June 30, VIPA 2017 – Concert 1: Ensemble Interface

Auditorio del Conservatorio Superior “Joaquín Rodrigo” – 19.30h. (7:30 PM)

Glass (2017)* – Adam Kennaugh (USA, 1989)
for violin and bass clarinet

The Constant Search for Something Else (2017)* – Andrew Koss (USA, 1994)
for flute, clarinet and piano

Imploded Aglomeration (2017)*Andrzej Karałow (Poland, 1991)
for cello, percussion and piano

When We Speak (2016) – Lisa Cheney (Australia, 1987)
for cello and electroacoustic track

Disintegration (2017)* – Jason Balthazar Eldridge (USA, 1987)
for clarinet and violin

Prés [Selection] (2011-2015) – Stefano Gervasoni (Italy, 1962)
for piano solo
Pré Paré (Book II, n. 6)
Pernicieux (Book II, n. 3)
Prétérit (Book III, n. 1)

Territorio Interior I (2014) – José María Sánchez-Verdú (Spain, 1968)
for violin, cello and piano

* world premiere

Ensemble Interface
Gregor Schulenburg, flutes
Anna d’Errico, piano
Andrea Nagy, clarinets
Agnieszka Koprowska-Born, percussion
Christophe Mathias, violoncello
Maiko Matsuoka, violin

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Glass (2017)* – Adam Kennaugh (USA, 1989)
for violin and bass clarinet

Transparent and delicate. These are the two things I had in mind when writing Glass.

Adam Kennaugh’s music investigates the physical energies required to produce a sound by focusing on a narrow scope of the sounds as an individualized entity. Through this, his music seeks to combine the visual and aural aspects of a musical performance to create an all-encompassing experience for the listener that is both contemplative and delicate, yet sharp and aggressive.He is currently pursuing a M.M. at Bowling Green State University (studying with Mikel Kuehn), received a B.M. from Montclair State University (Marcos Balter, Elizabeth Brown, Ting Ho), and an A.A. from the County College of Morris (Jose Bevia).

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The Constant Search for Something Else (2017)* – Andrew Koss (USA, 1994)
for flute, clarinet and piano

The Constant Search for Something Else was originally realized as an Alto Saxophone Trio in a rough sketch. The sketch did not work as planned and was scrapped for a later purpose. The switch of the instrumentation changed the originally written music but the formal ideas were still in place. The piece is built on an amorphous and searching tendency which finally comes to a resting place. This formal tendency grows from itself and attempts to not reflect. Duration: 11 min.

Andrew Koss is a New York City based composer and saxophonist. His work reflects a passion for exploring unique timbre and harmony in an engaging and approachable context. He also is influenced by funk and jazz idioms. His music has been performed at the International Saxophone Symposium in Fairfax, VA and the 2017 National Trumpet Competition in Denver, CO. As a saxophonist, Andrew is an active performer and advocate of new music. He has studied under Keith Young and Paul Cohen. Andrew holds a Bachelor’s Degree in Music Theory and Composition from Indiana University of Pennsylvania. At IUP he studied Composition under David Martynuik and John Levey. Andrew is now pursuing a Master’s Degree in Theory and Composition at New York University, studying under Robert Honstein.

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Imploded Aglomeration (2017)*Andrzej Karałow (Poland, 1991)
for cello, percussion and piano

Andrzej Karalow - InterfaceAndrzej Karałow is a young Polish pianist and composer. He is currently at doctoral studies on composition and assistant lecturer at the Fryderyk Chopin University of Music in Warsaw. He is a laureate of many national and international piano competitions, e.g. Milosz Magin Competition in Paris, Konzerteum in Athens, or Frederic Chopin National Competition in Warsaw. He performed in prestigious concert halls in the country and abroad, also with accompaniment of renowned orchestras, under the baton of Ewa Strusińska, Maciej Niesiołowski and Jakub Chrenowicz. Equally successful as a composer, he is a prize winner of, among others, the 2nd Karol Szymanowski International Composition Competition in Katowice, or Opera Compostion Competition in Miskolc, Hungary, where he was praised for his professionalism, imagination and artistic sensibility. Although classical music is the main field of his activity, he is also open to experiments in electronic and alternative genre, combining techniques and inspirations from various fields of art into his own, unique musical language.

