July 15, VIPA Concert 5: Erik Drescher

drescher-composers-july15

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

Il pomeriggio di un allarma al parcheggio (2015) – Salvatore Sciarrino (1947)
for glissando flute

Piece for Flutes (2016)* – Duncan Krummel (1995)

On a Whim (2016)* – Michèle Rusconi (1960)

shifting inflections (1) (2016)* – Luke Martin (1992)

Study for glissando flute, tape, and live electronics (2016)* – Andrew Harlan (1995)
drescher

splitting 39 (2012) – Michael Maierhof (1956)
for glissando flute and electronics

* world premiere

Erik Drescher, flutes

www.erikdrescher.de

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Il pomeriggio di un allarma al parcheggio (2015) – Salvatore Sciarrino (1947)
for glissando flute

Salvatore Sciarrino Salzburger Musikpreis 2006 Würdigungspreisträger Foto: priv. LK j168-20Salvatore Sciarrino (Palermo, 1947) boasts of being born free and not in a music school. He started composing when he was twelve as a self-taught person and held his first public concert in 1962. But Sciarrino considers all the works before 1966 as an developing apprenticeship because that is when his personal style began to reveal itself. There is something really particular that characterizes this music: it leads to a different way of listening, a global emotional realization, of reality as well as of one’s self. And after forty years, the extensive catalogue of Sciarrino’s compositions is still in a phase of surprising creative development. After his classical studies and a few years of university in his home city, the Sicilian composer moved to Rome in 1969 and in 1977 to Milan. Since 1983, he has lived in Città di Castello, in Umbria.

He has composed for: Teatro alla Scala, RAI, Teatro del Maggio Musicale Fiorentino, Biennale di Venezia, Teatro La Fenice di Venezia, Teatro Carlo Felice di Genova, Fondazione Arena di Verona, Stuttgart Opera Theatre, Brussels La Monnaie, Frankfurt Opera Theatre, Amsterdam Concertgebouw, London Symphony Orchestra, Tokyo Suntory Hall. He has also composed for the following festivals: Schwetzinger Festspiele, Donaueschinger Musiktage, Witten, Salzburg, New York, Wien Modern, Wiener Festwochen, Berliner Festspiele Musik, Holland Festival, Alborough, Festival d’Automne (Paris), Ultima (Oslo).

Apart from being author of most of his theatre opera’s librettos, Sciarrino wrote a rich production of articles, essays and texts of various genres some of which have been chosen and collected in Carte da suono, CIDIM – Novecento, 2001. Particularly important is his interdisciplinary book about musical form: Le figure della musica, da Beethoven a oggi, Ricordi 1998. Sciarrino taught at the Music Academies of Milan (1974–83), Perugia (1983–87) and Florence (1987– 96). He also worked as a teacher in various specialization courses and master classes among which are those held in Città di Castello from 1979 to 2000. From 1978 to 1980, he was Artistic Director of Teatro Comunale di Bologna, Academic of Santa Cecilia (Roma), Academic of Fine Arts of Bavaria and Academic of the Arts (Berlin), Sciarrino has won many awards, among the most recent are: Prince Pierre de Monaco (2003) and the prestigious Feltrinelli International Award (Premio Internazionale Feltrinelli) (2003). He is also the first prizewinner of the newly created Salzburg Music Prize (2006), an International Composition Price established by the Salzburg Land.

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Piece for Flutes (2016)* – Duncan Krummel (1995)

With Piece for Flutes, I was interested in exploring the depths of ‘self’; it was a reach for the unknown. What I had hoped to express was a deep­ sea dive to the bottom of the ocean to explore what qualities naturally arise from within. It’s the idea of absolute introspection, to find what we are most naturally. I think this idea is best captured through the natural characteristics and techniques of the flute family. When the source of the sound is as directly connected to the breath as it is with a flute, I find a certain naturalness exists in the music; an organic quality fitting of this idea of self.

