Contemporary Composers

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A sElEctioN froM tHE UNivErsAl MUsic PUblisHiNg clAssicAl collEctioNs

ANTONIONI ApeRGHIS BACRI BATTISTeLLI BIANCHI

BOCCADORO BOeSMANS BRASS CASALe COLASANTI

COLe CORGHI CSApó DUSApIN eÖTVÖS

eL-KHOURY FÉNeLON FITKIN FRANCeSCHINI FRANCeSCONI

FUJIKURA GLOBOKAR GOeBBeLS GUO HeRSANT

HIND HUBeR JENEY KURTÁG LANzA

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The Universal Music Publishing Classical Group includes the world-renowned publishers Ricordi (Milan, Munich, London and Paris), Durand, Salabert, Eschig and Editio Musica Budapest. These catalogues comprise one of the most prestigious collections of classical and contemporary music in the world, including such historic names as Giuseppe Verdi, Giacomo Puccini, Ottorino Respighi, Luigi Nono, Béla Bartók, Claude Debussy, Maurice Ravel, Francis Poulenc, Olivier Messiaen, Edgar Varèse and Iannis Xenakis.

Continuing this great tradition, the Universal Music Publishing Classical companies publish many works by today’s most prominent contemporary composers, who are admired by professionals and music lovers throughout the world. This publication invites you to discover (or rediscover) a represen-tative selection of the composers of our time whose work is published in one or more of our catalogues.

For more information on these or any of the other composers we publish, please visit our web portal: www.umpgclassical.com

or contact one of the Universal Music Publishing Classical units directly:

Casa Ricordi ....................................................promozione.ricordi.Italy@umusic.com (www.ricordi.com)

Durand, Salabert, Eschig [email protected] (www.durand-salabert-eschig.com)

Editio Musica Budapest [email protected] (www.emb.hu)

Ricordi London ..............................................promotion.ricordi.london@umusic.com (www.ricordi.co.uk)

Ricordi Munich ..............................................promotion@ricordi.de (www.ricordi.de)

contemporary composers

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a selection from the collections of:

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durand salabert eschig

editio musica budapest

ricordi london

ricordi munich

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e n n o p o p p e

r o l F r i e h m

l Á s Z l Ó s Á ry

a n n e t t e s c h l Ü n Z

p h i l i p p e s c h o e l l e r

m a r c o s t r o p pa

a n d r Á s s Z l l s y

m i c h e l ta b a c h n i K

e r i c ta n g u y

l Á s Z l Ó t i h a n y i

Fa b i o Va c c h i

l Á s Z l Ó V i d o V s Z K y

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other composers

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Biographical Timeline 1971 Born in Teramo, Italy. Lives in Rome, Italy

Grew up in a musicians’ family1999 Graduated in piano and composition, obtained a master’s

degree in composition under the guidance of Azio Corghi at the Accademia Nazionale di Santa Cecilia in Rome

2002 Studies with George Benjamin and Julian Anderson at the Royal College of Music in London, with the support of a Queen Elizabeth the Queen Mother scholarship

2003- 2006 Composing assistant of Hans Werner Henze2002-�2008�Composed�different�size�works�(a�multimedia�chamber�

opera, orchestra pieces, violin concerto premiered in USA, string quartet, ballet for orchestra)

2009 World premiere of Ballata, performed by the Birmingham Contemporary Music Group conducted by George Benjamin. Excellent reviews from The Times “The delicately controlled sound and movement and the rigour of the writing” and from The Guardian “a composer who knows exactly what he wants and how to achieve it”

2009 Spent six months at Cornell University (USA) engaged in a research project after winning a Fulbright scholarship

2011 World premiere in Turin and Milan (September) of a work with speaker, three singers and orchestra during the MITO Settembre Musica festival

He is also a radio presenter on the Italian National Radio (classical music programmes)

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SelecTed workS Ballata for eight strings (2008) for 3 vln, 2 vla, 2 vc, db – 18 min.Gli occhi che si fermano (2009) for orchestra – 8 min.Tre preludi diatonici (2010) for piano – 10 min.

Of Francesco Antonioni’s many qualities, it is his delicacy that is perhaps most surprising. His deft “touch of inspiration” goes hand in hand with his precision and determination, without creating the slightest sense of frivolity. Invariably animated by an interior momentum�that�brings�to�mind�the�idea�of�flight,�his�music�resounds�with melodies of unmistakable Mediterranean cantabilità, modal recontruction and rock/funk rhythms. In his scores, Antonioni’s Central European origins are crossed with a judicious post-minimalism, achieving a language in which the contradictions between classical and popular music prove extraordinarily fruitful.

(*1971)www.francescoantonioni.com

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Wölfli Kantata (2005)�after�Adolf�Wölfli,�for vocal ensemble – 60 min. Teeter-Totter (2008) for ensemble – 15 min.Happiness Daily (2009) for Soprano, Mezzo-Soprano and ensemble – 30 min.Seesaw (2010) for ensemble – 10 min.Champ-Contrechamp (2010) for piano and ensemble – 15 min.

Biographical Timeline1945 Born in Athens, Greece. Lives in Paris, France1976 -1997 Founded ATEM (Atelier Théâtre et Musique) in Bagnolet

until 1991, then at the Théâtre Nanterre-Amandiers. Several musical theatre pieces premiered (H, Conversations, Enumérations, Sextuor, Commentaires…)

1996 Tristes Tropiques, after Claude Levi-Strauss. World premiere at Opéra national du Rhin

2000 Machinations,�his�first�piece�with�electronics�–�commissioned�by Witten Festival and Ircam-Centre Pompidou

2004 Avis de tempête, opera commissioned by Opéra de Lille and the French Ministère de la Culture. Grand Prix du Syndicat de la Critique. Zig-Bang, texts by Georges Aperghis, book published by P.O.L

2005 Guest artist at Dialoge Festival in Salzburg (performances of Dark Side, 10 pièces pour quatuor à cordes, Machinations, Le petit chaperon rouge)

2006 Wölfli Kantata, commissioned by SWR Stuttgart and Musica Festival (Prix de composition musicale de la Fondation Prince Pierre de Monaco)

2008 Teeter-Totter premiered by Klangforum Wien, cond. Emilio Pomarico, commissioned by Donaueschinger Musiktage

2011 Champ-Contrechamp commissioned by BBC for London Sinfonietta and Nicholas Hodges. World premiere at BBC Proms

* Full evening

(*1945)www.aperghis.com

SelecTed workSHistoire de loups (1976) opera, after Siegmund Freud – FE*Récitations (1978) for single voice – 38 min.La Tragique histoire du nécromancien Hieronimo et de son miroir (1971) Puppets musical theatre, for actress, Mezzo-soprano, luth (or gtr), vc and tape – 30 min.Sextuor - L’origine des espèces (1992) musical theatre, for 5 female voices and vc – 60 min.Simulacres (1991-94) cycle of chamber music for voice, cl and perc – from 10 to 16 min.Tristes tropiques (1990-1995) opera, after Claude Levi-Strauss – FE*Zwielicht/Entre chien et loup (1999) musical theatre, after Paul Klee, Goethe and Franz Kafka for Soprano, actor and 5 instruments:�fl,�perc,�pf,�vla,�vc�–�60�min.Machinations (2000) musical theatre, for 4 female voices, electronics and video – 60 min.Die Hamletmaschine-Oratorio (2000) oratorio, text by Heiner Müller – 60 min.14 Jactations (2001) for Baritone – 30 min.Le petit chaperon rouge / Rotkäppchen / Little Red Riding Hood (2001) musical theatre, after Charles Perrault for 6 instruments: 2cl, saxS, 2pf, vl – 40 min.Dark Side (2003), after Aeschylus, for Mezzo-soprano and ensemble – 30 min.

A� highly� prolific� composer,� Georges� Aperghis� has� shown� tireless�innovation� in� building� a� personal� catalogue� that� defies� classifica-tion.� His� works� are� both� serious� and� filled� with� humour,� making�reference to tradition while simultaneously freeing themselves from the constraints of vocabulary, grammar and genre. The art-ists and ensembles he meets and who perform his work directly inspire his compositions. These human encounters and the succes-sive surprises they engender are his main source of excitement and motivation to compose.

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Biographical Timeline1961 Born in Paris, France. Lives in Brussels, Belgium1983-1985 Resident in the Villa Medici1987 Composed Esquisses pour un tombeau1987- 1991 Artistic Delegate in the chamber music department

at Radio France1991-1993 Resident in the Casa de Velazquez1994 Founded the Rencontres musicales de La Prée1995 First guest composer in the Orchestre Symphonique Français1995- 1998 Resident Composer in the Orchestre de Picardie

(musical director: Louis Langrée)2000 First monographic concert with the Philharmonia Orchestra,

directed by Martyn Brabbins, at Southbank Centre (Royal Festival Hall)

2002 London performance of Symphonie no. 6 by the London Symphony Orchestra, conducted by Daniel Harding

2006 Prix SACEM de la Musique Symphonique2009- 2011 Associate Composer at the Ensemble Orchestral de Paris

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(*1961)www.nicolasbacri.net

SelecTed workSSymphonie no. 1 (1984) – 18 min.Symphonie no. 2 “Sinfonia dolorosa” (1990) – 27 min.Symphonie no. 4 “Symphonie classique Sturm und Drang” (1995) – 14 min.Symphonie no. 5 “Concerto pour orchestre” (1997) – 27 min.Symphonie no. 6 “Sinfonia breve” (1998) – 12 min.String quartet no. 3, “Esquisses pour un tombeau” (1986) – 8 min.Concerto pour violoncelle et orchestre (1987) – 22 min.Capriccio notturno (1987) for clarinet and orchestra – 17 min.Esquisses pour un tombeau (1988) for string orchestra – 8 min.Tre Canti e Finale, concerto no. 2 (1989) for violin and orchestra – 18 min.Concerto “Episodes” (1992) for trumpet and orchestra – 13 min.String quartet no. 4, “Omaggio a Beethoven” (1995) – 22 min.String quartet no. 5 (1997) – 22 min.Concerto da camera (1998) for clarinet and string orchestra – 23 min.Concerto pour flûte et orchestre (1999) – 17 min.

At one time anchored in a post-Webern aesthetic, Nicolas Bacri has evolved since the mid 1980’s, returning his music to a certain melodic continuity and embracing a tonal language that is beyond simple harmonic function. A taste for metaphysical investigation, a deep attraction to intense artistic expression and a “dialectic alchemy of the Dionysian and the Apollonian” are what characterise this composer who is firmly anchored in the Western historical perspective that he has chosen, in full lucidity, and in which he legitimately places himself. Frank Langlois


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Divorzio all’italiana (2008) opera, freely adapted�from�the�film�Divorce, Italian Style – FE*Fair is Foul, Foul is Fair (2008-9) for orchestra – 18 min.Inventis facile est addere (2009) for ensemble – 20 min.H375 (2010) for orchestra – 15 min.

FUTUre proJecTSPiccola ouverture all’Italiana for orchestra; Truth for ensemble (2011) Three pieces for large orchestra, commissioned by Münster Orchestra – Orchestra Rai – St.Paul Chamber Orchestra; piece for Baritone and ensemble commissioned by EOC (2012) World premiere of the opera An Incon-venient Truth, based on the Al Gore’s documentary�film,�at�Teatro�La�Scala��directed by Robert Lepage (2013)

Biographical Timeline1953 Born in Albano Laziale, Italy. Lives in Rome, Italy1975- 1979 Attended composition seminars by Karlheinz Stock-

hausen, Mauricio Kagel in Cologne and courses of technique and interpretation in contemporary music theatre given by Jean Pierre Drouet and Gaston Sylvestre in Paris

1981 World premiere of Experimentum Mundi, a work of imaginistic music on texts taken from the “Encyclopédie de Diderot et D’Alembert”. Over 200 performances worldwide since the premiere

1990 SIAE Prize for music 2003 Chevalier de l’Ordre des Arts et des Lettres 2004-2007 Artistic Director of Music Biennale in Venice2005- 2006 Composer-in-residence of Antwerp Opera which

premiered Riccardo III, conducted by Robert Carsen. Further performances in Düsseldorf at Deutsche Oper am Rhein (2007) and Strasbourg at Opéra national du Rhin (2009)

2006-2007 Artistic Director of Arena di Verona 2007- 2008 Composer-in-residence of Deutsche Oper am Rhein

Düsseldorf. World premiere of The Fashion in Düsseldorf2010 World premiere of H375 for large orchestra, commissioned

by Hannover Staatsoper to celebrate the 375th anniversary of the Niedersächsischen Staatsorchester

SelecTed workSExperimentum Mundi (1981) for actor and 16 artisans – 60 min.Ostinato (1986) for three percussionists – 60 min.Anarca. Hommage à Ernst Jünger (1988-89) for orchestra – 16 min.Teorema (1992) ‘a parable in music’ for actors, narrator, voices and 23 instruments. Freely adapted from Pier Paolo Pasolini – 70 min.Frau Frankenstein (1993) monodrama, Mary Shelley’s novel, for actor, orchestra, live electronics – 35 min.Prova d’orchestra (1995) opera freely adapted from Federico Fellini – FE*Orazi e Curiazi (1996) for two percussionists – 13 min.I Cenci (1997) music theatre after Antonin Artaud – FE*Auf den Marmorklippen (2000-2001) opera after Ernst Jünger – FE*The Embalmer (2002) monologue for ensemble after Renzo Rosso – FE* El otoño del patriarca (2003) opera after Gabriel García Márquez – FE*Meandri (2004) for orchestra – 13 min.Riccardo III (2004) opera after William Shakespeare – FE*Afterthought (2005) for orchestra – 15 minAprès Josquin (2006) for orchestra – 12 min.Snape Skyscapes (2007) for orchestra – 18 min.The Fashion (2007) opera – FE*

Characterized by an array of literary, cinematographic and picto-rial references, which unveil broadly sweeping scenarios, the music of Giorgio Battistelli is invariably invested with a vividly theatrical sound. Even in his strictly instrumental work, rhythmic or melodic motifs assume the guise of characters on an imaginary stage, as do orchestral sections or individual instruments. The creative tension between formal organisation and musical intuition, in tandem with his contemporary and polychromatic language, grants Battistelli the rank of heir hic et nunc to the grand symphonic tradition, still a source of great fascination.

(*1953)

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FUTUre proJecTSConcerto for violin and orchestra (2011)Thanks to my eyes, opera, after Joël Pommerat (2011)

Biographical Timeline1975 Born in Milan, Italy. Lives in New York, USA and in Amsterdam,

Netherlands2005 First Prize at the Gaudeamus Composer’s Competition2005-2007 Ictus Fellowship in Brussels2008- 2009 Participated in the International Composition Seminar

by Ensemble Modern2009 Artist in residence with the DAAD programme in Berlin2010 World premiere of Ajna Concerto at the Musica Festival

in Strasbourg


SelecTed workSPrimordia rerum (2003) for Soprano, fl,cl,�vl,�vc�–�10�min.Crepuscolo (2004) for�Paetzold�flute� and tape – 16 min.Mezzogiorno (2004-2005) for ensemble – 14 min.Zaffiro (2005)�for�bfl,�bsax,�gtr�and�vla� – 12 min.Trasparente II (2007) for 10 instruments – 11 min.Anahata Concerto (2008) for ensemble – 20 min.Vishuddha Concerto (2009) for ensemble – 21 min.Ajna Concerto (2010) for orchestra – 15 min.Gr... (2010)�for�bass�flute�–�10�min.

Early in his career Oscar Bianchi was recognised by musicians and critics alike as one of the most promising and dynamic composers of his generation. His style, characterised by dense textures, a vivid imagination and high dramatic tension, has become a favourite of today’s major musical ensembles. His future compositions, innova-tive and daring, are destined for orchestras and for musical theatre.

(*1975)www.oscarbianchi.com

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Biographical Timeline1963 Born in Macerata, Italy. Lives in Milan, Italy1983 Graduated in Piano and Percussion at Milan Conservatory

of Music1982-1989 Composition studies with Marco Tutino, Ivan Fedele1990 Begins his career as conductor1997 Co-founder, with other musicians of Ensemble Sentieri

Selvaggi2001 Berio commissioned the children’s opera La nave a tre piani2003 RAI selected a work of him to be included in the UNESCO

International Rostrum of Composers 2011 (March) World premiere in Milan of Variazioni per orchestra

commissioned by Filarmonica della Scala2011 (October) World premiere in Leipzig of Ritratto di Musico

commissioned by Gewandhaus Orchester. Tour in Wien, Paris, London

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SelecTed workSDr. Jekyll (2006) for eight cellos – 8 min.La nave a tre piani (2004) chamber children’s opera – 60 min. Robinson (2007) chamber children’s opera, after Defoes – 60 min.Come polvere o vento (2009) for chamber orchestra – 10 min.Cappuccetto Rosso ‘Little Red Riding Hood’ (2010) chamber children’s opera – 60 min.Variazioni per orchestra (2010) for orchestra – 23 min.Ritratto di Musico (2011) for orchestra – 26 min.Point of view (2011) for jazz quartet and orchestra – 14 min.

(*1963)www.carloboccadoro.it

An astute pupil of post-modern thought and an insatiable seeker of knowledge, Carlo Boccadoro assimilates materials, experiences and suggestions derived from “other” styles – from jazz to pop to world music. His musical language however never fails to respect the cri-teria of construction that it borrows from the tradition of classical music. The “timbric” energy and virtuoso audacity of his chameleon-like scores, in which rhythm acts as a recurrent propulsive element, reveal a range of musical objects that are at times light-hearted, at times�vigorous,�at�times�evocative,�offering�a�concrete�and�thought-ful response to Stravinsky’s insistence on a consciousness of the here and now.

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Biographical Timeline1936 Born in Tongeren, Belgium. Lives in Brussels, Belgium1971 Prix Italia1985-2007 Residency at the Théâtre Royal de la Monnaie, Brussels1993 World premiere of Reigen, at the Théâtre Royal de la Monnaie.

Further performances and new productions ever since in France, Austria, Germany, Holland, Switzerland and United States

1999 World premiere of Wintermärchen, based on The Winter’s Tale by William Shakespeare, at the Théâtre Royal de la Monnaie. Performances in France, Germany, Austria and Spain

2000 Deutsche Grammophon release the CD of Wintermärchen2000 Prix Arthur Honegger 2004 New version of Reigen for chamber orchestra by Fabrizio

Cassol. Many other productions followed the premiere of Opéra national du Rhin

2004 Prix Musique from SACD2005 World premiere of Julie, based on ‘Fröken Julie’ by August

Strindberg, at the Théâtre Royal de la Monnaie in March - Wiener Festwochen in May - Festival d’Aix-en-Provence in July

2007 Prix Charles-Cros for the DVD of Julie

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Without dismissing the serialism of his early work, Philippe Boes-mans cultivates the gift of expressivity, thanks to a language that embraces both consonance and repetition. His music is character-ized�by�the�voluptuous�quality�of�his�sound,�crystalline�at�first�listen,�and a complex compositional craftsmanship which, informed by a dialectic relationship with tradition, features grand forms and an instrumental virtuosity that is never gratuitous. Boesmans’ is a music in which contrasting psychological impulses feed incessant dramatic momentum, unleashing extraordinary emotional force.

SelecTed workSTrakl-Lieder (1987) for solo Soprano and orchestra – 23 min.Reigen (1993) opera (2003 transcription for small orchestra), libretto by Luc Bondy after Arthur Schnitzler’s play – FE* Dreamtime (1993) for harp, bass tuba and ensemble – 15 min. Summer Dreams (1994) string quartet no. 2 – 26 min.Smiles (1995) for two percussionists – 25 min.Ornamented Zone (1996) for cl, vla, vc, pf – 10 min.Wintermärchen (1997) opera, libretto by Luc Bondy and Marie-Luise Bischofberger – FE*Julie (2004) chamber opera, libretto by Luc Bondy and Marie-Luise Bischofberger after August Strindberg – FE*Sextuor à clavier (2005) for 2 vln, 2 vla, vc, pf – 12 min.

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FUTUre proJecTSFlute Concerto (2011)Der Garten [The Garden]� for four male voices and orchestra (2011-2012)

Biographical Timeline1949 Born in Lindau/Bodensee, Germany. Lives near Munich,

Germany1968 Studied medicine; simultaneously, private composition

studies with Peter Kiesewetter in Munich. After a scholarship in Scotland, continued medical studies at the Free University, Berlin. Here again, accompanying composition studies with Frank Michael Beyer at the Hochschule für Musik, and later private studies with Helmut Lachenmann in Hannover

1980- 1986 Repeatedly takes part in the Darmstadt Summer Courses, including decisive meetings with Morton Feldman

1981 Invited to Gaudeamus Festival in Holland; composition prize of the Jürgen Ponto Foundation

1982 Invited to the Composers’ Seminar in Boswil 2009 Awarded the Music Prize of the Regional Capital Munich

for his compositional output2010 Portrait concert during Festival Ultraschall Berlin with

Münchener KammerorchesterRecently three portrait CDs with chamber and orchestral music have been released on the labels col legno and NEOS

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SelecTed workSNachtmusik (1978-1981) for eight instruments – 16 min.Landschaft der Vergangenheit (1985-1986) for orchestra – 28 min.Dialoghi d’amore VIII (1997) for eight voices (2S. 2A. 2T. 2B.) and four clarinets – 20 min.String Quartet no. 2 (1999-2000) – 40 min.VOID II (2001) for saxophone, piano, percussion and orchestra – 36 min.the structures of echo - lindauer beweinung (2002) for 32 voices and orchestra – 27 min.fallacies of hope - deutsches requiem (2006) for 32 voices in four groups – 24 min.abgewandt – Musik für Hörende (2006) for chamber ensemble – 20 min.songlines (2006-2007) cycle of solo pieces and duets for vln, vla, vc, db – 97 min. Von wachsender Gegenwart (2006) for 19 solo strings – 20 min.music by numbers III (2007-2008) for violin, accordion and small orchestra – 22 min.String Quartet no. 4 (2008) – 55 min.Zeit im Grund (2008) for two clarinets and string orchestra – 39 min.Im Offenen (2009) for violin, double bass and small orchestra – 23 min.Stimme und Tod (2009) music for seven voices – 35 min.

The title of one of Nikolaus Brass’ compositions translates into “Of Growing Presence”. To a certain extent, this can also be taken as a description of the composer’s career, since he has now emphati-cally�emerged�from�all�too�long�neglect.�Influenced�by�Feldman�and�Lachenmann, he has found his very own powerful tone. On hearing his work, one immediately and forcefully perceives that Brass is ded-icating a unique existential time/space to his sounds and structures. During the creative process, the intensity and the twists and turns grow�without� any� ostensibly� intended� effect� and� the�music� flows�organically into the experience of the listener, and the listener’s perception of the piece. Serial principles of overstretching the mate-rial are alien to Brass, but his pursuit of intensity is unrelenting. This sparseness stems from a concentration that admits nothing digres-sive.�The�pendant�to�this�is�endlessness,�infinity.�Both�poles�animate�and steer Brass’s output: intellectual pleasure in concentrating on a single point, sensual pleasure in a persistent, perpetual sound.

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FUTUre proJecTSPiece for Oslo Sinfonietta (2011)

Biographical Timeline1974 Born and lives in Catania, Italy 1989- 1996 Self-taught musician. Complete studies in Catania

Conservatory. Specialization courses also with Salvatore Sciarrino

1999 Prize of the Concours International de Musique Electroacous-tique in Bourges, France

2000 1st Prize at Frankfurt Opera House Competition 2001 World premiere of 2 by Ensemble Intercontemporain in

Paris - Patrick Davin conductor2001 Prize of the International Irino Prize, Tokyo2002 1st Prize of the Comité de Lecture, Ircam-Centre Pompidou /

Ensemble Intercontemporain, Paris2003 The only composer to whom the Foundation Teatro La Fenice

(Venice) commissioned a piece for symphony orchestra to inaugurate the reconstructed theatre

2006 Prize of the GRAME International Competition, Lyon 2009 Residency in American Academy in Rome 2010��World�premiere�of�his�first�music�theatre Conversazioni

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SelecTed workS2 (2001) for large ensemble – 15 min.6 (2003) for large orchestra – 15 min.7 (2004) for string quartet – 12 min.9 (2005) for ensemble and electronics – 10 min.A Victor Hugo Daza (2006) for orchestra – 12 min.Esistere lago, nulla e un tempo (2007) for ensemble – 12 min.11 (2008) for large ensemble and electronics – 17 min.Teatrino di candele (2009) for mar, gtr, vln, db – 8 min.Buongiorno stanza audace (2010) for orchestra – 10 min. Conversazioni con Chomsky (2010) talk-opera for singer/actor, actors and ensemble – FE*

(*1974)www.emanuelecasale.it

Emanuele Casale’s start as a self-taught musician has led him to build a personal workshop of musical tools that defy attribution to any school. Always purposeful, his work reveals a solid explor-atory path, be it in the playful plasticity of pieces collected under essential�numeric�titles,�or� in�the�assimilation�of�poetic� influences�predominant in his symphonic pieces, not to mention the impor-tance, dramatic and engagé, of his more recent work. His music is conceived as an incessant struggle between experimentation and communication, designed to draw the public closer to contemporary art music.

