Contemporary Composers


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Pub a l M u s ic



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n iv e r s m THE U o r f n e l e c t io

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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 representative selection of the composers of our time whose work is published in one or more of our catalogues.

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For more information on these or any of the other composers we publish, please visit our web portal: or contact one of the Universal Music Publishing Classical units directly: Casa ( Durand, Salabert, [email protected] ( Editio Musica [email protected] ( Ricordi ( Ricordi (


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Biographical Timeline 1971 Born in Teramo, Italy. Lives in Rome, Italy Grew up in a musicians’ family 1999 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 2002Studies 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 Henze 2002-2008 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) fra n ce sc o an ton ion i


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.

 PHOTO: Gianluca Moro

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 postminimalism, achieving a language in which the contradictions between classical and popular music prove extraordinarily fruitful.




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.

* Full Evening

biographical timeline 1945 Born in Athens, Greece. Lives in Paris, France 1976-1997 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

Ge or Ges Aper GHI s


selected works Histoire 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.

 PHOTO: patricia dietzi

A highly prolific composer, Georges Aperghis has shown tireless innovation in building a personal catalogue that defies classification. 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 artists and ensembles he meets and who perform his work directly inspire his compositions. These human encounters and the successive surprises they engender are his main source of excitement and motivation to compose.




biographical timeline 1961 Born in Paris, France. Lives in Brussels, Belgium 1983-1985 Resident in the Villa Medici 1987 Composed Esquisses pour un tombeau 1987-1991 Artistic Delegate in the chamber music department at Radio France 1991-1993 Resident in the Casa de Velazquez 1994 Founded the Rencontres musicales de La Prée 1995 First guest composer in the Orchestre Symphonique Français 1995-1998 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 Symphonique 2009-2011 Associate Composer at the Ensemble Orchestral de Paris

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selected works Symphonie 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.

 PHOTO: patricia dietzi

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




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 PROJECTS Piccola 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 Inconvenient Truth, based on the Al Gore’s documentary film, at Teatro La Scala directed by Robert Lepage (2013)

* Full Evening

biographical timeline 1953 Born in Albano Laziale, Italy. Lives in Rome, Italy 1975-1979 Attended composition seminars by Karlheinz Stockhausen, 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 Venice 2005-2006 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 Düsseldorf 2010 World premiere of H375 for large orchestra, commissioned by Hannover Staatsoper to celebrate the 375th anniversary of the Niedersächsischen Staatsorchester

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selected works Experimentum 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 min Après Josquin (2006) for orchestra – 12 min. Snape Skyscapes (2007) for orchestra – 18 min. The Fashion (2007) opera – FE*

 PHOTO: roberto masotti

Characterized by an array of literary, cinematographic and pictorial 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.




Future projects Concerto for violin and orchestra (2011) Thanks to my eyes, opera, after Joël Pommerat (2011)

biographical timeline 1975 Born in Milan, Italy. Lives in New York, USA and in Amsterdam, Netherlands 2005 First Prize at the Gaudeamus Composer’s Competition 2005-2007 Ictus Fellowship in Brussels 2008-2009 Participated in the International Composition Seminar by Ensemble Modern 2009 Artist in residence with the DAAD programme in Berlin 2010 World premiere of Ajna Concerto at the Musica Festival in Strasbourg

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selected works Primordia 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.

 PHOTO: patricia alia

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, innovative and daring, are destined for orchestras and for musical theatre.




biographical timeline 1963 Born in Macerata, Italy. Lives in Milan, Italy 1983 Graduated in Piano and Percussion at Milan Conservatory of Music 1982-1989 Composition studies with Marco Tutino, Ivan Fedele 1990 Begins his career as conductor 1997 Co-founder, with other musicians of Ensemble Sentieri Selvaggi 2001 Berio commissioned the children’s opera La nave a tre piani 2003 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 Scala 2011 (October) World premiere in Leipzig of Ritratto di Musico commissioned by Gewandhaus Orchester. Tour in Wien, Paris, London

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selected works Dr. 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.

 PHOTO: all rights reserved

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 criteria of construction that it borrows from the tradition of classical music. The “timbric” energy and virtuoso audacity of his chameleonlike 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 thoughtful response to Stravinsky’s insistence on a consciousness of the here and now.





* Full Evening

biographical timeline 1936 Born in Tongeren, Belgium. Lives in Brussels, Belgium 1971 Prix Italia 1985-2007 Residency at the Théâtre Royal de la Monnaie, Brussels 1993 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 Wintermärchen 2000 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 SACD 2005 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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selected works Trakl-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.

 PHOTO: all rights reserved

Without dismissing the serialism of his early work, Philippe Boesmans cultivates the gift of expressivity, thanks to a language that embraces both consonance and repetition. His music is characterized 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.




Future projects Flute Concerto (2011) Der Garten [The Garden] for four male voices and orchestra (2011-2012)

biographical timeline 1949 Born in Lindau/Bodensee, Germany. Lives near Munich, Germany 1968 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 output 2010 Portrait concert during Festival Ultraschall Berlin with Münchener Kammerorchester Recently three portrait CDs with chamber and orchestral music have been released on the labels col legno and NEOS

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selected works Nachtmusik (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.

