sound design
Dirigent: Johannes Kalitzke
Starts at 5 p.m., ends around midnight.
Admission: 115 euro / reduced: 95 euro (for Ö1 Club members, DER STANDARD subscribers & students).
The ticket price includes a six course menu and all wines.
Tickets exclusively at:
Ticket & Service Center of the Wiener Konzerthaus
Lothringenstr. 20, 1030 Vienna, T +43 1 242 002 (with credit card)
ticket@konzerthaus.at
Coproduced by netzzeit and Klangforum Wien.
Listening is the best means of providing a fresh insight into the seemingly unalterable. The international economic system is put on trial by music.
Matthias Meinharter — Tiki Tiki Men
Elizabeth Hobbs/Carola Bauckholt — The Flounder
Sven Hartberger
Rebecca Blöcher/Eva Reiter — Lickalike
Gerald Preinfalk
Eni Brandner/Misato Mochizuki — PANTOPOS
Vera Fischer
Joanna Kożuch/Ying Wang — Music Box
Andreea Dosa
Samantha Moore/Malin Bång — Bloomers
—
Vera Fischer
Vessela Dantcheva/Electric Indigo — Hierarchy Glitch
Christoph Walder
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Andreas Eberle
Susi Jirkuff/Joanna Bailie — Measuring the Distance
Mikael Rudolfsson
Andrea Schneider/Marianthi Papalexandri-Alexandri — Generator/ Operator
Anders Nyqvist
Michelle Kranot/Iris ter Schiphorst — Suggestion of Least Resistance
Klangforum Wien
Musical direction: Konstantia Gourzi
Staging: Jacqueline Kornmüller
Dramaturgy: Peter Wolf
Musical dramaturgy: Uli Fussenegger, Krassimir Sterev
Sound design: Peter Böhm & Markus Urban
Film projection: Martin Repka
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Subscription Series 2018/19
Appearances
The artists on their works:
Happiness Machine – The Movies and the Compositions
Happiness Machine is a project of Klangforum Wien, Musik der Jahrhunderte and Amour Fou Vienna in cooperation with Tricky Women.
Funded by Cultural Affairs Department of the City of Vienna and Federal Chancellery of Austria with special funding from the German Federal Cultural Foundation and Interfaces/Creative Europe Programme of the European Union.
The commissions to Iris ter Schiphorst, Malin Bång, Eva Reiter, Carola Bauckholt and Marianthi Papalexandri-Alexandri are funded by the Ernst von Siemens Music Foundation.
The video projections for "Happiness Machine" were realized with the Isadora software programmed by Mark Coniglio.
The film comprises ten short films by female animation directors, made in collaboration with ten female music composers from all over Europe. The films take as their starting point Common Good Economy an economic theory proposed by the Austrian Christian Felber.
Elizabeth Hobbs/Carola Bauckholt — The Flounder
Rebecca Blöcher/Eva Reiter — Lickalike
Eni Brandner/Misato Mochizuki — PANTOPOS
Joanna Kożuch/Ying Wang — Music Box
Samantha Moore/Malin Bång — Bloomers
Vessela Dantcheva/Electric Indigo — Hierarchy Glitch
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Susi Jirkuff/Joanna Bailie — Measuring the Distance
Andrea Schneider/Marianthi Papalexandri-Alexandri — Generator/ Operator
Michelle Kranot/Iris ter Schiphorst — Suggestion of Least Resistance
Concept: Sven Hartberger
Producers: Abigail Addison, Alexander Dumreicher-Ivanceanu, Fabian Driehorst, Zuzana Mistríková
Production Manager: Martin Repka
Music: Klangforum Wien
Musical direction: Konstantia Gourzi
Sound design: Peter Böhm & Markus Urban
Music Mix: Mischa Janisch
Sound Mix: Georg Tomandl
Distribution: Fabian&Fred
www.happiness-machine.de
www.trickywomen.at
The artists on their works:
Happiness Machine – The Movies and the Compositions
Happiness Machine is a project of Klangforum Wien, Musik der Jahrhunderte and Amour Fou Vienna in cooperation with Tricky Women.
Funded by Cultural Affairs Department of the City of Vienna and Federal Chancellery of Austria with special funding from the German Federal Cultural Foundation and Interfaces/Creative Europe Programme of the European Union.
The commissions to Iris ter Schiphorst, Malin Bång, Eva Reiter, Carola Bauckholt and Marianthi Papalexandri-Alexandri are funded by the Ernst von Siemens Music Foundation.