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FUTUre proJecTS Concerto for cello and orchestra; Music theatre on Pessoa’s Faust for actor, singer and ensemble (2011)

Biographical Timeline1975 Born and lives in Rome, Italy 1999- 2003 Graduated in Piano and Composition at Conservatorio

Santa Cecilia in Rome2005 Master’s degree in composition under the guidance of Azio

Corghi at the Accademia Nazionale di Santa Cecilia 2005 Chamber work In the Earth and Air included in a ballet with

the dancer Luciana Savignano2006 One of the winners in “Tactus - Young Composers’ Forum

2006” – Brussels 2006 RAI selected a work to be included in the International

Rostrum of Composers 2009 CIDIM in co-production with Maggio Musicale Fiorentino

commissioned Il sole, di chi è?, children’s chamber opera to be performed in the young audience season of the theatres

2009 World premiere of Il canto di Atropo. Piece written for the violinist Massimo Quarta

2010 Rai National Orchestra commissioned Dal paese dei rami a monologue for actor and ensemble performed during the festival Rai Nuova Musica 2010

(*1975)www.silviacolasanti.it

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SelecTed workSVision-air (2005) for orchestra – 10 min.In the Earth and Air (2005) for ensemble – 10 min.La rosa que no canto (2006) for string quartet – 14 min.Cede pietati, dolor (2007) for orchestra – 12 min.Sentieri di sangue (2008) for string orchestra - 12 min.To Muddy Death Ophelia (2008) for ensemble – 12 min.Il canto di Atropo (2009) for violin and orchestra – 14 min.Il sole, di chi è? (2009) children’s chamber opera for 2 actors/singers, 3 actors and fl,�ob,�cl,�bn,�hn, perc – 60 min. Burning (2010) for ensemble – 12 min.Di tumulti e d’ombre (2010) for string quartet – 14 min.

If cut into “cross-sections”, like a mineral, Silvia Colasanti’s music would� reveal� a� complex,� stratified� magma� of� contrasting� figures.�In the deepest stratum, a constant tension towards the saturation of the acoustic space, achieved both through maximal density and maximal rarefaction of the sonorous objects. Then, in the stratum immediately above, the structural alternation of crescendo/diminu-endo and accelerando/rallentando, a “physical” representation of corporeal breath and its anxieties. Rising a step further, there is fre-quent recourse to rhythmic ostinato, the translation of a disturbed pathology�of�memory.�And�finally,�on�the�mineral’s�surface,�the�frag-ments of a piercing lyricism that emerge from the thick magma of sound.� All� the� figures,� in� short,� to� create� a� troubled,� unappeased�“sound of foreboding”.

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FUTUre proJecTS A new work for organist Alistair Stout (USA)

Biographical Timeline1970 Born in Welwyn Garden City, UK. Lives in London, UK

Studies at King’s College London and the Royal Academy of Music, followed by the Guildhall School of Music and Drama, Royal Holloway University of London, where he completed a PhD in composition. Teachers include: Simon Bainbridge, Peter Wiegold, John Woolrich and Simon Holt

1999 Winner of the Royal Philharmonic Composition Prize1999- 2002 Works performed at many festivals such as Aldeburgh

and Cheltenham (UK), Klara (Brussels), Musica Nova (Stras-bourg), Music Today 21 (Tokyo), Ojai (USA), South Bank Centre ‘State of the Nation’ (London, UK)

2003 George Benjamin chose Cole to be the recipient of a commis-sion from the London Symphony Orchestra as part of the By George! Festival at the Barbican in London

2009 Jonathan Cole is a professor of composition at the Royal College of Music where he leads the Department in Postgraduate Composition

2009 He is appointed composer-in-association with the London Contemporary Orchestra

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SelecTed workSTotem (1998-1999) for solo oboe – 8 min.Ouroboros I & II (1999) for chamber orchestra – 16 & 19 min.Trapdoor (1999) for solo piano – 9 min. Marble Arch 4.30 (2000) for string trio – 7 min.Suntrap (2001) for solo guitar – 6 min.Tafos (2001) for chamber ensemble: 2 cl, 2 hn, 2 vln, 2 vc, db – 16 min.Assassin Hair (2002) for Mezzo-soprano and ensemble – 16 min.Penumbra (2003, revised 2004) for orchestra – 13 min.Temporale Distante (Penumbra II) (2003) for orchestra – 13 min.Sandlining (2004) for piano trio – 12 min.Testament (2005) for 2 cl, 2 tpt, 2 perc, str – 13 min.Ash Relics (2009)�for�six�players,�fl�(swanee whistle in G), bcl, perc, gtr, vln, vc – 17 min.burburbabbar za (2009) music theatre piece for 2 voices, 2 perc, vln, vla, vc – 35 to 40 min.

The works and ideas of Luigi Nono, John Cage and Pierluigi Billone have�all�had�a�huge�influence�on�Jonathan�Cole’s�music,�as�have�the�films�of�David�Lynch�and�Werner�Herzog,�and�the�writings�of�Elias�Canetti and Georges Bataille. Cole’s music also draws much of its inspiration from the environmental sounds we hear in everyday life. During a two year sabbatical between 2006 – 2008, his musical thinking underwent many changes which are beginning to be rea-lised in his most recent pieces such as Ash Relics which has been described by Alex Ross as “primordial avant-gardism”.

(*1970)www.jonathan-cole.co.uk

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Jopliszt (2010) for string trio – 10 min.Tang’Jok (them) (2010) for string trio – 10 min.

FUTUre proJecTSCansun Büsiarda for soprano and pf (2011) …la vera storia del “Va’ pensiero” for reciting voice, children’s chorus (S C), madrigal choir (S C T B), pf (2011)

Biographical Timeline1937 Born in Cirié (Turin), Italy. Lives near Mantova, Italy1965 Begins teaching at Conservatories of the most important

Italian cities and combines this important commitment with musicological activity

1973 Fondazione Rossini commissioned the critical edition of L’Italiana in Algeri

1989 World premiere of Blimunda at Teatro La Scala. This opera marks the beginning of the partnership with the writer José Saramago on whom novels Corghi will write seven works

1991��A�jury�chaired�by�Goffredo�Petrassi�awardes�him�the�‘Omaggio�a Massimo Mila’ prize for his teaching activities

1992 SIAE Prize for Blimunda1992 Composes for the Rossini bicentenary Suite Dodo, after

Rossini’s “Péchés de vieillesse”, while his ballet Un petit train de plaisir is performed in Pesaro and broadcast live throughout the world

1995 CD Un petit train de plaisir wins the “1995 Editor’s Choice” prize in the Cannes Classical Awards

1997 For the Donizetti bicentenary celebrations he is commissioned to transcribe some ariettas from Nuits d’étè à Pausilippe

2001 For the Städtische Bühnen Münster he writes Cruci-Verba, a reading and comment from Saramago’s “Gospel according to Jesus Christ” on Listz’s “Via Crucis”

2006 World premiere of the opera Il dissoluto assolto in Lisbon. Co-production of the Teatro Nacional de São Carlos in Lisbon and Teatro La Scala

2008 For the 500th anniversary of the birth of Palladio, he was commissioned to compose Giocasta after Sophocles’s “Oedipus Rex”. The opera was performed at Teatro Olimpico in Vicenza

SelecTed workSBlimunda (1989) opera in three acts, libretto by the composer and José Saramago - FE* Amorsacro/Amorprofano (1991) for Soprano, chamber choir, chamber orchestra, electronics – 60 min.Un petit train de plaisir (1991) ballet for 2 pf and perc – 60 min.Divara (1993) music drama, libretto by the composer and José Saramago – FE*“... fero dolore” I–[II]� (1993-2005) for female voice, oboe d’amore [or vla], perc and strings. Cantata upon Monteverdi’s Lamento d’Arianna – 30 min.... sotto l’ombra che il bambino solleva (1999) for voice and orchestra, from José Saramago’s L’anno mille993 – 60 min.Tat’jana (1999) opera in one act after Tat’jana Repina by Chekhov – FE* Cruci-Verba (2001) for actor and orchestra – 40 min.¿Pia? (2004) music drama after Yourcenar’s Dialogue in the Swamp, for actress/singer, actor, chamber choir, oboe, percussions and strings – 60 min.Il dissoluto assolto (2005) opera in one act, libretto by the composer and José Saramago – FE*Poema sinfonico (Seven pictures from “Blimunda”) (2006) for orchestra – 20 min.Giocasta (2008) opera after Sophocles’s Oedipus Rex – FE*Filigrane bachiane (2009) concerto for piano and string orchestra – 18 min.casa ricorDi

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Animated by a profound desire to communicate and by unfailing dramatic intuition, Azio Corghi is always eager to tell a story, not just in his pieces that are explicitly tied to a text – often conceived in fertile collaboration with José Saramago – but also in his purely instrumental works. His passionate search for the perfect timbre, his refined�orchestration�and�his�sense�of� rhythm�as�a�vital�pulsation,�are�flanked�by�a�Rossini-like�sharpness�and�a�post-modern�play�with�tradition. Together they create a theatre of sound that transforms the listener into the protagonist of an all-encompassing cultural experience.

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Tundragobelin – Finnegan’s Dreams to the memory of James Joyce (2002) for cl, vln, vc and pf – 20 min.Talea Iacta Est (2008) for orchestra – 20 min.Concerto for Viola and a Changing Environment (2004-2009) for viola and orchestra – 30 min.Parmi les Blancs et Noirs…at Intervals…from the Cabin (2008)�for�fl.�(afl,�bfl.),�cl.�(bcl), hn, perc, pf, vln, vc – 21 min.

FUTUre proJecTS Commission of a string quartet Déjà? – Kojá? for the Bozzini Quartet Montréal, Canada, (2011) Commission of a Triple Concerto for Viola, Cor anglais, Hungarian Cymbalum, Percussion and Strings by Rivka Golani (work-in-progress, 2011) Composing La Ville au Lac d’Argent (working title), a chamber opera based on the short story by Raymond Radiguet (2011)

Biographical Timeline1955 Born in Pápa, Hungary. Lives in Saskatoon, Canada1979 Joined the New Music Studio Budapest1981 Graduated in Composition and Music Theory at the Ferenc

Liszt Academy of Music. Received a French Government Scholarship to pursue studies in musical acoustics and computer music at Ircam-Centre Pompidou, Paris

1983- 1987 Woodburn Fellowship to study with Morton Feldman in the United States. At the recommendation of John Cage, he was twice awarded grants from the Foundation for Contemporary Performance Arts in New York City

1990 Performance of Handshake After Shot by the Continuum Ensemble at Lincoln Center in New York. Invited to teach at McGill University in Montreal

1991- 1994 Assistant Professor of Composition at Princeton University

Since 1994 Professor at the University of Saskatchewan in Saskatoon, Department of Composition and Music Theory

1996- 1997 Fellow of Collegium Budapest – Institute for Advanced Study, continued working on his Phaedra, a “tragedy in music“, based on Jean Racine’s Classic

1998 Modern Quartet of Toronto, Canada premiered his works in Ottawa, Berlin, Paris and Stuttgart

2001 World premiere of Straight Labyrinth performed by Gábor Csalog�at�Huddersfield�Contemporary�Music�Festival

2008 World premiere of Concerto for Viola and a Changing Environment performed by Rivka Golani, and the Hungarian Radio Symphony Orchestra, conducted by László Tihanyi at Budapest Autumn Festival. World premiere of Parmi les Blancs et Noirs…at Intervals…from the Cabin commissioned and performed by the Ives Ensemble Amsterdam at the Shift Festival of Contemporary Canadian and Dutch Art

2009 ARTISJUS Prize for Concerto for Viola and a Changing Environ-ment, voted The Classical Music Composition of the Year 2009

SelecTed workSKrapp’s Last Tape (1975) after Samuel Beckett, for a violinist-actor and two assistants, a tape-recorder, a sine-wave generator, a stage with curtain and four spotlights – 26 min.Handshake after Shot (1977) for two muted tpt, ob, electric organ and suspended cardboard box – 3 min.Hark, Edward – Homage to Edvard Grieg (1979, rev.1997) for two cimbaloms, piano and double-bass – 20 min.Phèdre (1984 – in progress) tragédie/ parodie�en�musique�in�five�acts,�libretto�by the composer based on the original text and various translations of Racine’s play in French, English, German and Hungarian, for eleven voices, double stage and chamber ensemble – FE*Хρόνοι [Khrónoi] – In memoriam Morton Feldman (1988, rev. 1992) for string quartet – 18 min.A Desert March … (1993) for piano – 40 min.Sutræcitations (1995-1996) text fragments from the Avatamsaka Sutra in the English translation by Thomas Cleary, (version 1995) for Soprano or Tenor and four players:�3�cl,�pf,�amplifier,�loudspeaker�(version 1996) for Mezzo-soprano or Baritone and four players – ca. 25 min.The Straight Labyrinth – Le sacre de tous-les-temps (2001) for piano – 15 min.Phrag Mental Friezes (2001) for cl. (bcl), vln, vc, pf and three woodblocks (one player) – 22 min.

(*1955)info.bmc.hu

emb

Gyula Csapó’s music grew out of the minimalism of the 1970’s, and was given a new dimension through his early analytical minimal-ism, drone systems and timbral sensitivity. Exposure to the music of Cage, Feldman, Kurtág, Boulez, Stockhausen and Xenakis and the Budapest New Music Studio merely strengthened his pursuit of his own unmistakable path in works quintessentially Csapó without ever repeating or citing his own previous work. His career led him from Hungary through Paris to New York and Canada, and this trajectory has given him a truly global musical outlook that he has consciously cultivated with great care. His music, once heard, is impossible to forget due to its often timeless beauty, referencing multiple tradi-tions while remaining exceptionally innovative. He has found a voice that speaks to the general and the highly individual alike, and has created unique narratives and dramaturgies that embrace and mes-merize its listeners worldwide.

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FUTUre proJecTSMorning in Long Island, Concert no. 1 for large orchestra – 30 min. (2011)Microgrammes string trio – 12 min. (2011)

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Biographical Timeline1955 Born in Metz, France. Lives in Paris, France1981-1983 Resident in the Villa Medici in Rome1989 Critical success of Roméo & Juliette 1992-2009 Composed a series of seven Solos pour orchestre1993 World premiere of To be sung, in collaboration with James

Turrell1994 Prix SACEM de la Musique Symphonique2001 World premiere of Perelà, Uomo di fumo at the Opéra national

de Paris1998, 2002 and 2007 Composer of the year at “Victoires de la

Musique” in France2005 Prix Cino del Duca of the Académie Française 2006 Presentation of Faustus, The Last Night at the Staatsoper in

Berlin. Further performances at the Théâtre du Châtelet in Paris and the Spoleto Festival (USA)

2007 Dan David Prize2007- 2008 Chair of artistic creation at the Collège de France,

Paris. Published lessons in Une musique en train de se faire, Editions du Seuil, Paris

2008 World premiere of Passion at the International Festival of Lyrical Art in Aix-en-Provence

2010 World premiere of Hinterland his string quartet VI in Lucerne

SelecTed workSSeven string quartets (1983-2010): I, II (Time zones), III, IV, V, VI (Hinterland), VII (OpenTime) – from 13 to 40 min.Roméo & Juliette (1985-1988) opera, after Olivier Cadiot – FE*Medeamaterial (1991) opera, after Heiner Müller – 60 min.La Melancholia (1991) operatorio – 32 min.Seven Solos: Go, Extenso, Apex, Clam, Exeo, Reverso, Uncut (1992 – 2009), for orchestra – from 10 to 18 min.To be sung (1993) chamber opera after Gertrude Stein – 70 min.Watt (1994) for trombone and orchestra – 17 min.Celo (1996) for cello and orchestra – 20 min.Trio Rombach (1997) for pf, vl or cl and vc – 18 min.Granum sinapis (1998) a cappella choir – 20 min.Dona Eis (1998) mixed choir (S.A.T.B) and 7 instruments – 20 min.Sept études (1999-2001) for piano – from 5 to 10 min.Perelà, Uomo di fumo (2001) opera, after Aldo Palazzeschi – FE*A Quia (2002) concerto for piano and orchestra – 27 min.Faustus, The Last Night (2004) opera, after Christopher Marlowe – FE*Passion (2008) chamber opera – FE*O Mensch! (2010) for voice and piano – 55 min.DUranD salabert eschiG

Pascal Dusapin is the creator of one of the most successful catalogues in modern music. He is a celebrated artist on all international stages to the point where, along with Henri Dutilleux and Pierre Boulez, his name is now synonymous with French contemporary composi-tion. Dusapin is worthy of a prominent place in any encyclopaedia of “music that is being written here and now”, with over a hundred major works to his credit. He has demonstrated that the questions of form, syntax and vocabulary, which have so long tormented modern musicians, actually yearn to be transcended by the artist’s “stamp”. His stamp, recognisable among all others, has already made history.

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Biographical Timeline1944 Born in Székelyudvarhely, Transsylvania/Romania/today:

Hungary. Lives in Budapest, Hungary1958 Admitted by Kodály to the Budapest Music Academy for

composition,�where�he�finally�graduated.�Influenced�by�Pál�Kardos, János Viski, Albert Simon, György Kurtág, Bartók, Boulez, Stockhausen and Miles Davis

1968- 1976 Plays piano, percussion and his own live electronic instruments with the Stockhausen Ensemble

1971- 1979 Works at the Studio for Electronic Music of West-deutscher Runfunk in Cologne. His compositions regularly appear in the programme of the major concert halls, festivals, recorded by Erato, EMI, Hungaroton

1978 On invitation of Pierre Boulez conducts inaugural concert of Ircam-Centre Pompidou, and was subsequently named musical director of the Ensemble Inter Contemporain (1979-1991)

1986��“Officier�de�l’Ordre�des�Arts�et�des�Lettres”�by�the�French�Ministère de la Culture

1985- 1988 Principal guest conductor of the BBC Symphony Orchestra (London)

1991 Founds the International Eötvös Institute and Foundation for young conductors. Professor at the Karlsruhe Hochschule für Musik

1992- 1995 First guest conductor of the Budapest Festival OrchestraSince 1994 Chief conductor of the Radio Chamber Orchestra

HilversumConducting regularly at the main European orchestras, he is one of the best known interpreters of the 20th century music and is actively engaged in major European festivals1997 Elected member of the Akademie der Künste Berlin and

awarded “Bartók Béla – Pásztory Ditta Price”, BudapestSince 1998 professor at the Staatliche Hochschule für Musik in

Cologne and guest conductor and artistic advisor of the National Philharmony Orchestra Budapest

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SelecTed workSIntervalles intérieurs (1981) for cl, tbn, vln, vc, perc, stereo tape – 30 min.Drei Madrigalkomödien (1970-1990) for twelve voices – 20 min.Chinese Opera (1986) for large ensemble – 27 min.Windsequenzen (1975/1987/2002) for ensemble – 29 min.Steine (1985-90/1992) for ensemble – 17 min.Brass – The Metal Space (1990) action piece for 7 brass players and 2 perc. – 22 min.Triangel (1993) musical actions for one creative percussionist and 27 musicians – 35 min.Psychokosmos (1993) for cimbalom solo and traditional orchestra – 17 min.Atlantis (1995 rev. 2010) for Baritone, Boy Soprano, cimbalom, synthesizer and orchestra – 38 min.Shadows (1996/1997)�for�fl,�cl�and�ensemble or orchestra – 15 min.Tri Sestri [Three Sisters]� (1996-1997) opera, after Tchechov – FE*Replica (1998) for viola and orchestra – 15 min.Lady Sarashina (1999-2007) opera in 9 scenes after a libretto by Mari Mezei after “As I Crossed A Bridge of Dreams. Recollections of A Woman in Eleventh-Century Japan” in English translation by Ivan Morris – FE*Octet plus (2007) for Soprano and eight wind instruments – 19 min.DUranD salabert eschiG / ricorDi mUnich / emb

Peter Eötvös was a composer before becoming a world-famous con-ductor. A child prodigy who was admitted to the Budapest Academy of Music by Zoltán Kodály when he was only fourteen years old, his path as a composer is far from being conventional. Perhaps this is why�he�is�so�difficult�to�classify.�There�are�no�techniques�and�styles�recurring in each piece; he does not use leitmotifs. The work of Eötvös seems to have a unique quality and reveal a more individual voice than those of his contemporaries. Behind each piece can be felt the presence of an independent concept, the slowly emerging seed of thought, the “big idea”. In his compositions, craftsmanship does not solidify into speculation, nor is enchanting instrumentation an end in itself, but rather a means of expression.

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Biographical Timeline1957 Born in Beirut, Lebanon. Lives in Paris, France1983 First recordings with Erato1994��Arts�and�Culture�Award�from�the�first�television�station�

in Lebanon1996 Composition of Sextuor, commissioned by Shlomo Mintz.

Events in Tel Aviv and New York2001 Knighted by the Ordre National du Cèdre in LebanonSince 2002 Several recordings with Naxos

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SelecTed workSSérénades no. 1 & no. 2 (1980 & 2001) for string orchestra – 4 & 7 min.Poèmes no. 1 & no. 2 (1980 & 1981) for piano and orchestra – 20 & 10 min.Symphonie “Les Ruines de Beyrouth” (1985) for orchestra – 30 min.Méditation symphonique “Colline de l’Etrange” (1993) for orchestra – 12 min.Sextuor (1996) for six violins – 5 min.Les Fleuves Engloutis (2001) for orchestra – 15 min.Concerto pour cor et orchestre “The Dark Mountain” (2007-2008) – 25 min.Unfinished Journey (2009) for violin and string orchestra – 7 min.Poème nocturne (2009)�for�flute�and�orchestra – 15 min.Sérénade no. 3, “Les Chemins de la nuit” (2010) for string orchestra – 18 min.Concerto pour clarinette et orchestre “Autumn Pictures” (2010) – 25 min. Concerto pour violon et orchestre no. 2, “War Concerto” (2010) – 35 min.

Since his youth as a child prodigy, Bechara El-Khoury has been rec-ognised as an orchestral magician, much appreciated by the greatest international conductors. Nourished by his poetic explorations, his work covers a remarkable panorama of emotions and atmospheres, ranging from intimate elements to a vast, sonorous fresco. At the height of his artistic maturity, now more than ever, this priceless artist�embodies�the�universal�influence�of�the�Lebanese/French�cul-tural tradition.


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Biographical Timeline1952 Born in Suèvres, France. Lives in Paris, France and in

Barcelona, Spain1984 Prize-Premiere of the SACEM Prix Hervé Dugardin 1992 Performance of Chevalier Imaginaire at the Théâtre du

Châtelet in Paris1998 Peformance of Salammbô at the Opéra national de Paris.

Revival in 20001998 Published Arrière-pensées, interviews with Laurent Feneyrou,

Musica Falsa, Paris2000 Presentation of the ballet Yamm at the Opéra national de Paris 2004 World premiere of Les Rois at the Opéra national de Bordeaux2007 Prix SACEM de la Musique Symphonique

World premiere of Judith at the Opéra national de Paris World premiere of Faust at the Théâtre du Capitole in Toulouse and further performances in 2010 at the Opéra national de Paris Published Histoires d’Opéras with Actes Sud, Paris

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SelecTed workSOnze inventions (1988) for string quartet – 15 min. String quartet no. 3 (1991) – 15 min.String quartet no. 4 (1999) with voice after Rainer Maria Rilke – 31 min.Le Chevalier imaginaire (1984-1986) opera, after Cervantes and Kafka – FE*Saturne, Concerto no. 1 (1987-1988) for violin and orchestra – 24 min.Les Rois (1989) opera, after Julio Cortázar – FE*Salammbô (1992-1996) opera, after Gustave Flaubert – FE*Dix-huit Madrigaux (1996) for vocal ensemble – 75 min.Concerto pour piano et orchestre (1996) – 22 min.Yamm (1999-2000) ballet for orchestra – 30 min.Concerto no. 2 pour piano et orchestre (2001-2002) – 22 min.Postludes from « Dix-huit madrigaux » (2005) for string orchestra – 6 min.