 PHOTO: stefan forster

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 emphatically 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 dedicating 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 material are alien to Brass, but his pursuit of intensity is unrelenting. This sparseness stems from a concentration that admits nothing digressive. 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.





* Full Evening

Future projects Piece for Oslo Sinfonietta (2011)

biographical timeline 1974 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 Electroacoustique in Bourges, France 2000 1st Prize at Frankfurt Opera House Competition 2001 World premiere of 2 by Ensemble Intercontemporain in Paris - Patrick Davin conductor 2001 Prize of the International Irino Prize, Tokyo 2002 1st Prize of the Comité de Lecture, Ircam-Centre Pompidou / Ensemble Intercontemporain, Paris 2003 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 con Chomsky

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selected works 2 (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*

 PHOTO: Alfonso Marini

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 exploratory 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 importance, 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.




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

biographical timeline 1975 Born and lives in Rome, Italy 1999-2003 Graduated in Piano and Composition at Conservatorio Santa Cecilia in Rome 2005 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 Savignano 2006 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

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selected works Vision-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.

 PHOTO: all rights reserved

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/diminuendo and accelerando/rallentando, a “physical” representation of corporeal breath and its anxieties. Rising a step further, there is frequent recourse to rhythmic ostinato, the translation of a disturbed pathology of memory. And finally, on the mineral’s surface, the fragments 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”.




Future projects A new work for organist Alistair Stout (USA)

biographical timeline 1970 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 Prize 1999-2002 Works performed at many festivals such as Aldeburgh and Cheltenham (UK), Klara (Brussels), Musica Nova (Strasbourg), 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 commission 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 works Totem (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 realised in his most recent pieces such as Ash Relics which has been described by Alex Ross as “primordial avant-gardism”.




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

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biographical timeline 1937 Born in Cirié (Turin), Italy. Lives near Mantova, Italy 1965 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 Blimunda 1992 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 azio c or ghi


selected works Blimunda (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.

 PHOTO: Mauro fermariello

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.




selected works Krapp’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 tousles-temps (2001) for piano – 15 min. Phrag Mental Friezes (2001) for cl. (bcl), vln, vc, pf and three woodblocks (one player) – 22 min.

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)

 PHOTO: andrea Felvégi

Gyula Csapó’s music grew out of the minimalism of the 1970’s, and was given a new dimension through his early analytical minimalism, 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 traditions 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 mesmerize its listeners worldwide.

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biographical timeline 1955 Born in Pápa, Hungary. Lives in Saskatoon, Canada 1979 Joined the New Music Studio Budapest 1981 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 Environment, voted The Classical Music Composition of the Year 2009






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

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biographical timeline 1955 Born in Metz, France. Lives in Paris, France 1981-1983 Resident in the Villa Medici in Rome 1989 Critical success of Roméo & Juliette 1992-2009 Composed a series of seven Solos pour orchestre 1993 World premiere of To be sung, in collaboration with James Turrell 1994 Prix SACEM de la Musique Symphonique 2001 World premiere of Perelà, Uomo di fumo at the Opéra national de Paris 1998, 2002 and 2007 Composer of the year at “Victoires de la Musique” in France 2005 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 Prize 2007-2008 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

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selected works Seven 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.

 PHOTO: collège de france

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 composition. 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.




selected works Intervalles 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 EleventhCentury Japan” in English translation by Ivan Morris – FE* Octet plus (2007) for Soprano and eight wind instruments – 19 min.

biographical timeline 1944 Born in Székelyudvarhely, Transsylvania/Romania/today: Hungary. Lives in Budapest, Hungary 1958 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 Westdeutscher 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 Inter­Contemporain (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 Orchestra Since 1994 Chief conductor of the Radio Chamber Orchestra Hilversum Conducting 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 festivals 1997 Elected member of the Akademie der Künste Berlin and awarded “Bartók Béla – Pásztory Ditta Price”, Budapest Since 1  998 professor at the Staatliche Hochschule für Musik in Cologne and guest conductor and artistic advisor of the National Philharmony Orchestra Budapest * Full Evening


Peter Eötvös was a composer before becoming a world-famous conductor. 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.

 PHOTO: andrea Felvégi





biographical timeline 1957 Born in Beirut, Lebanon. Lives in Paris, France 1983 First recordings with Erato 1994 Arts and Culture Award from the first television station in Lebanon 1996 Composition of Sextuor, commissioned by Shlomo Mintz. Events in Tel Aviv and New York 2001Knighted by the Ordre National du Cèdre in Lebanon Since 2002 Several recordings with Naxos



selected works Sérénades 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.

 PHOTO: patricia dietzi

Since his youth as a child prodigy, Bechara El-Khoury has been recognised 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 cultural tradition.





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biographical timeline 1952 Born in Suèvres, France. Lives in Paris, France and in Barcelona, Spain 1984 Prize-Premiere of the SACEM Prix Hervé Dugardin 1992 Performance of Chevalier Imaginaire at the Théâtre du Châtelet in Paris 1998 Peformance of Salammbô at the Opéra national de Paris. Revival in 2000 1998 Published Arrière-pensées, interviews with Laurent Feneyrou, Musica Falsa, Paris 2000 Presentation of the ballet Yamm at the Opéra national de Paris 2004 World premiere of Les Rois at the Opéra national de Bordeaux 2007 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


selected works Onze 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.

