Saturday, 5 December, 2015 16:15
Aula, Neubau, brandhofgasse 21, graz
Join us in celebrating works inspired by the theme of our conference with a concert of pieces selected from the
Call for Performances.
Szilard Benes & Christof Ressi: Borderline (Bassklarinette, Live-Elektronik und Video) – 7-10 Minuten
Borderline ist eine audiovisuelle Performance mit Bassklarinette, LiveElektronik und LiveVideo für zwei Personen. Beide reagieren spontan und impulsiv auf ihr Gegenüber. Das Video wird live generiert und durch die musikalischen Gesten der beiden Spieler gesteuert. Dadurch, dass jene wiederum – willkürlich oder unwillkürlich – auf das optische Geschehen reagieren, entstehen bisweilen chaotische FeedbackLoops, die bis zum Exzess getrieben werden.
Maja Franke, Matej Bunderla & Adam McCartney: Virtue Conkers (Saxophon, Harmonium, Tanz) – ca. 6 Minuten
A short performance for solo dancer accompanied by harmonium and saxophone. The dance is a contemporary reflection on the Sean-Nós (old style) dance of Ireland. The style is informal, relaxed with low to the ground footwork and elements of spontaneous expression. The movements are closely aligned to the low-key accompaniment.
Alexander Guza: Two counterpoints for Computer
The first counterpoint is composed for piano with the standard rules. The second counterpoint is created as an electronic‐acoustic composition with the rules of counterpoint. The basic idea is to create new art that expands on the established rules of counterpoint.
Angélica Castelló: Cantal (2015)
Cantal is a beautiful word which has to do with rocks, rounded rocks, as
well as singing….
The composition is about a landscape of failing, vulnerability and
frailty and about the ghosts living in it.
Born in Mexico City in 1972, Castelló studied music in her native town at the Conservatorio Nacional de México, at the Université de Montréal, at the Conservatorium van Amsterdam, at the Konservatorium der Stadt Wien and at the Department of Composition and Electroacoustics at the University of Music and Performing Arts Vienna. Since 1999, she has lived in Vienna, where she is a teacher. In the year 2004, she founded the concert series “Neue Musik in St. Ruprecht”, which she organizes to this day. Even though she remains devoted to old music, new and electroacoustic music take center stage in her work. She co-founded the ensembles Low Frequency Orchestra, frufru (with Maja Osojnik), cilantro(with Billy Roisz), subshrubs (with Katharina Klement, Tamara Wilhelm and Maja Osojnik) and Chesterfield (with Burkhard Stangl) Plenum, Zimt(with Gunter Schneider, Barbara Romen and Burkhard Stangl) a.o.. She has performed in Europe and America with these ensembles and with other musicians such as Olga Neuwirth, Wolfgang Mitterer, Martin Siewert, John Butcher, Dafne Vicente-Sandoval, Urkuma, Franz Hautzinger, Isabelle Duthoit, dieb13, Jerome Noetinger, Mario de Vega, Attila Faraveli, Kazu Uchihashi, Bonnie Jones, Juanjose Rivas, Steve Bates and others.
As a composer, she writes for her own instruments (mainly the Paetzold sub great bass recorder, with and without electronics) and for ensembles (amongst them the Danubia Saxophonquartett, Reconsil Ensemble Vienna and the Haydn Piano Trio). Her music has been published by the labels Mosz, einklang_records, Mandorla Label, Mikroton Recordings, Monotype Records, chmafu nocords and Interstelar Records. Numerous composers, including Hilda Paredes, Daniel de la Cuesta, Katharina Klement, Burkhard Stangl, Jorge Sánchez-Chiong, and Mario Lavista, have worked with Angélica Castelló or dedicated pieces to her.
In recent years, Castelló’s work has included installations that operate at the interface of music, performance and visual arts (Electroaltar, Electroaltar for J.C., Electroaltar für C.N., Margarita´s Stillleben Theater).
Her debut album, “Bestario”, unites the multifaceted nature of Angélica Castelló’s work: Recordings of her own instruments serve as the raw material for pieces in which she edits the sounds of her flutes, sometimes beyond recognition, and combines them with frequently deformed fragments of other elements — be they electronically produced or found elsewhere — to a musical entity in which multiple layers overlap. She weaves existing pieces of other composers, such as Bach, into these contemporary forms of electronic processing, thereby referencing her work as an interpreter of old music. Even though her other sources of inspiration, such as from literature or visual arts, often have specific roots, they lead Castelló to an abstract engagement with such topics as death, and dealing with traumatic encounters. Wide-ranging combinations of sounds that are constantly and sometimes simultaneously moving in different directions provide continuity as well as surprises, and when listened to repeatedly, they shed new light on the beasts from literature, the animal kingdom, and daily life that have been set to music.