Gerd Kühr — Revue instrumentale et électronique
— SCAN V
Anton Webern — Satz für Streichtrio op. posth
György Kurtág — In Nomine – all´ ongherese
Pierre Schaeffer — Etude aux Chemins de Fer
Christof Ressi — Ludium world premiere
Students of the Performance Practice in Contemporary Music (PPCM) Class of the Klangforum Wien
Musicians of the Klangforum Wien
Computer Music Students of the IEM Graz
concept, dramaturgy: Sophie Schafleitner,
Dimitrios Polisoidis, Gerd Kühr
technical design, realization: IEM Graz, Winfried Ritsch
conductor: Gerd Kühr
Before the concert:
Meet the Composer, 6.45 pm, MUMUTH-Lounge
Ulla Pilz in conversation with Gerd Kühr
In his cycle Poética del espacio (Poetics of Space), Alberto Posadas examines the relationship between sound space and space sound. In the third part of this series of works, he studies the architecture of sound production, the instrumental space. That may sound like an experimental laboratory, but the result is impressive, refreshingly lively music. The Austrian Georg Friedrich Haas then expands space to encompass world politics, dedicating his new composition to Elin Ersson, the young Swedish woman whose moral courage prevented the deportation of an asylum-seeker to Afghanistan. Finally, Georges Aperghis places a soprano voice within an instrumental thunderstorm of sound, inspired by Paul Klee’s painting Vor dem Blitz (Before the Lightning). “Contretemps” – the aesthetics of adverse circumstances. (Acht Brücken Festival)
Alberto Posadas — Umbrales evanescentes ("Poética del espacio") world premiere
Georg Friedrich Haas — im Schatten der Harfen German premiere
Georges Aperghis — Contretemps
Donatienne Michel-Dansac, soprano
Gerald Preinfalk, saxophone
Christoph Walder, horn
Anders Nyqvist, trumpet
Mikael Rudolfsson, trombone
conductor: Sylvain Cambreling
Before the concert
Public general rehearsal, 12 pm, Kölner Philharmonie
Composers' talk, 5 pm, Kölner Philharmonie
Louwrens Langevoort in conversation with Georges Aperghis
The composer Alberto Posadas on his 3rd piece of the composition series:
Alberto Posadas — Poética del espacio
Rebecca Saunders combines sound and fury. And the Chinese composer Ying Wang, who spent part of her studies as Saunders’ student, gives no reason to expect pleasantries in her new composition. “Noise in our ears, poison in our food, stench in the air, fear in our thoughts…. My music speaks of all this torture.” And Georges Aperghis might add: “It is always about sparking an emotion, … making a structure tremble.” Thus, Seesaw and Teeter-Totter are not about children’s playgrounds and enjoyment, as the titles would suggest – rather, the orchestra is whipped into dramatic controversies. Much hangs in the balance during this concert by Klangforum Wien. (Acht Brücken Festival)
Georges Aperghis — SEESAW
— Teeter-totter
Rebecca Saunders — Scar* world premiere
Georg Friedrich Haas — equinox world premiere
Ying Wang — Schmutz world premiere
Sophie Schafleitner, violin
conductor: Julien Leroy
The composers on their new works:
Rebecca Saunders — Scar
Ying Wang — Schmutz
*Commissioned by Festival Acht Brücken | Musik für Köln with financial support from the Ernst von Siemens Music Foundation, Birmingham Contemporary Music Group & individual contributors to their 'Sound Investment Scheme', Huddersfield Contemporary Music Festival, Casa da Música Porto & Festival d'Automne à Paris.
In a live performance, ten animated films, ten new compositions and ten monologues, women artists of eleven European countries propose an alternative to the prevailing capitalist economic system.
Matthias Meinharter — Tiki Tiki Men
Elizabeth Hobbs/Carola Bauckholt — The Flounder
Sven Hartberger
Rebecca Blöcher/Eva Reiter — Lickalike
Gerald Preinfalk
Eni Brandner/Misato Mochizuki — PANTOPOS
Vera Fischer
Joanna Kożuch/Ying Wang — Music Box
Andreea Dosa
Samantha Moore/Malin Bång — Bloomers
—
Vera Fischer
Vessela Dantcheva/Electric Indigo — Hierarchy Glitch
Christoph Walder
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Andreas Eberle
Susi Jirkuff/Joanna Bailie — Measuring the Distance
Mikael Rudolfsson
Andrea Schneider/Marianthi Papalexandri-Alexandri — Generator/ Operator
Anders Nyqvist
Michelle Kranot/Iris ter Schiphorst — Suggestion of Least Resistance
Klangforum Wien
Musical direction: Konstantia Gourzi
Staging: Jacqueline Kornmüller
Dramaturgy: Peter Wolf
Musical dramaturgy: Uli Fussenegger, Krassimir Sterev
Sound design: Peter Böhm & Markus Urban
Film projection: Martin Repka
Additional event
Common Good Economy - what is behind the "economic model with a future"?
6.30 - 7.15 p.m., Elbphilharmonie - Kaistudio 1, Hamburg
The artists on their works:
Happiness Machine – The Movies and the Compositions
Happiness Machine is a project of Klangforum Wien, Musik der Jahrhunderte and Amour Fou Vienna in cooperation with Tricky Women.
Funded by Cultural Affairs Department of the City of Vienna and Federal Chancellery of Austria with special funding from the German Federal Cultural Foundation and Interfaces/Creative Europe Programme of the European Union.
The commissions to Iris ter Schiphorst, Malin Bång, Eva Reiter, Carola Bauckholt and Marianthi Papalexandri-Alexandri are funded by the Ernst von Siemens Music Foundation.
The video projections for "Happiness Machine" were realized with the software Isadora programmed by Mark Coniglio.
The film comprises ten short films by female animation directors, made in collaboration with ten female music composers from all over Europe. The films take as their starting point Common Good Economy an economic theory proposed by the Austrian Christian Felber.