 PHOTO: all rights reserved

The free style of Philippe Fénelon, composer, author and film director, 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.




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 timeline 1965 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 Work 2010 New production for the Royal Ballet and a new work for Ensemble10:10 2011 A concerto for midi-harp and orchestra for harpist Sioned Williams and the BBC Symphony Orchestra


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selected works Ghosts (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.

 PHOTO: Steve Tanner

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, producing and educating. In his music he prefers clarity and a straightforward approach through jazzy rhythms and minimalist patterns.





 PHOTO: bacciardi turriani


biographical timeline 1979 Born in Trento, Italy. Lives in Paris, France 2000 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 MATTEO FRANCESCHINI

FUTURE PROJECTS Menu (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.

Notwithstanding his youth, Matteo Franceschini already boasts a substantial and multi-facetted catalogue, often enriched by successful 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.




selected works Da 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.

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)

 PHOTO: roberto masotti

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 perceptive logic, giving rise to an experience of great acoustic impact with profound intellectual and sensorial charm.

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biographical timeline 1956 Born and lives in Milan, Italy 1981-1983 Works as an assistant to Berio 1990 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 international 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 Lachenmann 2011 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 composition at the Musikhögskolan in Malmö in Sweden






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 projects Dolphins 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 timeline 1977 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 Prize 2005 Internationaler Wiener Kompositionspreis (the Claudio Abbado Composition Award) 2006 BBC Proms debut with Crushing Twister 2007 Schleswig-Holstein Music Festival’s Paul Hindemith Prize 2008 Special Prize from the Giga-Hertz-Award 2009 OTAKA prize for Secret Forest and Akutagawa Award for I am... 2010 Exxon Mobile Prize



selected works Reach 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 min But, 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 percussionists – 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.

 PHOTO: AI ueda

Fujikura’s music is bold, daring, energetic, colourful and thrilling to play and to hear. He has compared it to Japanese food: the combination 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.




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

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biographical timeline 1934 Born in Anderny, France. Lives in Paris, France and Zuzemberk, Slovenia 1947-1955 Lived in Ljubljana, Slovenia, where he made his debut as a jazz musician 1955-1959 Studied trombone at National Conservatory in Paris 1960-1963 composition and conducting with Leibowitz; further studies with Berio Since 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 Fiesole 1995 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



selected works Tribadabum 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.

 PHOTO: stefan forster

One of the central figures of 20th century’s music and its interpretation, 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 complete 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.




biographical timeline 1952 Born in Neustadt/Weinstraße, Germany. Lives in Frankfurt/ Main, Germany 1975 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 Schauspiel 1982 Founded the experimental rock group “Cassiber” 1997-1998 Guest professor for composition at Hochschule für Musik, Karlsruhe 1999 Professor at the University of Giessen (Angewandte Theaterwissenschaften) 1986, 1992 and 1996 Prix Italia 1988 German recordings critics’ prize (Golden Needle of Honour), 1991 Prix Futura 1993 Hessischer Kulturpreis 2001 European Theatre Award “New Theatrical Realities” 2002 Goethe-Plakette of the City of Frankfurt 2003 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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selected works Befreiung (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 Mezzosoprano, 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*

 PHOTO: rumpenhorst

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 dissertation 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.



selected works She 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*


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biographical timeline 1956 Born in the China’s Sichuan province. Lives in Beijing, China 1978 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


In contrast to many of his fellow countrymen, Guo Wenjing has chosen 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, blending 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.

 PHOTO: all rights reserved






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Future projects Lieder 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 timeline 1948 Born in Rome, Italy. Lives in Paris, France 1978-1980 Resident at the Villa Medici in Rome 1991 World premiere of Château des Carpathes at the Opéra national de Montpellier 1998 Prix SACEM de la Musique Symphonique 1998-2000 Residency with the Orchestre national de Lyon 2004 Dedication of the Présences à Radio France Festival to Hersant 2005 and 2010 Composer of the year at “Victoires de la musique” in France 2006 World premiere of Le Moine Noir at the Leipzig Opera 2007-2009 Residency with the Orchestre national des Pays de Loire 2008-2010 Residency with the Orchestre de Bretagne where his Concerto for piano and Concerto for violin were premiered


selected works Concerto 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 Mezzosoprano 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.

 PHOTO: a. yanez

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.




Future projects Sit 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 timeline 1964 Born and lives in London, UK Student of composition and piano at the Royal College of Music 2000 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 works Cloud 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, violoncello 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.

 PHOTO: mykel nicolau

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.




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.

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biographical timeline 1924 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 Berlin 1959 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 Basle 1969 Founds the International Composers Seminar in Boswil, Switzerland 1970 Beethoven Prize of the City of Bonn, 1978 Art Prize of the City of Basel 1973-1990 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 professor 2000 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 SiemensMusic Prize

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selected works Erniedrigt – 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 CounterParadigm 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.