The�free�style�of�Philippe�Fénelon,�composer,�author�and�film�direc-tor, embraces both historical tradition and innovation. A sensitive observer and a seasoned practitioner of the connections between the arts, Philippe Fénelon does not hesitate to rethink the musical genres of “pure music” (concertos, string quartets, madrigals) all the while creating some of today’s most admired modern lyrical works.


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Twenty-Six Days (2010) for ensemble – 19 min.

FUTUre proJecTS New commissions for Yo-Yo Ma, BBC Proms, ROH2 (Royal Opera House, London) and the 2012 Cultural Olympiad

Biographical Timeline1965 Born and lives in Cornwall, UK 1990 ‘Composer for Dance Award’ which led to many dance works 1994 Winner of the International Grand Prix Music for Dance

Video Award 1994 to 1996 Resident composer with the Royal Liverpool

Philharmonic�Orchestra�producing�five�new�works Founded�his�own�ensemble,�fittingly�named�Fitkin Recent collaborations with London Chamber Orchestra and Royal Ballet choreographer Jonathan Watkins

2009 Winner of the British Composer Award for a Stage Work2010 New production for the Royal Ballet and a new work for

Ensemble10:102011 A concerto for midi-harp and orchestra for harpist Sioned

Williams and the BBC Symphony Orchestra

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SelecTed workSGhosts (1993) for speaker, three voices, sax, kbd, string quartet – 25 min.Bebeto (1995) for orchestra – 6 min.Game Show (1995) for saxophone and orchestra – 15 min.Granite (1995) for solo piano and orchestra – 22 min.Agnostic (1997) for solo cl, timp, perc, str – 16 min.Aract (1997) for orchestra – 3 min.Devout (1997) for orchestra – 15 min.Graf (1997) for orchestra – 22 min.North (1998) for orchestra – 16 min.Vassal (1998) for string orchestra – 13 min.Plan B (1999) for four saxophones and strings – 17 min.Child (2000) for children’s choir, percussion and strings – 13 min.Perfect Crime (2000) for SATB choir and orchestra – 22 min.Timber (2000) for orchestra and brass and samba band – 17 min.Ascendant (2001) for orchestra – 28 min.Circuit (2002) for two pianos and orchestra – 20 min. Reel (2008) for ensemble – 10 min.Mindset (2009) for orchestra – 32 min.Ruse (2009) for piano, timpani and strings – 22 min.Tidal (2009) for orchestra – 28 min.PK (2010) for orchestra, 2 chorus groups, flexible�orchestra:�wind.brass.percussion.guitars.harps.plucked instruments, 2 high/low string groups – 10 min.

Fitkin works with acoustic and electronic instruments, collaborates with�dance,�film�and�digital�media�alongside�concert�orchestral�and�chamber music, and is committed to involvement throughout the chain of music making - performing, conducting, publishing, produc-ing and educating. In his music he prefers clarity and a straightforward approach through jazzy rhythms and minimalist patterns.

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FUTUre proJecTSMenu (2010) for SATB choir and orchestra – 12 min.Les Epoux (2011) children’s chamber opera for actress/singer, cl, acc, vc – 50 min.Triple concerto (2011) for vln, vc, pf and orchestra – 20 min. Clarinet Concerto (2011) – 20 min. Lied (2011) for Soprano, pf – 5 min. Work for ensemble (2011) – 20 min. String quartet (2012) – 15 min. Zazie (2012) children’s chamber opera for S, T, actor, orchestra and electronics – 50 min. Work for orchestra (2012) – 20 min.

Biographical Timeline1979 Born in Trento, Italy. Lives in Paris, France2000 Graduated in composition with Alessandro Solbiati at

Conservatorio G.Verdi in Milan - master’s degree in composition under the guidance of Azio Corghi at the Accademia Nazionale di Santa Cecilia in Rome

2004 Receives prize in the composition competition for symphonic works Tactus (Brussels)

2006- 2008 Composer in the Cursus Annuel de Composition et d’Informatique Musicale Ircam-Centre Pompidou

2006 Member of AGON, one of the most important centers of Acoustic and Musical Informatics in Italy

2010- 2012 Composer-in-residence at Orchestre National d’Île de France, Paris

2010- 2012 Composer-in-residence at Accademia Filarmonica Romana, Rome

2011 World premiere in February (in Dijon) of the children’s opera Les Epoux. More than 60 additional performances programmed up to June in France

2011 World premiere of Triple Concerto in May (Bolzano, Italy) with Trio di Parma and the Bolzano and Trent Orchestra Haydn. The piece will be programmed in November in Paris with Trio Wanderer and the Orchestre National d’Île de France

2011 World premiere in September of a new piece for the London Sinfonietta to be performed in Milan and Turin during the MITO Settembre Musica Festival

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Notwithstanding his youth, Matteo Franceschini already boasts a substantial and multi-facetted catalogue, often enriched by success-ful�interaction�with�literary�texts�or�video�art.�He�reflects�creatively�on traditional forms and genres, and never renounces the dramatic conception intrinsic to musical composition, which moulds the instruments as if they were characters in the agon. His work thus resounds with features borrowed from a wide array of repertoires – from baroque music to contemporary rock – thus opening classical music to the multitude of expressive possibilities available today.

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Sirène (2009) for SATB choir, orchestra and electronics – 35 min.Quartet (2011) opera for Soprano, Baritone, chorus, orchestra and live electronics, libretto by the composer after Heiner Müller’s drama

FUTUre proJecTS Oratorio for solos, chorus and orchestra (2011) Piano Concerto (2012)

Biographical Timeline1956 Born and lives in Milan, Italy1981-1983 Works as an assistant to Berio1990 Foundation of the AGON (center for music research and

production using new technologies) - Kranichsteiner Musikpreis (Darmstadt)

1994 Prize Förderpreis der Ernst-von-Siemens-Musikstiftung (Munich); Prix Italia for Ballata del rovescio del mondo, a radio opera

2000 World premiere of Cobalt, Scarlet-Two Colours of Dawn by Oslo Philharmonic with Marek Janowsky. The work has been performed since then in the main European cities and also in USA (San Francisco, Los Angeles) and Israel (Tel Aviv, Haifa, Jerusalem). A version of the piece with a reduced duration exists

2002 World premiere of Ballata, based on Samuel T. Coleridge, at Théâtre Royal de la Monnaie in Brussels, under the baton of Kazushi Ono. Direction Achim Freyer

2003 World premiere of Rest ‘Luciano Berio in memoriam’, written for the soloist Anssi Karttunen, performed by RAI Symphonic Orchestra under the direction of Jukka-Pekka Saraste

2008 World premiere of Hard Pace written for Håkan Hardenberger. The�piece�was�a�joint-commission�of�five�important�interna-tional music institutions

2008- 2011 Artistic Director of Music Biennale in Venice 2008 World premiere of Unexpected End of Formula, commissioned

by musikFabrik and dedicated to Helmuth Lachenmann2011 World premiere of opera Quartet after Heiner Müller’s play

at Teatro La Scala At present he is professor and head of the department of composi-tion at the Musikhögskolan in Malmö in Sweden

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SelecTed workSDa Capo (1985) for ensemble – 12 min.Attesa (1988) for wind quintet – 13 min.Islands (1992) for piano and orchestra – 15 min.Plot II (1993) for saxophone and ensemble – 10 min.Etymo (1994) for Soprano, ensemble and electronics – 23 min.Animus (1995-1996) for trombone and live electronics – 15 min.Ballata (1996-1999) opera in two acts – FE*Wanderer (1998-1999) for orchestra – 26 min.Cobalt, Scarlet-Two Colours of Dawn (1999-2000) for orchestra – 25 min.Terre del rimorso (2000-2001) for vocal soloists, choir and orchestra – 40 min.Let me Bleed (2001) for cappella choir – 22 min.Rest ‘Luciano Berio in memoriam’ (2003-2004) for cello and orchestra – 25 min.Gesualdo Considered as a Murderer (2004) opera for chamber choir, ensemble and electronics – 70 min.IV Quartetto. ‘I voli di Niccolò’ (2004) for string quartet – 21 min.Kubrick’s Bone (2005) for cimbalom and ensemble – 25 min.Hard Pace (2007) concerto for trumpet and orchestra – 25 min.Unexpected End of Formula (2008) for cello, ensemble and electronics – 25 min.

Fascinated by the instruments and sounds forged over the centuries of the history of music, Luca Francesconi is also animated by the non-conceptualised�creativity�that�he�has�experienced�first-hand�in�his practice of jazz and rock. He constantly strives to blur the lines between culture and nature, technology and corporeality, complexity and beauty. He uses a rigorous control, at times electronic, of all the parameters of sound with which he administers the transformation of the material. This co-exists in his music with an intimately percep-tive logic, giving rise to an experience of great acoustic impact with profound intellectual and sensorial charm.

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Mirrors (2009) for six violoncellos – 12 min.Phantom Splinter (2009) for ob, cl, bn and live electronics – 20 min.Fluid Calligraphy (2010) for violin and video ad lib. – 8 min.Recorder Concerto (2010) for recorder and strings – 15 min.Samarasa (2010) for violin – 8 min.Tocar y luchar (2010) for orchestra – 10 min.String Quartet no.2: Flare (2010) – 15 min.

FUTUre proJecTSDolphins for two violas – 8 min. for Nobuko Imai and Kim Kashkashian (2011) Bassoon Concerto with Pascal Gallois as soloist (2011-2012) Two new works for clarinet and string trio and string orchestra (2011)

Biographical Timeline1977 Born in Osaka, Japan. Lives in London, UK 1992 Moves to London to study at Trinity College of Music, Royal

College of Music and at King’s College London with George Benjamin.

1998 First Prize in the Serocki International Composers’ Competition 1998��Huddersfield�Contemporary�Music�Festival�Young�Composers’�

Award 2004 Royal Philharmonic Society’s Composition Prize2005 Internationaler Wiener Kompositionspreis (the Claudio

Abbado Composition Award)2006 BBC Proms debut with Crushing Twister2007 Schleswig-Holstein Music Festival’s Paul Hindemith Prize2008 Special Prize from the Giga-Hertz-Award 2009 OTAKA prize for Secret Forest and Akutagawa Award for

...as I am... 2010 Exxon Mobile Prize

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(*1977)www.daifujikura.com

SelecTed workSReach Out (2002) for saxophone quartet – 10 min.Fifth Station (2003-2004) for ensemble – 15 min.Moromoro (2003) for piano, tape and video – 8 min.abandoned time (2004 rev. 2006) for solo electric�guitar�and�fl,�cl,�pf,�perc,�vln,�vla,�vc, db – 10 min.Vanishing Point (2004, rev. 2006) for ensemble – 10 min.String Quartet no. 1: Another Place (2005) – 10 minBut, I fly (2005) for 12 voices (3333), text by Harry Ross – 10 min.Vast Ocean (2005) for trombone and orchestra with live electronics – 20 min.Crushing Twister (2006) for orchestra – 8 min.Phantom Pulse (2006) for 12 percussion-ists – 20 min.Wave Embraced (2006) solo horn and ensemble – 18 min.…as I am… (2007) for solo voice and large ensemble, text by Harry Ross – 20 min.SAKANA (2007) for tenor saxophone – 9 min.Swarming Essence (2007) for orchestra and electronics – 16 min.Time unlocked (2007) for ob, cl, bn, pf, vln, vla – 11 min.Ampere (2008) for solo piano and orchestra – 22 min.Secret Forest (2008) for small orchestra – 13 min.

Fujikura’s music is bold, daring, energetic, colourful and thrilling to play and to hear. He has compared it to Japanese food: the combina-tion�of�different�tastes,�sweet�and�salty.�His�astonishing�versatility�has� made� him� successful� in� vastly� different� genres� ranging� from�orchestral and chamber music, to free-improvisation, pop, and music� for�film�and�dance.�He� is�at�ease�exploiting�both� traditional�Japanese� instruments� as�well� as� electronic� sounds� to� find�his� own�unique voice.

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Les chemins de la liberté (2003-2005) for orchestra without conductor – 14 min.Radiographie d’un roman (2009-2010) for mixed choir with seven soloists, accordion solo, percussion solo, 30 instruments and electronics – 45 min.

FUTUre proJecTSDestinées machinales Version for soloists (perc, cl, trb, vc) and percussion ensemble (2008-2011) New Work for actor/percussionist and big band (2011)

Biographical Timeline1934 Born in Anderny, France. Lives in Paris, France and Zuzemberk,

Slovenia1947- 1955 Lived in Ljubljana, Slovenia, where he made his debut

as a jazz musician1955- 1959 Studied trombone at National Conservatory in Paris1960- 1963 composition and conducting with Leibowitz; further

studies with BerioSince 1960 has performed the premières of a large number of

works for trombone by Berio, Kagel, Stockhausen, Leibowitz, Takemitsu and others. He has conducted his works with the orchestras of Westdeutscher Rundfunk, Radio France, Radio Helsinki, Radio Ljubljana, the Tokyo Metropolitan Symphony Orchestra and many others

1967- 1976 Professor of composition at the Musikhochschule in Cologne

1969 Co-founder of the free improvisation group ‚New Phonic Art‘1973- 1979 Director of the department of instrumental and vocal

research at Ircam-Centre Pompidou Paris 1983- 1999 Teaches and conducts 20th century repertoire with

Orchestra Giovanile Italiana Fiesole1995 World premiere of his music theater composition L’armonia

drammatica in Berlin (Biennale)2003 Elected honorary member of the International Society for

Contemporary Music (ISCM)2010 World premiere of his cantata Radiographie d’un roman at

Donaueschinger Musiktage

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SelecTed workSTribadabum extensif sur rythme fantôme (1981) for three percussionists or for three percussionists and an unlimited number of percussionists – 25 min.Les Émigrés. Triptych (1982-1985) for Baritone,�Mezzo-soprano,�five�narrators,�five�singers,�jazz�trio,�orchestra,�tape, �film,�slides�–�FE*L’armonia drammatica (1987-1990) music drama for orchestra, mixed choir, seven singers and tenor saxophone – FE*Kolo (1988) for mixed choir, solo trombone and electronics – 25 min.Eisenberg (1990) for orchestra or ensemble – 25 min.Labour (1992) for large symphony orchestra – 27 min.Blinde Zeit (1993) for seven musicians and tape playback – 26 min.Masse, Macht und Individuum (1994) for orchestra and 4 soloists (acc, gtr, db, perc) – 40 min.Zlom (1997) for 26 musicians and tape playback – 23 min.La Prison (2001) for eight instruments – 22 min.Der Engel der Geschichte (2000-2004) for two orchestras and live-electronics, in three parts (I. Zerfall; II. Mars; III. Hoffnung)�–�30�&�32�&�33�min.Eppure si muove (2003) for conducting trombonist and eleven instruments – 19 min.Les Otages (2003) for orchestra and sampler – 30 min.

One�of�the�central�figures�of�20th century’s music and its interpre-tation, the composer and trombone player, Vinko Globokar, has always�made�his�way�far�off�the�beaten�path.�Fusing�different�modes�of performance, the speaking voice and the singing voice, he has demonstrated with great originality that music is a language. A com-plete mastery of his instrument and of compositional styles, which Globokar has learned to perfection, has made him utterly distrustful of all conventions. His inimitable contribution to new music consists above all in the ingenious transformation of classical instruments and�non-musical�objects.�Right�from�his�first�years�in�Paris,�Globokar�understood that collective interpretation is an extremely complex exercise in social and mental communication. This point is central to his inspiration. In recent years he has also shown his overwhelming mastery in composing large-scale orchestral works and cantatas.

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Biographical Timeline1952 Born in Neustadt/Weinstraße, Germany. Lives in Frankfurt/

Main, Germany1975 Degree in sociology, 1978 degree in Music and State

Teacher’s�Certificates�1976 Co-founder of “Sogenanntes Linksradikales Blasorchester”

(“So-Called Left-Radical Wind Orchestra”, till 1981) and the Duo Heiner Goebbels / Alfred Harth (till 1988)

1978-1980 Musical director at the Frankfurt Schauspiel1982 Founded the experimental rock group “Cassiber” 1997- 1998 Guest professor for composition at Hochschule für

Musik, Karlsruhe1999 Professor at the University of Giessen (Angewandte

Theaterwissenschaften)1986, 1992 and 1996 Prix Italia1988 German recordings critics’ prize (Golden Needle of Honour),1991 Prix Futura1993 Hessischer Kulturpreis2001 European Theatre Award “New Theatrical Realities”2002 Goethe-Plakette of the City of Frankfurt2003 German Critics’ Award in the music category 2006 Theatre Award by the German centre of the ITI (International

Theatre Institute)Heiner Goebbels is a member of the Akademie der Künste Berlin and the Academie der Darstellenden Künste, Frankfurt, since 2006 he is also President of the Hessische Theaterakademie

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(*1952)www.heinergoebbels.com

SelecTed workSBefreiung (1989) concert scene for speaker and ensemble – 14 min.Herakles 2 (1991) for seven instruments – 15 min.La Jalousie (1991) for speaker and ensemble – 18 min.Red Run (1988-1991) nine songs for eleven instruments – 18 min.Surrogate Cities (1993/94) for Mezzo-soprano, speaker, sampler and large orchestra after Heiner Müller, Hugo Hamilton, Paul Auster – FE*Industry and Idleness. Popular Print (1996) for orchestra or ensemble – 16 min.Schwarz auf Weiß (1995-1996) music theater after Poe, John Webster, T.S. Eliot and Maurice Blanchot (with the voice of Heiner Müller) for eighteen musicians – 75 min.Landscape with Distant Relatives (2002) opera after texts and motifs by Giordano Bruno, T.S. Eliot, Michel Foucault, Claude Lorrain, a.o. for ensemble, choir and soloists – FE*Aus einem Tagebuch (2002-2003) for orchestra – 22 min.Ou bien Sunyatta (2004) for griot singer, kora and orchestra – 15 min.Songs of Wars I’ve Seen (2002-2007) scenic concert after Gertrude Stein for chamber orchestra – 50 min.I went to the house but did not enter (2007-2008) scenic concert after T.S. Eliot, Blanchot, Beckett and Kafka for four male voices – FE*

Amongst composers of contemporary music, Heiner Goebbels is a singular�figure.�After�an�early�experience�with�rock�music,�he�found�his artistic career shaped by the student movement. In his disserta-tion for his sociology degree (“The Question of the Progressiveness of Musical Material. The Social Relationship between Compositions Produced During the Pre-Classical Period and by Hanns Eisler”) he found his way to the categorical imperative that is still valid for him today: always compose in such a way that your music does not deprive the listener of his right to form his own opinion. Music reflects�social�reality;�its�position�and�attitude�have�to�be�continually�redefined.�To�this�purpose,�Goebbels�uses�many�different�genres�and�ensembles�ranging�from�theatre,�film�and�ballet�music,�radio�plays,�experimental music theatre, to ensemble and orchestral works.

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Biographical Timeline1956 Born in the China’s Sichuan province. Lives in Beijing, China1978 Admission to the re-opened Beijing’s Central Conservatory

of Music (one of a hundred students accepted out of 17,000 applicants)

1983 His music becomes known in the West when Suspended Ancient Coffins on the Cliffs on Sichuan was premiered in Berkeley

1994 World premiere of the chamber opera Wolf Cub Village by the Nieuw Ensemble at the Holland Festival; further performances in seven countries

1997 Riding on the Wind is commissioned for the celebrations of the�reunification�of�Hong�Kong

1998 World premiere of Night Banquet at the Almeida Theatre in London; further performances at Hong Kong Arts Festival, Wien Modern

2000 World premiere of the Second String Quartet by the Kronos Quartet in Beijing

2001 World premiere of the chamber opera Ye Yan/The Night of the Banquet by the Ensemble Modern in Paris (Festival d’Automne), in Berlin (Hebbel Theatre), New York, Perth (Perth Festival)

2004 World premiere of the chamber opera Fengyiting by Nieuw Ensemble in Amsterdam

2007 World premiere of Concerto for erhu, piece co-commissioned by Singapore Symphony Orchestra and Musica Viva festival

2007 World premiere of the opera Poet Li Bai in Denver (USA), Central City Opera; further performances in Beijing, Shanghai and in Rome in 2008 at Parco della Musica Auditorium (European premiere)

2011 World premiere in Milan and Turin (September) of a concerto for Zheng and Orchestra during the MITO Settembre Musica festival

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SelecTed workSShe Huo (1991) for ensemble – 13 min.Wolf Cub Village (1994) chamber opera – 48 min.Drama (1995) for three pairs of cymbals and voices – 10 min.Concertino (1996) for cello and ensemble – 12 min.Elegy (1996) for Soprano and three percussionists – 13 min.Inscriptions on Bone (1996) for Alto voice and ensemble – 14 min.String quartet no. 2 (1997-2003) for string quartet with percussion – 14 min.Echoes of Heaven and Earth (1998) for chamber choir and percussion – 30 min.Vimala (2000) for eight cellos – 20 min.Ye Yan/The Night of the Banquet (2001) opera – FE*Fengyiting (2004) chamber opera – FE*Concerto for erhu (2006) for erhu and orchestra – 20 min.Poet Li Bai (2007) opera, libretto by Xu Ying – FE*

In contrast to many of his fellow countrymen, Guo Wenjing has cho-sen not to leave China for other than very circumscribed periods so as to be able to cultivate his fervent interest in the musical heritage of his homeland. In fact, his patrimony permeates his works, blend-ing in with the stylistic elements of the late 20th century European avant-garde. His recurrent use of traditional Chinese instruments or references to folk songs do not, however, translate into mere colouring�effects,�but�rather� invest�the�Western�elements�of�Guo’s�composition with a distinctive character. His writing is enchanting both in its dramatic majesty and in its dreamlike lyricism.

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FUTUre proJecTSLieder for Baritone and piano (2011) Concert for Jean-Jacques Rousseau 300th anniversary of birth with the Choir and Ensemble Solistes de Lyon (January 2012) Third string quartet by the Cypress quartet in San Francisco (spring 2012)Vêpres à la Vierge Marie Notre Dame de Paris Jubilee (2013) – FE*

Biographical Timeline1948 Born in Rome, Italy. Lives in Paris, France1978- 1980 Resident at the Villa Medici in Rome1991 World premiere of Château des Carpathes at the Opéra

national de Montpellier1998 Prix SACEM de la Musique Symphonique 1998- 2000 Residency with the Orchestre national de Lyon2004 Dedication of the Présences à Radio France Festival to

Hersant2005 and 2010 Composer of the year at “Victoires de la musique”

in France2006 World premiere of Le Moine Noir at the Leipzig Opera2007- 2009 Residency with the Orchestre national des Pays de Loire2008- 2010 Residency with the Orchestre de Bretagne where his

Concerto for piano and Concerto for violin were premiered

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SelecTed workSConcerto pour violoncelle no. 1 (1989) – 16 min.Concerto pour violoncelle no. 2 (1997) – 20 min.Le Château des Carpathes (1989) opera, after Jules Verne – FE*Lebenslauf (1992)�for�soprano,�fl,�cl,�hn,� pf and strings – 16 min.Ephémères (1999-2003) 24 pieces for piano – 44 min.Paysage avec Ruines (1999) for Mezzo-soprano and orchestra – 21 min.Streams (2000) for piano and orchestra – 30 min.Der Wanderer (2002) for male choir and orchestra – 10 min.Musical Humors (2003) for viola and orchestra – 20 min.Concerto pour violon (2003) – 20 min.Le Moine noir / Der schwarze Mönch (2004-2005) opera, after Anton Tchekhov – FE*Heathcliff (2005) orchestral suite from the ballet Wuthering Heights – 35 min.Les Âmes du Purgatoire (2008) for orchestra – 11 min.Cinq Poèmes de Trakl (2009) for Baritone and orchestra – 19 min.Concerto pour piano et orchestre (2009) – 19 min.Concerto pour clarinette et orchestre (2010-2011) – 21 min.


