Uli Fussenegger

Uli Fussenegger

smar II

smar II

In order not to unnecessarily affect the perception of the audience, I will limit myself to two sentences describing the piece.

”smar” is a polish word for grease (lubricant)a thick substance similar to oil, used on machine parts for making them work smoothly.

The intended purpose of the piece is to explore capabilities of creating similar flow beetwen  electronics, double bass and guitar parts.
Anna Sowa

Anna Sowa

Anna Sowa (*1987 in Limanowa, PL) is an experimental composer and artist working mainly with electronic music and performing arts fields. She is interested in the intersection of movement, gesture and theatricality in connection with electronic and instrumental music.

She graduated from Bacewicz Academy of Music in Lodz (PL) with a Master’s degree in eurhythmics (2011) and composition (2016), where she studied with Zygmunt Krauze. In 2014/15, as part of the Erasmus+ program, she studied composition and visualization with Dietrich Hahne at the Folkwang University of the Arts in Essen. As a Chinese government scholarship recipient she studied at the Shanghai Conservatory of Music (CN) in 2017/18. In 2021 she graduated with distinction the »Specialized Master Performance / Composition« with Caspar Johannes Walter and Johannes Kreidler.

In 2021, Anna Sowa won the Fringe Competition of the Haydn Foundation. As part of the prize, her opera Silenzio/Silence will be premiered in March 2022 as part of the Festival Oper 2022 in Bolzano.

Among others, she received the Witold Lutosławski Scholarship 2019 (PL), donated by family members of the composer, and the Nicati-de Luze Scholarship 2020 and 2021 (CH).

https://annasowa.eu

La Cité des Saules

La Cité des Saules

The Cité des Saules (City of Willows) is a metaphor for departure. The entire pièce is conceived as a form of reciprocal genesis between inwardness and space. There is no motif, no outline, no figure derived from a background. All that matters is the spatialization process.

The piece comes down to a process of emergence with the only distinctive features being the degrees of depth and opening. Articulations are reduced to the strict minimum: interstices, active voids, coloured segments, luminous events, interplay of transparencies, dark rumblings. The work ends by turning in on itself, by being reabsorbed into its own background.

The piece’s construction is largely based on echo reinjection, very slight ring modulation and hints of chorus effects. Today, all of these methods are obsolete. I would like to thank today’s performers for agreeing to rethink the piece using entirely digital treatment, thus giving it a new life.
Hugues Dufourt

Hugues Dufourt

French composer and philosopher Hugues Dufourt (*1943 in Lyon) studied piano and composition at the Geneva Conservatory, achieved the Agrégé de philosophie in 1967, and then taught philosophy at the University of Lyon. In 1973, he joined the Centre Nationale des Recherches Supérieures (CNRS) as a scientist and joined forces with Gérard Grisey, Tristan Murail, and Michaël Lévinas to form the composers’ group »L’Itinéraire,« from whose sound research spectral music sprang.

In 1977 Dufourt founded the CRISS (Collectif de Recherche Instrumentale et de Synthèse Sonore), from 1982 he directed the information and documentation center »Recherche musicale«, a joint research project of the CNRS, the École Normale Supérieure and the IRCAM, and in the same association from 1989 the Doctorale Formation Musique et Musicologie du XXe siècle.

Hugue Dufourt’s music is based on an abundance of sound constellations and overtones and relies on the dialectic of timbre and time. He draws inspiration in part from the visual arts, essentially maintaining the role of color, medium and light Many of his larger works have been inspired by artists such as Brueghel, Giorgione, Rembrandt, Poussin, Guardi, Goya, Rothko and Pollock.

Hugues Dufourt has received numerous awards, including the Grand Prix de la Musique de chambre (SACEM) in 1975, the Grand Prix de l’Académie Charles Cros in 1980, the Fondation Koussevitzky Prize in 1985, the Jury Prize of the Musique en cinéma Festival in 1987, the Prix des compositeurs de la SACEM in 1994, and the Prix du Président de la République pour l’ensemble de son œuvre, awarded by the Académie Charles Cros, in 2000.

no longer navigating by a star

no longer navigating by a star

My heart lives in my
chest. I know it’s there.
But now the rogue will often
disappear, and leave me
stranded in my scarecrow
mind. It’s so unkind.
What did I do to make her run
away?I ask myself each
day. What did I do,
or what did I do not
or just in part, to make my
heart pack up and run
away?

 

The house inside my chest is
empty nowa vacant lot;
the weeds grow wild in there,
and still heart not come back.
Soon the foundations will be swept
away, and underneath the chest’s vast
empty skies, only the cries that
echo from afar, of some strange
flapping bird, no longer navigating by a
star.
Dorothy Molloy

Clara Iannotta

Clara Iannotta (*1983 in Rom) is an Italian composer and curator based in Berlin.
Her music is commissioned and performed by renowned ensembles, soloists, and orchestras, including Quatuor Diotima, Ensemble Intercontemporain, JACK, Klangforum Wien, Neue Vocalsolisten, Münchener Kammerorchester, Nikel, and WDR Sinfonieorchester.
Iannotta has been a fellow of the Berliner Künstlerprogramm des DAAD in 2013, Villa Médicis (Académie de France à Rome) in 2018–19, and the recipient of several prizes including the Composers’ Prize of the Ernst von Siemens Musikstiftung and the Hindemith-Preis 2018, Una Vita nella Musica Giovani 2019, Premio Abbiati 2021, Bestenliste der deutschen Schallplattenkritik (German Record Critics’ Award) for her portrait albums A Failed Entertainment, Earthing, and Moult.
Since 2014, Iannotta has been the artistic director of the Bludenzer Tage zeitgemäßer Musik, and from 2022 she is the co-artistic director of the festival Klangspuren Schwaz.  Her music is published by Edition Peters.