 PHOTO: stefan forster

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.




future projects Rimembranze (in progress) for orchestra commissioned by the Hungarian National Cultural Fund (2011) Three new compositions for small chamber ensembles comissioned by Kaposvár International Chamber Music Festival (2011)

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biographical timeline 1943 Born in Szolnok, Hungary. Lives in Budapest, Hungary 1961-1968 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 collaboration 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 ISCM 2001 Awarded the Kossuth Prize by the Hungarian state 2005 First complete performance of Funeral Rite by the National Philharmonic Orchestra and Choir conducted by Zoltán Kocsis, in Budapest



selected works Alef – 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.

 PHOTO: andrea Felvégi

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 compositions, 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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selected works String Quartet, Op. 1 (1959) – 14 min. Games (in 8 volumes) (1975-) for piano, piano four hands, two pianos – varied duration Messages 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.

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 projects Fin de partie (in progress) opera based on the play by Samuel Beckett commissioned by the Salzburger Festspiele (2012-2013)

 PHOTO: andrea Felvégi

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 listener 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.

biographical timeline 1926 Born in Lugos (Lugoj), Romania. Lives in St. André de Cubzac, France 1946-1955 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 state 1981 World premiere of Messages of the Late Miss R.V. Troussova, op. 17 given by the Ensemble InterContemporain, in Paris 1985 Awarded the title Officier des Arts et des Lettres by the French state 1987 Member of the Bayerische Akademie der Schönen Künste, Munich, and member of the Akademie der Künste, Berlin 1993-1994 Composer in Residence with the Berlin Philharmonic 1994 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 France 2006 Grawemeyer Award for …concertante… Op. 42 (University of Louisville) 2009 World premiere of Colindã-Baladã Op. 46 in Cluj (Romania)






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)

biographical timeline 1975 Born in Venice, Italy. Lives in Paris, France 1998 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 Montreal 2005 World premiere of Songe de Médée at the Opéra national de Paris, choreography by Angelin Preljocaj 2008 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 Medici 2009-2010 Residency at Akademie Schloss Solitude (Stuttgart)

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selected works Barocco (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.  PHOTO: all rights reserved

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.




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

biographical timeline 1968 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 Rome 2004-2006 Teaches orchestration at the Hochschule für Musik Hanns-Eisler in Berlin (Germany), 2004 Förderpreis from the Ernst von Siemens Foundation for music Currently he is Assistant Professor of Composition at Columbia University in New York (USA)


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selected works Tre 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.

 PHOTO: mutesouvenir i bienert

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 immediately 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 importance 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.




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.

biographical timeline 1966 Born in Perth, Australia. Lives in Manchester, UK 1991 Lecturer of composition at Melbourne University 2003 Featured composer at both Musica Nova in Helsinki and the 09(03) Festival in New Zealand 2001 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 Berlin Presently Professor of Composition at Huddersfield University, UK

Future projects Gyfu [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)

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selected works The 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 (19992000) 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.


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 modernist 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.




biographical timeline 1956 Born in Madrid, Spain. Lives in Madrid, Spain and in Paris, France 1990-1991 Composer in the Ircam-Centre Pompidou cursus 1996 Resident at the Villa Kujoyama in Tokyo 1997 Graduate of the Spanish Academy of Fine Arts in Rome 2007-2010 Director at the Auditorio Nacional de Musica in Madrid

José Man u el Ló pez Ló pez


selected works Concerto 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.

 PHOTO: a. lazo

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 spectral music. His sensitivity is a model of balance between intuition and knowledge and contributes a great deal to making his work influential.




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 project La Nuit de Gutenberg, opera (2011)

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biographical timeline 1952 Born in Tulle, France. Lives in San Diego, USA and Paris, France 1987-1991 World premiere of Jupiter, Pluton, Neptune. Years of collaboration with Miller Puckette at the Ircam-Centre Pompidou. 1995 Residency with the Orchestre de Paris 1998 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 Paris 2001 Publication of Va-et-Vient, discussions with Daniela Langer, Musica Falsa, Paris 2001-2003 Residency at the Scène nationale d’Orléans Since 2004 Professor of composition at the University of California, San Diego, USA



selected works Jupiter (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.

 PHOTO: all rights reserved

Philippe Manoury is bequeathing a particularly rich legacy to the generations to come. But it is hard to say which of his many attributes 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 interaction 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.




biographical timeline 1966 Born in Monaco. Lives in Paris, France 1983-1989 Collaboration with John McLaughlin 1995 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, Rome Since 2005 Professor at the Ircam-Centre Pompidou cursus



selected works Metallics (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.

 PHOTO: patricia dietzi

For the past fifteen years Yan Maresz has been writing jewels of modern 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 perfectionism of “current music”. His sophisticated taste for tone combinations has made him a ready explorer of harmony and progressive orchestrations. All of these qualities put together draw the portrait of an incontrovertible figure in the world of contemporary music.




biographical timeline 1958 Born in Buenos Aires, Argentina. Lives in Paris, France 1986 Charles Ives Award from the American Academy and Institute of Arts and Letters 1989 World premiere of Miracle secret at the Festival d’Avignon 1995 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 Paris 2010 Professor of Composition at the Aubervilliers / La Courneuve Conservatory (France)



selected works Le 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.

 PHOTO: patricia alia

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 fellowcountryman 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.




biographical timeline Mort puis né Nez puis crochu Chut !



selected works La 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.

 PHOTO: olivier roller

“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.