HS-duncan-krummelOriginally from Hood River, OR., Duncan Krummel is a composer, singer, and instrumentalist currently based out of Ithaca, New York (earning his BM Composition degree). He studies composition with Dana Wilson and Jorge Villavicencio Grossman, film scoring with Peter Rothbart, voice with Carl Johengen, and piano with Diane Birr. His compositions have enjoyed premiers at the Edinburgh Fringe Festival, Ithaca College Television, and by both student and faculty performers at Ithaca College.

 

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On a Whim (2016)* – Michèle Rusconi (1960)

On a Whim for flute is part of a series of short pieces for solo instruments which I started composing at the beginning of 2012.

So far there exist whims for Violin, Viola, Harp, Flute, Percussion, Oboe, Tuba and Horn. The pieces are all called the same, they all last 4 minutes and they are all very rhythmic, fast, virtuoso and rather difficult to play. All use extended techniques. In a concert situation I can place them like modules; they always fit. The short musical statement very much appeals to me. It allows me to care less about the overall form and concentrate more on short and clearly defined dense gestures. Since there is no time for gradual approaches, there can only be little development; most changes are abrupt and unexpected. Not having time to linger, one has to come to the point immediately and then move right on to the next one. Little things must be intense in order to be noticed; I like that. The very first musical statement at the beginning of the piece is based on a monotonous but intense ‘conversation’ among two ducks on a lake in southern Argentina.

Foto Michèle RusconiMichèle Rusconi has worked in a variety of musical styles and has lived in many countries on several continents. 1979 she joined the Gamelan orchestra in Basel. Two years later and already a student at Berklee College of Music, Boston, USA, where she majored in Jazz piano, she travelled to Bali, Indonesia, for 6 months to study Gamelan. From 1983-87 whilst living in Madrid, Spain, she played with various Jazz ensembles, Rock bands and Flamenco musicians such as ‘Los Chungitos’ and ‘Azucar Moreno’. In 1988 she moved to New York and studied Jazz Piano under Ron Carter at City College. After living in Malaysia for two years, she returned to New York City and was awarded a BA in performing arts. At this time David del Tredici from the Juilliard School of Music became her composition teacher. Since 2000 she has been living in Switzerland. In 2003 she gained an MA in composition at the Musikhochschule Freiburg, Germany, where she studied composition with Matthias Spahlinger and electronics with Mesias Maiguashca. Michèle Rusconi’s music has been performed and commissioned by a number of ensembles both in Europe, America and South America. Musicians for whom she has written include the Pellegrini Quartett, Amar Quartett, Ensemble Aventure, Ensemble Phoenix Basel, Ensemble Antipoden, The New Juilliard Ensemble, Bugallo/Williams Duo and Camilla Hoitenga to name just a few. Her pieces for tape were all produced in her home studio.

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shifting inflections (1) (2016)* – Luke Martin (1992)

shifting inflections (1) is the first piece in an expanding assemblage of shifting inflections pieces.
this assemblage of pieces begins as a single point. that point is multiple.

“the moment of a score. onto that plane of the score, the world is reflecting its abundance, and the lighter the sheet of paper has been inflected by our wish, the more lucidly the reflection of the world on this sheet of paper is manifested” (Manfred Werder, Text Score – Statement (1)).

anybody may perform the next version of shifting inflections, by contacting either the composer or any previous performer.

OLYMPUS DIGITAL CAMERALuke Martin is an experimental composer and poet, living in Boston, MA. He received his M.F.A. in music composition, studying with Michael Pisaro, from California Institute of the Arts in 2016 and his B.A. in Music and English from Colby College in 2014. His practice is centered on an exploration of silence, neutrality, and blandness in music, and he is currently working on a notation system for the analysis and performance of silence. In addition to composition, he performs and improvises regularly on electric guitar and no-input mixer. He is also always up for a game of cribbage.