Elizabeth Hobbs/Carola Bauckholt — The Flounder
Rebecca Blöcher/Eva Reiter — Lickalike
Eni Brandner/Misato Mochizuki — PANTOPOS
Joanna Kożuch/Ying Wang — Music Box
Samantha Moore/Malin Bång — Bloomers
Vessela Dantcheva/Electric Indigo — Hierarchy Glitch
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Susi Jirkuff/Joanna Bailie — Measuring the Distance
Andrea Schneider/Marianthi Papalexandri-Alexandri — Generator/ Operator
Michelle Kranot/Iris ter Schiphorst — Suggestion of Least Resistance
Concept: Sven Hartberger
Producers: Abigail Addison, Alexander Dumreicher-Ivanceanu, Fabian Driehorst, Zuzana Mistríková
Production Manager: Martin Repka
Music: Klangforum Wien
Musical direction: Konstantia Gourzi
Sound design: Peter Böhm & Markus Urban
Music Mix: Mischa Janisch
Sound Mix: Georg Tomandl
Distribution: Fabian&Fred
www.happiness-machine.de
After the screening:
Q&A with the filmmakers Samantha Moore and Elizabeth Hobbs, 6 pm
The artists on their works:
Happiness Machine – The Movies and the Compositions
Happiness Machine is a project of Klangforum Wien, Musik der Jahrhunderte and Amour Fou Vienna in cooperation with Tricky Women.
Funded by Cultural Affairs Department of the City of Vienna and Federal Chancellery of Austria with special funding from the German Federal Cultural Foundation and Interfaces/Creative Europe Programme of the European Union.
The commissions to Iris ter Schiphorst, Malin Bång, Eva Reiter, Carola Bauckholt and Marianthi Papalexandri-Alexandri are funded by the Ernst von Siemens Music Foundation.
Klangforum concludes its auditory view to the present with a cross-generational group portrait.
Friedrich Cerha — Kurzzeit
Rebecca Saunders — Scar* Austrian premiere
Ying Wang — Schmutz Austrian premiere
Georges Aperghis — Contretemp
Donatienne Michel-Dansac, Soprano
conductor: Julien Leroy
*Commissioned by Festival Acht Brücken | Musik für Köln with financial support from the Ernst von Siemens Music Foundation, Birmingham Contemporary Music Group & individual contributors to their 'Sound Investment Scheme', Huddersfield Contemporary Music Festival, Casa da Música Porto & Festival d'Automne à Paris.
The composers on their new works:
Rebecca Saunders — Scar
Ying Wang — Schmutz
Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.
Georg Friedrich Haas — In iij. Noct.
— HYENA
Georg Friedrich Haas (music) / Mollena Lee Williams-Haas (text)
conductor: Bas Wiegers
Mollena Lee Williams-Haas, Soloist
Seeking encounters with the local population, Klangforum Wien gladly took the chance to make contact with the elementary school Am Hundsturm, which is only a few meters from the ensemble's rehearsal space.
During a 4-year project phase (from the 1st to the 4th grade), the same school class regularly comes to the Klangforum to make "basic musical experiences" there. The listening exploration and the playful production of sounds of all kinds and their creative development in time, make the children open towards the possibilities of music creation without the use of familiar instruments or sounds. So we play with a variety of materials, from everyday objects to musical instruments. "Music is everywhere, near and far."
The final concert of the class 4b takes place on May 28 at 10.15 a.m. in the rehearsal room of the Klangforum Wien.
The project is led by Vera Fischer (flute) and Björn Wilker (drums).
Extremely different concerts focus on the history(s) and future of selected urban spaces by raising urban planning and social issues. (Oliver Hangl)
Daniel Riegler — Fanfare IV
Matthew Shlomowitz — Theme Street Parade
Klas Torstensson — four brass links (1 and 2)
Liza Lim — Axis Mundi
Klaas Torstensson — four brass links (3 and 4)
Iannis Xenakis — Psappha
Lorelei Dowling, bassoon
Björn Wilker, percussion
In case of bad weather, the concert will take place at Gasometer B/Spielraum, Guglgasse 8 (Subway: U3, Station: Gasometer)
And just as in their art, Klangforum Wien itself is nothing but a force, barely disguised by its metier, to improve the world. The moment they step onto the podium, the musicians know that only one thing counts: everything. Eros and the absoluteness of this conviction are at the root of the inimitable quality of their concerts. (Delian Academy for New Music)
Beat Furrer — Frau Nachtigall
— auf tönernen füssen
Samir Odeh-Tamimi — Solo
Dimitri Papageorgiou — ...anD...
Georges Aperghis — Graffitis
— Récitations [excerpts]
Klangforum Wien
Dimitrios Polisoidis, viola
Krassimir Sterev, accordion
Gerald Preinfalk, saxophone
Benedikt Leitner, cello
TAK Ensemble
The film comprises ten short films by female animation directors, made in collaboration with ten female music composers from all over Europe. The films take as their starting point Common Good Economy an economic theory proposed by the Austrian Christian Felber.
Elizabeth Hobbs/Carola Bauckholt — The Flounder
Rebecca Blöcher/Eva Reiter — Lickalike
Eni Brandner/Misato Mochizuki — PANTOPOS
Joanna Kożuch/Ying Wang — Music Box
Samantha Moore/Malin Bång — Bloomers
Vessela Dantcheva/Electric Indigo — Hierarchy Glitch
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Susi Jirkuff/Joanna Bailie — Measuring the Distance
Andrea Schneider/Marianthi Papalexandri-Alexandri — Generator/ Operator
Michelle Kranot/Iris ter Schiphorst — Suggestion of Least Resistance
Concept: Sven Hartberger
Producers: Abigail Addison, Alexander Dumreicher-Ivanceanu, Fabian Driehorst, Zuzana Mistríková
Production Manager: Martin Repka
Music: Klangforum Wien
Musical direction: Konstantia Gourzi
Sound design: Peter Böhm & Markus Urban
Music Mix: Mischa Janisch
Sound Mix: Georg Tomandl
Distribution: Fabian&Fred
www.happiness-machine.de
The artists on their works:
Happiness Machine – The Movies and the Compositions
Happiness Machine is a project of Klangforum Wien, Musik der Jahrhunderte and Amour Fou Vienna in cooperation with Tricky Women.