Future projects The 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*

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biographical timeline 1968 Born in Graz, Austria. Lives in New York, USA 1987-1993 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 Berlin 1999 Förderpreis der Ernst von Siemens-Stiftung; Hindemith-Prize 1999 “Ernst Krenek-Preis” for Bählamms Fest 2000-2001 Composer in Residence with the Koninklijk Philharmonic Orchestra of Flanders in Antwerp 2002 Together with Pierre Boulez composer-in-residence at the Lucerne Festival 2006 Elected a member of the Academy of the Arts, Berlin 2008 Awarded with the Heidelberg Artist Prize 2010 Austrian State Prize


r i cordi municH

selected works Aufenthalt (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.

 PHOTO: bienert

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 systematic 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 compositions demand a reevaluation of everyday values, even when there seems to be nothing to question.




Future project Flügelschlagvariationen – Act III: Dresden collective music theater work in five acts on the life of Robert Schumann (20102011) – FE*

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biographical timeline 1972 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 Stuttgart 2008 Audience Prize of Pythian Games in St. Petersburg He 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 works Canto 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.

 PHOTO: all rights reserved

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 subjective, 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 compositional work.




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 timeline 1957 Born in Trieste, Italy. Lives in Aldersbach, Germany 1973-1981 Studies in composition and piano at Conservatory of Music in Trieste where he graduated 1977 Specialized in composition with Witold Lutoslawski 1978-1981 Accompanies Elisabeth Schwarzkopf on the piano. In the 90s he plays with Barbara Hannigan 1997 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



selected works 5 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.

 PHOTO: ostrouska

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 sobriety 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 expressionism that balances on the inscrutable threshold between the conscious and the unconcious, between wakefulness and sleep.




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

biographical timeline 1960 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



selected works Ma’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.

 PHOTO: melina mulas

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 sections, 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.




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 Projects Épures du serpent vert III for large ensemble (2011) New work for ensemble and live electronics (2011)

* Full Evening

biographical timeline 1941 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 Stockhausen 1971 “Premier Prix d’Ésthétique Musicale” at the Paris Conservatoire 1980 “Journée Emmanuel Nunes” in Paris (Radio France) Since 1981 Director of the composition seminar at the Gulbenkian Foundation in Lisbon 1982 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 president Since 1992 Professor of Composition at the Paris Conservatoire 1996 Awarded Dr. h.c. by the Université de Paris VIII 1999 Received the UNESCO CIM-Prize, and in 2000, the Pessoa Prize 2008 Debut performance of his opera Das Märchen at the Opera Nacional de S. Carlos in Lisbon


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selected works Minnesang (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.

 PHOTO: stefan forster

Emmanuel Nunes is one of the most important composers of his generation, 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 movements 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 complexity. 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 accomplished 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 veritable cathedrals. The light which they radiate and which touches us comes from a great distance and is like no other.




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

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biographical timeline 1970 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, Bremen 2003 First Composition of the Elisabeth-Schneider-Stiftung, with Ensemble Aventure Freiburg 2004 Invitation to Israel for a concert of the Israelian Chamber Orchestra (cond. Noam Sheriff) 2006-2007 Scholarship from the German Academy Casa Baldi, Rome 2008 Scholarship from Berlin senate for a six-month-stay in Paris


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selected works Anín (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.

 PHOTO: stefan forster

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 synthesis 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, OdehTamimi 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, conquering 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.




Future projects HOHES UND TIEFES LICHT double concerto for violin, viola and orchestra (2011)

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biographical timeline 1945 Born in Cheongju, South Korea. Lives in Bremen, Germany and in Panicale, Italy 1965-1971 Studies at the Seoul National University, then moves to Germany on a DAAD scholarship 1974-1979 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 Korea 1980 1st Stuttgart Composition Prize 1980-1981 scholarship at the Südwestfunk’s Heinrich-StrobelStiftung, 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 Berlin 2011 Medal for Arts and Sciences of the City of Bremen Senate



selected works MAN-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 Mezzosoprano 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 (20002001) 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.

 PHOTO: si-chan park

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 timeline 1950 Born and lives in Paris, France 1989-1996 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


selected works Le 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.

 PHOTO: pascal dhennequin

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 composers who are committed to performing their own music and that of their contemporaries on stage and in the studio.




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

biographical timeline 1951 Born in Baden-Baden, Germany. Lives in Cologne, Germany 1971 Studies with Fortner, 1973 with Stockhausen 1977 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 Mönchengladbach 1985 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.

r obe rt hp pl atz


selected works Grenzgänge 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.

 PHOTO: Susanne Diesner

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 dozens 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 experience, depicting the world as it appears to the composing subject, as fully as possible.