Philippe Hersant is unanimously recognised as a master of formal balances, colours and lines. An incomparably talented harmonist and a particularly inspired melodist, he uses his naturally elegant compositions to create solid and convincing forms that have inspired and will continue to inspire the most demanding musicians and the most discerning audiences.

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FUTUre proJecTSSit Stand Walk (clarinet concerto) a commission�from�Spitalfields�Festival,�London and an accordion concerto for James Crabb and the BBCSO commissioned by the BBC.

Biographical Timeline1964 Born and lives in London, UK

Student of composition and piano at the Royal College of Music2000 After a long silence, Rolf began to compose again, inspired by

repeated trips to India and a subsequent fascination with the culture and language.

2008 and 2010 Nominee for the British Composers Awards.

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SelecTed workSCloud Shadow & Solgata (2000) for solo piano – 11 min.The Horse Sacrifice (2001) for ensemble (fl/bfl/treble�recorder,�cl/Eb/recorder,�vln, vc, perc, pf with ratchet + triangles) – 20 min.Thirteen O’clock Shadow (2001) for two singing percussionists – 4 min.The City of Love (2002) for voice, violon-cello and piano – 10 min. Das Unenthüllte (2002) for violin and piano – 12 min.Your black mouth (2002) for bass clarinet and harp – 12 min.The Eye of Fire (2004) for string quartet and prepared piano – 28 min.Sunnata (2005) for grand piano, four uprights and a honkytonk – 11 min.Follow the Leader (2006) for voice and percussion – 10-12 min.The Thing is (2006) for piano, violoncello and violin – 14 min.Maya-Sesha (2007) for piano and orchestra – 21 min.The Towers of Silence (2007) for solo piano – 16 min.The Flower in the next Corner (2008) for string quartet – 21 min.King David (2008) for clarinet and violin – 7 min.Shashankasana (2008) for string quartet – 5 min.A Single Hair, a Jasmine Petal, Seven Mattresses, a Pea... (2009) for solo piano – 10 min.ricorDi lonDon

Rolf Hind is an accomplished composer and concert pianist. His compositions range from solo piano pieces, a piano trio, two string quartets and a piano quintet to a piano concerto, Maya-Sesha, his first�orchestral�work.�Much�of�his�music�is�inspired�by�a�fascination�with the culture, mythology, philosophy and music of India, where he has travelled often. At the same time it draws on the technical adventurousness of certain performers. In a career that has taken him all over the world in the last twenty years, as a pianist, Rolf Hind has worked with many of the greatest names in 20th and 21st century contemporary classical music.

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Schwarzerde (1997-2001) stage work in nine sequences for six soloists, vocal ensemble, orchestra and tape, libretto by Michael Schindhelm – FE*Die Seele muss vom Reittier steigen... (2002) chamber concerto for three soloists (Countertenor, vc, baryton) and 37 instruments, text by Mahmoud Darvish – 35 min.Miserere hominibus... (2005-2006) cantata for seven voices and seven instruments – 37 min.

Biographical Timeline1924 Born in Berne, Switzerland. Lives in Bremen and Panicale, Italy

Violin studies at Zurich Conservatory, composition with Willy Burkhard

1955-1956 studies with Boris Blacher in Berlin1959 International breakthrough at ISCM festival in Rome, where

he won 1st prize for chamber music 1964- 1973 Director of the composition class at the Academy of

Music in Basle1969 Founds the International Composers Seminar in Boswil,

Switzerland1970 Beethoven Prize of the City of Bonn, 1978 Art Prize of the

City of Basel1973- 1990 Director of composition class and Institute for New

Music at Musikhochschule Freiburg/Breisgau. His students included Ferneyhough, Rihm, Pagh-Paan, Hosokawa, and many others

1979-1982 President of the Swiss Composers Guild 1984 Beginning of world-wide international activity as visiting

professor2000 Member of the Bavarian Academy of Fine Arts, the Berlin

Academy of Arts, honorary member of the ISCM. Honorary Doctorate from Strasbourg University

2007 European Church Music Prize 2009 Member Hochschule für Musik und Theater in Leipzig.

Awarded Salzburg Music Prize and Ernst von Siemens- Music Prize

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SelecTed workSErniedrigt – Geknechtet – Verlassen – Verachtet... (1975/1978-1983) oratorio for soloists, choir and orchestra, texts by Ernesto Cardenal, George Jackson, Carolina de Jesús, Prophet Jesaja – 67 min.Cantiones de Circulo gyrante (1985) for�three�groups�of�musicians�and�five�soloists – 39 min.Des Dichters Pflug (1989) for string trio – 12 min.La terre des hommes (1987-1989) for Mezzo-soprano, Countertenor and ensemble, texts by Simone Weil, Ossip Mandelstam – 35 min.Spes contra spem (1986-1989) a Counter-Paradigm to Wagner’s “Götterdämmerung” for�five�singers,�five�speakers,�orchestra,�tape, electronics – 50 min.Die umgepflügte Zeit (1990) space music for soloists, two mixed ensembles, choir voices and instruments distributed in space – 20 min.Lamentationes Sacrae et Profanae ad Responsoria Iesualdi (1993/1996-1997) for six singers and two instruments – 43 min.Intarsi (1993-1994) chamber concerto for piano and seventeen instruments – 20 min.Lamentationes de fine vicesimi saeculi (1992-1994) for orchestra with Sufi-Singer�–�18�min.Ecce homines (1997-1998) string quintet – 37 min.

Whenever there is talk of politically engaged music these days, Klaus Huber springs to mind. Since 1983 and the Donaueschingen premiere of his major oratorio Erniedrigt – Geknechtet – Verlassen – Verachtet..., if not earlier, he has ranked as a composer who believes in the possibility of a better world, and gives expression to this belief in his work. Musically, his humanistic ideas are formulated with a high degree of artistic ethos, in which respect he resembles Luigi Nono (who was also born in 1924), and he has always insisted that music is a necessary form of communication between human beings. In Huber’s compositions there is a taut balance between intensity of expression, and construction. Obviously, this requires a high level both of consciousness of form and of craftsmanship. In the course of almost 60 years of composing, he has developed these skills to the highest degree, while making them subservient to his need for expression. There are few composers today who can extract music from within and allow it to speak as eloquently as he can.

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FUTUre proJecTSRimembranze (in progress) for orchestra commissioned by the Hungarian National Cultural Fund (2011) Three new compositions for small cham-ber ensembles comissioned by Kaposvár International Chamber Music Festival (2011)

Biographical Timeline1943 Born in Szolnok, Hungary. Lives in Budapest, Hungary1961- 1968 Composition studies with Ferenc Farkas at the Ferenc

Liszt Academy of Music in Budapest, postgraduate studies with�Goffredo�Petrassi�at�the�Accademia�Nazionale�di�Santa�Cecilia in Rome

1968 World premiere of Soliloquium No.1�for�flute�at�Gaudeamus�Festival in Utrecht

1970 Foundation of the New Music Studio Budapest, in collabo-ration with Péter Eötvös, Zoltán Kocsis, László Sáry, Albert Simon and László Vidovszky

1984 Tour in Sweden: 30 of his works performed in nine concerts, five�of�them�as�world�premieres

1985 A portrait concert is given at the Experimental Intermedia Foundation in New York Twelve Songs performed at the ISCM Festival in Amsterdam

Since 1986 Professor at the Liszt Academy of Music, Department of Composition, from 1995 as Head of Department

1993 Fellow of the Széchenyi Academy of Letters and Arts (founded by the Hungarian Academy of Sciences)

1996- 1999 Vice-President of the ISCM2001 Awarded the Kossuth Prize by the Hungarian state2005 First complete performance of Funeral Rite by the National

Philharmonic Orchestra and Choir conducted by Zoltán Kocsis, in Budapest

(*1943)

SelecTed workSAlef – Hommage à Schönberg (1972) for orchestra – 13 min.Endgame (1973) for solo piano – 8 min.Orpheus’ Garden (1974) for eight optional instruments – 18 min.Twelve songs (1975-1983) on poems by e. e. cummings, William Blake, Friedrich Hölderlin,�Dezső�Tandori�and�Sándor�Weöres, for Soprano, vln, and pf – 29 min.To Apollo (1978) cantata to a hymn by Callimachus, for female or mixed chamber choir, ca, org, 12 crotal – 27 min.El silencio (1986) on a poem by Federico Garcia Lorca, for female voice and string quintet – 16 min.Funeral Rite (1987-2005) on Hungarian vigil songs, Latin, Hebrew, Russian and Greek liturgical texts and poems by Hungarian poets, for vocal soloists (Sopr, A, Ten, Bar, B), double mixed choir and orchestra – FE*Self-Quotations (1991)�for�five�instruments:�cl, vln, vc, mar, pf – 10 min.Contrafactum (1998) on a poem by János Pilinszky for Soprano and orchestra – 25 min.& silence everywhere (2001) for chamber ensemble – 12 min.Farewell to György Ligeti (2006) for solo cimbalom – 12 min.Pavane (2007) for orchestra – 16 min.Memories of Delphoi (2008) for vln, tbn, mar, pf – 10 min.

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Zoltán Jeney is one of the leading personalities of the experimental art movement that evolved in Hungary in the 1970’s and 80’s. To create elements of form, melody, rhythm and tone in his early com-positions, he made frequent use of non-musical base materials such as text quotations, chess match moves, solitaire game moves, and telex text rhythms, among others. From the 1980’s onward, he once again began to employ counterpoint methods reminiscent of the Baroque and pre-Baroque periods. In addition, he incorporated an archaic style of tone production that in its declamation and melody formation drew on both Gregorian traditions and those of Hungarian folk music. Although, in a technical sense, all of his work transmits and summarizes the basic principles developed in previous decades, today his art gives free rein to the emotional freedom and sensitive directness that were hidden behind the more severe constructions of his youthful pieces.

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Four Poems by Anna Akhmatova, op. 41 (1997-2008) for Soprano and chamber ensemble – 15 min.…concertante…, Op. 42 (2003) for violin (also dumb vln) solo, viola (also dumb vla) solo and orchestra – 26 min.Hipartita, Op. 43 (2000-2004) for violin solo – 20 min.Colindă-Baladă Op.46 (2007-2009) for mixed choir and chamber ensemble: vla, vc, 2cl, hn, trp, tbn, perc – 15 min.

FUTUre proJecTSFin de partie (in progress) opera based on the play by Samuel Beckett com-missioned by the Salzburger Festspiele (2012-2013)

Biographical Timeline1926 Born in Lugos (Lugoj), Romania. Lives in St. André de Cubzac,

France1946- 1955 Studied composition at the Ferenc Liszt Academy of

Music in Budapest with Sándor Veress and Ferenc Farkas, piano with Pál Kadosa and chamber music with Leó Weiner

1957- 1958 Studied with Marianne Stein and attended courses given by Darius Milhaud and Olivier Messiaen in Paris

1967- 1993 Professor at the Ferenc Liszt Academy of Music, Budapest,�first�of�piano,�then�of�chamber�music

1973 and 1996 Awarded the Kossuth Prize by the Hungarian state1981 World premiere of Messages of the Late Miss R.V. Troussova,

op. 17 given by the Ensemble InterContemporain, in Paris1985��Awarded�the�title�Officier�des�Arts�et�des�Lettres�by�the�

French state1987 Member of the Bayerische Akademie der Schönen Künste,

Munich, and member of the Akademie der Künste, Berlin1993- 1994 Composer in Residence with the Berlin Philharmonic1994 Austrian State Award for European Composers. Denis de

Rougemont Prize awarded by the European Association of Festivals

1995 One-year stay in Vienna as composer in residence 1996- 1998 Honorary professor at the Royal Conservatory of The

Hague, residency with the Concertgebouw Orchestra, the Netherlands Opera, the Vredenburg Music Centre, the Schönberg Ensemble and the ASKO Ensemble

1999- 2001 Composer in Residence in Paris (Ensemble InterContemporain, Conservatoire, Festival d’Automne)

2001 Honorary Member of the American Academy of Arts and Letters.

2002 Settled in France2006 Grawemeyer Award for …concertante… Op. 42 (University of

Louisville)2009 World premiere of Colindã-Baladã Op. 46 in Cluj (Romania)

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(*1926)info.bmc.hu

SelecTed workSString Quartet, Op. 1 (1959) – 14 min.Games (in 8 volumes) (1975-) for piano, piano four hands, two pianos – varied durationMessages of the Late Miss R. V. Troussova, Op, 17, (1976-1980) to 21 poems by Rimma Dalos, for Soprano and chamber ensemble – 27 min.Songs of Despair and Sorrow, Op. 18, (1980-1994) six choruses to poems by Lermontov, Blok, Esenin, Mandelshtam, Akhmatova and Tsvetayeva, for double mixed choir and ensemble – 25 min.Attila József Fragments, Op. 20 (1981) for Soprano solo – 15 min.Kafka-Fragmente, Op. 24 (1985-1987) letters and diary entries of Franz Kafka, for Soprano and violin – 56 min.…quasi una fantasia… Op. 27 no. 1 (1987-88) for piano and groups of instruments dispersed in space – 10 min.Messages, Op. 34 (1991-1996) for orchestra and mixed choir – 15 min.…pas à pas – nulle part… – poèmes de Samuel Beckett, Op. 36 (1993-1998) for Baritone solo, percussion and string trio – 35 min.Stele, Op. 33 (1994) for large orchestra – 13 min.New Messages, Op. 34a (1998-2009) for orchestra – 13 min.6 moments musicaux, Op. 44 (1999-2005) string quartet – 10 min.

György Kurtág is the most reknowned and frequently played living Hungarian composer today. His music simultaneously captivates the listener with its enigmatic density and its powerful expressivity. In his style, a synthesis is created that unites the achievements of the international avantgarde of the last several decades with the legacy of Hungary’s and Europe’s musical past. His work confronts the lis-tener with the deepest and most personal questions relating to the human soul and the fate of mankind. The Hungarian culture of the end of the 20th century is represented in his music with the same general�human�validity�as�that�of�the�first�half�of�the�century�is�in�the�œuvre of Béla Bartók.

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FUTUre proJecTS World premiere in September of a piece for ensemble and live electronics (2011) World premiere of a piece for Neue Vocalsolisten Stuttgart (2012)

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Biographical Timeline1975 Born in Venice, Italy. Lives in Paris, France1998 Composer in the Cursus Annuel de Composition et d’Informatique

Musicale Ircam-Centre Pompidou Cursus on composition and computer music at the Ircam-Centre Pompidou

2004 Guest professor at McGill University in Montreal2005 World premiere of Songe de Médée at the Opéra national

de Paris, choreography by Angelin Preljocaj2008 World premiere in Lyon of Descrizione del Diluvio with the

Neue Vocalsolisten and Les Percussions de Strasbourg, co-production of Royaumont Foundation, Les Fresnoy, Grame, Gmem, La Monnaie and Les Percussions de Strasbourg

2007- 2008 Guest of the French Academy in Rome at the Villa Medici2009-2010 Residency at Akademie Schloss Solitude (Stuttgart)

casa ricorDi

SelecTed workSBarocco (1998-2004) for Soprano, vla and six instruments playing on toys – 7 min.Erba nera che cresci segno nero tu vivi (1999-2001) for Soprano and electronics – 14 min.Aschenblume (2002) for nine musicians – 17 min.Mare (2003-2004) for Soprano, ensemble, five�instrumentists�playing�on�music�toys,�electronics – 14 min.Predellino (2005) for piano – 7 min.I funerali dell’Anarchico Passannante (2006) for chamber choir, electronics – 12 min.Vesperbild (2007) for ensemble, six instrumentists playing on music toys, electronics - 15 min.Descrizione del diluvio (2007-2008) multimedia show for six voices and six percussion instruments - 45 min.Sol (2007) for ensemble – 9 min.Mess (2008) for piano – 6 min.I funerali dell’Anarchico Acciarito (2009) for Intonarumori and sound objects – 10 min.Number Nine (2010) for ensemble – 9 min.Herzstücke (2010) for string quartet and electronics – 12 min.

A�passionate�explorer�in�the�field�of�computer-assisted�music�and�synthesis through physical models, Mauro Lanza navigates the border between the acoustic and the electronic worlds, aiming to effect� their� fusion�and� reciprocal� integration.� The�highly�original�sound that invests his music is characterised by a dimension that is as much playful and childlike as it is disturbing and crepuscular. This quality gives rise to a gradual and unexpected transformation of� the� musical� material,� calling� to� mind� the� astounding� fluidity�of natural phenomena and drawing the listener into a perceptive experience akin to alchemy.

(*1975)

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FUTUre proJecTS New Cantata for seven vocal soloists and ensemble (2011-2012) – 50 min. New Ensemble Piece (2012)

Biographical Timeline1968 Born in Paris, France. Lives in New York, USA and Berlin, Germany

Studied composition with Gérard Grisey at the Conservatoire National Superieur de Musique de Paris. He received a Ph.D. in musicology from the EHESS

1999- 2000 Works at Ircam-Centre Pompidou as pedagogical advisor and lectures in the musicology department at the Sorbonne University (Paris)

2001 Resident of the DAAD Berliner Künstlerprogramm in Berlin 2002 Resident of the Villa Medici / French academy in Rome2004- 2006 Teaches orchestration at the Hochschule für Musik

Hanns-Eisler in Berlin (Germany), 2004 Förderpreis from the Ernst von Siemens Foundation for musicCurrently he is Assistant Professor of Composition at Columbia University in New York (USA)

(*1968)www.fabienlevy.net

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SelecTed workSTre Volti del Volubile Ares (2006) for orchestra of winds and percussion. Versions for 27 or 49 musicians – 23 min. pour orchestre (2007) for orchestra – 14 min.Lexemes hirsutes (2007-...) Cycle of pieces for cello – 10 min. (movements 1 & 2)à propos (2008)�for�five�instruments�– 21 min.Querwüchsig (2006/09) for thirteen instruments – 12 min.à peu près de (2010) for two trumpets – 13 min.

Filled�with�acoustic�puzzles,�“trompe� l’oreille”�effects�and�musical�paradoxes, Fabien Lévy’s compositions always challenge listeners not to trust their ears. His music arouses expectations, only to imme-diately subvert them, to create situations like those visual images that can be seen in two ways, and to stage a permanent irritation of hearing.�For�Lévy,�art�and�lucid�reflection�are�not�mutually�exclusive;�rather, they condition one another. And yet he gives primary impor-tance to sensual pleasure: the joy of nuance, of the unexpected, of discovering something that has never been heard before. What he says about his ensemble piece à propos applies to all his music: it should be heard with the ears of a child.

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Biographical Timeline1966 Born in Perth, Australia. Lives in Manchester, UK1991 Lecturer of composition at Melbourne University2003 Featured composer at both Musica Nova in Helsinki and the

09(03) Festival in New Zealand2001 Commission by the Los Angeles Philharmonic for an orchestra

piece, Ecstatic Architecture, to celebrate the inaugural season of the Frank Gehry-designed Walt Disney Concert Hall. Premiered in May 2004

2007 Senior Composers Fellowship from the Ian Potter Cultural Trust 2007- 2008 Awarded a DAAD Künstlerprogramm Artists Residency

to live and work in BerlinPresently�Professor�of�Composition�at�Huddersfield�University,�UK

Songs found in dream (2005) for ob, cl, sax, tpt, 2 perc, vc, db – 16 min.City of Falling Angels (2006) for 12 percussionists – 10 min.Shimmer Songs (2006) for ‘double quartet’ or string quartet, harp, 3 perc – 15 min.The Navigator (2007) opera in 6 scenes and a prelude, libretto by Patricia Sykes for 5 singers, 16 instruments and electronics – FE*The Four Seasons (2008) after Cy Twombly for solo piano – 40 min.Invisibility (2009) for violoncello with two bows – 10 min.Ehwaz (Journeying) (2010) for trumpet and percussion – 15 min.The Guest (2010) for recorder and orchestra – 20 min.Pearl, Ochre, Hair String (2010) for orchestra – 18 min.

FUTUre proJecTSGyfu [Gift]� for solo oboe – 10 min. (2011)New Songs for Olaf Nicolai’s project Escalier du chant for ensemble of vocalists – 20 min. (2011)Tongue of the Invisible for improvising pianist, Baritone and 16 musicians – 60 min. (2010-2011)

(*1966)

SelecTed workSThe Oresteia (1991-93) memory theatre (opera) in 7 parts after Aeschylus, Sappho and Tony Harrison for 6 voices, 11 instruments and dancer – 75 min. Street of Crocodiles (1995)�for�fl,�ob,�sax,�tbn, cimbalom/perc, vln, vla, vc, baroque vc – 14 min.The Alchemical Wedding (1996) for chamber orchestra – 18 min.Inguz (Fertility) (1996) for cl, vc – 6 min.The Heart’s Ear (1997)�for�fl,�cl�and�string�quartet – 12 min.Yuè Lìng Jié (Moon Spirit Feasting) (1997-99) Chinese ritual street opera in 7 parts, libretto by Beth Yahp for 3 singers, 9 instruments and live electronics – 75 min.Machine for Contacting the Dead (1999-2000) for 27 musicians including 2 soloists (Bass Cl/Cbass Cl & Vc) – 38 min.Veil (1999)�for�fl,�cl,�tpt,�perc,�pf,�vln,�vc�– 10 min.Ecstatic Architecture (2002-2004) for large orchestra – 25 min.In the Shadow’s Light (2004) for string quartet – 26 min.The Quickening (2004-2005) for Soprano and qin (Chinese zither), text by Yang Lian – 22 min.The Compass (2005-2006) for large orchestra�with�solo�flute�and�didgeridoo�– 25 min.Mother Tongue (2005) for Soprano and 15 instruments, text by Patricia Sykes – 36 min.casa ricorDi / ricorDi lonDon / ricorDi mUnich

Internationally acclaimed composer Liza Lim writes music marked by visceral energy and vibrant colour. A recurring thread in her work is the exploration of the themes of crossing cultural boundaries and of ecstatic transformation. Her music brings together aspects of mod-ernist abstraction with forms of ritual culture drawn from a variety of sources. She counterpoints seemingly opposed pairs of terms such as ‘radiance and shadow’, ‘violence and meditation’ to describe her musical language.

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Biographical Timeline1956 Born in Madrid, Spain. Lives in Madrid, Spain and in

Paris, France1990-1991 Composer in the Ircam-Centre Pompidou cursus1996 Resident at the Villa Kujoyama in Tokyo1997 Graduate of the Spanish Academy of Fine Arts in Rome2007-2010 Director at the Auditorio Nacional de Musica in Madrid

DUranD salabert eschiG / casa ricorDi

(*1956)

SelecTed workSConcerto pour violon et orchestre (1995) – 19 min.Viento de Otoño (1998) for ensemble – 14 min.Movimientos (1998) for two pianos and orchestra – 10 min.A tempo (1998) for cello solo and eight instruments – 15 min.Vino Regalo Divino (2002) for clarinet, choir and orchestra – 30 min.Les Cordes (2002) for string orchestra – 12 min.Le Parfum de la Lune (2003)�for�vl,�fl,�ob,�perc, 2vl, va, vc – 13 min.Metro Vox (2010) for vocal ensemble (8 voices) and live electronics – 20 min.

José Manuel López López is heir to the grand modernistic Spanish tradition embodied by Manuel de Falla, Joan Guinjoan and Luis de Pablo, and of which Durand, Salabert and Eschig collections is proud. A composer who is committed to the spread of modern music, López López grounds his work in the ongoing pursuit of new harmonic, formal and sensory connections. He adds unique insight to the very notions of contemporary musical grammar, notably so-called spec-tral music. His sensitivity is a model of balance between intuition and knowledge and contributes a great deal to making his work influential.

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Terra Ignota (2007) for solo piano and ensemble – 26 min.Synapse (2010) for solo violin and orchestra – 30 min.Stringendo (2010) string quartet – 15 min.Tensio (2010) string quartet with live electronics – 35 min.