Funded by Cultural Affairs Department of the City of Vienna and Federal Chancellery of Austria with special funding from the German Federal Cultural Foundation and Interfaces/Creative Europe Programme of the European Union.
The commissions to Iris ter Schiphorst, Malin Bång, Eva Reiter, Carola Bauckholt and Marianthi Papalexandri-Alexandri are funded by the Ernst von Siemens Music Foundation.
And just as in their art, Klangforum Wien itself is nothing but a force, barely disguised by its metier, to improve the world. The moment they step onto the podium, the musicians know that only one thing counts: everything. Eros and the absoluteness of this conviction are at the root of the inimitable quality of their concerts. (Delian Academy for New Music)
Maja Bosnić — /com.app.data world premiere
Alberto Carretero — Sevillanas world premiere
Cyril Molesti — Eirôneia world premiere
JeeYoung Yoo — Angemessene Bewegung world premiere
Georges Aperghis — Rasch
Dimitrios Polisoidis, viola
Krassimir Sterev, accordion
Gerald Preinfalk, saxophone
Benedikt Leitner, cello
For several years now, the kunsthaus muerz, as local music provider in the Austrian province of Styria, together with the Klangforum Wien as its city partner, organize the festival brücken, a contemporary initiative in rural areas.
Clara Iannotta — Il colore dell‘ombra
Hans Zender — Hölderin lesen III („Denn wiederkommen“)
Fausto Romitelli — Domeniche alla periferia dell´impero
Galina Uswolskaja — Komposition Nr. 1 – Dona nobis pacem
Salome Kammer, Voice
Tickets are available at the box office of the venue.
The encounter with the Contemporary takes place not only in different locations, for e.g. in one of the most important violin wood warehouses in Austria, in Mariazell, but also in different forms: as an installation, as a concert, as a workshop, as a reading, as a music class and as an interactive event.
Workshop with Björn Wilker.
In cooperation with the Music School Mariazell.
The encounter with the Contemporary takes place not only in different locations, for e.g. in one of the most important violin wood warehouses in Austria, in Mariazell, but also in different forms: as an installation, as a concert, as a workshop, as a reading, as a music class and as an interactive event.
Daniel Riegler — Fanfare IV
Klas Torstensson — four brass links (1 und 2)
Matthew Shlomowitz — Theme Street Parade
Klas Torstensson — four brass links (3 und 4)
Liza Lim — Axis Mundi
Iannis Xenakis — Psappha
Lorelei Dowling, bassoon
Björn Wilker, percussion
Tickets are available at the box office of the venue.
On a long weekend, opportunities for new musical experiences in many different environments are being offered: early in the morning, at sunrise, in the woods during a John Cage mushroom quest with musical interventions.
John Cage — Ryoanji
— Variations
— Lecture on Nothing
Björn Wilker, percussion
With Sven Hartberger, Klangforum Wien. Meeting point is the entrance Veitschbachgraben.
Registration required under:
+43 3852 5620 or kunst@kunsthausmuerz.at
On a long weekend, opportunities for new musical experiences are being offered, like the musical interventions on the extensive grounds of the Monastery of Neuberg an der Mürz.
Claude Vivier — Pièce pour violon et clarinette
Rebecca Saunders — solitude
György Kurtág — Officium breve
Giacinto Scelsi — Okanagon
Anders Nyqvist, trumpet
Olivier Vivarès, clarinet
Annette Bik, violin
Andreas Lindenbaum, cello
Tickets are available at the box office of the venue.
The final concert of the festival, a composition for organ and ensemble by Klaus Lang will be taking place in the stupendous gothic abbey church - Stift Neuberg.
Klaus Lang — der phytagoräische fächer.
Klaus Lang, organ
Tickets are available at the box office of the venue.
The Klangforum Wien, a black carnival where the most detestable beings wear their clothes of light, and where the monsters of our recent mythologies come out of their retreats, invites you to a grimaceous procession. (Sion Festival)
Igor Strawinsky — Histoire du soldat
Bernhard Gander — schlechtecharakterstücke
HK Gruber — Frankenstein!!
HK Gruber, baritone
conductor: HK Gruber
With the kind support of
Johann Strauß / Arnold Schönberg — Lagunenwalzer op. 411
Anton Webern — Symphonie op. 21
Giacomo Puccini — Crisantemi
Martino Traversa — The lost horizon
Alban Berg — Adagio
Clara Iannotta — D’après
Georg Friedrich Haas — …aus freier Lust… verbunden…
Johann Strauß / Arnold Schönberg — Rosen aus dem Süden op. 388
Bernhard Zachhuber, clarinet
Joonas Ahonen, piano
Anders Nyqvist, trumpet
conductor: Sylvain Cambreling
With the kind support of
The film comprises ten short films by female animation directors, made in collaboration with ten female music composers from all over Europe. The films take as their starting point Common Good Economy an economic theory proposed by the Austrian Christian Felber.
