Basic information
| Composer |
Wagendristel, Alexander |
| Duration |
11 min. |
| Year of composition |
2007 |
| First performance (year) |
2007 |
| First performance (venue) |
Arnold Schönberg Center, Wien |
| First performance (performers) |
Ensemble Reconsil, Roland Freisitzer (cond) |
| Submitter |
ensemble reconsil |
| Publisher |
Apoll Edition |
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
B-flat
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
| Trumpet |
1 |
B-flat
|
|
| Trombone |
1 |
Tenor
|
|
| Other instruments and playing techniques |
| singing saw |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Although I was a member of Lukas Ligeti's improvisation group project "Things Of NowNow", I met his father only once. Still, his music was a main influence on my musical thinking and a constant inspiration in finding my own way.
According to Jorge Luis Borges a Banshee is more a wailing sound (called "keening") than a figure. The Banshee's voice strikes the Celtic people with awe by announcing the death of a family member. In my piece it symbolizes the constant presence of death in our life.
In the final section of this work I included a musical quote from György Ligeti's opera "Le Grand Macabre", a passacaglia theme to the words: "Fear not to die, good people all!/ No one knows when his hour will fall./ And when it comes, then let it be.../ Farewell, till then - live merrily!"
|
Mandragora
Basic information
| Composer |
Sterk, Norbert |
| Duration |
16 min. |
| Year of composition |
2007 |
| First performance (year) |
2007 |
| First performance (venue) |
Arnold Schönberg Center, Wien |
| First performance (performers) |
Ensemble Reconsil, Roland Freisitzer (cond) |
| Submitter |
ensemble reconsil |
| Publisher |
Apoll Edition |
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 2 | | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
A
|
|
| Saxophone |
1 |
Alto
|
|
| Trumpet |
1 |
C
|
|
| Trombone |
1 |
Alto
|
|
|
Musicians |
Instruments |
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Composing is an attempt to revive the silence and the noise in me, to trust their colours and sounds, without subjecting them to a corset, and to become aware of them in a caring, multifaceted manner. Composition itself is a careful monitoring of this slow perception and describes a hearing process.
Sources of inspiration were the sound of the word “Mandragora” and the myth of this plant, screaming uprooted from the earth.
The piece” is part of the cycle “Ins Innere des Bildes” according to paintings by the artist Elisabeth Holzer and reflects another composition “…aus Finsternissen
losgelöst” for piano trio (equally part of the cycle).
Ensemble work and trio originated together with the paintings: Their music follows the process of painting, is inspired by gestures, colour and form of the visual impressions just absorbed, paints further and repaints. The music however is never supposed to only accompany the painting nor offers a general interpretation. For music reinvents the seen and spins it further on. Vice versa the painter ties in with the music just heard and transforms it anew. It seems as if music and picture are educing one another thus being originated closely connected. Artistic creation is performed and made traceable by music. It is a celebration of mutual crossing… lingering, concealing, exaggerating, getting lost…
The paintress/ the composer, takes something discovered by herself/ himself, narrating it, each medium in its own way. Music and picture are giving continuously new answers. Slowly perception transforms and deepens. New aspects emerge…
The cycle is attempting to approach art in a composed/painted very slow-moving different – natured manner. Not till then the contents unlock and change increasingly. Contacting can be tender, violent, agreeing or refusing, ignoring…
Music and picture are like two individuals that meet each other reacting (perhaps not reacting) to one another in a kind of free dance.
|
Hodechtri
Basic information
| Composer |
Swinnen, Peter |
| Duration |
12 min. |
| Year of composition |
2006 |
| First performance (year) |
2006 |
| First performance (venue) |
Wien Modern |
| First performance (performers) |
Champ d'Action |
| Submitter |
Champ d'Action |
| Publisher |
|
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
| Clarinet |
1 |
E-flat soprano
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
| Electronics |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
(This Dutch text will be translated soon)
Peter Swinnens Hodechtri begint ingetogen. De instrumenten bouwen aarzelende lijnen op. Voorzichtig sijpelen de eerste elektronische vervormingen van de akoestische klanken binnen. Het stuk is uitgewerkt als een interactief spel waarbij bepaalde instrumenten door hun speltechniek (bijvoorbeeld door harder of lichter met de strijkstok te drukken) de elektronische vervorming van andere instrumenten controleren. Dat groeit gaandeweg uit tot een extatische laag van boventonen, als een zwerm lawaaierige vogeltjes die boven het ensemble kwettert. Het is een originele bijdrage binnen de elektro-akoestische muziek, en dat weet het Weense publiek duidelijk te appreciëren: vanop de balkons klinkt luid bravogeroep.