FUTUre proJecTLa Nuit de Gutenberg, opera (2011)

Biographical Timeline1952 Born in Tulle, France. Lives in San Diego, USA and Paris, France1987- 1991 World premiere of Jupiter, Pluton, Neptune. Years

of collaboration with Miller Puckette at the Ircam-Centre Pompidou.

1995 Residency with the Orchestre de Paris1998 World premiere of 60ème Parallèle at the Théâtre du

Châtelet, Paris Director of the European Academy of Music within the Festival d’Aix-en-Provence Publication of La Note et le Son: Ecrits et Entretiens, L’Harmattan, Paris

2001 World premiere of K at the Opéra national de Paris2001 Publication of Va-et-Vient, discussions with Daniela Langer,

Musica Falsa, Paris2001-2003 Residency at the Scène nationale d’Orléans Since 2004 Professor of composition at the University of California,

San Diego, USA

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(*1952)www.philippemanoury.com

SelecTed workSJupiter (1987-1992)�for�flute�and�live�electronics – 26 min.Pluton (1988-1989) for piano and live electronics – 50 min.Neptune (1991) for 3 percussionists and live electronics – 40 min.En écho (1993-1994) for soprano and live electronics – 32 min.Passacaille pour Tokyo (1994) for solo piano and ensemble – 8 min.60ème Parallèle (1995-1996) opera – FE*Fragments pour un Portrait (1997-1998) for ensemble – 34 min.Abgrund (1997-1999) for orchestra – 20 min.Sound and Fury (1998-1999) for orchestra – 30 min.K… (2000) opera, after Franz Kafka – FE*Slova (2001-2002) for chamber choir – 20 min.La Ville ( première sonate ) (2001-2002) for piano – 35 min.La Frontière (2003) chamber opera – FE*Strange Ritual (2005) for ensemble – 20 min.On-Iron (2005) for vocal quartet, choir, perc, electronic keyboard and live electronics – 70 min.Identités remarquables (2005) for ensemble – 20 min.Trakl Gedichte (2006) for chamber choir – 20 min.Cruel Spirals (2007) for soprano and ensemble – 26 min.

Philippe Manoury is bequeathing a particularly rich legacy to the generations to come. But it is hard to say which of his many attri-butes will be the most enduring: his catalogue that has page after page of important works (notably for ensemble, orchestra and chamber choir), his historical contributions to the real-time inter-action between performers and electronics, or the image of a man who is completely dedicated to music, creating art through which he transmits a vision that will continue to inspire musicians for years to come.


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Biographical Timeline1966 Born in Monaco. Lives in Paris, France1983-1989 Collaboration with John McLaughlin1995 Composition of Metallics, a work composed as part of

the Ircam-Centre Pompidou cursus. It has become one of the emblematic pieces of modern music

1995- 1997 Resident at the Villa Medici, RomeSince 2005 Professor at the Ircam-Centre Pompidou cursus


(*1966)www.yanmaresz.com

SelecTed workSMetallics (1995) for solo trumpet and live electronics – 11 min.Metal Extensions (2001) for solo trumpet and ensemble – 18 min.Entrelacs (1998)�for�fl,�cl,�vib,�vc,�db,�pf�– 12 min.Zigzag Études (1998) for orchestra – 10 min.Festin (1999) for 12 percussionists – 21 min.Eclipse (1999) for solo clarinet and ensemble – 21 min.Recto (2002) for orchestra – 26 min.Tabula smaragdina (2004) for chamber choir – 10 min.Sul Segno (2004) hp, gtr, cymb, db and live electronics – 20 min.

For�the�past�fifteen�years�Yan�Maresz�has�been�writing�jewels�of�mod-ern music. A musician whose talent is recognised beyond the circles of „Art Music”, he learned his style directly as John McLaughlin’s only student, combining rhythmic freedom with the precise perfection-ism of “current music”. His sophisticated taste for tone combinations has made him a ready explorer of harmony and progressive orches-trations. All of these qualities put together draw the portrait of an incontrovertible�figure�in�the�world�of�contemporary�music.

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Biographical Timeline1958 Born in Buenos Aires, Argentina. Lives in Paris, France1986 Charles Ives Award from the American Academy and Institute

of Arts and Letters1989 World premiere of Miracle secret at the Festival d’Avignon1995��Composed�an�original�score�for�the�film�Metropolis (Fritz

Lang). Performances have continued regularly, a remarkable feat in the history of modern music.

1996��Composed�an�original�score�for�the�film�Un Chien andalou (Luis Buñuel)

1997 World premiere of the ballet Rugged Lines 2001 World premiere of Otras Ficciones, commissioned by the

Orchestre de Paris2010 Professor of Composition at the Aubervilliers / La Courneuve

Conservatory (France)

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(*1958)www.martinmatalon.com

SelecTed workSLe Miracle secret (1989) chamber opera after Borges – 45 min.Metropolis (1994-2001) music for the film�by�Fritz�Lang�for�ensemble�and� electronics – 140 min.Las Siete Vidas de un Gato (1996) music for�the�film�by�Luis�Buñuel Un Chien andalou, for ensemble and electronics – 18 min.Rugged Lines (1997) ballet for ensemble and electronics – 50 min.Trame III (2000) for cello and orchestra – 23 min.Otras Ficciones (2001) for orchestra – 24 min.Metropolis (2010-2011) new version for ensemble and live electronics – 140 min.


Martin Matalon’s music crosses frontiers both culturally, spanning the continents of Europe and America, and artistically, notably in the realm of cinema. The universal quality of his work may be the “secret miracle” of contemporary music, to borrow a term from his fellow-countryman and source of inspiration, José Luis Borges. His work is endowed with a material quality that makes his pieces immediately accessible despite their syntactical intransigence (another miracle). Martin Matalon’s pieces punctuate our reality in much the same way as� the� great�masterpieces,� specifically� in� the�world� of� film,�which�they have often led us to rediscover.

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Biographical TimelineMort puis néNez puis crochuChut !

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(*1947)www.marcmonnet.com

SelecTed workSLa Scène (1982) for ensemble – 8 min.Patatras ! (1984) for cl, bsn, vla, vc, db – 10 min.Les Ténèbres (1985) quartet – 19 min.Siècle, pierre, tombeau (1985) for ensemble – 9 min.Les violons bleus (1987) for 6 violins – 6 to 8 min.Chants ténus (1988-1992) for ensemble, baroque or modern – 20 min.Sans Mouvement, sans Monde (2010) for solo cello and orchestra – 32 min.En pièces (2007-2010) books 1 & 2, for piano – 19 min.


“To create is to dare”. This statement is an intrinsic part of Marc Monnet’s aesthetic plan and is highly representative of its author. He�has�constantly�sought�to�innovate,�and�to�find�new�and�inventive�approaches,�since�he�first�began�composing�music.�As�the�Great�Bard�(who also knew how to “dare”) once wrote, “The rest is silence”, or rather breaks in sound, fragile cracks in music, ridgelines between nothing and everything. Marc Monnet’s music is a study in listening.

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FUTUre proJecTSThe Outcast opera�for�five�soloists,�boys’�choir, mens’ choir and orchestra, texts by Barry�Gifford�with�Monologues�for�‘Old�Melville’ by Anna Mitgutsch. Arranged and adapted by Olga Neuwirth and Helga Utz (2010-2011) – FE* Lulu: Revisited music theater (2011-2012) – FE*

Biographical Timeline1968 Born in Graz, Austria. Lives in New York, USA1987- 1993 Composition studies with Erich Urbanner at Vienna

Academy of Music and Performing Arts. During that period she also studied at the Electroacoustic Institute

1985- 1986 Studies with Elinor Armer (composition, theory) at Conservatory�of�Music�in�San�Francisco,�as�well�as�fine�art�and�film�at�the�Art�College Meetings with Hölszky, Murail and Nono have been a particular source of inspiration

1993- 1994 Studies with Murail and takes part in the “Stage d’Informatique Musicale” at Ircam-Centre Pompidou, Paris

1996 Resident of the DAAD Berliner Künstlerprogramm in Berlin1999 Förderpreis der Ernst von Siemens-Stiftung; Hindemith-Prize 1999 “Ernst Krenek-Preis” for Bählamms Fest2000- 2001 Composer in Residence with the Koninklijk Philharmonic

Orchestra of Flanders in Antwerp 2002 Together with Pierre Boulez composer-in-residence at the

Lucerne Festival2006 Elected a member of the Academy of the Arts, Berlin2008 Awarded with the Heidelberg Artist Prize2010 Austrian State Prize

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(*1968)ww.olganeuwirth.com

SelecTed workSAufenthalt (1992-1993) oratorio for four vocalists, ensemble, electronics and video – 18 min.Lonicera caprifolium (1993) for ensemble with tape – 17 min.Sans soleil (1994) for two Ondes Martenot, orchestra and live electronics – 18 min.Akroate Hadal (1995) for string quartet – 13 min.Vampyrotheone (1995) for three soloists (bcl. egtr. sax.), three ensemble formations – 14 min.Hooloomooloo (1996-1997) for ensemble with tape – 16 min. PHOTO:phorus (1997) for two electric guitars and orchestra – 15 min.Bählamms Fest (1997-1998) music theatre, libretto by Elfriede Jelinek after Leonora Carrington for 10 soloists, orchestra, live electronics and video – FE*Clinamen / Nodus (1999) for string orchestra,�celesta�and�five�percussionists�– 15 min.anaptyxis (2000) for orchestra – 14 min.Construction in space (2000-2001) for four�soloists�(bcl�(dbcl),�bfl,�sax,�tba),�four�ensemble groups and live electronics – 45 min.Hommage à Klaus Nomi (1998/2010) five�songs�for�Countertenor�and�chamber�orchestra assembled and arranged by Olga Neuwirth – 20 min.

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The worlds of sound in Olga Neuwirth’s compositions are like twisting�labyrinths,�and�are�not�fully�revealed�at�first�listen.�Points�of� orientation� are� difficult� to� find;� pitch,� instrumental� timbre� and�formal processes – in other words, all the factors that can give the ear a certain support – are either absorbed or wiped away by the music.�Behind�the�baffling�wealth�of�sound�patterns�lies�a�system-atic deconstruction of everyday acoustic experience. Revealing the irrational: this is a goal that calls not only for arresting forcefulness, but also for anger and dissent in the face of current convention. With their wealth of references, their uncompromising character, and their aggressive appropriation of materials, Olga Neuwirth’s compo-sitions demand a reevaluation of everyday values, even when there seems to be nothing to question.

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FUTUre proJecTFlügelschlagvariationen – Act III: Dresden collective�music�theater�work�in�five�acts�on the life of Robert Schumann (2010-2011) – FE*

Biographical Timeline1972 Born in Moscow, Russia. Lives in Berlin, Germany

After studies at Tchaikovsky State Conservatoire, specialising in music theory, he studied composition with Jörg Herchet in Dresden, and Friedrich Goldmann in Berlin. Masterclasses with Globokar and Spahlinger, meetings with Lachenmann, Furrer and Oehring, contacts with the free improvisation scene�in�Berlin�have�all�had�a�lasting�influence�on�his�development

2006 1st Composition Prize Stuttgart2008 Audience Prize of Pythian Games in St. PetersburgHe has gained various scholarships, e.g. those from Villa Massimo/Casa Baldi, Villa Serpentara, Künstlerhof Schreyahn, Cité Internationale des Arts Paris, Berlin Senate, Akademie der Künste Berlin

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SelecTed workSCanto quarto (1998)�for�five�voices�and�six instruments – 8 min.Fotografie und Berührung (2000) for string quartet – 10 min.“J’étais d’accord...” (2000) for voice, chamber ensemble and soundtrack – 8 min.Figuren im Gras (2001) for seven instruments – 11 min.“Was fliehen Hase und Igel...” (2004) for six voices – 20 min.Fluss (2003-2005) for voice and ensemble – 12 min.Blick aus der Entfernung (2006) for voice and ensemble – 12 min.Alles (2008) for speaking voice and 8 instruments – 8 min.Autland (2008-2009) for 6 solo singers and mixed chamber choir – 45 min.String Quartet No. 3 (2009) – 14 min.Dolze mio drudo (2010) scenical cantata for 5 voices, 3 brass groups and noisemakers – 22 min.Franziskus (2008-2011) chamber opera in four scenes after “Heiliger Franz” by Claudius Luenstedt for two soloists, choir and chamber orchestra – 60 min.Channel Surfing (2010) for alto saxophone, accordion, doublebass – 15 min.

Sergej Newski is a composer of intriguing vocal music who has also succeeded� in� the�field�of�chamber�and�ensemble�music.�Although�he is an “historically informed” composer, he often starts “from scratch”, constructing with powerful eloquence from the margins of music and society, as in his chamber opera Franziskus with a libretto based on the life of Saint Francis of Assisi. The human voice is at the centre of many of his pieces. His preference for this most immediate method of sound production stems from his search for a subjec-tive, archaic material as the starting point for an entirely “civilised” access to the form of musical composition. “The voice”, Newski recalls,�“was�the�ideal�way�of�finding�my�own�sonic�language.”�Bit�by�bit, Newski has expanded the vocal material he experiments with, until it has formed a systematically organised stock of sounds and noises, a vocabulary that serves as the basis of his fascinating com-positional work.

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Der Bilderfresser (2008-2010) for piano, accordion, percussions, 18 orchestral groups and mixed choir – 50 min.Lieder von der Liebe zur Erde (2009) for Soprano and orchestra – 10 min.Štiri slovenske ljudske za prst palec (2009) for piano – 10 min.Der SCHUH auf dem WEG zum SATURNIO (2010) for nine instruments – 12 min.Ein abendliches Glockenspiel. Deutsches Volkslied in Kanonform (2010) for piano (with voice of the pianist ad libitum) – 15 min.

FUTUre proJecTS Piece for chamber choir (2011) Piece for clarinet and string quartet (2011)

Biographical Timeline1957 Born in Trieste, Italy. Lives in Aldersbach, Germany 1973- 1981 Studies in composition and piano at Conservatory

of Music in Trieste where he graduated1977 Specialized in composition with Witold Lutoslawski1978- 1981 Accompanies Elisabeth Schwarzkopf on the piano.

In the 90s he plays with Barbara Hannigan1997 Meeting with Luciano Berio in Salzburg leads to an incredible

human and artistic relation which then grows into a deep and sincere friendship

2001 Begins writing pieces which will become scenes of his opera Timmel – a big project about the life Vito Timmel, a painter who died in 1958 in Trieste

2002 World premiere of Due Lumi for the inauguration of Parco della Musica auditorium in Rome, Chorus and Orchestra of Accademia Nazionale di Santa Cecilia conducted by Myung Whun Chung

2005 Appointment as professor of composition at the Sweelinck Conservatorium in Amsterdam

2009 World premiere of Lieder von der Liebe zur Erde commissioned by RAI Orchestra and performed at Music Biennale with Barbara Hannigan in Venice

2011 World premiere of Der Bilderfresser (2008-2010) in Cologne – WDR

2011 World premiere in Milan and Turin of a piece for tenor and orchestra during the MITO Settembre Musica

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SelecTed workS5 Pezzi per orchestra (1974-1995) for piano and solo tom tom, orchestra – 15 min.Diapente (1990-1992) for string quartet – 10 min.Love songs on a white surface (1993) for Soprano, Baritone and ensemble – 40 min.Portrait von Ferruccio Busoni über seine Sonatina seconda (1995) for orchestra, invisibile pf and organ – 10 min.4 “Lyrische Stykker” di Edvard Grieg (1996) for ensemble – 9 min.6 Elegien (1996-1997) for main vln, acc, vln II, vla, vc, db, perc – 20 min.Landschaft in Kanonform (1998) for violin and eight instruments – 23 min.Baumszene (2000) for vocal ensemble and orchestra – 40 min.Objet flexible avec spirales suspendues (2001) for tenor sax (also version for bass cl) – 9 min.Due Lumi (2002) for mixed choir and orchestra – 7 min.Sogno 10 lùnedi gennaio 1892… (2005) for pf, vln, vla, vc and DJ-percussionist – 10 min.De Beeldenvreter (2006) for ensemble including a few Asian instruments – 40 min. Diatonische Halbton-Kollisionen / Frage (2007) for three elec. guitars and orchestra – 9 min.

At the crossroads between Italian, German and Slavic cultures, the music�of�Fabio�Nieder�has�an�unmistakably�Middle�European�flavour,�in which there are also melodic echoes of folk tradition. The sobri-ety of materials allows him to explore individual sounds, multiplied and� transfigured� in� a� disquieting,� opalesque� stillness,� interrupted�by�sudden�disruptive�flashes.�By�virtue�of�meticulous�construction,�canonical forms and mathematical structures that coexist with a dimension of improvisation, he outlines a sparse, tenuous expres-sionism that balances on the inscrutable threshold between the conscious and the unconcious, between wakefulness and sleep.

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FUTUre proJecTS Work for 4 saxophones and 4 percussions (2011) Opera for voices, ensemble and 7 dancers (2012)

Biographical Timeline1960 Born in Milan, Italy. Lives in Mysore, South India 1995 Begins living periodically in India where he studies

South Indian music with M.T. Raja Kesari 1998�Active�in�the�field�of�“hard�core/avantgarde�techno”2003 Co-founder of the instrumental groups Overclockd and

Articoolaction 2004 World premiere of the ballet Ma (his work Ma’s Sequences) in

Singapore with the young Asian/British coreographer Akram Khan, since then Ma has had more than 150 performances in the most important theatres

2005 Begins composing the Thirteen/13x8@terror generating deity trilogy, which ends in a work for seven soloists, two Techno Musicians and orchestra

2006 World premiere of Portopalo: nomi su tombe senza corpi, accidental music for the theatrical Requiem dedicated to the memory of the 276 victims of Portopalo tragedy

2007 Thirteen 13x8@terror generating deity-the ultimate reality is selected at the International Rostrum of Composeres

2008 World premiere of Seventeen Mantras of Victory in Berlin (Ultraschall festival) with Arditti Quartet and Neuevocalsolisten Stuttgart

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SelecTed workSMa’s Sequences (2004) ballet for solo vc, solo Indian perc, strings, voices, tape – 40 min.Thirteen/13X8@terror generating deity (2005)�for�bfl,�bcl,�vln,�vc,�keyb,� electronics – 10 min.Thirteen Faces Formula (2006) for wind band – 8 min.Ka (2006) for large ensemble and electronics – 20 min.Koraippu (2006) for three percussionists – 3 min.Seventeen Mantras of Victory (2007) for vocal quartet and string quartet – 14 min.Ipnos Sequences (2008) ballet for Indian perc, vc and electronics – 60 min.Primes (2010)�for�fl,�el�gtr,�vln�(also�vla),�vc, keyb, 2 Indian perc, 1 Indian vln – 70 min.

Profoundly�influenced�by�his�encounter�with�the�traditional�music�of�India, Riccardo Nova stands out for the audacity of his musical quest that places the most experimental results of European classical music alongside a re-elaboration of the virtuoso polyrhythms of Carnatic music. Traditional orchestral combinations and large percussion sec-tions, often supplemented by electronics, meet in a luxuriant sonic environment. The juxtaposition of archetypal and sensual rhythmic gestures converges with the complexity of Western sound in a vision that restores to music its fundamental spiritual force.

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Das Märchen [Le Conte, dit le Serpent vert]� (2002-2007) opera in a prologue and two acts after Goethe for 6 soloists, actors, dancers, mixed choir, orchestra, live electronics – FE*Épures du serpent vert IV (2007) for large ensemble – 28 min.Lichtung III (2007) for ensemble and live electronics – 23 min.La Douce (2008-2009) music theatre after Dostoyevsky for two actors, two singers, ensemble and live electronics – FE*

FUTUre proJecTSÉpures du serpent vert III for large ensemble (2011) New work for ensemble and live electronics (2011)

Biographical Timeline1941 Born in Lisbon, Portugal. Lives in Paris and Pedernec, France

Studies (harmony and counterpoint) at Lisbon Academy of Music

1963-1965 Takes part in Darmstadt Summer Courses 1965- 1967 Studies a.o. composition with Pousseur and

Stockhausen1971 “Premier Prix d’Ésthétique Musicale” at the Paris

Conservatoire1980 “Journée Emmanuel Nunes” in Paris (Radio France)Since 1981 Director of the composition seminar at the Gulbenkian

Foundation in Lisbon1982 Lectures at Harvard University in Cambridge (Mass.), upon the

invitation of Ivan Tcherepnin 1986��Officer�of�the�“Ordre�des�Arts�et�des�Lettres�du�Gouvernement�

Français”1986- 1992 Lectureship in composition at Freiburg Musikhochschule

(Institut für Neue Musik)Since 1990 Teaches chamber music and composition at the

Romainville Conservatory (near Paris)1991 Named “Comendador da Ordem de Santiago da Espada”

by the Portuguese presidentSince 1992 Professor of Composition at the Paris Conservatoire1996 Awarded Dr. h.c. by the Université de Paris VIII 1999 Received the UNESCO CIM-Prize, and in 2000, the Pessoa Prize2008 Debut performance of his opera Das Märchen at the Opera

Nacional de S. Carlos in Lisbon

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SelecTed workSMinnesang (1975-1976) for twelve solo voices – 23 min.Tif’Ereth (1978-1985) for 6 solo instruments (vln, ob, tbn, hn, perc, db) and 6 orchestral groups with two conductors – 80 min. Wandlungen (1986) for 25 instruments and live electronics (ad lib.) – 31 min.Musik der Frühe (1986) for ensemble – 41 min,Duktus (1987) for ensemble – 25 min.Clivages I / II (1987-1988) for six percussionists – 32 min.Lichtung I (1988-1991) for nine instruments and live electronics – 24 min.Quodlibet (1990-1991) for percussion sextet, ensemble and orchestra with seven soloists and two conductors – 57 min.Machina Mundi (1991-1992) for four solo instruments�(fl,�cl,�tba,�perc),�mixed�choir,�orchestra and tape – 63 min.Chessed IV (1992-1994) for string quartet and orchestra – 21 min.Lichtung II (1995-1996) for ensemble and live electronics – 31 min.Omnia mutantur nihil interit (1996) for women’s choir and ensemble – 43 min.Nachtmusik II (1981-2000) for orchestra – 24 min.Musivus (1998/2000-2001) for large orchestra – 40 min.

Emmanuel Nunes is one of the most important composers of his gen-eration, as well as one of the most inventive. He has succeeded in creating a world of sound that is exclusively his own, and in which the echo of the near and distant past remains audible. Early in his career he achieved a synthesis between the most dominant move-ments in the music of the postwar era, represented by Boulez and Stockhausen. From the former he learned strict observation of the laws of harmony in composition, and from the latter, his visionary feeling for large forms and acoustical phenomena in all their com-plexity. But his musical roots go even deeper, unveiling a unique balance between the polyphonic tradition culminating in Bach and the romanticism of composers like Schubert or Mahler. With Das Märchen adapted from Goethe (Lisbon, 1941), Nunes has accom-plished one of the most challenging and fascinating operas in the genre’s history. His work is hewn out of rock, monumental, stretched between heaven and earth. The works of Emmanuel Nunes are veri-table cathedrals. The light which they radiate and which touches us comes from a great distance and is like no other.

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Leila und Madschnun (2009-2010) music for a theatrical narration by Willy Decker for Countertenor, actors, chamber choir and large ensemble – FE*Garten der Erkenntnis (2011) for vocal ensemble and two trombones, text by Al-Haladj – 11 min.

FUTUre proJecTSNew Songs for Olaf Nicolai’s project Escalier du chant for ensemble of vocalists – 20 min. (2011)

Biographical Timeline1970 Born in Jaljuliya (near Tel Aviv), Israel. Lives in Berlin, Germany.

For many years, Odeh-Tamimi played traditional Arab music with various notable ensembles.

1992- 1996 Studies musicology in Kiel (Germany), and then composition with Younghi Pagh-Paan and music analysis with Günther Steinke at Hochschule für Künste in Bremen.