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)

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biographical timeline 1969 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 algorithmic composition at the Technische Universität Berlin and at the ZKM Karlsruhe 1996 Studied at the Cité Internationale des Arts in Paris Since 1998 Musical director of ensemble mosaik; that same year Boris-Blacher-Preis 2001 Stuttgart Composition Prize and Förderpreis of the Ernst-vonSiemens-Musikstiftung, together with ensemble mosaik 2002 Busoni-Preis of Akademie der Künste Berlin 2002-2004 Gives lectures in composition at Hochschule für Musik “Hanns Eisler” in Berlin 2004 Förderpreis of the Ernst-von-Siemens-Musikstiftung 2005 Schneider-Schott-Music Prize 2006 Förderpreis Musik of the Akademie der Künste in Berlin 2009 Christoph-und Stephan-Kaske-Preis Since 2008 Member of Akademie der Künste Berlin 2009 of Nordrhein-Westfälische Akademie der Wissenschaften und der Künste and 2010 of Bayerische Akademie der Künste.

e nn o pop pe


selected works Knabenträume (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.

 PHOTO: mutsouvenir i bienert

With an extraordinarily fresh attitude, Enno Poppe successfully demonstrates to his ever-growing audiences just how approachable and fascinating today’s music can be, without catering to the well-established expectations of his listeners. In a highly original way, he builds on the results of his thorough explorations in the fields of alternative 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 dramatic, even magical moments.




Die schrecklich-gewaltigen Kinder (2003) for Coloratura Soprano and large ensemble – 63 min. Fremdling, rede (2003) for Mezzosoprano, 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 soundtrack – 25 min.

Future projects Lenz 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*

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biographical timeline 1937 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. Subsequently 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 1972 1968 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 Prize 2002 The town of Hanau’s Hindemith Prize 2010 Elected as a member of the Berliner Akademie der Künste


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selected works He, 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.

 PHOTO: Stefan forster

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 represent 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 addition to his own very personal viewpoints and ingredients. Without positioning himself in either historical or more recent compositional 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.




biographical timeline 1940 Born in Győr, Hungary. Lives in Nagykovácsi, Hungary 1961-1966 Studied composition with Endre Szervánszky at the Ferenc Liszt Academy of Music, Budapest 1970 Foundation of the New Music Studio in Budapest, with Zoltán Jeney, Péter Eötvös, Albert Simon and László Vidovszky mid-1970s Began formulating a special pedagogical and improvisation 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 Award 1996 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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selected works Catacoustics (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.

 PHOTO: andrea Felvégi

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.




Future projects Flügelschlagvariationen – Act I: Zwickau collective music theater work in five acts on the life of Robert Schumann, libretto by Klaus Angermann; concept: AnjaChristin Winkler (2010-2011) – FE* Spuren)(Suchefor 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 timeline 1964 Born in Dessau, Germany. Lives near Kehl am Rhein/ Strasbourg 1976 Beginning her education in the Childrens Composition Course at Halle 1983-1987 Composition studies with Udo Zimmermann at Dresden Musikhochschule, works in the Dresden electronic studio 1988-1991 in Paul-Heinz Dittrich‘s composition master class at the Akademie der Künste Berlin 1990 Hanns Eisler Prize, from Deutschlandsender Berlin 1995 Composition teacher at the Brandenburg New Music Colloquium 1998 Heidelberg Artists Prize, 1999 Scholarship at the Deutsche Akademie‘s Villa Massimo in Rome 2000 Scholarship at the Akademie Schloß Solitude, Stuttgart Since 2007 Composition teacher at the Festival musicalta Rouffach/ France 2010 Elected regular member of the Saxonian Academy of the Arts


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selected works Bei 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.  PHOTO: matthia creutziger

Annette Schlünz has proved to be a constant creator of poetically 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 widestretched 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.




biographical timeline 1957 Born and lives in Paris, France 1984 Prize-Winner of the Antidogma International Composition Competition 1990 Prize-Winner of the first Henri Dutilleux Competition in Tours 1992 World premiere of Feuillages by the Ensemble Intercontemporain in Paris. Further concerts in numerous European capitals 1993 Prize-Winner of the Fondation Natixis/Banque Populaire/ Crédit National 2000-2001 Residency with the Orchester der Beethovenhalle in Bonn, Germany 2008-2010 Residency with the Orchestra national de Montpellier, France 2011-2012 Residency with the Orchestre Lyrique d’Avignon, France



selected works Tree 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.

 PHOTO: philippe gontier

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 catalogue explored by the greatest contemporary interpreters.




Let Me Sing into Your Ear (2010) for basset horn and orchestra – 26 min. FUTURE PROJECTS Re Orso , theatrical work, based on a text by Arrigo Boito to be premiered at the Opéra Comique Paris (2012)

biographical timeline 1959 Born in Verona, Italy. Lives in Paris, France 1980-1984 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 IrcamCentre 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



selected works Traiettoria (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.

 PHOTO: MAURO fermariello

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.


(1921 – 2007)


biographical timeline 1921 Born in Szászváros (Orăştie), Romania 1939-1948 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 BBC 1987 Honoured with the title “Commandeur de l’Ordre des Arts et des Lettres” by the French Government 1988 World premiere of String Quartet commissioned by the Orlando Festival, Holland 1993 Fellow of the Széchenyi Academy of Letters and Arts 2007 Awarded the Széchenyi Prize by the Hungarian state Died in Budapest, Hungary



selected works Concerto 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.