|
| Technical specs |
Coming soon...
|
Painted Pyramids
for piano, 5 instruments & live-electronics
Basic information
| Composer |
Brewaeys, Luc |
| Duration |
16 min. |
| Year of composition |
2008 |
| First performance (year) |
2009 |
| First performance (venue) |
Antwerp |
| First performance (performers) |
Champ d'Action |
| Submitter |
Champ d'Action |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Harp |
1 |
- |
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
| Live-electronics |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
"Painted Pyramids" has been commissioned by the Ensemble Champ d'Action who will first perform the work in the fall of 2009 conducted by Jaan Bossier (probably) with Yutaka Oya (sure) at the piano.
The work is a comment on my solo piano piece "Pyramids in Siberia" which I composed back in 1989. Since long I had the intention to extend the original music and this occasion seemed a good opportunity to do so. There are (almost) no changes in the original piano part, I just added notes and enriched the instrumental colours with the other instruments and the live-electronics which are actually very simple, because I use (only) three ringmodulators. "Pyramids" is a piece with many harmonics in the piano, and those harmonics are somehow amplified in "Painted Pyramids", just like the final (extremely fast) toccata is made even more virtuoso with the harmonical as well as coloristic additions.
I dedicate this score to my ex-pupil and highly talented composer Annelies Van Parys, who became a friend.
|
OBAN
for 9 players
Basic information
| Composer |
Brewaeys, Luc |
| Duration |
10 min. |
| Year of composition |
1996 |
| First performance (year) |
1997 |
| First performance (venue) |
Antwerp, deSingel |
| First performance (performers) |
Champ d'Action |
| Submitter |
Champ d'Action |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Clarinet |
1 |
Bass
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Crotales
Vibraphone (F3)
Timpani
Bass Drum
Tamtam
Other
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
This work was composed in 1996 on commission of the International Arts Center "deSingel" in Antwerp for the Ensemble Champ d'Action. The score is dedicated to Serge Verstockt (artisitic director/founder of the ensemble & friend since years) and to conductor Celso Antunes. "OBAN" is my fifth single malt whisky piece after "Knockando", "Talisker", "Laphroaig" & "Bowmore" (two more will be following, of which "Cardhu" is about to be completed). The work is written for 9 instruments. Since the whisky concerned has a round taste, I chose for mostly low sounding instruments. That doesn't mean of course that there are no high notes involved, on the contrary... "OBAN" is in one part, but consists of four sections. The work begins with an introduction based on flageolet-tones in the strings. This is followed by a fairly long, rapid passage in what I would call "(des)-articulated unisson". This has to do with my quite recent concern of the idea of velocity in music. Mostly contemporary music is or fast and "rock"-like or "refined" (in sound-colours) but static (or slow). My purpose was to make something that includes both elements. The third section is extremely slow (maybe a huge breath?) and mainly has to do some-thing with "special" timbres. The end is very short and incredibly fast, and finally the Bass Drum concludes the piece alone, as he started.
|
Techno Park
(after closing time)
Basic information
| Composer |
Van Eycken, Stefan |
| Duration |
30 min. |
| Year of composition |
2004 |
| First performance (year) |
2004 |
| First performance (venue) |
Transitfestival, Leuven |
| First performance (performers) |
Champ d'Action |
| Submitter |
Champ d'Action |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Cello | 1 | | |
|---|
| Clarinet |
1 |
Bass
Contrabass
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Keyboard |
1 |
Piano
Harpsichord
|
| Other plucked instruments |
2 |
Guitar
|
| Other instruments and playing techniques |
| There is also used lo-fi electronica.