1999- 2000 Scholarship from the Arab Student Aid International Foundation

2002 DAAD Scholarship for studies at the Academy for Arts, Bremen2003 First Composition of the Elisabeth-Schneider-Stiftung, with

Ensemble Aventure Freiburg2004 Invitation to Israel for a concert of the Israelian Chamber

Orchestra�(cond.�Noam�Sheriff)2006- 2007 Scholarship from the German Academy Casa Baldi, Rome2008 Scholarship from Berlin senate for a six-month-stay in Paris

(*1970)

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SelecTed workSAnín (1999) for eight instruments – 8 min.Hutáf Al-Arwáh (2001) for eleven instruments – 8 min.Ahinnu II (2002) for seven instruments – 7 min.Bukká (2003) for string orchestra – 7 min.Hálatt-Hissár (2003-2004) for speaker and orchestra – 14 min.Gdadrója (2004-2005) for three Sopranos and 43 musicians – 9 min.Láma poím... (2005-2006) for orchestra with ud – 11 min.shira shir (2006) for Baritone and orchestra – 7 min.Madih (2007) for four Arab musicians and ensemble – 11 min.Challomot [Dreams]� (2007/2008) for voice, recorder, piano and percussion – 27 min.Aufbruch (2008) for string orchestra – 11 min.Cihangir (2008) for large ensemble – 12 min. Rituale (2008) for large orchestra – 18 min.Philaki (2009) for seven instruments – 12 min.Madjnun (2009) for solo recorder and string orchestra (with percussion) – 15 min. Hinter der Mauer (2009-2010) oratorio for four soloists (S. T. 2 Bar.), mixed choir and ensemble, text by Christian Lehnert – 64 min.

Samir Odeh-Tamimi is known for his rousing, extremely intense music, which can be heard today in many European concert halls, as well as in his native country. At the age of 22, having already played in many notable Arabian ensembles as a percussionist and keyboard player (equipped with a microtonal Hammond organ), he moved to Germany.�Here,�for�the�first�time,�his�own�work�was�deeply�affected�by the music of Giacinto Scelsi and Iannis Xenakis, as well as by his teacher Younghi Pagh-Paan. In his work, one hears a successful syn-thesis of European instrumentation, the stylistic features of advanced New Music, the traditions of the ritual music of his homeland, and the contours�of�Koranic�recitation,�which�has�had�particular�significance�for�him�in�recent�years.�During�his�first�decade�of�composing,�Odeh-Tamimi seldom wrote pieces exceeding ten minutes. Most of these were highly compact depictions of extreme psychological mental states, such as grief and pain combined with an overwhelming will to live. In recent years ensemble works such as Madih or Cihangir have portrayed ever-increasing discursive qualities: musical individuals enter into dialogue. Thus Odeh-Tamimi advances step by step, con-quering the larger, epic and dramatic forms, including the musical theater piece, Leila und Madschnun, as well as Hinter der Mauer, an oratorio dealing with the repressive times of the Berlin Wall.

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FUTUre proJecTSHOHES UND TIEFES LICHT double concerto for violin, viola and orchestra (2011)

Biographical Timeline1945 Born in Cheongju, South Korea. Lives in Bremen, Germany

and in Panicale, Italy1965- 1971 Studies at the Seoul National University, then moves

to Germany on a DAAD scholarship1974- 1979 Studies at Freiburg Musikhochschule, where her

teachers included Klaus Huber (composition) and Brian Ferneyhough (analysis)

1978 1st Prize at the Composers Seminar in Boswil (Switzerland)1979 1st Prize at the Rostrum of Composers (Unesco, Paris), as well

as Na-Pa Music Prize Korea1980 1st Stuttgart Composition Prize1980- 1981 scholarship at the Südwestfunk’s Heinrich-Strobel-

Stiftung, 1985 Scholarship from the Kunststiftung of Baden-Württemberg

1991- 1993 guest professorships at the conservatories in Graz and Karlsruhe, since 1994 appointed Professor of Composition at Hochschule für Künste Bremen

1995 Heidelberg Artists Prize, 2005 16th Lifetime Achievement Award of Seoul National University, 2006 Order of Civil Merit of the Republic of Korea, 2009 5th KSB Global Korean Award (2009)

2009 Elected member of the Akademie der Künste Berlin2011 Medal for Arts and Sciences of the City of Bremen Senate

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SelecTed workSMAN-NAM I (1977) for clarinet, violin, viola and cello – 15 min.NUN (1979) for vocal ensemble and ensemble – 9 min.SORI (1979-1980) for large orchestra – 16 min.NIM (1986-1987) for large orchestra – 17 min.TA-RYONG II (1987-1988) for sixteen instruments – 14 min.HWANG-TO / Gelbe Erde (1988-1989) for choir and 9 instruments – 16 min. MA-UM (1990-1991) for Mezzo-soprano and ensemble – 15 min.U-MUL / Der Brunnen (1992) for ensemble – 9 min.BIDAN-SIL / Seidener Faden (1992-1993) for oboe and ensemble – 17 min.SOWON (Wunsch) (1996) for Mezzo- soprano and ensemble – 17 min.GO-UN NIM (1997-1998) for chamber orchestra – 11 min.sowon...borira (1998) for Mezzo-soprano and orchestra – 30 min.Dorthin, wo der Himmel endet (2000-2001) for orchestra with Mezzo-soprano and six male voices – 15 min.Mondschatten (2002-2005) chamber music theater after Sophocle for four soloists, vocal ensemble and orchestra – FE*Vide Domine, vide afflictionem nostram (2007) for mixed choir – 13 min.

Younghi Pagh-Paan began composing at the age of twelve. Her most lasting musical impressions came from the marketplace in the small town of Cheongju, where she grew up. Here she heard the folk music of Korea: songs, instrumental music, Shamanist daily rituals, but above all, “pansori”, the popular form of song epic in which an actor or actress, alternating between recitation and expressive singing and accompanied only by a drummer, can hold the spectators entranced for hours. In 1974 she moved to Germany and the distance acted as a catalyst, releasing her creative powers. Her music opened itself up to the world. Rhythms and melodies from Korean peasant music, colourful harmony, exciting sonic processes, introverted silence, and a spirit of rebellion are all major aspects of her work. In 1980 she gained international recognition through the performance of her orchestral work SORI at the Donaueschingen Festival. Since then she has enriched the world of contemporary music with a host of intense and expressive works in the domains of chamber, orchestral and vocal genres.

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Biographical Timeline1950 Born and lives in Paris, France1989- 1996 Founder and conductor of the Orchestre Symphonique

Français Since 2000 Recording contract with the Naxos label

2001 Prix Musique of SACD 2002 World premiere of Joseph Merrick dit “Elephant Man” at the

Prague State Opera. The work has been performed in several productions

2003-2005 President of the SACEM Board of Directors Since 2005 Musical Director of the Orchestre Colonne, Paris

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(*1950)www.petitgirard.com

SelecTed workSLe Légendaire (1984) solo violin, mixed choir and orchestra – 21 min.Concerto pour violoncelle et orchestre (1994) – 24 min.Joseph Merrick dit “Elephant Man” (1997-1999) opera – FE*Le Fou d’Elsa (2000) for Alto voice and orchestra – 18 min.Vocalise (2001) for Soprano and orchestra – 3 min.Poème, pour grand orchestre à cordes (2002) – 11 min.Dialogue pour alto et orchestre (2002-2003) – 23 min.Les douze Gardiens du Temple (2003-2004) for orchestra – 26 min.Réflexions croisées (2007) for cello and percussion – 11 min.

Thanks to his exceptional musical talent and an unrivalled level of energy, Laurent Petitgirard has tackled a dual career both as a composer in a wide range of genres (from opera, for which he has composed�one�of�the�great�works�in�recent�years,�to�music�for�film�and animation) and as an enterprising orchestral conductor. Staunch defender of dynamic modernity, he belongs to that group of com-posers who are committed to performing their own music and that of their contemporaries on stage and in the studio.

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FUTUre proJecTS Branenwelten, complete version for soloists�(fl,�pf),�instrumental�groups, electronics – 15 min. (2009-2011)

Biographical Timeline1951 Born in Baden-Baden, Germany. Lives in Cologne, Germany1971 Studies with Fortner, 1973 with Stockhausen1977 Degree in conducting with F. Travis 1980 Begins his activity as a conductor 1982 Scholarship of the City of Cologne; Kranichstein Music Award; 1983 Award of Ensemblia Mönchengladbach1985 Wins competition “Young Generation in Europe”1987 Bernd Alois Zimmermann Award, Cologne 1990 Composer-in-residence at the Villa Serbelloni (Rockefeller

Foundation); professor for composition at the Maastricht Conservatory

1992 Guest of the Japan Foundation in Japan Since 2005 Member of the Bureau du Directeur of the Electronic

Music Studio Centre de Recherche et Formation Musicale de Wallonie CRFMW, Liège

As a guest conductor he has worked, among others, with Ensemble 2e2m, Ensemble Modern, the Radio Symphony Orchestra Cologne, the Orchestre Philharmonique du Luxembourg, at the Bayerische Staatsoper Munich and at many festivals worldwide, such as Musik der Zeit Cologne, Musica Strasbourg, Donaueschingen, Holland Festival,�Salzburger�Festspiele,�Helsinki�Festival,�Huddersfield,�Akiyoshidai a.o.

(*1951)www.RHPP.de

SelecTed workSGrenzgänge Steine (1989/1992-1993) for soloists (sop. 2 pf) and orchestra – 27 min.Echo II (1995) for violin, piano and ensemble – 8 min.nerv II (1995/96) for violin, piano and wind ensemble – 13 min. Turm / Weiter (1995-1996) for orchestra – 10 min.up down strange charm (1996-1998) for instrumental groups – 15 min.main FLEUR (Echo III) (1998) for clarinet/saxophone, ensemble and live electronics – 11 min.Tau (1998-1999) for string quartet – 32 min.Hülle 1 (2001)�for�five�instrumental�groups distributed in space – 15 min. Andere Räume (1994-2002) for four percussionists and tape – 30 min.Liebeslieder [Love Songs]� (2004) for Baritone, Mezzo-soprano and orchestra – 22 min.Horizont Architektur Kern (2005-2006) for solo violin and orchestra with tape – 22 min.Unter Segel Boutaden Hülle 2 (2007) for Countertenor and ensemble – 19 min.Wunderblock (2007-2008) for six instruments – 8 min.strings (Echo VII) (2008) String Quartet No. 3 – 15 min.bulk (2009)�for�solo�alto�flute�and� orchestra – 20 min.

The work of Cologne-based composer and conductor Robert HP Platz combines spontaneous, intuitive sound forms with, in echo of his serial work, calculated detail. He has followed a life-long course of composing one “super-composition”, consisting of doz-ens of scores that, if extracted from a kind of “formal polyphony”, can also be performed separately. The background to this novel attempt at synthesizing macro- and micro-structure is his striving for an integral work of art that would serve as the “Summa” of all artistic and individual experiences. In other words, this “integral” artwork can be understood as the sum of all previous artistic expe-rience, depicting the world as it appears to the composing subject, as fully as possible.

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FUTUre proJecTS New Work for orchestra (2011) New Work for music theater – FE* (2012)Speicher II, III, V, VI Cycle of works for ensemble – FE* (2011-2013)

Biographical Timeline1969 Born in Hemer (Sauerland), Germany. Lives in Berlin, Germany

He studied conducting and composition at Hochschule der Künste Berlin, with Friedrich Goldmann and Gösta Neuwirth, among others. Further studies of sound synthesis and algo-rithmic composition at the Technische Universität Berlin and at the ZKM Karlsruhe

1996 Studied at the Cité Internationale des Arts in ParisSince 1998 Musical director of ensemble mosaik; that same year

Boris-Blacher-Preis2001 Stuttgart Composition Prize and Förderpreis of the Ernst-von-

Siemens-Musikstiftung, together with ensemble mosaik 2002 Busoni-Preis of Akademie der Künste Berlin2002- 2004 Gives lectures in composition at Hochschule für Musik

“Hanns Eisler” in Berlin2004 Förderpreis of the Ernst-von-Siemens-Musikstiftung2005 Schneider-Schott-Music Prize2006 Förderpreis Musik of the Akademie der Künste in Berlin2009 Christoph-und Stephan-Kaske-PreisSince 2008 Member of Akademie der Künste Berlin2009 of Nordrhein-Westfälische Akademie der Wissenschaften und

der Künste and 2010 of Bayerische Akademie der Künste.

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SelecTed workSKnabenträume (1995) for chamber ensemble – 22 min.Gelöschte Lieder (1996-1999)�for�five�instruments�(fl,�cl,�vln,�vc,�pf)�–�20�min.�Holz (1999-2000) for solo clarinet and small ensemble – 10 min. Knochen (1999-2000) for ensemble – 23 min.Öl (2001-2004) for large ensemble – 35 min.Interzone (2003-2004) songs and images for�Baritone,�five�vocalists,�video�and�ensemble, after Marcel Beyer – 78 min.Salz (2005) for chamber ensemble – 15 min.Obst (2006) for orchestra – 17 min.Keilschrift (2006) for orchestra – 20 min.Arbeit Nahrung Wohnung (2006-2007) music theater for 14 Gentlemen, libretto by Marcel Beyer, for two solo voices, vocal ensemble, four percussionists and four keyboarders – FE*Altbau (2007-2008) for orchestra – 15 min.Schrank (1989-2009) for nine musicians – 24 min.Markt (2008/2009) for large orchestra – 16 min.Speicher I & IV (2010) for large ensemble – 16 & 14 min.Wald (2010) for four string quartets – 24 min.

With an extraordinarily fresh attitude, Enno Poppe successfully dem-onstrates to his ever-growing audiences just how approachable and fascinating today’s music can be, without catering to the well-estab-lished expectations of his listeners. In a highly original way, he builds on�the�results�of�his�thorough�explorations�in�the�fields�of�alterna-tive tunings, time organization and form strategies. In his hands, the material breeds, grows and proliferates like a living, dynamic biological culture. In Interzone, his musical theatre piece based on texts by Marcel Beyer (inspired in turn by William S. Burroughs), he evokes�the�futuristic�sound�of�science�fiction�scenarios,�delineating�the insectoid existence central to the narration through whirring groups of notes. Along with these types of poetic ideas, and models derived from natural science, Poppe’s work is also marked by critical historical awareness. For all this, Poppe has never renounced dra-matic, even magical moments.

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Die schrecklich-gewaltigen Kinder (2003) for Coloratura Soprano and large ensemble – 63 min.Fremdling, rede (2003) for Mezzo-soprano, speaker and large orchestra – 65 min. Hamamuth – Stadt der Engel (2005) for piano – 27 min.Au bord d‘une source (2007) for solo tenor recorder, orchestra and soundtrack – 24 min.Wer sind diese Kinder (2008-2009) for solo piano, large orchestra and sound-track – 25 min.

FUTUre proJecTSLenz in Moskau for seven instruments and soundtrack (2011)New Songs for Olaf Nicolai’s project Escalier du chant for ensemble of vocalists (2011) – 20 min. New Opera (2010-2013) – FE*

Biographical Timeline1937 Born in Saarbrücken, Germany. Lives in Frankfurt am Main,

Germany Initially he studied music education in Frankfurt, and from 1958 composition with Wolfgang Fortner in Freiburg. Subse-quently active as a solo oboist (e.g. with Ungebräuchliches at the Darmstadt International Summer Courses in 1966)

Riehm is a co-founder of the Frankfurt Music Society, which existed from�1964�to�1970.�After�teaching�briefly�in�schools,�from�1968�he taught at the Rheinische Musikschule in Cologne, where he was also a member of “Gruppe 8”, a Cologne composers’ collective, until 19721968 Awarded the “Premio Marzotto per la Musica” and a Villa

Massimo scholarship that enabled him to spend some time in Rome

1974 to 2000 Professor of Composition und Harmony at the Frankfurt Musikhochschule

1976- 1981 Member of the legendary “So-Called Radical Leftist Wind Orchestra” in Frankfurt. Concert tours, lectures and workshops took him to Sweden, mid- and South America, Japan and elsewhere

1992 Saarland Art Prize2002 The town of Hanau’s Hindemith Prize 2010 Elected as a member of the Berliner Akademie der Künste

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(*1937)www.rolf-riehm.de

SelecTed workSHe, très doulz roussignol joly (1978) after ancient French ballads/virelais for orchestra – 17 min.Tempo strozzato (1978) for string quartet – 21 min.Tänze aus Frankfurt (1980) for orchestra in four groups – 35 min.O Daddy (1984) for orchestra and tape – 17 min.Berceuse (1984/85) for large orchestra – 20 min.Das Schweigen der Sirenen (1994) music theatre, after Kafka, for 7 soloists and orchestra – FE*Double Distant Counterpoint (1994) for chamber orchestra – 14 min.Shifting (1994) for violin and orchestra – 20 min.Die Erde ist eine Schale von dunkelm Gold (1966/99) two paraphrases on Bach for Soprano, Tenor, Baritone and orchestra – 30 min.Les Chants de la Révolution sont des Chants de l‘Amour (1989-1998) for Soprano, orchestra and soundtrack – 45 min.Die Tränen des Gletschers (1997-1998) for orchestra with sampler – 20 min.HAWKING (1998) for chamber ensemble – 35 min.Archipel Remix (1999) for large orchestra – 47 min. Nuages immortels oder Focusing on Solos (Medea in Avignon) (2001) for orchestra – 22 min.

Rolf Riehm is one of the most respected German composers today. He is an unconventional musician, in large part because he sees himself as a political being, and he uses bizarre combinations of techniques�or�cultural�references.�He�is�the�first�to�musically�repre-sent�such�a�complex�cosmos,�encompassing�philosophical�reflection,�historical� fact,� myth,� fairytale,� memories,� scientific� argument,� the�elevated�and�the�trivial,�current�social�and�political�findings,�in�addi-tion to his own very personal viewpoints and ingredients. Without positioning himself in either historical or more recent composi-tional traditions, he has made use of the entire palette of expressive possibilities, and when necessary, has shaped them more radically than at times has seemed proper to the adherents of sophisticated musical culture.

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Biographical Timeline1940�Born�in�Győr,�Hungary.�Lives�in�Nagykovácsi,�Hungary1961- 1966 Studied composition with Endre Szervánszky at the

Ferenc Liszt Academy of Music, Budapest1970 Foundation of the New Music Studio in Budapest, with Zoltán

Jeney, Péter Eötvös, Albert Simon and László Vidovszkymid-1 970s Began formulating a special pedagogical and improvi-

sation method called “Creative Music Practice”. Gave many courses for music teachers in Japan, France, Italy, Belgium and Estonia

Since 1990 Musical Director at the József Katona Theatre. Professor of Music Performing Practice at the University of Drama and Film in Budapest

1993 Bartók-Pásztory Award1996 Spent three months in Tokyo with a grant from the Japan

Foundation, where he studied traditional Japanese theatre, music and dance

1998 Studies for Steam Engines won 3rd prize in the 7th International Rostrum of Electroacoustic Music. Member of the Széchenyi Academy of Letters and Arts

2008 Artist of Merit Award from the Hungarian government

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(*1940)www.sary.hu

SelecTed workSCatacoustics (1967) for two pianos – 12 min.Immaginario No. 1 (1971) for orchestra – 12 min.Flowers of Heaven (1973) for one to four pianos – 24 min.Diana’s Farewell (1976) for 8 violins and 8 violas – 8 min.Pebble Playing in a Pot (1978-1979) for one to four equal optional instruments – 9 min.Hyperion’s Song of Destiny – Hommage à Hölderlin (1985–1986) for 24 strings – 25 min.Dance Music (1987-2000) a collection of�solo�and�chamber�music�for�different�small ensembles (13 movements) – 40 min.In Sol (1991) mystery play in twelve scenes to Siberian folk texts, for 6 singers, 6 wind players (ob, 2cl, bsn, tpt, tbn), 6 string players and a percussionist – 30 min.Living Pictures (1992–1993) chamber opera in one act after János Pilinszky, for 5 singers and chamber ensemble – 70 min.Imago Mundi (1996) for 4 percussionists and 3 dancers – 40 min.The Blacks (2004) opera, after Jean Genet for 5 voices and percussions – FE*Tropus and sequence (2006) for piano and accordion – 15 min.Cherubs and seraphs (2010) to bezant liturgical texts, for male choir – 13 min.

László Sáry began his career as one of the most important creators of the experimental art movement in Hungary. In his compositions he sought new kinds of order capable of being developed in music and to this day he likes to make use of controlled randomness, often employing non-musical interconnections, as well as mathematical and logical systems, to organize sounds and rhythms. The majority of his works are written for classical instruments and ensembles, but some feature special sound sources such as a prepared piano, clay bells or steam engines. He believes that deliberately created noise organized into rhythmic form is the same kind of musical element as�a�specific�note,�and�he�therefore�likes�to�make�use�of�percussion�instruments in his work. For him there are countless ways of working out every musical idea, and a composer may choose to write a work in such a form as to leave the realization of the processes up to the performer, who will precisely determine its every moment. In this case however, the work written down is only one possible form of the musical idea. It is therefore a regularly recurring phenomenon in Sáry’s œuvre up to now that several musical ideas reappear in a number�of�different�compositions.�

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FUTUre proJecTSFlügelschlagvariationen – Act I: Zwickau collective�music�theater�work�in�five�acts�on the life of Robert Schumann, libretto by Klaus Angermann; concept: Anja- Christin Winkler (2010-2011) – FE* Spuren)(Suche for orchestra – 10 min. (2011)Copeaux, éclisses for oboe, (bass) clarinet, trumpet, cello and electronics – 10 min. (2011) New Work for orchestra – 6 min. (2011)

Biographical Timeline1964 Born in Dessau, Germany. Lives near Kehl am Rhein/

Strasbourg1976 Beginning her education in the Childrens Composition Course

at Halle1983- 1987 Composition studies with Udo Zimmermann at Dresden

Musikhochschule, works in the Dresden electronic studio1988- 1991 in Paul-Heinz Dittrich‘s composition master class at the

Akademie der Künste Berlin1990 Hanns Eisler Prize, from Deutschlandsender Berlin 1995 Composition teacher at the Brandenburg New Music

Colloquium1998 Heidelberg Artists Prize, 1999 Scholarship at the Deutsche

Akademie‘s Villa Massimo in Rome2000 Scholarship at the Akademie Schloß Solitude, StuttgartSince��2007�Composition�teacher�at�the�Festival�musicalta�Rouffach/

France2010 Elected regular member of the Saxonian Academy of the Arts

(*1964)

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SelecTed workSBei Spuren von Wasser und Salz (1987) for high Mezzo-soprano and 11 instruments – 12 min.Ornithopoesie (1989) for twelve solo voices – 13 min.Un jour d’été (1996) music theater for children, libretto by Pierre Garnier, for actor, seven child actors, children’s choir and ensemble – 60 min.das-das-das andere ufer (2001) for two voices and seven musicians – 40 min.doch dir darin (2001-2002) for bass clarinet/doublebass clarinet, tuba and orchestra – 17 min.Lichtpause (2005) for soprano, six instruments and two videos (Thierry Aué) – 40 min.high tide (2005) for clarinet, accordion, double bass and live electronics – 12 min.Raum Wirbel (2006) for accordion and string quartet – 9 min.blaulaub (2007/2008) for recorder, bass-koto, orchestra and live electronics – 22 min.the snow has no voice (2008) for seven instruments – 7 min.weithin (in mögliche mitten) (2009) for orchestra – 4 min.

Annette Schlünz has proved to be a constant creator of poeti-cally inspired and wonderfully sensitive work. Her music is full of delicate�textures�and�careful�effects�in�space�and�time,�such�as�her�piece blaulaub for recorder, koto, orchestra and live electronics. As Schlünz herself says, sometimes she feels like a spider, constantly spinning her web. Her output is, in the best sense, a web, and a wide-stretched one at that, with many connecting threads. She believes that every day, every experience, every moment becomes an “aural” glimpse”. And for this composer, now living near Strasbourg, these aural glimpses are to be found everywhere: in nature, in earlier music, in the visual arts, and above all in literature. Schlünz, ever sensitive to sound and concerned with perceptibility, rejects typical orchestral�“collective�effects”�such�as�rousing�crescendi�and�forceful�tutti�blocks.�Her�works�are�aurally�transparent,�creating�finely�spun�sonic worlds.

