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August 11, 2019 11.00 pm

Kalv, (SE)

Chamber Music at Kalv festival – II

Works by Scelsi, Nono and Rane Bauck

Giacinto Scelsi – Arc-en-ciel (1973) for two violins
Luigi Nono - “Hay que caminar” soñando (1989) for two violins
Martin Rane Bauck - new work (2019) for solo violin WP

Marco Fusi, violin
Winnie Huang, violin

link

August 10, 2019 6.00 pm

Kalv (SE)

Chamber Music at Kalv Felsival – I

works by Jessie Marino, Tim McCormack, Julie Herndon.

Jessie Marino – Remapping II (2019) NP
Julie Herndon – of a Touch (2019) NP
Timothy McCormack - The Chain of the Spine (2017)

Marco Fusi, violin
Winnie Huang, violin, cardboard, glass, and sine waves
Caroline Mayrhofer, Paetzold contrabass recorder

link

August 07-10, 2019

Kalv, (SE)

Sdraulig’s one to one at Kalv Festival

performance/installation of Charlie Sdraulig's one to one, work for violinist and one member of the audience. during Kalv Festival the piece will be performed several times for spectators selected via a lottery.

link to the trailer of the piece

July 29, 2019 8.30 pm

Salzburger Festspiele, Kollegienkirche Saltzburg (AT)

Xenakis’ Kraanerg with S. Cambreling and Klangforum Wien

Xenakis' ballet Kraanerg with Klangofrum Wien and Sylvain Cambreling

link

June 11, 2019 8.00 pm

Columbia Global Center, Paris (FR)

New Electronic Music for Strings

The concert explores the possibilities of the combination of string instruments and digital elaboration of sounds; from simple amplification, that allows otherwise imperceptible sounds to surface, to extensive interaction of the electronic medium, that create a dialogue with the solo instrument, altering the very timbral perception of the acoustic sounds.

The collaboration between violin/viola d’amore performer Marco Fusi and composer/sound engineer Louis Goldford delivers a kaleidoscopic exploration of the interplay between strings and microphones.
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Jessie Marino
Remappings II (world première)
For solo performer

Louis Goldford
Travertine Hybrid #3
For violin and live electronics

Julie Zhu

Forest (French première)
For solo viola d’amore

Christopher Trapani
Tesseræ
For viola d’amore and live electronics

Brief intermission

Andrew Greenwald
A Thing is a Hole in a Thing it is Not (viii) for amplified violin

Zeno Baldi
Spikes
For viola d’amore, tape and freeze pedal

Louis Goldford
New work
For violin and electronics

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Louis Goldford, live electronics

June 06, 2019 8.00 pm

American Academy in Rome (IT)

World Premieres by Jessie Marino with Winnie Huang

World premiere of

Remapping II (2019) for two performers
Portraits (2019) for three performers

with Winnie Huang and Jessie Marino

May 22-23, 2019 6.00 pm

Orpheus Institute, Ghent (BE)

Orpheus Doctoral Conference – MUSIC, HUMANS AND MACHINES

link > call for proposals

This conference explores musician’s long relationship with their instruments and instrumentalities, questioning issues of autonomy and agency in the apparent dichotomy between tools and musical expression. From the mechane of Greek theatres from which gods were suspended, to Mozart’s description of the Stein fortepiano’s knee-lever as “Die Maschine”, to the epoch-defining technologies of recording, sound synthesis, and algorithmic composition of more recent times, performers and composers have relied on mechanical means to create magic in their art.

The Orpheus Institute docARTES programme invites artists, composers, performers and all artistic researchers to participate in its 2019 doctoral conference, where we will engage in reflections on the tangible interdependences between music-makers and their tools. We invite participants from a wide range of disciplines – those that concern new and old instruments, as well as those in the field of musical automaton and their expressive use – in order to bring together multiple perspectives, and cover an extended range of artistic experiences: from historically informed performance to contemporary and electroacoustic music creation.

The one-day conference opens with a concert, which welcomes both artistic presentations and scholarly papers, giving special attention to practice-based research.

April 26 - June 28, 2019

Conservatorio "G. Verdi", Milano (IT)

Teaching Contemporary music for ensemble and chamber groups at Milano conservatory “G. Verdi”

Coaching postgraduate students of all instruments on XX and XXI century repertoire, including G. Scelsi, T. de May, S. Reich, B. Maderna, M. Kagel.

April 17, 2019 2.00 pm

Monash University, Sir Zelman Cowen School of Music, Melbourne (AU)

Concert / Lecture on ITI KE MI, by Pierluigi Billone

ITI KE MI (New Moon. Mouth. Feminine) for Viola is the result of a long period of study and research with the instrument by the composer followed by actually working together with the performer. Neither the stringing nor the tuning of the viola are standard: two fourth strings, one third and one first string are tuned E, C, G and A in that order. Both score and notation - the latter also uses a system of colours - are inevitably very complex because their job is to define, differentiate between and represent a veritable maze of techniques and sounds which the performer is required to employ and produce. These techniques and sounds make huge demands on the performer's physical and interpretative abilities since the work is a total rethink of the instrument and the huge number of roles required of the viola mean that at times the results sound utterly unlike music for a stringed instrument. The sophisticated combination of various approaches to fingering and bowing separates out the individual components of a sound and puts them back together in such a way that a whole new horizon opens onto vibrations.

The workshop will describe the learning process of ITI KE MI and the importance of the collaborative work with the composer himself, in order for the performer to comprehend, embody and deliver the work, overcoming the technical and instrumental challenges that such an experimental score offers. The presentation will explore Billone's radical approach to the viola, focussing as well on notational issues and solutions adopted in the final version of the work. Composer and performers alike may gather precious insights from this score, exploring the effective connection between highly researched technical and instrumental gestures and their expressive and musical result.

link to video

April 12, 2019 11.00 am

Monash University, Sir Zelman Cowen School of Music, Melbourne (AU)

Masterclass for string players

Masterclass for violinist and violist on extended techniques and contemporary repertoire