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QUI?
Joan Bagés Rubi
Seres cobardes: “No desitjo un estat a ningú” (2018)
für Flöte, Violoncello, Klavier, Live-Elektronik und Video DE
"Über
den inneren Kampf, der nötig ist, um sich von den Gedanken und
Vorurteilen zu befreien, die im eigenen Innern, im Kopf eingebettet
sind."
Joan Bagés Rubi, born 1977 in Lleida – Flix/Barcelona/Paris - composer, sound artist and pianist. His
sound work focuses on instrumental music, electroacoustic music, sound
installations and interactive musical systems. Far from addressing these
creative facets as independent elements, his work traces a continuum
based on the creation of networks between these disciplines. What
unifies his creative work is the permanent research in what he calls the
«Spectrum-morphological composition by differentiated layers in a
holophonic creation frame». At the same time, he draws graphic notation
systems derived from conventional notation, uses and creates interactive
musical systems , and has developed the concept of "sound score".
Daniel Martínez Roura
Qui (2018)
für Flöte, Violoncello und Klavier DE
Das
Werk Qui dreht sich um das Thema der Rolle oder Rollen, die die Musiker
bzw. die Instrumente bei der Interpretation spielen oder spielen
können. Im Laufe des Stückes werden die Musiker ihre eigenen Instrumente
aber auch die von den anderen spielen. So werden alle drei Musiker am
Klavier und am Cello spielen müssen.
Ein
Aspekt in meiner gegenwärtigen kompositorischen Arbeit ist die Funktion
der Instrumentalisten und ihre Rolle im Werk selbst zu untersuchen: ich
lasse die Musiker sprechen, singen, ihre Instrumente auch in
unkonventioneller Weise spielen, andere Instrumente spielen,… In der
Suche lasse ich momentan und ganz bewusst die szenischen, theatralischen
Möglichkeiten zur Seite und konzentriere mich gezielt auf die
klangliche Ebene. Das heißt aber nicht, dass diese Suche keine
theatralische Komponente berücksichtigt, denn jede Änderung der
Instrumentalistenrolle auf der Bühne wirkt teatralisch in
unterschiedlichen Gradierungen –es gibt z.B. eine spezifische
Inszenierung wenn ein Pianist, ein Flötist und ein Cellist gleichzeitig
am Cello herumspielen.
In
Bezug auf den Klang erforsche ich nach wie vor die Möglichkeiten der
Vibration (Schwingung) als Klangfarbenschwingung (u.a. bisbigliando,
halbflageolett/flageolett) und als Tonhöhenänderungen (u.a. Triller,
Glissandi, Tremolo).
Daniel Martínez Roura
wurde 1981 in Besalú (Gerona, Spanien) geboren. Er studierte Klavier
und Korrepetition bei Sophia Hase, Eduardo Ponce und Javier San Miguel
an der Musikhochschule Salamanca. Er
wohnt in Berlin, wo er den Bachelor (2012-2015) und Master (2015-2018)
in Komposition bei Prof. Dr. Manolis Vlitakis und Prof. Elena Mendoza an
der UdK absolviert hat. Als
Klavierlehrer, Musiktheorielehrer und Korrepetitor unterrichtet er in
der öffentlichen Musikschule Bela Bartók Pankow und in der Werkstatt
Prenzlberger Singvögel (Chorschule) in Prenzlauerberg. Er
hat an verschiedenen Festivals und Konzerten als Solist und als
Kammermusiker gespielt. Zusammen mit der Flötistin Angeliki Sousoura hat
er das Duo Kontrapunkt gegründet, das sowohl klassisches Repertoire als auch zeitgenössische Musik anbietet. Sein Werk als Komponist umfasst Solisten-, Kammer und Orchesterstücke, darunter: "Fragmentos del olvido" für Barrockvioline, Barrockcello und Cembalo; "Duo I" für Klarinette und kleine Trommel; "Kaleidos" für Flöte, Klarinette, Schlagzeug, Klavier und Streichquartett; “…strsión…(IS)aac” für Flöte, Klarinette, Klavier, Violine, Cello und Bluetooth Lautsprecher; “En turbio y mago sol envuelto” für Xyolophon/Marimba, Harfe und Klavier; “Donde lloran los vientos” für Orchester und “Widerschein” für Flöte, Klarinette, Violine, Viola, Cello und Klavier. Er hat sich auch mit elektronischer Musik befasst, mit Werken wie "Fotosound" und "Um Kaleidos".