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Biographical Timeline1957 Born and lives in Paris, France1984 Prize-Winner of the Antidogma International Composition

Competition1990�Prize-Winner�of�the�first�Henri�Dutilleux�Competition�in�Tours1992 World premiere of Feuillages by the Ensemble Intercontem-

porain in Paris. Further concerts in numerous European capitals1993 Prize-Winner of the Fondation Natixis/Banque Populaire/

Crédit National2000- 2001 Residency with the Orchester der Beethovenhalle in

Bonn, Germany2008- 2010 Residency with the Orchestra national de Montpellier,

France2011-2012 Residency with the Orchestre Lyrique d’Avignon, France

(*1957)


SelecTed workSTree to Soul (2006-2009) string quartet – 22 min.Galax (2010) for children’s choir and ensemble – 20 min.Songs from “Esstal” (2010) for soprano and large orchestra – 18-20 min.

From�extremely� sparse� solo�works� to�overflowing�pieces� for� large�orchestras, Philippe Schoeller’s compositions demonstrate both his extreme taste for the details of instrumental movements in the most intimate parts of his life, and his own dizzying quest for passion that drives him to the perception of natural phenomena. This quest for perfection and sensitive generosity paves the way for a vast cata-logue explored by the greatest contemporary interpreters.

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Let Me Sing into Your Ear (2010) for basset horn and orchestra – 26 min.

FUTUre proJecTSRe Orso , theatrical work , based on a text by Arrigo Boito to be premiered at the Opéra Comique Paris (2012)

Biographical Timeline1959 Born in Verona, Italy. Lives in Paris, France1980- 1984 Researcher and composer at the University of Padua

Centre for Computational Sonology (CSC), where he writes his�first�mixed�composition�(Traiettoria, for piano and computer-generated sounds)

1984- 1986 Studies at the Massachusetts Institute of Technology Media Laboratory (USA) thanks to a scholarship from Fulbright Foundation

1987- 1990 Director of Education department at the Ircam- Centre Pompidou

1991 World premiere of Miniature Estrose in Paris performed by Pierre-Laurent Aimard at Amphithéâtre de l’Opéra Bastille

1995 Begins the cycle of compositions for solo instrument and “chamber electronics” (a term that the composer himself coined)

1999 Professor of composition at the Musikhochschule in Stuttgart, after having taught in Conservatoire National Supérieur in Paris and Lyon

2007 World premiere of Ritratti senza volto in Paris by Orchestre de Paris, Salle Pleyel

2010 World premiere of Let me Sing into Your Ear for horn basset and orchestra at the Donaueschinger Musiktage by Radio Kammerphilharmonie Hilversum. Conductor Peter Eötvös

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(*1959)www.marcostroppa.eu

SelecTed workSTraiettoria (1982-1988) for piano and electronics – 46 min.Metabolai (1982) for orchestra – 10 min.Spirali (1987-1988) for string quartet projected into space – 22 min.Miniature estrose, first book (1991-2005) for piano – 60 min.Un segno nello spazio (1992) string quartet – 15 min.Hiranyaloka (1994) for orchestra – 27 min.Upon a Blade of Grass (1995-1996) for piano and orchestra – 35 min.Auras (1995) for percussion and chamber electronics – 15 min.little i (1996)�for�flute�and�chamber� electronics – 23 min.Come Natura di Foglia (1997-2002) for vocal octet and electronics – 30 min.Hommage à Gy. K. (1997-2003) for pf, vla, cl – 8 min.Cantilena (2001-2003) for mixed choir divided in 3 groups – 27 min. Ay, there’s the rub (2001-2009) for cello – 10 min.Ritratti senza volto (2007) for orchestra – 17 min.From Needle’s Eye (1996-2007) for solo trombone, double quintet and percussion – 26 min.Perchè non riusciamo a vederla ? (2008) for mixed chamber choir and viola – 18 min.hist whist (2009) for violin and electronics – 18 min.

For Marco Stroppa, a “bilingual” composer in osmosis with tradition and electronics, musical creation is inseparable from an exploration of�the�expressive�potentialities�offered�by�the�dialectical�intervention�of computer-assisted instruments. Enriched with a new dimension, the acoustic instruments are thus assembled in harmonic refractions, reverberating�motifs�and�blends�of�resonances�in�a�dialogue,�finely�chiselled�with�the�finesse�of�a�goldsmith.�A�careful�placement�and�projection of the instruments in space, moreover, creates a sensorial dramaturgy that introduces the listener directly into the heart of the generation of sound.

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Biographical Timeline1921�Born�in�Szászváros�(Orăştie),�Romania1939- 1948 Studied at the Budapest Academy of Music with Zoltán

Kodály�and�János�Viski,�then�with�Goffredo�Petrassi�at�the�Accademia Santa Cecilia in Rome

1950- 1989 Professor of Music History and Theory at the Ferenc Liszt Academy of Music in Budapest

1953-�1970�Activity�in�musicology:�published�the�first�Kodály� catalogue�(1953),�the�first�complete�Bartók�catalogue�(1956),�and Collected writings by Bartók (1967)

1970 Concerto No. 3 won the title ‘Distinguished Composition of the Year’ at UNESCO’s International Rostrum of Composers in Paris

1985 Awarded the Kossuth Prize by the Hungarian state 1986 World premiere of Canto d’Autunno, commissioned by

the BBC1987 Honoured with the title “Commandeur de l’Ordre des Arts

et des Lettres” by the French Government1988 World premiere of String Quartet commissioned by the

Orlando Festival, Holland1993 Fellow of the Széchenyi Academy of Letters and Arts 2007 Awarded the Széchenyi Prize by the Hungarian state

Died in Budapest, Hungary

(1921 – 2007)

SelecTed workSConcerto No. 3 (1968) for 16 strings – 13 min.Musica per orchestra – In memoriam Zoltán Kodály (1972) – 20 min.Trasfigurazioni (1972) for orchestra – 18 min.Sonorità (1974) for orchestra – 10 min.Concerto per clavicembalo ed 16 archi (1978) for cembalo and 16 strings – 16 min.Fabula Phædri (1982) from Phædri Augusti Liberti Fabulæ Aesopiæ, for vocal sextet – 7 min.In Pharisæos (1982) for mixed chorus and trumpet�in�B�flat�–�10�min.Planctus Mariæ (1982) to sections of the Stabat Mater by Jacopone da Todi and a Hungarian popular Passion from the 18th century, for female chorus – 9 min.Tristia (Maros Lament) (1983) for 16 strings – 10 min.Canto d’autunno (1986) for orchestra – 20 min.Paesaggio con morti (1987) for solo piano – 12 min.String Quartet (1988) – 27 min.Elegia (1993) for wind quintet and string quintet or string orchestra – 13 min.Passacaglia – Achatio Máthé in memoriam (1997) for violoncello solo and string quartet – 10 min.Addio – Georgii Kroó in memoriam (2002) for violin solo and 9 strings – 11 min.

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One of the most important composers of post-Bartók Hungarian music,�András�Szőllősy�is�the�oldest�member�of�the�generation�rep-resented by György Ligeti and György Kurtág. In his works, classical symphonic and chamber music traditions are forged together with the construction principles of serialism in a highly individual manner. His music is characterized by a balance of extremes: dodecaphony is combined with expansive melodies, varied tone colours combine into uniform surfaces, and extreme emotions are counterbalanced by the presence of classical proportions. His art features a recurring quality� that�has�become�his�calling�card:�bell-effects�created� from�the�different�orchestral�tone�colours�and�quotations�from�liturgical�melodies, which often convey grief or sadness.

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Biographical Timeline1942 Born in Geneva, Switzerland. Lives in Paris, France and in

Montreux, SwitzerlandSince 1970 Guest conductor for the most prestigious orchestras1976- 1979 Musical Director of the Ensemble Intercontemporain,

Paris1984 Founder of the Mediterranean Youth Orchestra1989 World premiere of La Légende de Haïsh’ for the bicentennial

celebration of the French Revolution1991 World premiere of Le cri de Mohim for the 700th anniversary

celebrations in Switzerland Since 2005 Musical Director of the Noord Nederlands Orkest Since 2008 Musical Director of the Brussels Philharmonic2008 Published De la musique avant toute chose with Buchet-

Chastel, Paris


SelecTed workSCosmogonie (1979-1981) for orchestra – 26-30 min.L’Arche (1982; rev. 2009) for solo soprano and small orchestra – 15 min.Les Sept Rituels Atlantes (1985) for mixed choir and ad lib. orchestra – 14 min.Cycle de Haïsh’ (1989-2007) oratorio for 2 solo voices, 4 actors, spoken choir, magnetic recording and orchestra) in 4 parts which could be performed sepa-rately: Prélude à la Légende, Le Cri de Mohim, Evocation, La Légende de Haïsh’ – 15 & 20 & 15 & 30 min.Le Pacte des Onze (1984-2002) four solo voices, choir, ad lib. tape and orchestra – FE*Concerto pour piano et orchestre de chambre (2005) – 17 min.Nord (2006) for orchestra – 16 min.Dyptique/Echo (2008) for solo violin and orchestra – 22 min.Genèse, Concerto no. 2 pour violon et orchestre (2010) plus soprano voice – 25 min

(*1942)www.tabachnik.org

From his start as a prodigy conductor (mentored notably by Herbert von Karajan and Pierre Boulez), Michel Tabachnik’s brilliant carreer with the baton has been complemented by his exacting and seduc-tive work as a composer. Pursuing all of his artistic work with the refined�humanism�demonstrated�in�his�aesthetic�and�personal�loy-alties, he fervently embodies the current relevance of Art music in today’s society.

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FUTUre proJecTLa PHOTO: d’un enfant avec une trom-pette, opera, libretto by Michel Blanc –�FE*�for�the�Théâtre�des�Bouffes�du�Nord,�Paris (2012)

Biographical Timeline1968 Born in Caen, France. Lives in Paris, France1993-1994 Resident in the Villa Medici in Rome1997 Hervé Dugardin Award from SACEM2001 World premiere of the Concerto pour violoncelle et orchestre

no. 2 by Mstislay Rostropovitch at the Flâneries de Reims Festival. Following performance at Carnegie Hall in New York by the Boston Symphony Orchestra, conducted by Seiji Ozawa

2001-2003 Resident composer at the Orchestre de Bretagne2004 and 2008 Composer of the year at “Victoires de la musique”

in France2004 World premiere of Sénèque, dernier jour with Michel Blanc,

as soloist, and the Orchestre de Bretagne conducted by François-Xavier Roth

2007 World premiere of In Terra Pace by Anne Gastinel with the Radio France Philharmonic Orchestra conducted by Michel Plasson

* Full eveningDUranD salabert eschiG

(*1968)www.eric-tanguy.com

SelecTed workSString quartet no. 1 (1993) – 20 min.String quartet no. 2 (1999) – 12 min.Concerto pour violon et orchestre no. 2 (1996- rev.2003) – 28 min.Concertos pour violoncelle no. 1 and no. 2 (1994-1995 and 2000) – 32 & 28 min.Concerto pour flûte et orchestre no. 2 (1994) – 15 min.Intrada (1998) for orchestra – 17 min.Incanto (2001) for orchestra – 6 min.Adagio (2002) for string orchestra – 9 min.Sinfonietta (2002-2003) for orchestra – 16 min.Concertino pour hautbois (2003) for solo oboe and ensemble – 15 min.Sénèque, dernier jour / Seneca, Last Day (2004) concerto for speaker and orchestra – 20 min.In Terra Pace (2007) for solo cello and orchestra – 25 min.In excelsis (2008) for orchestra – 20 min.Évocation (2010) for cello and piano – 8 min.Trio (2010) for vl, vc, pf – 12 min.

Eric Tanguy is a master of kinetic art and orchestral colour. For the last two decades, his music has been captivating the world’s great-est musicians (including Mstislav Rostropovitch, Seiji Ozawa, Renaud Capuçon and Emmanuel Pahud, among others) and the most per-ceptive audiences. He is at the centre of a constellation of close international�artistic�collaborators,�and�his�body�of�work,�filled�with�more than 70 titles ranging from solo pieces to symphonic frescoes, demonstrates�the�influence�of�the�French�school.

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FUTUre proJecTSNeptune (in progress) for orchestra commissioned by the Hungarian National Cultural Fund (2011)Eight Invocations to the Lunar Phasis for viola and piano for Kim Kashkashian and Peter Nagy, a commission from Inter-national Bartók Seminar and Festival, Szombathely (2011)Imaginary Dialogues for chamber ensemble commissioned by the New Music Studio Moscow (2011)

Biographical Timeline1956 Born and lives in Budapest, Hungary1974- 1982 Studied at the Ferenc Liszt Academy of Music in

Budapest:�composition�with�Rezső�Sugár�and�conducting� with András Kórodi

Since 1979 Professor at the Ferenc Liszt Academy of Music in Budapest

1985 Founded his own instrumental ensemble, Intermodulation, dedicated to 20th and 21st century music, and has been its artistic director since

1991 As conductor participated in the production of Maderna’s Hyperion at the Paris Festival d’Automne and in the subsequent European tour

1999 World premiere of Atte in Berlin by the UMZE Ensemble2000- 2004 Deputy Rector of the Ferenc Liszt Academy of Music

in Budapest2001 Bartók-Pásztory Award2002 Assisted Peter Eötvös as conductor of the second orchestra

in Eötvös’s opera Three Sisters in the Wiener Festwochen. World premiere of Kosmos, commissioned and performed by MusikFabrik

2007 World premiere of his opera Genitrix, commissioned by the Opéra de Bordeaux and the French State

Since 2007 Fellow of the Széchenyi Academy of Letters and Arts 2010 World premiere of Passacaglie performed by Kim Kashkashian

and Concerto Budapest Orchestra in Budapest

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SelecTed workSSilence of the Winds (1984) for chamber ensemble – 15 min.Krios (1984-1985) for chamber orchestra – 16 min.Enodios (1986) for orchestra – 18 min.Irrlichtspiel (1991) for violin solo and large ensemble – 12 min.Summer Music (1992) for six instruments: fl�(picc�and�afl),�cl�(bcl),�vln,�vc,�vib,�pf�– 11 min.L’épitaphe du soldat (1994) for seven instruments: cl, bn, tpt, tbn, perc, vln, db – 9 min.Triton (1995) for bassoon and ensemble – 18 min.Schattenspiel (1997) for clarinet, cello and piano – 46 min.Linos (2001-2002) for harp – 15 min.Nächtliche Klauseln (2001) for organ – 13 min.20 Night Meditations (2002) for 8 solo instruments and orchestra – 13 min.Genitrix (2001-2007) opera in two acts after François Mauriac for 8 voices, mixed choir, children’s choir and orchestra – FE*Epilegomena (2009)�for�flute�solo�and�orchestra – 11 min.Passacaglie (2009) for viola solo and orchestra – 21 min.

(*1956)info.bmc.hu

Although his music is basically of abstract origin, László Tihanyi’s work frequently features poetic elements, witty motif jokes and char-acters constructed through madrigalism, which are dramatic in their effect�and�evoke�symbols�of�nature�or�ironic�situations. Although he enjoys making use of various techniques in polyphonic construc-tion, he often gathers the melodic lines into surfaces that create a grandiose�homophonic�effect.�With�the�help�of�instrumentation,�he�uses tone colours and stereophony, created by separating groups of instruments or solo instruments, as melodic elements. It is of great importance to him that his melodies mirror the gestures, movements and motions of human communication.

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Biographical Timeline1949 Born in Bologna, Italy. Lives in Milan, Italy1974 Attends courses of the Berkshire Music Center at Tanglewood

(USA), where he wins the Koussewitzky Prize in Composition 1976 Winner of the First Prize at the Gaudeamus Competition in

Holland, with Les soupirs de Geneviève for 11 solo strings1992 World premiere of the integral version of Luoghi Immaginari

(1987-1992), a cycle of chamber pieces that has been given innumerable performances worldwide

1993 World premiere of La station thermal at Opéra de Lyon (commissioner); further performances in 1994 and 1995 in Paris (Opéra Comique) and Milan (Teatro Lirico as part of La Scala’s season)

1995 World premiere of Dai calanchi di sabbiuno (piece composed to commemorate the 50th anniversary of the Resistance). On invitation of Claudio Abbado he made the orchestral transcription of the same piece for the European tour of the Gustav Mahler Jugendorchester (in its various versions the piece has been played over a hundred times)

2000 World premiere of Tre Veglie at Salzburger Festspiele (commissioner) with Orchestre national de France conducted by Iván Fischer

2002-�2005�Collaboration�with�the�film-makers�Ermanno�Olmi,�Patrice�Chéreau�who�used�his�music�in�a�few�of�their�films

2007 World premiere of Teneke at Teatro La Scala; stage direction Ermanno Olmi, conductor Roberto Abbado

2011 World premiere of the opera The Same See after Amoz Oz’s novel, at Teatro Petruzzelli, Bari (Italy)

2011 World premiere in Leipzig of Tagebuch der Empörung (first�version of Dario dello sdegno) with Gewandhaus Orchestra conducted by Riccardo Chailly and tour in European capitals

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(*1949)

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SelecTed workSL’usgnol in vatta a un fil (1985) for ensemble – 10 min.Prima dell’alba (1992) for orchestra – 25 min.La station thermal (1993) opera, after Carlo Goldoni – FE*Notturno concertante (1994) for guitar and orchestra – 25 min.Dai calanchi di sabbiuno (1995)�for�fl,�bcl,�tub bells, vln, vc – 5 min. Dyonisos (1996) ballet – 35 min.Les oiseaux de passage (1998) opera – FE*Tre Veglie (2000) for Mezzo-soprano, cello and large orchestra – 40 min.Diario dello sdegno (2002) for large orchestra – 17 min.Irini, Esselam, Shalom (2004) for actor, violin and orchestra – 20 min.Voci di notte (2006) for orchestra – 10 min.Teneke (2007) opera, after Yashar Kemal’s tale – FE*Prospero o dell’Armonia (2008) for actor and orchestra – 35 min.The Same See (2010) opera, after Amoz Oz – FE*Tagebuch der Empörung (2010) for large orchestra – 18 min.

Fabio Vacchi’s contemporary music is easily reconciled with the public and is perfectly capable of cohabiting in the same concert hall with the classical repertoire. His rigorous compositional crafts-manship is clearly related to the avante-garde but constantly shows itself to be attuned to the listener’s perception. He creates a care-ful interaction between harmonic, timbric, dynamic and structural choices that blend together in an idiom that is easily recognisable, constantly evolving and three-dimensional. The continuity of this formal�process�coexists�with�a�refined�lyricism,� in�keeping�with�an�undeniably humanistic aesthetic.

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FUTUre proJecTSReverb, new composition for piano and string quartet commissioned by Kunstfest Weimar (2011)

Biographical Timeline1944 Born in Békéscsaba, Hungary. Lives in Pécs, Hungary1962- 1967 Composition studies with Ferenc Farkas at the Ferenc

Liszt Academy of Music in Budapest1970 Studied in Paris with UNESCO scholarship in the Groupe de

Recherches Musicales of French Radio and in the composition classes of Olivier Messiaen at the Conservatoire. Foundation of the New Music Studio in Budapest, with Zoltán Jeney, Péter Eötvös, László Sáry and Albert Simon

Since 1984 Professor at the University of Pécs1992 Bartók-Pásztory Prize1997 Member of the Széchenyi Academy of Letters and ArtsSince 1999 Professor at the Ferenc Liszt Academy of Music in

Budapest2010 Awarded the Kossuth Prize by the Hungarian state

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SelecTed workSAutokoncert (1972) for suspended instruments – 8-9 min.Schroeder’s Death (1974-75) for piano and 2-3 assistants – 20-40 min.Double (1972) for two prepared pianos – 11 min.Narcissus and Echo (1980–1981) opera in one act, in 21 short scenes, based on László Ungvárnémeti Tóth’s Narcissus, for 4 soloists, female choir and chamber ensemble – 24 min.Romantic Readings No. 2 (1985) for orchestra – 9 min.Twelve Duos (1987-89) for violin and viola – 18-20 min.German Dances (1989) for string quartet – 12-14 min.Soft errors (1989) for chamber ensemble: fl�(afl),�cl,�hn,�cel,�vla,�cb�–�10�min.Studies for MIDI-Piano (in 5 volumes) (1990- ) (4-5th volumes in progress) Ady: The Black Piano (1995) for midi-piano and orchestra – 5 min.Nine Little Greeting Chorales to Kurtág (1996) for piano or two pianos – 15 min.The Death in my Viola (1996-2005) for viola and chamber ensemble – 14-16 min.Machaut’s Imitation I-III. (1998) for voice and 3 instruments (ad. lib)Zwölf Streichquartette (2000) for string quartet – 45-50 min.ASCH (2006-2007) for string sextet – 25 min.

emb

Like� his� colleagues� Zoltán� Jeney� and� László� Sáry,� the� first� twenty�years of László Vidovszky’s career were connected with the most important composers’ workshop and ensemble involved in experi-mental music in Hungary, the Budapest New Music Studio. His solo and chamber music work often features audiovisual elements and constructions associated with various stage actions. In the 1990’s his attention centred on the player piano, which he used in solo pieces, and as a solo instrument in chamber music and orchestral compositions. His works, even the shorter ones, are dense, large-scale creations, which spectacularly avoid any vestige of narrativity and which only make use of the elements of traditional musical rhet-oric with individual “re-tuning”. The structural severity of his music is softened by the varied nature of the tone colours and a wealth of internal happenings. It is perhaps exactly this complexity that makes these works the embodiment of artistic discipline.

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Eyeless upon a dark river (2008) for oboe/ oboe d’amore and string septet – 14 min.1927 (2009) for violin trio – 18 min.Shoreles (2009) for piano four hands – 11 min.Sarée in Kassel (2009) for alto saxophone and large ensemble – 13 min.

FUTUre proJecTSThe stars, the seas, orchestral work commemorating the Titanic and the year of the Olympics in 2012, commissioned by the Ulster Orchestra (2012)

Biographical Timeline1964 Born in Belfast, Northern Ireland. Lives in Co Leitrim, Ireland1990 First D.Phil in composition to be awarded by the University of

Ulster 1991 Composition prize at the Ultima Festival in Oslo1992 Awarded the Macaulay Fellowship administered by the Arts

Council of Ireland1998 Elected to Aosdána, Ireland’s State-sponsored body of

creative artists2000- 2003 AHRB Research Fellow in Creative and Performing Arts

at the University of Ulster2006- 2009 Composer-in-association with California’s Camerata

Pacifica�ensemble2010-2012 Associate composer with the Ulster Orchestra

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(*1964)www.ianwilson.org.uk

SelecTed workSMessenger (1999/2006) concerto for violin and 13 instruments – 31 min.Pianura (2004) for double bass – 7 min.Red over black (2004-2005) for cl, vla, pf – 13 min.Winter finding (2004-2005) for orchestra – 23 min.Apparitions (2005)�for�vla�(or�alt�fl)�and�percussion ensemble – 22 min. Minsk (2005-2006) chamber opera in 7 scenes, libretto by Lavinia Greenlaw – 75 min.Ondes ombragées (2005) for alto saxo-phone and live DAT recording – 19 min.Pieces of Elsewhere (2005) for Soprano and percussion ensemble – 22 min.Seascape with high cliffs (2005) for brass band – 13 min.Sullen earth (2005) for violin and string orchestra – 14 min.Ghosts (2006) for saxophone quartet – 25 min.Little red fish (2006) for mixed choir and saxophone quartet, text by Oskar Koko-schka – 13 min.Miranda, Ariel, Umbriel (2006) for sym-phonic wind ensemble – 12 min.Stations (2006-2007) for solo piano – 65 min.Cassini Void (2007) for clarinet and 10 instruments – 20 min.Sternlos (2007) for guitar – 12 min.sKiPpY (2008) for alto saxophone and piano – 5 min.

Wilson’s music speaks to both listeners and performers in direct terms with a lyricism tempered by a dark harmonic piquancy. The music also possesses a dramatic sense of space and broad sense of line that traces a path for the listener in an uncluttered manner, despite its sophistication and occasional complexity. “Technical compositional procedures are always subservient to expression and are used to achieve the aim of expressing whatever mood, emotion or idea I’m interested in.”