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When We Speak (2016) – Lisa Cheney (Australia, 1987)
for cello and electroacoustic track

When We Speak for solo cello and electroacoustic track seeks to comment on broader issues surrounding gender inequality and these considerations on my compositional practice. Throughout the work the interweaving of many ‘voices’ is present in: my own musical language, the music and speech of respected Finnish composer, Kaija Saariaho, the expression of the live cellist and their own literal voice.  This, at times semi-improvised cello part, weaves its way through an atmospheric soundscape challenging and questioning the role of the live musician to blend in, fight against or rise above the sound world. The accompanying recorded musical sounds are extracted from Saariaho’s own compositions, with special weight placed upon manipulated excerpts from Saariaho’s own solo cello work Sept Papillons.

Lisa Cheney - InterfaceLisa Cheney is based in Melbourne. Her music communicates through varied styles which often explore notions of connection and authenticity through fascinations with the ‘edge’ of beauty; expression, poeticism, fragility, delicacy, resonant space, pacing, light and dark and atmospheric soundscapes. Cheney’s work has been described as ‘atmospheres of unfathomable spaciousness’ (Partial Durations), ‘melodic slivers with plaintive intensity’ (The Australian) and ‘fantastic and frightening in its detail and colour’ (Resonate). Her body of work incorporates orchestra, chamber, voice, acousmatic collaborations and works for theatre and ballet. Her music has been commissioned and performed by The Southern Cross Soloists, The Australian Voices, the Queensland Conservatorium Symphony Orchestra, Plexus, Syzygy Ensemble, Sydney Antiphony, Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra and the Australian Ballet amongst others. She is a Director and Curator of Making Waves: an online listening/podcast space dedicated to Australian composition and is currently completing her PhD in Music at the Melbourne Conservatorium of Music (MCM), supervised by Elliott Gyger.

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Disintegration (2017)* – Jason Balthazar Eldridge (USA, 1987)
for clarinet and violin

Disintegration depicts a process of unravelling which, once initiated, occurs intractably and very rapidly. While the instruments begin in unison, the seeds of this rupture – which is to become all-consuming – are present from the start. This disintegration can be interpreted as physical, psychological, or spiritual. This piece was composed for ensemble Interface at the Valencia International Performance Academy & Festival (VIPA) 2017, with my utmost gratitude.

Jason Balthazar Eldridge is a composer and guitarist currently completing a degree in Music Composition at Ithaca College as a student of Evis Sammoutis. His music reflects an abiding interest in extended instrumental timbres, electronics, and black metal. Significant works include Stochasm for bass clarinet (written for & premiered by Lori Freedman at Ithaca College in March 2017) and a series of commissioned works featuring voice as part of a four-year residency with the Ithaca College New Voices Literary Festival. Most recently, he has been awarded a grant to pursue research toward a forthcoming musical composition exploring the acoustic properties of the decommissioned oil tanks of Inchindown, Scotland – site of the longest reverberation ever recorded.

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Prés [Selection] (2011-2015) – Stefano Gervasoni (Italy, 1962)
for piano solo
Pré Paré (Book II, n. 6)
Pernicieux (Book II, n. 3)
Prétérit (Book III, n. 1)