Elizabeth Hobbs/Carola Bauckholt — The Flounder
Rebecca Blöcher/Eva Reiter — Lickalike
Eni Brandner/Misato Mochizuki — PANTOPOS
Joanna Kożuch/Ying Wang — Music Box
Samantha Moore/Malin Bång — Bloomers
Vessela Dantcheva/Electric Indigo — Hierarchy Glitch
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Susi Jirkuff/Joanna Bailie — Measuring the Distance
Andrea Schneider/Marianthi Papalexandri-Alexandri — Generator/ Operator
Michelle Kranot/Iris ter Schiphorst — Suggestion of Least Resistance
Concept: Sven Hartberger
Producers: Abigail Addison, Alexander Dumreicher-Ivanceanu, Fabian Driehorst, Zuzana Mistríková
Production Manager: Martin Repka
Music: Klangforum Wien
Musical direction: Konstantia Gourzi
Sound design: Peter Böhm & Markus Urban
Music Mix: Mischa Janisch
Sound Mix: Georg Tomandl
Distribution: Fabian&Fred
www.happiness-machine.de
The artists on their works:
Happiness Machine – The Movies and the Compositions
Happiness Machine is a project of Klangforum Wien, Musik der Jahrhunderte and Amour Fou Vienna in cooperation with Tricky Women.
Funded by Cultural Affairs Department of the City of Vienna and Federal Chancellery of Austria with special funding from the German Federal Cultural Foundation and Interfaces/Creative Europe Programme of the European Union.
The commissions to Iris ter Schiphorst, Malin Bång, Eva Reiter, Carola Bauckholt and Marianthi Papalexandri-Alexandri are funded by the Ernst von Siemens Music Foundation.
The Klangforum Wien will interpret music by four prestigious composers of the younger generation Milica Djordjević, Clara Iannotta, Máté Bella and Péter Tornyai alongside a composer of the middle generation, Enno Poppe and Salvatore Sciarrino, who is by now considered a classic.
Máté Bella —Chuang Tzu’s Dream
Enno Poppe — Brot
Milica Djordjević — Rdja
Péter Tornyai — Ferne world premiere
Clara Iannotta — D’après
Salvatore Sciarrino — Archeologia del telefono
Andreas Lindenbaum, cello
conductor: Patrick Hahn
Programme of the CAFe Budapest Contemporary Arts Festival.
Our current economic system is subject to review and with it the question: how happy are we under its influence?
In a 24 hour performance comprised of music, theatre and dance, animated and documentary films, Klangforum Wien raises the question: How do we want to live?
Theater an der Wien, October 25, 2019, 6.30 pm
Matthias Meinharter — Tiki Tiki Men
Elizabeth Hobbs/Carola Bauckholt — The Flounder
Sven Hartberger
Rebecca Blöcher/Eva Reiter — Lickalike
Gerald Preinfalk
Eni Brandner/Misato Mochizuki — PANTOPOS
Vera Fischer
Joanna Kożuch/Ying Wang — Music Box
Andreea Dosa
Samantha Moore/Malin Bång — Bloomers
—
Vera Fischer
Vessela Dantcheva/Electric Indigo — Hierarchy Glitch
Christoph Walder
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Andreas Eberle
Susi Jirkuff/Joanna Bailie — Measuring the Distance
Mikael Rudolfsson
Andrea Schneider/Marianthi Papalexandri-Alexandri — Generator/ Operator
Anders Nyqvist
Michelle Kranot/Iris ter Schiphorst — Suggestion of Least Resistance
Staging: Jacqueline Kornmüller
Dramaturgy: Peter Wolf
Musical direction: Konstantia Gourzi
Musical dramaturgy: Uli Fussenegger, Krassimir Sterev
Sound design: Peter Böhm & Markus Urban
Film projection: Martin Repka
Atelierhaus der Akademie der bildenden Künste Wien Prospekthof, October 25, 2019, 10.30 pm
Cornelius Cardew — The Great Learning
Chorus sine nomine/Johannes Hiemetsberger
Christian Felber — 2030
Performance: Peter Wolf
Dinner
Atelierhaus der Akademie der bildenden Künste Wien, October 26, 2019, 00.00 am
ludum stellae
Karlheinz Stockhausen — Zodiac Music Boxes / 12 melodies of the star signs (arranged by Mike Svoboda) for 2 Dancers
Dancers: Manaho Shimokava and Pavel Dudus
Morton Feldman — For Philip Guston
Acousmatic Music
James Tenney — Having Never Written a Note for Percussion
Gartenbaukino, October 26, 2019, 9.00 am (breakfast from 8.00 a.m.)
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Michael Enger — Coffee to go. With the Taste of Eviction
Following a conversation with Melanie Ossberger, FIAN Österreich
Wiener Konzerthaus, Foyer, October 26, 2019, 11 am
Combo II World premiere
Wiener Konzerthaus, Berio-Saal, 26. Oktober 2019
Markus Sepperer — Beriotopia
Chess!
Wiener Konzerthaus, Schubert-Hall, October 26, 2019, 12 am
Diatribe. Part I
Jutta Hieronymus — A Good Life for Everyone
Peter Rosner — The Big Mistake
Wiener Konzerthaus, Mozart-Hall, October 26, 2019, 1.30 am
Georges Aperghis — Situations
Conductor: Emilio Pomàrico
Wiener Konzerthaus, Schubert-Hall, October 26, 2019, 3 pm
Diatribe. Part II
Fred Luks — Of Knowledge and of Mine
Sven Hartberger — Science or Counter-Enlightenment?