 PHOTO: andrea Felvégi

One of the most important composers of post-Bartók Hungarian music, András Szőllősy is the oldest member of the generation represented 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 timeline 1942 Born in Geneva, Switzerland. Lives in Paris, France and in Montreux, Switzerland Since 1970 Guest conductor for the most prestigious orchestras 1976-1979 Musical Director of the Ensemble Intercontemporain, Paris 1984 Founder of the Mediterranean Youth Orchestra 1989 World premiere of La Légende de Haïsh’ for the bicentennial celebration of the French Revolution 1991 World premiere of Le cri de Mohim for the 700th anniversary celebrations in Switzerland Since 2  005 Musical Director of the Noord Nederlands Orkest Since 2008 Musical Director of the Brussels Philharmonic 2008 Published De la musique avant toute chose with BuchetChastel, Paris

m ic he l ta bac h nik

selected works Cosmogonie (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 separately: 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

 PHOTO: patricia dietzi

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 seductive work as a composer. Pursuing all of his artistic work with the refined humanism demonstrated in his aesthetic and personal loyalties, he fervently embodies the current relevance of Art music in today’s society.




Future project La  PHOTO: d’un enfant avec une trompette, opera, libretto by Michel Blanc – FE* for the Théâtre des Bouffes du Nord, Paris (2012)

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biographical timeline 1968 Born in Caen, France. Lives in Paris, France 1993-1994 Resident in the Villa Medici in Rome 1997 Hervé Dugardin Award from SACEM 2001 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 Bretagne 2004 and 2008 Composer of the year at “Victoires de la musique” in France 2004 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



selected works String 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.

 PHOTO: michel blanc

Eric Tanguy is a master of kinetic art and orchestral colour. For the last two decades, his music has been captivating the world’s greatest musicians (including Mstislav Rostropovitch, Seiji Ozawa, Renaud Capuçon and Emmanuel Pahud, among others) and the most perceptive 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.




Future projects Neptune (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 International Bartók Seminar and Festival, Szombathely (2011) Imaginary Dialogues for chamber ensemble commissioned by the New Music Studio Moscow (2011)

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biographical timeline 1956 Born and lives in Budapest, Hungary 1974-1982 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 Ensemble 2000-2004 Deputy Rector of the Ferenc Liszt Academy of Music in Budapest 2001 Bartók-Pásztory Award 2002 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 2  007 Fellow of the Széchenyi Academy of Letters and Arts 2010 World premiere of Passacaglie performed by Kim Kashkashian and Concerto Budapest Orchestra in Budapest

LÁSZL Ó ti ha ny i


selected works Silence 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.  PHOTO: andrea Felvégi

Although his music is basically of abstract origin, László Tihanyi’s work frequently features poetic elements, witty motif jokes and characters 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 construction, 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.



selected works L’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.


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biographical timeline 1949 Born in Bologna, Italy. Lives in Milan, Italy 1974 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 strings 1992 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


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 craftsmanship is clearly related to the avante-garde but constantly shows itself to be attuned to the listener’s perception. He creates a careful 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.

 PHOTO: ALL rights reserved





Future projects Reverb, new composition for piano and string quartet commissioned by Kunstfest Weimar (2011)

biographical timeline 1944 Born in Békéscsaba, Hungary. Lives in Pécs, Hungary 1962-1967 Composition studies with Ferenc Farkas at the Ferenc Liszt Academy of Music in Budapest 1970 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 Pécs 1992 Bartók-Pásztory Prize 1997 Member of the Széchenyi Academy of Letters and Arts Since 1999 Professor at the Ferenc Liszt Academy of Music in Budapest 2010 Awarded the Kossuth Prize by the Hungarian state



selected works Autokoncert (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 midipiano 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.

 PHOTO: andrea Felvégi

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 experimental 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, largescale creations, which spectacularly avoid any vestige of narrativity and which only make use of the elements of traditional musical rhetoric 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.




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

biographical timeline 1964 Born in Belfast, Northern Ireland. Lives in Co Leitrim, Ireland 1990 First D.Phil in composition to be awarded by the University of Ulster 1991 Composition prize at the Ultima Festival in Oslo 1992 Awarded the Macaulay Fellowship administered by the Arts Council of Ireland 1998 Elected to Aosdána, Ireland’s State-sponsored body of creative artists 2000-2003 AHRB Research Fellow in Creative and Performing Arts at the University of Ulster 2006-2009 Composer-in-association with California’s Camerata Pacifica ensemble 2010-2012 Associate composer with the Ulster Orchestra



selected works Messenger (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 saxophone 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 Kokoschka – 13 min. Miranda, Ariel, Umbriel (2006) for symphonic 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.

 PHOTO: Steve Rogers

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 timeline 1967 Born and lives in Belgrade, Serbia 1989-1995 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 Academy 2003 World premiere in Amsterdam of Zora D., chamber opera commissioned by the Genesis Foundation; further performance 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 Arts 2008 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

Isid ora Žeb elj an

selected works Selište (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.

  PHOTO: all rights reserved

Isidora Žebeljan shows a supreme mastery of contemporary composition techniques, enriched by luxuriant melodic invention and an unfaltering rhythmic daring. Listening to her music is a synaesthetic 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.