· 2017 International Kompositionspreis Barcelona Modern Project.
· 2016 Kompositions- und Aufführungspreise Hanns Eisler.
· 2016 Kompositionspreis des Junges Kammerorchester Reinickendorf for the Piece für das Orchesterwerk geographisches Kompasshaus.
· 2009 SGAE Preis für “Sardanes” für das Werk Jugant. Manlleu (Spanien).
· 2004 Kompositionspreis “Francesc Basil de Figueres“ (Spanien) für das Werk Besalú, museu obert.
Idin Samimi Mofakham
Fata morgana (2018)
für Flöte, Violoncello, Klavier, Oszillatoren und Tape DE
A
Fata Morgana is a complex form of superior mirage that is seen in a
narrow band right above the horizon. As it comes from its name, this
piece is a psycho-acoustical illusion for the ears.
Through
the formation of piece I have attempted to make the illusion on
repetition of the acoustic elements. They seem to sound exactly the
same, but they are never the same as they appear to ear.
Idin Samimi Mofakham, Iranian
composer and performer, is the Co-founder and Artistic manager of
“Spectro Centre for New Music” (since 2013 – Along with Martyna Kosecka,
Polish Composer & Conductor), co-founder and Artistic adviser of
“Contemporary music Circle of Tehran Modern Art Museum”. Since 2015 he
serves the Tehran Contemporary Music Festival, the only International
music festival with focus on contemporary and experimental music in
Iran, as a Co-founder, Board member and senior curator.
He is a permanent member of Iranian Society of Composers and tutor of
Superior Music schools and colleges in Tehran. He is also a founding
member of Composition and Music Theory Department of University of
Applied Science and Technology in Tehran, Iran. Besides being the
invited lecturer at the various institutes and universities in Iran,
Idin also been invited as the guest lecturer at the Central Conservatory
of Music Beijing in China, Hochschule für Musik Carl Maria von Weber in
Germany, electronic music studio at the Academy of Music in Krakow, The
Royal College of Music Stockholm in Sweden or Universität für Musik und
darstellende Kunst Graz in Austria.
He had the honor to be invited as the Composer in Residence on different
Festivals worldwide, such as 4020 Linz , IMPULS (Austria), Convergence
(Georgia), LUCA – campus Lemmensinstituut (Belgium), Ostrava Days and
NODO – New Opera Days Ostrava (Czech Republic), MATA and Christian
Wollf’s Birthday festival (USA), MUSICACOUSTICA-BEIJING
(China), International Festival of Symphonic Music in Tashkent
(Uzbekistan) and many others. He also has been one of the chosen
composers to get the grant for a residency in VISBY center for composers
in Sweden by the Swedish Arts Grants Committee in 2014.
Idin’s music has been performed or recorded by ensembles such
as Klangforum Wien, S.E.M Ensemble, Hermes Ensemble, Omnibus Ensemble,
Moto Perpetuo, AuditivVokal Dresden, Momenta Quartet, IAMA Trio,
Ostravská Banda, Stockholm Saxophone Quartet, Xelmya Trio, and in Iran
mainly by Nivak Ensemble and Nilper Orchestra.
His works are based on traditional and folk music of Iran through
contemporary approach as well as focused on Acoustic and Psycho-Acoustic
Phenomenon.
Haris Kittos
IAMA (2017)
für Flöte, Violoncello und Klavier DE
Ìama
focuses on the idea of intimacy and on how it can derive from the
combination of common personal and musical experiences, while it evolves
to a therapeutic/functional ‘mechanism’ through sharing. The piece is
put together with musical ideas and material that do not carry a need
for dramatic narrative, virtuosic developments, use of extended
techniques etc. Simply, the flute and cello ‘share’ two notes which are
in stasis and a wide distance between them. From these, the lower note
begins to move and slightly ‘push’ upwards while, at the same time,
there is a calm ‘swapping’ of notes between the two instruments. The
result is a double melodic line which is gradually both ascending and
narrowing, but very slowly and unevenly. While this takes place, the
piano remains almost in its own ‘world’, with repetitive micro-gestures
in the extremes of its register and in great distance from the flute and
cello. This contains an obsessive and even annoying at times character
but, on the other hand, it creates a stable point of reference for the
other two instruments which, alongside with their own relationship,
react to the playful piano sounds.