Stefano Gervasoni began studying composition in 1980 on the advice of Luigi Nono: this encounter, as well as others with Brian Ferneyhough, Peter Eötvös and Helmut Lachenmann, turned out to be decisive for his career. After attending the Conservatorio Giuseppe Verdi in Milan, Stefano Gervasoni went on to study with  György Ligeti in Hungary in 1990, and then, in 1992, he attended the Course in Composition and in Computer Music organised by Ircam in Paris. His first three years in France laid the foundations for an international career that eventually led him to be “lodged” at Villa Medici in 1995-1996.
With commissions from such prestigious institutions as the WDR, the SWR, the Orchestra Nazionale della RAI, the Festival d’Automne in Paris, Radio France, IRCAM, the Casa da Musica in Porto, the Festival Archipel in Geneva, the Divertimento Ensemble in Milan, the Ensemble Intercontemporain, the Ensemble Modern, the Ensemble Contrechamps in Geneva, the Maerzmusik festival in Berlin, the Ars Musica Bruxelles, the Festival Musica in Strasbourg, the French Ministry of Culture, Milan Teatro alla Scala and Suntory Hall in Tokyo, Stefano Gervasoni has established himself as one of the most important Italian composers of his generation. His catalogue – which includes chamber and vocal music, concertos, works for orchestra, for ensemble and an opera (Limbus-Limbo), commissioned for the 50th anniversary of the Percussions de Strasbourg (2012) – was first published by Ricordi, from 1987, and then, from 2000, by Suvini Zerboni.

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Territorio Interior I (2014) – José María Sánchez-Verdú (Spain, 1968)
for violin, cello and piano

José María Sánchez-Verdú studied composition, musicology, and orchestral conducting at Real Conservatorio Superior de Música Madrid (RCSM) and at the Musikhochschule Frankfurt with H. Zender. He studied conducting with G. Asensio and A. Tamayo and composition also with F. Donatoni. He has a degree in law (Universidad Complutense Madrid). His music has been performed by ensembles and orchestras such as Ensemble Modern, MusikFabrik, Ensemble Mosaik, Ensemble Recherche, KNM Berlin, Kaleidoskop Solistenensemble, Österreichisches Ensemble für Neue Musik, Konzerthaus Orchester Berlin, Rundfunk-Sinfonieorchester Berlin, Bayerischer Rundfunk, Hamburger Philharmoniker, Stutgart Radio Orchestra, Finnish Radio Orchestra, Orquestre de la Suisse Romande, Luzener Sinfonieorchester, Orquesta Nacional de España, and many others in festivals such as Ultraschall Berlin, ECLAT Stuttgart, MärzMusik Berlin, Münchener Biennale, Musica Viva Munich, Ars Nova Donaueschingen, Schleswig Holstein Musikfestival, Beethoven Festpiele, Musicadhoy Madrid, Wien Modern, Salzburg-Biennale, Musica Nova Helsinki, Ars Musica Bruxelles, Warchau Autumn Festival, la Biennale di Venezia, etc. His music theater proyects (with light and space dramaturgies, etc. like ATLAS, GRAMMA, AURA, El viaje a Simorgh, Libro de las estancias, etc.)  were performed until now at the Staatsoper Berlin, Deutsche Oper Berlin, Luzerner Theater, Münchener Biennale, Teatro Real Madrid, Teatro de la Zarzuela, Theaterhaus Stuttgart, Teatro Colón in Buenos Aires, and in many other festivals (Hamburg, Venice, Granada, Buenos Aires, Kairo, etc.). International awards include the Kompositionspreis der Junge Deustche Philharmonie (Frankfurt 1999), Ernst-von-Siemens-Musikstiftung (Munich 2000). Prize of the Bergische Biennale (Wuppertal 2001), Premio Nacional de Música (Madrid 2003), Award for Artistic Excellence Villa Concordia (Bamberg 2014), etc. From 2014 he is Vertretungsprofessor for composition at the  Hochschule für Musik, Theater und Medien in Hannover. He was invited as lecturer and as composition teacher in many courses in Spain and in other places as the IEMA-Ensemble Modern Academy, la Biennale di Venezia, Sibelius Academy Helsinki, Musikhochschule of Munich, Bremen, and Frankfurt, UdK Berlin, Warsau Autumn Festival, etc.