Opal Wood

Opal Wood

This is a joint work on a proposal by Uli Fussenegger, developed from sounds he managed to obtain by playing only with the wood of the bow of his double bass. He invited me to listen to these superb, amplified sounds, I found them very surprising, it seemed to me to find there something archaic. As a result, we agreed on the project to create a piece for live double bass and tape made with this pre-recorded material, without any electronic processing.

As time went by, the project constantly continued to grow secretly between the two of us. Then one day Uli started sending me recordingswhich later became a habita tape that appeared to me as some kind of organic flow. I listened to it several times and I started writing the double bass part. I regularly sent page by page to Uli to try to see how the materials responded. From a distance, one by one, we modified recordings and scores to arrive, step by step, at this concert version.

I have the feeling that I wrote something like a graffiti on the sounds Uli created, a kind of wall that makes me think a lot about prehistory, an ancient fresco.

I also have the feeling that we wrote this piece together and from a distance, as we did a long time ago in the correspondence of the 18th century.
Georges Aperghis

Georges Aperghis

Georges Aperghis was born in Athens in 1945. He has lived and worked in Paris since 1963. His work is notably characterized by a questioning about languages and the meaning. His compositions, wether instrumental, vocal or for stage, explore the borders of the intelligible, he likes to create twisted tracks which allow him to keep active the listener (stories emerge but are suddenly refuted).
Aperghis’ music is not strictly linked to any dominant musical aesthetics of the contemporary musical creation but follows on his century by a dialogue with other forms of art and an extreme open-mindedness to the other. This otherness is combined with innovation when he includes electronics, video, machines, automatons or robots to his performances.

Recent awards include the Mauricio Kagel Prize 2011, the Golden Lion of the Venice Biennale for his life’s work 2015, BBVA Foundation Award »Frontiers of Knowledge« 2016 (contemporary music category), Kaske-Munich Foundation 2016, Grand Prix SACD 2018, Ernst von Siemens Musikpreis 2021.

Holding Patterns

Holding Patterns

A holding pattern is a circular loop flown by an aircraft while waiting for clearance to land. Here it is a work entirely made from loops, often aimlesslike tops spinning in place, waiting for a decisive push. An electronic tool, called the »Loopsculptor«, layers the live sound, not creating precise echoes, but reshaping these phrases with constantly shifting dimensions.
Holding Patterns was commissioned by Yaron Deutsch and Uli Fussenegger, with the expressed desire that the piece should allow the performers to branch off into an improvisation. The form of the piece circles back on itself before taking this foray, then returns for a composed coda.
Christopher Trapani

Christopher Trapani

Christopher Trapani (*1980 in New Orleans, Louisiana) is an American/Italian composer. He is currently living between Palermo and Los Angeles, where he teaches at the USC Thornton School of Music.
Christopher is a 2019 Guggenheim Fellow and a former winner of the Rome Prize (2016-17) and the Gaudeamus Prize (2007). He has held fellowships at Akademie Schloss Solitude, Camargo Foundation, and the Bogliasco Foundation.
Waterlines, his debut portrait CD, featuring performances by Talea Ensemble, JACK Quartet, and others, was released on New Focus Recordings in 2018. A second recording of Waterlines by ICTUS was released in 2020.
Projects for the 2021-22 season include commissions from Klangforum Wien and Ensemble Modern, a new work for the Grossman Ensemble at the University of Chicago (Fromm Foundation Commission), and a new song cycle for a consortium of sopranos, commissioned in conjunction with the 2020 Barlow Prize.

Alone Together

18
06.02.
15:00
Theaterhaus, T2
Uli Fussenegger double bass Yaron Deutsch electric guitar Cedric Spindler sound direction

Anna Sowa: smar II

for double bass, electric guitar and electronics (2021) ᵁᴬ

Hugues Dufourt: La Cité des Saules

for electric guitar and electronics (1997)

Clara Iannotta: no longer navigating by a star

for electric guitar with sustainer, double bass and electronics (2021-22) ᵁᴬ

Georges Aperghis: Opal Wood

for double bass and electronics

Christopher Trapani: Holding Patterns

for double bass, electric guitar and electronics (2021) ᵁᴬ

After many joint artistic experiences, it was time for the two protagonists of the evening to initiate a project for electric guitar, amplified double bass and electronics, a combination of instruments that is so promising from a sound and performance point of view, and for which there is hardly any literature worth mentioning. The famous jazz standard »Alone Together« by Arthur Schwartz and Howard Dietz was the inspiration for the title of the eveningalthough it will not be heard explicitly, it will play a role in the compositionally open improvisation sections of Christopher Trapani’s Holding Patterns, a work consisting entirely of loops, often aimless like spinning tops that spin in place waiting for a decisive push.

 

Sendung SWR2 JetztMusik
7. April 2022 / 21:0522:00 Uhr

The works by Georges Aperghis, Clara Iannotta and Christopher Trapani are commissioned by Uli Fussenegger and Yaron Deutsch, financed by the Ernst von Siemens Musikstiftung