Wiener Konzerthaus, Mozart-Hall, October 26, 2019, 4.30 pm
Ludwig van Beethoven — Diabelli-Variationen op. 120
Hans Zender — 33 Veränderungen über 33 Veränderungen
Conductor: Emilio Pomàrico
Joonas Ahonen, piano
HAPPINESS MACHINE Animation Movies and Music
November 1, 2019
Main Stage, 8.30 pm
The Economy of the Common Good
Lecture and Q & A, with Christos Carras and Sven Hartberger
Elizabeth Hobbs/Carola Bauckholt — The Flounder
Rebecca Blöcher/Eva Reiter — Lickalike
Eni Brandner/Misato Mochizuki — PANTOPOS
Joanna Kożuch/Ying Wang — Music Box
Samantha Moore/Malin Bång — Bloomers
Vessela Dantcheva/Electric Indigo — Hierarchy Glitch
Ana Nedeljković/Hanna Hartman — The Happiness Machine
Susi Jirkuff/Joanna Bailie — Measuring the Distance
Andrea Schneider/Marianthi Papalexandri-Alexandri — Generator/ Operator
Michelle Kranot/Iris ter Schiphorst — Suggestion of Least Resistance
Konstantia Gourzi, musical direction
Peter Böhm & Markus Urban, sound design
Martin Repka, film projection
Main Stage, 11.00 pm
Liza Lim — Wild Winged One
Anders Nyqvist, trumpet
Stéphane Hessel — A word on the current economic system
Christian Felber — 2030. A short lecture
Clara Iannotta — Il colore dell’ombra
Dinner
November 2, 2019
Exhibition Hall, 1.00 am
Morton Feldman — For Philip Guston
Acousmatic music
James Tenney — Having never written a note for percussion
Lobby, 8.00 am
Breakfast
Upper stage, 4.00 pm
Diatribe. Part I
N.N., The Big Error: An Analysis of the Economy for the Common Good
N.N., There is an alternative. Why our current economical system doesn’t work and cannot work
Main Stage, 5.30 pm
Georges Aperghis — Situations, une convivialité musicale
Exhibition Hall, 7.00 pm
Diatribe. Part II
The Knowledge of Economics. What exactly does this science know?
N.N., The moving narrow-mindedness of the economics
N.N., Obscurantism. The replacement of scientifically proven knowledge through pleasant opinions
Main Stage, 8.30 pm
Ludwig van Beethoven — Diabelli-Variationen op. 120
Hans Zender — 33 Veränderungen über 33 Veränderungen
Joonas Ahonen, piano
Programme is subject to change.
With the kind support of
Wojtek Blecharz — K’an
Lisa Streich — Sai ballare?
Raphael Cendo — Furia
Milica Djordjević — Rdja
Rebecca Saunders — Sole
Klaus Lang — linea mundi. world premiere
Mirela Ivičević* — SWEET DREAMS world premiere
Alex Lipowski, percussion
conductor: Bas Wiegers
*Mirela Ivičević has been awarded the Erste Bank Composition Award 2019.
Klaus Lang on his new work linea mundi. The composition was commissioned by the Kölner Philharmonie (KölnMusik) within the context of the Non-Beethoven-Project for the year 2020.
With kind support by
Klangforum Wien and Brunnenpassage invite you to make music, listen, experiment and improvise.
5 p.m. Concert
Presentation by the clarinet class led by Bernhard Zachhuber
Daniel Riegler — Fanfare IV
Matthew Shlomovitz — Theme Street Parade
Klas Torstensson — four brass links (1 and 2)
Liza Lim — Axis mundi
Klas Torstensson — four brass links (3 and 4)
Break
Ianis Xenakis — Psappha
18.30 Uhr Rhythm workshop
After the performance of Psappha by Iannis Xenakis, there will be a rhythm workshop for the audience with Björn Wilker.
Lorelei Dowling, bassoon
Björn Wilker, percussion
Free admission!
Klangforum Wien in cooperation with Brunnenpassage.
December 12th - 16th, 2018
Intensive seminar for composition with one-to-one lessons, master classes, rehearsals, discussions and performances centering on submitted compositions for quartet. A cooperation between Kunst Uni Graz, Aristotle University Thessaloniki and the Municipality of Larissa.
At the end of the master classes Klangforum Wien will perform the newly composed works, together with PPCM students.
Sinan Samanli — New Work world premiere
Analia Ludgar — New Work world premiere
Shin Mitzutani — Pleasgoi world premiere
Cyril Molesti — New Work world premiere
Yon Yu— Suno1 world premiere
Santa Buss — New Work world premiere
Đorđe Marković — (inter)actions world premiere
Arshia Samsaminia— Gavesht II world premiere
Felix Martl, clarinet
Katherine Oiseid, saxophone
David Schmidt, trumpet
Mikael Rudolfsson, trombone
Joonas Ahonen, piano
Leo Morello, violoncello
Faculty:
Klaus Lang (KUG)
Dimitri Papageorgiou (Aristoteles Universität Thessaloniki)
Orestis Toufektsis (KUG)
December 12th - 16th, 2018
Intensive seminar for composition with one-to-one lessons, master classes, rehearsals, discussions and performances centering on submitted compositions for quartet. A cooperation between Kunst Uni Graz, Aristotle University Thessaloniki and the Municipality of Larissa.
At the end of the master classes Klangforum Wien will perform the newly composed works, together with PPCM students.