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Study for glissando flute, tape, and live electronics (2016)* – Andrew Harlan (1995)

heavy in carpet is centered around the feeling of physical comfort and warmth when a body is oriented  within an enclosed interior looking out onto a cold and desolate exterior. A perceivable frozen void that is made all the more void-like in opposition to the internal feeling of warmth, which comes from the physical perception of safety – a feeling stemming from within the isolated and enclosed space. The work will last about ten minutes and will get dark. Please find a comfortable space.

“It is dead quiet, pressing down on me, heavy and dark, but not unpleasant or exclusive. This weight is inclusive, all encompassing and abundant. All that could sound has been quietened under a blanket of snow, but vibrates gently in its possibility. The dynamic of life appears less fast here, unhurried, just trembling quietly. The movements are slowed down by the landscape and the weather; the sounds are muffled and contained. Even the murmur of the river has been suffocated under a heavy sheet of ice, leaving no sonic hint of its former vitality. The house itself, covered in a thick layer of snow, surrounded by snowed-in trees, feels dense and compact like a thick carpet. I am inside this carpet, listening” (Salomé Voegelin Listening to Noise and Silence).

HeadshotAndrew Harlan (b. 1995) is a composer currently based in Boston, MA where he is pursuing a bachelor’s degree in composition at The Boston Conservatory. He currently studies with Marek Poliks and Jonathan Bailey Holland. His past teachers have included: Jan Swafford, Curtis K. Hughes and Mike Frengel (electronic music). While in high school, Harlan studied composition with Christopher Frye at the University of Wisconsin La Crosse. He has also had lessons with: Vinko Globokar, Nicholas Vines, Marianthi Papalexandri-Alexandri, Christopher Theofanidis, and David Ludwig. Additionally, he has participated in master­classes and coachings with Claire Chase, Tony Arnold, Travis Laplante, Natasha Brofsky, Vinko Globokar and Violaine Melancon among others. Past festivals include: the 2015 Yellow Barn Young Artists Program, and the 2016 SICPP New Works Program.

Andrew has received commissions from The Boston Conservatory Contemporary Music Ensemble, The Boston Conservatory New Music Chamber Ensemble, Sofija Sibinovic, and David Rubin. He has had his music performed by or participated in reading sessions with such ensembles as: The Boston Musica Viva (under the direction of Richard Pittman), The Boston Philharmonic Youth Orchestra (under the direction of James Blachly), and The International Contemporary Ensemble as well as members of The Callithumpian Consort. In 2015 Harlan was the winner of The Boston Conservatory Composition Competition, which resulted in the commissioning of cluster frostflower for The Boston Conservatory Sinfonietta under the direction of Eric Hewitt.

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splitting 39 (2012) – Michael Maierhof (1956)
for glissando flute and electronics

159fbceb0bGerman composer of mostly chamber, vocal and multimedia works that have been performed in Asia, Europe and North America.

Mr. Maierhof is self-taught as a composer and began composing in 1989. He earlier studied mathematics and music in Kassel, as well as art history and philosophy in Hamburg.

Among his honours are a scholarship from the Cité Internationale des Arts in Paris, selection three times by the Deutsche Gesellschaft für Neue Musik (1998–2000), Erster Preis in the competition Neue Musik für Schülerorchester in Stuttgart (2005, for MINUS 1), the Kompositionspreis from the city of Stuttgart (2008), a prize in the competition ad libitum (2009), and a residency at the Villa Aurora in Los Angeles (2011). His music has been performed in Austria, Belgium, Denmark, France, Germany, Ireland, Japan, Kazakhstan, Luxembourg, South Korea, Switzerland, the UK, and the USA, including twice at the Ferienkurse in Darmstadt (1998, 2000).

He was an invited lecturer at the Staatliche Hochschule für Musik und darstellende Kunst Stuttgart and Trinity College, Dublin, both in 2001–02, and at the California Institute of the Arts in Valencia, Santa Clarita, the Contemporary Music Centre in Dublin, the Hochschule für bildende Künste Hamburg, and the Universität Mozarteum Salzburg, all in 2003.