The "non-standard instrument" is an accordeon.
The two guitarplayers play on respectively an electric 7-string and 6-string sustainer guitar.
One guitarist plays also bassguitar, the other one plays also resonator mandolin.
The pianist plays also on a Fender Rhodes.
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
(This Dutch text will be translated soon)
Techno Park is een grootschalige compositie van Stefan Van Eycken voor een ensemble van acht uitvoerders : basklarinet (ook klarinet), contrabasklarinet (ook basklarinet), elektrische 7-string sustainer gitaar (ook resonator mandolin), elektrische 6-string sustainer gitaar (ook basgitaar), accordeon, cello, percussie, klavieren (piano, clavecimbel en Fender Rhodes: één uitvoerder), en lo-fi electronica. Zoals in alle van Stefan Van Eyckens recente werken organiseren de musici zich onderling (zonder ‘dirigent’). Dit werk kwam tot stand in opdracht van Champ d’Action.
Stefan Van Eycken : "Techno Park presenteert mijn ambigue relatie met ‘technologie’. ‘Technologie’ heeft te maken met stabilisatie, identiteit, uniformiteit, systematiek, ‘disembodiment’ en controle. Mijn disinteresse in creëren van muziek die op deze concepten (impliciet of expliciet) geschraagd is, uit zich niet in een afkeer van met ‘technologie’ (een terugkeer naar het ‘pretechnologische’, wat dat ook moge zijn!). In tegendeel, alhoewel’technologie’ gestuurd wordt door een haast dogmatisch geloof in ‘total control’, is het mijn overtuiging dat elke stap in die richting in exponentiële mate nieuwe velden die niet gekenmerkt worden door stabiliteit, uniformiteit, systematiek en controleerbaarheid, openlegt. Deze velden maken doorgaans geen deel uit van onze ‘realiteit’: ze zijn vaak niet zichtbaar (hoorbaar) – want ’technologie’ tracht te conditioneren wat we beschouwen als ‘realiteit’, als mogelijkheid – en als ze dat wel zijn, worden ze negatief ervaren. Ikzelf ben ervan overtuigd dat dat negatieve niets anders is dan een projectie van onze moeilijkheid in het omgaan met realiteiten die ‘anders’ zijn – “anders dan wat?” is natuurlijk de vraag – wanneer we ze (nog niet) met de wapens van het soort van denken dat ’technologische vooruitgang’ heet, tegemoet (kunnen) treden. Hoe kunnen we echt interageren met die realiteiten zonder de noodzaak / afhankelijkheid te voelen van die wapens? Voor mij als componist ligt de kern van creativiteit precies daar.
In Techno Park zijn bewust geen exponenten van heel recente technologie gekozen, maar precies diegene die al wat ‘ouder’ zijn en waarvan we het technologische vaak niet meer zien – inkt en papier (notatie) om er maar één te noemen – of waarvan ’de’ identiteit al min of meer geruime tijd ‘gestabiliseerd’ is (klavecimbel, accordeon, elektrische gitaar, Fender Rhodes, ...)."
In de reeks Champ d'Action Archives Series verscheen intussen een opname van Techno Park (N° 02 - TECHNO PARK).
|
Subjective Risk... No Alternative
Basic information
| Composer |
Oliveira-Bachratá, Petra |
| Duration |
6 min. |
| Year of composition |
2007 |
| First performance (year) |
2007 |
| First performance (venue) |
Melos-Ethos Festival, Bratislava |
| First performance (performers) |
Melos Ethos Ensemble, Daniel Gazon (conductor) |
| Submitter |
Melos Ethos Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
2 |
B-flat
|
Bass
|
| Bassoon |
1 |
Bassoon
|
|
| Saxophone |
1 |
Bass
|
|
| Horn (F) |
1 |
|
|
| Trumpet |
1 |
C
|
|
| Trombone |
1 |
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
Vibraphone (F3)
Bass Drum
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
| Accordion |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
Záhir
Basic information
| Composer |
Papanetzová, Lucia |
| Duration |
14 min. |
| Year of composition |
2005 |
| First performance (year) |
2005 |
| First performance (venue) |
Melos-Ethos Festival, Bratislava |
| First performance (performers) |
Melos Ethos Ensemble, Marián Lejava (conductor) |
| Submitter |
Melos Ethos Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
|
|
| Clarinet |
1 |
B-flat
|
|
| Saxophone |
1 |
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Timpani
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Writer Jorge Luis Borges claims that the Zahir faith has Islamic origins and it emerged probably in the 18th century. The word Zahir comes from the Arabic language and it denotes the visible, the present, the conspicuous. Somebody or something that gradually takes control of our mind and we are left unable to concentrate on anything else. We can consider i tas holiness or madness. This is true of my music, which is one of the Zahirs of my life.