Severin Dornier — adhesion world premiere
Pedro Berardinelli — Quartet world premiere
Vasiliki Legaki — Spheric Relief Construction world premiere
Alberto Granados — New Work world premiere
Ioannis Gerhard Paul — OMEGA world premiere
Alberto Carretero — Biombo world premiere
Tian-Üh Zou — Quartet world premiere
Arda Yurdusev — Ronin world premiere
Felix Martl, clarinet
Katherine Oiseid, saxophone
David Schmidt, trumpet
Björn Wilker, percussion
Dimitrios Polisoidis, Viola
Leo Morello, violoncello
Faculty:
Klaus Lang (KUG)
Dimitri Papageorgiou (Aristoteles Universität Thessaloniki)
Orestis Toufektsis (KUG)
Klaus Lang — linea mundi.* German premiere
Georg Friedrich Haas — in vain
conductor: Bas Wiegers
Before the concert:
Introduction by Bjørn Woll
7 p.m., Empore
*Composition commissioned by the Kölner Philharmonie (KölnMusik) as part of the Non-Beethoven project for the year 2020.
With kind support by
Iannis Xenakis — Rebonds B
Björn Wilker, percussion
In these loosely linked scenes out of roman author Titus Petronius' "Satyricon", which are up to be freely arranged and supplemented with additional recordedings, Bruno Maderna depicts a society collapsing due to its decadence. In this state of pure isolation, music is the only solace for these shattered souls. A new production directed by Michael Sturminger.
Bruno Maderna — Satyricon
Stage Director: Michael Sturminger
Assistant Director: Adriana Hernandez Flores
Stage Design, Costumes, Projections: Marie Sturminger, Paul Sturminger
Camera and Lighting: Sophia Wiegel
Scintilla, Cirisde, Quartilla: Rinnat Moriah
Fortunata: Cornelia Sonnleithner
Trimalchio: Martin Mairinger
Eumolpus, Niceros: Zachary Wilson
Sabinas: Hugo Paulsson Stove
Cantando Admont
Musical supervision: Cordula Bürgi
Klangforum Wien
Conductor: Claire Levacher
In these loosely linked scenes out of roman author Titus Petronius' "Satyricon", which are up to be freely arranged and supplemented with additional recordedings, Bruno Maderna depicts a society collapsing due to its decadence. In this state of pure isolation, music is the only solace for these shattered souls. A new production directed by Michael Sturminger.
Bruno Maderna — Satyricon
Stage Director: Michael Sturminger
Assistant Director: Adriana Hernandez Flores
Stage Design, Costumes, Projections: Marie Sturminger, Paul Sturminger
Camera and Lighting: Sophia Wiegel
Scintilla, Cirisde, Quartilla: Anna Quadrátová
Fortunata: Cornelia Sonnleithner
Trimalchio: Martin Mairinger
Eumolpus, Niceros: Zachary Wilson
Sabinas: Hugo Paulsson Stove
Cantando Admont
Musical supervision: Cordula Bürgi
Klangforum Wien
Conductor: Claire Levacher
In these loosely linked scenes out of roman author Titus Petronius' "Satyricon", which are up to be freely arranged and supplemented with additional recordedings, Bruno Maderna depicts a society collapsing due to its decadence. In this state of pure isolation, music is the only solace for these shattered souls. A new production directed by Michael Sturminger.
Bruno Maderna — Satyricon
Stage Director: Michael Sturminger
Assistant Director: Adriana Hernandez Flores
Stage Design, Costumes, Projections: Marie Sturminger, Paul Sturminger
Camera and Lighting: Sophia Wiegel
Scintilla, Cirisde, Quartilla: Anna Quadrátová
Fortunata: Cornelia Sonnleithner
Trimalchio: Martin Mairinger
Eumolpus, Niceros: Zachary Wilson
Sabinas: Hugo Paulsson Stove
Cantando Admont
Musical supervision: Cordula Bürgi
Klangforum Wien
Conductor: Claire Levacher
Clara Iannotta
— a stir among the stars, a making way UA
Liza Lim
— Extinction Events and Dawn Chorus
Conductor: Johannes Kalitzke
Supported by
An evening about human nature - and the future of the world.
The Ensemble Klangforum Wien, a tightrope walker, five animated films and five compositions of new music, vocal accompanied by texts from ancient and contemporary philosophy.
Director: Mirella Weingarten
What can music do? It can move the brain and touch the heart.
The Klangforum Wien has been bringing out the new in music for 35 years and has made a difference. In the new format of an animation concert, a tightrope walker, a voice performer and the musicians of the Klangforum Wien come into action with short films to reflect on the economy in this world.
Global warming, the extinction of species, the depletion of resources, an ever-widening gap between rich and poor and the exploitation of workers in developing countries for the satisfaction of consumption in Western societies: the current type of economic activity seems to be reaching its natural limits. This realization has not only reached the mainstream of economic policy debates, a majority of people in Western societies feel increasingly under pressure and want a change in economic forms. The new project "Happiness Seriousness - A Counterpoint" designed for GRAZ KULTURJAHR 2020 is a musical journey of discovery into the broad field between egoism and altruism.
Program
In the five departments, the audience is guided through the interdisciplinary spheres of animation film, tight rope dancing, vocal performance and new music.
I. WÖLFE
Björn Wilker — Source of the unknown.