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Biographical Timeline1967 Born and lives in Belgrade, Serbia1989-�1995�Orchestration�of�Goran�Bregović’s�music�for�the�films�

“The Time of the Gypsies”, “Arizona Dream”, “Underground” 2002 Professor of Composition at the Belgrade Music Academy2003 World premiere in Amsterdam of Zora D., chamber opera

commissioned by the Genesis Foundation; further perfor-mance at Vienna Chamber Opera, a few months later. This opera brought her international acclaim

2004 World premiere of The Horses of Saint Mark. An illumination for orchestra commissioned by Music Biennale in Venice

2006 Elected member of the Serbian Academy of Sciences and Arts2008 World premiere of the opera Eine Marathon Familie, at the

Bregenz Festival (commissioner); further performances the same year in Vienna and Belgrade

2009 World premiere of Polomka Quartet by Brodsky Quartet; the chamber opera Simon der Erwählte is premiered at Theater im Revier in Gelsenkirchen (Germany)

2009 The artistic committee of ISCM World New Music Days selects The Horses of Saint Mark in�the�official�programme�

* Full eveningcasa ricorDi

(*1967)

SelecTed workSSelište (Deserted village) (1987) for string orchestra – 8 min.Escenas picaras (1991-1992) for orchestra – 25 min. Rukoveti (1999-2000) for Soprano and orchestra – 15 min.Zora D. (2003) chamber opera – 65 min.Song of a Traveller in the Night (2003) for clarinet and string quartet – 8 min.The Horses of Saint Mark. An Illumination (2004) for orchestra – 10 min.The Minstrel’s Dance (2005) for ensemble – 15 min.The Ghost from the Pumpkin (2005) for brass quintet – 8 min.Eine Marathon Familie (2008) chamber opera – FE*Dance of Wooden Sticks (2008) for horn and orchestra – 10 min. Latum Lalo (2009) for chamber choir – 17 min.Simon der Erwählte (2009) chamber opera – 60 min.

Isidora� Žebeljan� shows� a� supreme�mastery� of� contemporary� com-position techniques, enriched by luxuriant melodic invention and an unfaltering rhythmic daring. Listening to her music is a synaes-thetic experience, psychologically and emotionally overwhelming in its impact. Resurgent glimpses of the musical folklore of the Balkans proudly furnish a pulsating force to the incandescent dance sequences and anguished elegies that alternate with each other in unpredictable, unimaginable, and at times cinematographic, formal progression.

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Gérard Condé

Guillaume Connesson

Marius Constant

Sidney Corbett

Ernesto Cordero

Arcangelo Corelli

Luca Cori

Nicos Cornilios

Enrico Correggia

Luigi Cortese

Colin Cowles

Jean Cras

Carlo Crivelli

Miklós Csemiczky

Laurent Cuniot

Curtis Curtis-Smith

Karl Czerny

DMatteo D’amico

Gaspare D’Angelo

Michele Dall’Ongaro

Jean-Michel Damase

Irlando Danieli

Daniel-Lesur

Nguyen Thien Dao

Xavier Darasse

Jean-Luc Darbellay

Christian Darnton

Tamás Daróci Bárdos

James Dashow

Claude Debussy

Michel Decoust

János Decsényi

Filippo Del Corno

Maurice Delage

Maurice Delaistier

Marcel Delannoy

Stéphane Delplace

Claude Delvincourt

Chris Dench

Michael�Denhoff

Didier Denis

Edison Denisov

Alfred Desenclos

Roger Desormière

Jean-Baptiste Devillers

Anton Diabelli

Violeta Dinescu

Renato Dionisi

Andrzej Dobrowolski

Stephen Dodgson

Friedhelm Döhl

Ernő�Dohnányi

Franco Donatoni

Gaetano Donizetti

Bogdan Dowlasz

John Duarte

László Dubrovay

Bruno Ducol

Hughes Dufourt

Antoine Duhamel

Paul Dukas

Iancu Dumitrescu

Henri Duparc

Marcel Dupré

Albert Dupuis

Joël-François Durand

Louis Durey

Zsolt Durkó

Maurice�Duruflé�

Henri Dutilleux

Alphonse Duvernoy

eHarold East

Ludovico Einaudi

Maurice Emmanuel

Georges Enesco

Manuel Enriquez

Hans-Ola Ericsson

Camille Erlanger

Oscar Espla

Ahmed Essyad

Julio Estrada

Jose Evangelista

f

Manuel de Falla

Fabrizio Fanticini

Ferenc Farkas

Gabriel Fauré

Georges Favre

Reinhard Febel

Jindřich�Feld

Brian Ferneyhough

Alain Féron

Luc Ferrari

Maurizio Ferrari

Luigi Ferrari Trecate

Lorenzo Ferrero

Pierre-Octave Ferroud

Joshua Fineberg

Michael Finnissy

Graciane Finzi

Valentino Fioravanti

Jean-Louis Florentz

Malcolm Forsyth

Lukas Foss

Patrice Fouillaud

Jean Françaix

Alberto Franchetti

Roger de Francmesnil

Renaud François

Sandro Fuga

Takashi Fujii

James Fulkerson

Paolo Furlani

Franz Furrer-Münch

GJean Gabriel-Marie

Renaud Gagneux

Baldassarre Galuppi

Andrew Gant

Lucio Garau

Gérard Garcin

Zoltán Gárdonyi

Mario Garuti

Ulrich Gasser

Philippe Gaubert

Allain Gaussin

John Gavall

Giuseppe Gavazza

Gianandrea Gavazzeni

André Gedalge

Ada Gentile

Armando Gentilucci

Stefano Gervasoni

Thomas Gerwin

Giorgio Federico Ghedini

Giuliano Ghirardi

Antonio Giacometti

Gaetano Giani-Luporini

Remo Giazotto

Alberto E. Ginastera

Bruno Giner

Umberto Giordano

Suzanne Giraud

Paolo Giri

Barbara Giuranna

Norbert Glanzberg

Mikhaïl Glinka

Vittorio Gnecchi

Benjamin Godard

Franz Godebski

Léopold Godowsky

Karel Goeyvaerts

Stan Golestan

Antonio Carlos Gomes

Adam Gorb

Jerold James Gordon

Sandro Gorli

Ida Gotkovsky

Arduino Gottardo

Enrique Granados

Marcel Grandjany

Eugène-Cinda Grassi

Claudio Gregorat

Olivier Greif

Alexandre�Gretchaninoff�

André Modeste Gretry

Edvard Grieg

Gérard Grisey

Erhard Grosskopf

Gabriel Grovlez

Jean-Jacques Grunenwald

Adriano Guarnieri

Sofia�Gubaidulina

Jean-Pierre Guézec

Jean Guillou

Joan Guinjoan

Manfred Gurlitt

hReynaldo Hahn

Cristóbal�Halffter�

Ernesto�Halffter�

András Hamary

Charles Hambourg

Paul Harris

Tibor Harsányi

Paul Harvey

Alphonse Hasselmans

Walter Haupt

Werner Heider

Volker Heyn

Frigyes Hidas

Noriko Hisada

Alun Hoddinott

Máté Hollós

Jean-Paul Holstein

Arthur Honegger

John Hopkins

Balázs Horváth

Alexandre Hrisanide

Jenő�Hubay

Georges Hugon

Rogelio Huguet Y Tagell

Engelbert Humperdinck

Jean Huré

Walter Hus

Lajos Huszár

iJacques Ibert

aRocco Abate

Marcello Abbado

Luigi Abbate

Alain Abbott

Theodor W. Adorno

Robert Aitken

Edgar Alandia

Isaac Albéniz

Luna Alcalay

Diran Alexanian

Franco Alfano

Miguel Alonso

William Alwyn

Claudio Ambrosini

Gilbert Amy

Pierre Ancelin

Mark Andre

Roberto Andreoni

Alfredo Aracil

Paolo Aralla

Paolo Arata

Pierre Arbeau

Paolo Arcà

Nick Ariondo

Sir Malcolm Arnold

Claude Arrieu

Girolamo Arrigo

Ali N. Askin

Rodrigo Asturias

Chantal Auber

Louis Aubert

Pietro Auletta

Georges Auric

bAlfred Bachelet

Guido Baggiani

Sándor Balassa

Árpád Balázs

Manuel Balboa

Claude Ballif

Alain Bancquart

Raffaello�de�Banfield

Ramón Barce

Lajos Bárdos

Marco Di Bari

Henry Barraud

Gisèle Barreau

Pierre Bartholomée

Béla Bartók

Paul Bastide

Stanley Bate

Franco Battiato

Francis Bayer

Vincenzo Bellini

Angelo Bellisario

Stefano Bellon

Umberto Benedetti

Xavier Benguerel

Gerald Bennett

Adolfo Berio

Luciano Berio

Charles de Beriot

Hector Berlioz

Émile Bernard

Marco Betta

Bruno Bettinelli

Louis Beydts

Silvia Bianchera

Gabriele Bianchi

Riccardo Bianchini

Manuel Blancafort

Thierry Blondeau

Volker Blumenthaler

Sonia Bo

Luigi Boccherini

Patrice Bocquillon

Léon Boëllmann

François-Adrien Boieldieu

Jacques Boisgallais

Arrigo Boito

Philippe Boivin

Umberto Bombardelli

André Bon

Jacques Bondon

Mauro Bonifacio

Joseph Ermend Bonnal

Antoine Bonnet

Charles Boone

Charles Bordes

Daniel Borenstein

Fabio Borgazzi

Pietro Borradori

Mauro Bortolotti

Gilberto Bosco

Hans-Jürgen von Bose

Jean-Yves Bosseur

André Boucourechliev

Lili Boulanger

Frédéric Boulard

Pierre Boulez

François Bousch

Roger Boutry

Timothy Bowers

Attila Bozay

Rodolfo Bramucci

Giulio Cesare Brero

Pierre-Onfroy de Bréville

Antonio Brioschi

Aldo Brizzi

Gérard Brophy

Leo Brouwer

Michel Brusselmans

Thomas Bruttger

Valentino Bucchi

Ferruccio Busoni

Henri Büsser

Sylvano Bussotti

cOscar Caceres

Sergio Cafaro

Giuseppe Calì

Gérard Calvi

Giorgio Cambissa

Charles Camilleri

José-Luis Campana

Nicola Campogrande

André Campra

Edith Canat de Chizy

Bruno Canino

Francisco Cano

Joseph Canteloube

Philippe Capdenat

Lucien Capet

André Caplet

Gilberto Cappelli

Ezio Carabella

Mauro Cardi

Francesco Carluccio

Carmen-Maria Cârneci

Gary Carpenter

Edwin Carr

Carmelo Caruso

Francis Casadesus

Henri Casadesus

Robert Casadesus

André Casanova

Franco Casavola

Alfredo Casella

Giulio Castagnoli

Paolo Castaldi

Jacques Castérède

Niccolò Castiglioni

Alfredo Catalani

Umberto Cattini

Alejandro García Caturla

Bernard Cavanna

Costin Cazaban

Bruno Cerchio

Friedrich Cerha

Francis Chagrin

Jacques Chailley

Luciano Chailly

René Challan

Cécile Chaminade

Pierre Charvet

Olivier Château

Ernest Chausson

Charles Chaynes

Qigang Chen

Luigi Cherubini

Francesco Cilea

Domenico Cimarosa

Paolo Di Cioccio

James Clarke

Laura Clayton

Aldo Clementi

Alberto Colla

Henri Collet

Universal mUsic pUblishinG classical also pUblishes Works bY

Mario Castelnuovo-Tedesco

128 129

i–s

Franco Oppo

György Orbán

Ritz Ortolani

Alexandre�Ouzounoff�

pLuis de Pablo

José Padilla

Andrea Padova

Mario Pagliarini

Giovanni Paisiello

Guido Pannain

Marcello Panni

Lajos Papp

François Paris

Renato Parodi

Hector Parra

Ian Parrott

André Pascal

Claude Pascal

Corrado Pasquotti

Bernhard Paumgartner

Thierry Pécou

Carlo Pedini

Jorge Peixinho

Francesco Pennisi

Mario Peragallo

Paolo Perezzani

Giovan Battista Pergolesi

Don Lorenzo Perosi

Sandro Perotti

Mario Persico

Maurice Pesse

Gérard Pesson

Jean-Claude Petit

Jean-Louis Petit

Goffredo�Petrassi

Ionel Petroï

Emil Petrovics

Michel Philippot

Niccolò Piccinni

Riccardo Pick-Mangiagalli

Gabriel Pierné

Willem Pijper

Mario Pilati

Maurizio Pisati

Piera Pistono

Ildebrando Pizzetti

Stefan Pohlit

Emilio Pomarico

Amilcare Ponchielli

Trajan Popesco

Francis Pott

Francis Poulenc

Denis Pousseur

Walter Prati

Jacques de la Presle

Claude Prey

Yves Prin

Charles Proctor

Carlo Prosperi

Bernfried E.G. Pröve

Cergio Prudencio

Giacomo Puccini

David del Puerto

Damiano Puliti

QMestres Quadreny

Felice Quaranta

rHenri Rabaud

Horatiu Radulescu

João Rafael

György Ránki

Andreas Raseghi

Victor Rasgado

Alexander Raskatov

Horia Ratiu

Maurice Ravel

Irma Ravinale

Olga Rayeva

Licinio�Refice

Guy Reibel

Karel Reiner

Franz Reizenstein

Davide Remigio

Sergio Rendine

Enrico Renna

Paolo Renosto

Ottorino Respighi

Michael Reudenbach

Pierre Revel

Michèle Reverdy

Sugár�Rezső

Rhené-Baton

Paolo Ricci

Hugh Collins Rice

André Richard

Nicolaus Richter de Vroe

Jean-Claude Risset

Jean Rivier

Paul Roberts

Ludovico Rocca

Jean-Jules Roger-Ducasse

Uroš Rojko

Jean Rollin

Bernhard Romberg

Fausto Romitelli

Lucia Ronchetti

Peter Ronnefeld

Joseph-Guy Ropartz

Léon Roques

François Rossé

Renzo Rossellini

Gioachino Rossini

Nino Rota

Michel Roth

Umberto Rotondi

Albert Roussel

Poul Rovsing Olsen

Alec Rowley

Gysbrecht Royé

Joshua Ruan

Edmund Rubbra

Madeleine Ruggli

Antonio Ruiz-Pipo

Axel�D.�Ruoff

sVictor De Sabata

Guy Sacre

Philip Sainton

Camille Saint-Saëns

Luca Salvadori

Gustave Samazeuilh

Aurelio Samorì

Luciano Sampaoli

Pierre Sancan

Raffaele�Sargenti

József Sári

Erik Satie

Henri Sauguet

Carlo Savina

Virginio Savona

Alessandro Sbordoni

Domenico Scarlatti

Giacinto Scelsi

Boguslaw�Schaeffer

Friedrich Schenker

Tona Scherchen-Hsiao

Giancarlo�Schiaffini

Christfried Schmidt

Mia Schmidt

Florent Schmitt

Urs Peter Schneider

Brian Schober

Avi Schönfeld

Francis Schwartz

Kurt Schwertsik

Salvatore Sciarrino

Vladislav Sciut

Flavio Emilio Scogna

Giuseppe Scotese

Aurelio Scotto

Humphrey Searle

György Selmeczi

Dov Seltzer

Carlo Florindo Semini

Ronald Senator

Zsolt Serei

Déodat de Séverac

Makoto Shinohara

Gil Shohat

Manuel De Sica

Roberto Sierra

Constantin Silvestri

Roberta Silvestrini

Jean Simon

Roberto De Simone

Robert Simpson

Jean-Marc Singier

Giuseppe Sinopoli

Alejandro Iglesias-Rossi

Federico Incardona

Carlo De Incontrera

Vincent d’ Indy

Manuel Infante

Désiré-Émile Inghelbrecht

Atli Ingolfsson

Maki Ishii

Hiroyuki Itoh

jCarlo Jachino

Michael Jacques

Pierre Jansen

Pál Járdányi

Maurice Jarre

Maurice Jaubert

Paul Jeanjean

Hanns Jelinek

Jan Jirásek

Maurice Johnstone

Betsy Jolas

André Jolivet

Niccolò Jommelli

Joseph Jongen

Jörg Herchet

Helge Jörns

kPál Kadosa

Emmerich Kalman

László Kalmár

Alexandros Kalogeras

Giya Kancheli

Sukhi Kang

József Karai

Noriko Kawakami

Roland Kayn

David Keberle

Rudolf Kelterborn

Heera Kim

László Király

Miklós Kocsár

Zoltán Kocsis

Zoltán Kodály

Charles Koechlin

René Koering

Vladimir Kojoukharov

Ádám Kondor

Petros Korelis

Nikolai Korndorf

Gábor Kósa

György Kósa

Wlodzimierz Kotonski

Zygmunt Krauze

Franck Krawczyk

Georg Kröll

Dennis Kuhn

Gerd Kühr

Ladislav�Kupkovič

lFrancesco La Licata

Helmut Laberer

Marcel Labey

Marguerite Labori

Helmut Lachenmann

Steve Lacy

Paul Ladmirault

László Lajtha

Edouard Lalo

Thierry Lancino

Marcel Landowski

István Láng

Sergio Lanza

Ana Lara

Thomas Lauck

Sylvio Lazzari

Paul Le Flem

Claude Lefebvre

Philippe Legrandgérard

Jacques Leguerney

Ferenc Lehár

Franz Lehar

Kenneth Leighton

Édith Lejet

Guillaume Lekeu

Dominique Lemaître

Aubert Lemeland

Kamilló Lendvay

Claude Lenners

Jacques Lenot

Ruggero Leoncavallo

Bryan Lester

Denis Levaillant

Sergio Liberovici

Rolf Liebermann

Dinu Lipatti

Ferenc Liszt

Paola Livorsi

Anestis Logothetis

Ruggero Lolini

Luca Lombardi

Christophe Looten

Jorge É. López

Raymond Loucheur

Arthur Lourie

Alain Louvier

Pierre Louÿs

Adriano Lualdi

Alessandro Lucchetti

Witold Lutoslawski

mMalcolm MacDonald

François-Bernard Mâche

Dame Elizabeth Machonchy

Tod Machover

Iván Madarász

Bruno Maderna

Katsuji Maeda

Fabio Maestri

Dario Maggi

Giorgio Magnanensi

Albéric Magnard

Mesias Maiguashca

Ivo Malec

Paul de Maleingreau

Gian Francesco Malipiero

Nikos Mamangakis

Gabriele Manca

Paolo Manfrin

Franco Mannino

Tigran Mansurian

Giacomo Manzoni

Tomás Marco

Franco Margola

Wilfried Maria Danner

Jean-Étienne Marie

Gino Marinuzzi

Rudolf Maros

István Márta

Jean-Louis Martinet

Manuel Martinez-Sobral

Vladimir Martinov

Bohuslav Martinu

Giuseppe Martucci

Pietro Mascagni

Yoritsuné Matsudaïra

Andrés Maupoint

André Mauprey

Giovanni Simone Mayr

Jacques-Féréol Mazas

Ian McQueen

Tilo Medek

Paul Méfano

Mela Meierhans

Alessandro Melchiorre

Fernando Mencherini

Gian Carlo Menotti

Benoît Mernier

André Messager

Olivier Messiaen

Patrice Mestral

Giacomo Meyerbeer

Serra Michele

Costin Miereanu

Marcel Mihalovici

András Mihály

Sugár Miklós

Darius Milhaud

Rosario Mirigliano

Francis Miroglio

Mihaï Mitrea-Celarianu

Alain Moëne

Albert Moeschinger

Andrea Molino

Pippo Molino

Frederic Mompou

Italo Montemezzi

Xavier Montsalvatge

Claudio Morbo

Ennio Morricone

Virgilio Mortari

Juan-Jose Mosalini

Luca Mosca

Piotr Moss

Knut Müller

Angelo Musco

nNikolaus Nabokov

Carlo Napoli

Jacopo Napoli

Kazuko Narita-Yoshida

Christoph Neidhöfer

Emile Nérini

George Newson

Serban Nichifor

Luigi Nicolini

Stefan Niculescu

Riccardo Nielsen

Joaquín Nin-Culmell

Piero Niro

Herbert Nobis

Harold Noble

Luigi Nono

oMaurice Ohana

Tiberiu Olah

Gonzalo Olavide

Krzysztof Olczak

Arthur Oldham

Betty Olivero

Max d’ Ollone

130 131

s–z

/ a

bb

re

via

tio

ns

f l f lute

picc piccolo

af l al to flute

bf l bass flute

rec recorder

ob oboe

ca cor anglais

obda oboe d’amore

cl clar inet

ebcl e flat clar inet

acl al to clar inet

bcl bass clar inet

cbcl contrabass clarinet

ssax soprano saxophone

asax al to saxophone

tsax tenor saxophone

bsax baritone saxophone

bsn bassoon

cbsn contrabassoon

hn horn

tpt trumpet

pictpt piccolo trumpet

btpt bass trumpet

tbn trombone

atbn al to trombone

btbn bass trombone

euph euphonium

tba tuba

t imp timpani

perc percussion

mar marimba

v ib vibraphone

pf piano

hp harp

cel celeste

hpsd harpsichord

gtr Gui tar

egtr electr ic Guitar

bgtr bass Guitar

acc accordion

zi th zi ther

org organ

vln viol in

v la viola

vc violoncel lo

db Double bass

strb str ing bass

list of abbreviations

Bettina Skrzypczak

Giuseppe Soccio

Michel Sogny

Martial Solal

Alessandro Solbiati

József Soproni

Bojidar Spassov

Charles Spinks

Gaspare Spontini

Gerhard Stäbler

Jeffrey�Stadelman

Marco Stassi

Victor Staub

Christoph Staude

Daniel Stefani

Bernard Stevens

Ernstalbrecht Stiebler

Robert Still

Aurel Stroe

Hubert Stuppner

Yoichi Sugiyama

Horia Suriano

Carlos Surinach

Robert Suter

Witold Szalonek

Zsigmond Szathmáry

István Szelényi

Endre Szervánszky

Sándor Szokolay

Erzsébet�Szőnyi

Karol Szymanowski

tGabrio Taglietti

Germaine Tailleferre

Yoshihisa Taïra

Toru Takemitsu

Alexandre Tansman

Cornel Taranu

Vladimir Tarnopolski

Timothy Taylor

Alexandre Tchérepnine

Nicholaï Tchérepnine

Claude Terrasse

Alicia Terzian

Tonino Tesei

Roger Tessier

Flavio Testi

Giampaolo Testoni

Maurice Thiriet

Leilei Tian

Ton-That Tiêt

Antoine Tisne

Kasper Toeplitz

Camillo Togni

Henri Tomasi

Luigi Torrebruno

Paul Tortelier

Vieri Tosatti

Daniel Tosi

Giorgio Tosi

Péter Tóth

Charles Tournemire

Olivier Trachier

Gilles Tremblay

Armando Trovaioli

Guido Turchi

Joaquín Turina

UGianluca Ulivelli

Reinhold Urmetzer

Vladislav Uspensky

vNicola Vaccaj

Horacio Vaggione

János Vajda

Ivan Vandor

Edgar Varèse

Peteris Vasks

John Veale

Cristiano Vecchi

Pierre Vellones

François Vercken

Giuseppe Verdi

Sándor Veress

Antonio Veretti

Louis Vierne

Anatole Vieru

Henri Vieuxtemps

Heitor Villa-Lobos

Jesùs Villa-Rojos

Pierre Villette

Antonio Viozzi

Demis Visvikis

Franco Vittadini

Roman Vlad

Wladimir Vogel

Toni Völker

André Volkonsky

Emile Vuillermoz

Alexander Vustin

WEmile Waldteufel

John Wallace

Newell Wallbank

Stephen Watson

Carl-Maria von Weber

Alain Weber

Leó Weiner

Eugen Wendel

Jean Wiener

Jacques Wildberger

Caroline Wilkins

Adrian Williams

Dominique de Williencourt

Pierre Wissmer

Georges-Martin Witkowski

Róbert Wittinger

Ermanno Wolf-Ferrari

Lucien Wurmser

Hans Wüthrich

Jürg Wyttenbach

XIannis Xenakis

YGyu-Bong Yi

Susumu Yoshida

Douglas Young

Maurice Yvain

zFrank Zabel

Mario Zafred

Vittorio Zago

Riccardo Zandonai

Amilcare Zanella

Michel Zbar

Istvan Zelenka

Alexander Zemlinsky

Bernd Alois Zimmermann

Walter Zimmermann

Niccolò Antonio Zingarelli

Gérard Zinsstag

© 2011 Universal Music Publishing Classical

Printed�in�France�by�Prodmachine�/�Galaxy�Imprimeurs�(Imprim’vert)�in�March�2011�on�Chromomat,�an�FSC�certified�paper�

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