Lucia Papanetzová
|
Wound
Basic information
| Composer |
Kmiťová, Jana |
| Duration |
5 min. |
| Year of composition |
2003 |
| First performance (year) |
2003 |
| First performance (venue) |
Lugano |
| First performance (performers) |
Ensemble Ticino Musica, Giorgio Bernasconi (conductor) |
| Submitter |
Melos Ethos Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
2 |
B-flat
|
Bass
|
| Trumpet |
1 |
B-flat
|
|
| Trombone |
1 |
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
18 |
Crotales
Glockenspiel
Marimba
Vibraphone (F3)
Timpani
Bass Drum
Tamtam
Tom-Toms
Temble Blocks
Other
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
The piece was written during the summer composition course in Lugano (Switzerland) as an immediate reaction to my first encounter with the site of the concentration camp in Ravensbrück. The pressure of terrible facts and of the atmosphere during the week culminated in a state of shock, from which the way bach was possible only through special "therapy": work on a new composition.
Jana Kmiťová
|
Figures en phases, éparses, emphases, épures
Basic information
| Composer |
Singier, Jean-Marc |
| Duration |
12 min. |
| Year of composition |
1986 |
| First performance (year) |
1987 |
| First performance (venue) |
Musée d'Art Moderne, Paris |
| First performance (performers) |
Ensemble Intercontemporain |
| Submitter |
TM+ |
| Publisher |
|
| Conductor |
Optional |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
|
Musicians |
Instruments |
| Percussion |
2 |
Chimes
Crotales
Glockenspiel
5-Octave Marimba
Temble Blocks
Other
|
| Harp |
1 |
- |
| Keyboard |
1 |
Piano
Celeste
|
| Other instruments and playing techniques |
| Cymbalum |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Il y a trois moments dans cette œuvre : la présentation d’un matériau motivique ténu, mais en phases éparses, mis à plat, simples cailloux juxtaposés pour guider notre écoute à venir ; puis un développement, l’emphase, lors duquel ces motifs conquièrent progressivement tout l’ambitus des instruments ; enfin, l’épure simplification de ce développement, son resserrement, son érosion, qui ne retourne pas aux motifs initiaux mais à leur état affiné.
A cette sobriété formelle, répond le dépouillement instrumental. Formation inattendue seulement composée d’instruments à résonances non entretenues : marimba, cymbalum, harpe, piano et un synthétiseur au timbre de clavicorde qui n’apparaît qu’une fois, comme une variation sur le coloris du piano. Corps frappés ou pincés dont les timbres s’évanouissent aussitôt, et qui concourent à donner cette impression de volubile légèreté qui sert parfaitement le propos formel de Jean-Marc Singier. Car ces couleurs instrumentales en camaïeu, proches mais typées, frottent plus qu’elles ne mêlent leurs harmoniques, que le cymbalum frémit à l’unisson du piano ou de la harpe, conférant une teinte diaprée à l’ensemble et assurant la lisibilité du détail.
[…]
Et qu’il ait su composer carte sur table, exprimant avec limpidité dès le titre et l’introduction ce que seront la forme et le contenu de son œuvre montre assez que la modernité de Singier n’est pas de celles qui font illusions en recourant aux lieux communs de l’avant-garde.
Marc Texier, in « entretemps »
|
| | | | | | | | | |