(Financed by the City of Vienna)
Film: Elizabeth Hobbs / Carola Bauckholt – The Flounder
(mit Seiltanz & Vokalsolo)
II. GOOD OR BAD
Katharina Rosenberger — blur
Film: Rebecca Blöcher/ Eva Reiter – Lickalike
(mit Vokalsolo & Textprojektion)
III. ANGST
Improvisationen (Ensemble, Seiltanz, Vokalsolo)
Film: Samantha Moore/ Malin Bång – Bloomers
IV. TRÖSTENDE DINGE
„Spiegelungen“ (Seiltanz & Vokalsolo)
Rebecca Saunders — Sole
Film: Johanna Kozuch/ Ying Wang – Music Box
V. BEWUSSTSEIN
Charles Ives — the unanswered question
Film: Michelle Kranot / Iris ter Schiphorst – Suggestion of least resistance
EPILOG
Michael Pelzel — Dance of the magic water bells
Texte:
Jean- Jaques Rosseau, Adam Smith, Rutger Bregman, Dante Aligheri, Francis Ponge
Klangforum Wien
David Moss, Vokalsolist
Sarah Lindermayer, Seiltänzerin
Musikalische Leitung: Patrick Hahn
Regie: Mirella Weingarten
Dramaturgie: Andreas Schäfer
Klangregie: Peter Böhm
Filmprojektion: Martin Repka
Jörg Schildbach, Licht
Text and quotes in German:
Dante Alighieri („Die Göttliche Komödie“)
Alain de Botton („Eine freundlichere, sanftere Philosophie des Erfolgs“)
Rutger Bregman („Im Grunde gut“)
Oren Harman („Das Geheimnis des Altruismus“)
Thomas Hobbes („Leviathan“)
Molière („Der Geizige“)
Francis Ponge („Der Tisch“ und „Einführung in den Kieselstein und andere Texte“)
Mathieu Ricard („Vom Wissenschaftler zum buddhistischen Mönch“)
Jean-Jacques Rousseau („Über den Ursprung der Ungleichheit zwischen den Menschen“ und „Philosophische Briefe“)
Adam Smith („Theorie der ethischen Gefühle“)
Lew Tolstoi („Familienglück“)
und Zitaten aus dem Film „Wall Street – Geld schläft nicht“ (Regie: Oliver Stone).
An evening about human nature - and the future of the world.
The Ensemble Klangforum Wien, a tightrope walker, five animated films and five compositions of new music, vocal accompanied by texts from ancient and contemporary philosophy.
Director: Mirella Weingarten
What can music do? It can move the brain and touch the heart.
The Klangforum Wien has been bringing out the new in music for 35 years and has made a difference. In the new format of an animation concert, a tightrope walker, a voice performer and the musicians of the Klangforum Wien come into action with short films to reflect on the economy in this world.
Global warming, the extinction of species, the depletion of resources, an ever-widening gap between rich and poor and the exploitation of workers in developing countries for the satisfaction of consumption in Western societies: the current type of economic activity seems to be reaching its natural limits. This realization has not only reached the mainstream of economic policy debates, a majority of people in Western societies feel increasingly under pressure and want a change in economic forms. The new project "Happiness Seriousness - A Counterpoint" designed for GRAZ KULTURJAHR 2020 is a musical journey of discovery into the broad field between egoism and altruism.
Program
In the five departments, the audience is guided through the interdisciplinary spheres of animation film, tight rope dancing, vocal performance and new music.
I. WÖLFE
Björn Wilder — The Source of the Unknown
(Financed by the City of Vienna)
Film: Elizabeth Hobbs / Carola Bauckholt – The Flounder
(mit Seiltanz & Vokalsolo)
II. GOOD OR BAD
Katharina Rosenberger — blur
Film: Rebecca Blöcher/ Eva Reiter – Lickalike
(mit Vokalsolo & Textprojektion)
III. ANGST
Improvisationen (Ensemble, Seiltanz, Vokalsolo)
Film: Samantha Moore/ Malin Bång – Bloomers
IV. TRÖSTENDE DINGE
„Spiegelungen“ (Seiltanz & Vokalsolo)
Rebecca Saunders — Sole
Film: Johanna Kozuch/ Ying Wang – Music Box
V. BEWUSSTSEIN
Charles Ives — the unanswered question
Film: Michelle Kranot / Iris ter Schiphorst – Suggestion of least resistance
EPILOG
Michael Pelzel — Dance of the magic water bells
Text and quotes in German:
Dante Alighieri („Die Göttliche Komödie“)
Alain de Botton („Eine freundlichere, sanftere Philosophie des Erfolgs“)
Rutger Bregman („Im Grunde gut“)
Oren Harman („Das Geheimnis des Altruismus“)
Thomas Hobbes („Leviathan“)
Molière („Der Geizige“)
Francis Ponge („Der Tisch“ und „Einführung in den Kieselstein und andere Texte“)
Mathieu Ricard („Vom Wissenschaftler zum buddhistischen Mönch“)
Jean-Jacques Rousseau („Über den Ursprung der Ungleichheit zwischen den Menschen“ und „Philosophische Briefe“)
Adam Smith („Theorie der ethischen Gefühle“)
Lew Tolstoi („Familienglück“)
und Zitaten aus dem Film „Wall Street – Geld schläft nicht“ (Regie: Oliver Stone).
Klangforum Wien
David Moss, Vokalsolist
Sarah Lindermayer, Seiltänzerin
Musikalische Leitung: Patrick Hahn
Regie: Mirella Weingarten
Dramaturgie: Andreas Schäfer
Klangregie: Peter Böhm
Filmprojektion: Martin Repka
Jörg Schildbach, Licht
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