Haris Kittos
is a Greek composer and visual artist who lives in London. In 1998,
after concluding his studies in music and fine art in his home town,
Thessaloniki, he moved to the UK in order to study composition at
Trinity College of Music at postgraduate level with Andrew Lovett and
Daryl Runswick. Further study with Diana Burrell and full scholarship at
the Guildhall School of Music and Drama led to MMus with distinction in
2001. In 2008, fully funded by the AHRC and under the supervision of
Julian Anderson, Dr Darla Crispin and Edwin Roxburgh, he concluded the
DMus in composition at the Royal College of Music, where he is lecturing
and teaching since 2004.
Haris
has also studied briefly with Theodore Antoniou, Susan Bradshaw, Beat
Furrer and Alexander Goehr. Also, as a participant of the Blue Touch Paper scheme
of the London Sinfonietta, he was mentored by Georges Aperghis. His
music has been performed throughout the UK and abroad by Arditti
Quartet, dissonArt, Ensemble Exposé, Ensemble In Extremis,
ExplorEnsemble, Fukio Ensemble, Milos Karadaglic, London Sinfonietta,
Kammerorchster Basel, Jane Manning, Mise-en Ensemble, Sarah Nicolls,
Ghenadie Rotari, UMS ‘n JIP and others. Festivals participation include
Ear London Festival, Forum Wallis, InTransit Festival, Mixtur Festival,
Mise-en Festival, Spoleto Festival and Taukay Contemporanea Festival
among others.
Martyna Kosecka
Zamharïr: Frozen timelessness (2019)
für Flöte, Violoncello, Klavier, Live-Elektronik und Video UA
The extreme cold torn you apart. The cracking of the bones can be heard. Freezing hell-fire consumes what is lost in sin. Zamharīr:
Frozen timelessness is just a mere attempt of describing the sounds and
atmosphere that can be heard at this level of hell. Timelessness beyond.
Martyna Kosecka, born 1989, Gdynia, Poland. Composer, conductor and performer.
She obtained an MA degree in the composition class of professor
Krzysztof Meyer, BA degree in orchestral conducting in class of maestro
Rafał Jacek Delekta in Music Academy in Kraków and MA in orchestral
conducting in class of maestro Szymon Bywalec in Music Academy in
Katowice. Currently she works as a freelance composer and conductor and
holds a position of artistic co-director at Tehran Contemporary Music
Festival.
Martyna Kosecka is a winner of 5-Minute Opera Competition, organized by
28.Music Biennale Zagreb in Croatia in 2015 and winner of Swiss EKLEKTO
Ensemble call for proposals at the same year. She also is a second prize
holder at IV National Krzysztof Penderecki Composition Competition held
in Poland in 2017 and laureate of VIII Zygmunt Mycielski Composition
Competition held in Warsaw the same year. Since 2012, she is a member of
Youth Circle next to Polish Composers’ Union. From 2018 her
compositions are published by Donemus Holland.
Her compositions were played on Festival of Contemporary Music Warsaw
Autumn, AudioArt Festival (Kraków), OstravaDays Festival of New and
Experimental Music (Czech Republic), IMPULS Festival (Austria), Music
Biennale Zagreb (Croatia), Armel Opera Festival (Austria/Hungary) and
others. Her music was played numerously in Poland and other countries of
the world.
In 2013, together with Iranian composer Idin
Samimi Mofakham, she co-founded Spectro Centre for New Music,
specializing in giving workshops in area of modern music and organizing
concerts. Their intensive tries and vivid activity helped to run the
annual festival of contemporary music – International Contemporary Music
Festival in Tehran, which is the largest festival with focus on
contemporary music in the Middle-East area.
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