U n i ver sal Mus ic Pub lis hing Cl a s s i ca l a l s o p u b l i s he s w o rk s b y Alexandre Gretchaninoff André Modeste Gretry

Ahmed Essyad

Mario Garuti

Edvard Grieg

Michael Denhoff

Julio Estrada

Ulrich Gasser

Gérard Grisey

Gérard Condé

Didier Denis

Jose Evangelista

Philippe Gaubert

Erhard Grosskopf

Guillaume Connesson

Edison Denisov

Allain Gaussin

Gabriel Grovlez

Carmelo Caruso

Marius Constant

Alfred Desenclos

Manuel de Falla

John Gavall

Jean-Jacques Grunenwald

Rodolfo Bramucci

Francis Casadesus

Sidney Corbett

Roger Desormière

Fabrizio Fanticini

Giuseppe Gavazza

Adriano Guarnieri

Giulio Cesare Brero

Henri Casadesus

Ernesto Cordero

Jean-Baptiste Devillers

Ferenc Farkas

Gianandrea Gavazzeni

Sofia Gubaidulina

Riccardo Bianchini

Pierre-Onfroy de Bréville

Robert Casadesus

Arcangelo Corelli

Anton Diabelli

Gabriel Fauré

André Gedalge

Jean-Pierre Guézec

Alfred Bachelet

Manuel Blancafort

Antonio Brioschi

André Casanova

Luca Cori

Violeta Dinescu

Georges Favre

Ada Gentile

Jean Guillou

Rocco Abate

Guido Baggiani

Thierry Blondeau

Aldo Brizzi

Franco Casavola

Nicos Cornilios

Renato Dionisi

Reinhard Febel

Armando Gentilucci

Joan Guinjoan

Marcello Abbado

Sándor Balassa

Volker Blumenthaler

Gérard Brophy

Alfredo Casella

Enrico Correggia

Andrzej Dobrowolski

Jindřich Feld

Stefano Gervasoni

Manfred Gurlitt

Luigi Abbate

Árpád Balázs

Sonia Bo

Leo Brouwer

Giulio Castagnoli

Luigi Cortese

Stephen Dodgson

Brian Ferneyhough

Thomas Gerwin

Alain Abbott

Manuel Balboa

Luigi Boccherini

Michel Brusselmans

Paolo Castaldi

Colin Cowles

Friedhelm Döhl

Alain Féron

Giorgio Federico Ghedini

Reynaldo Hahn

Theodor W. Adorno

Claude Ballif

Patrice Bocquillon

Thomas Bruttger

Mario Castelnuovo-Tedesco

Jean Cras

Ernő Dohnányi

Luc Ferrari

Giuliano Ghirardi

Cristóbal Halffter

Robert Aitken

Alain Bancquart

Léon Boëllmann

Valentino Bucchi

Jacques Castérède

Carlo Crivelli

Franco Donatoni

Maurizio Ferrari

Antonio Giacometti

Ernesto Halffter

Edgar Alandia

Raffaello de Banfield

François-Adrien Boieldieu

Ferruccio Busoni

Niccolò Castiglioni

Miklós Csemiczky

Gaetano Donizetti

Luigi Ferrari Trecate

Gaetano Giani-Luporini

András Hamary

Isaac Albéniz

Ramón Barce

Jacques Boisgallais

Henri Büsser

Alfredo Catalani

Laurent Cuniot

Bogdan Dowlasz

Lorenzo Ferrero

Remo Giazotto

Charles Hambourg

Luna Alcalay

Lajos Bárdos

Arrigo Boito

Sylvano Bussotti

Umberto Cattini

Curtis Curtis-Smith

John Duarte

Pierre-Octave Ferroud

Alberto E. Ginastera

Paul Harris

Diran Alexanian

Marco Di Bari

Philippe Boivin

Alejandro García Caturla

Karl Czerny

László Dubrovay

Joshua Fineberg

Bruno Giner

Tibor Harsányi

Franco Alfano

Henry Barraud

Umberto Bombardelli

Oscar Caceres

Bernard Cavanna

Bruno Ducol

Michael Finnissy

Umberto Giordano

Paul Harvey

Miguel Alonso

Gisèle Barreau

André Bon

Sergio Cafaro

Costin Cazaban

Matteo D’amico

Hughes Dufourt

Graciane Finzi

Suzanne Giraud

Alphonse Hasselmans

William Alwyn

Pierre Bartholomée

Jacques Bondon

Giuseppe Calì

Bruno Cerchio

Gaspare D’Angelo

Antoine Duhamel

Valentino Fioravanti

Paolo Giri

Walter Haupt

Claudio Ambrosini

Béla Bartók

Mauro Bonifacio

Gérard Calvi

Friedrich Cerha

Michele Dall’Ongaro

Paul Dukas

Jean-Louis Florentz

Barbara Giuranna

Werner Heider

Gilbert Amy

Paul Bastide

Joseph Ermend Bonnal

Giorgio Cambissa

Francis Chagrin

Jean-Michel Damase

Iancu Dumitrescu

Malcolm Forsyth

Norbert Glanzberg

Volker Heyn

Pierre Ancelin

Stanley Bate

Antoine Bonnet

Charles Camilleri

Jacques Chailley

Irlando Danieli

Henri Duparc

Lukas Foss

Mikhaïl Glinka

Frigyes Hidas

Mark Andre

Franco Battiato

Charles Boone

José-Luis Campana

Luciano Chailly


Marcel Dupré

Patrice Fouillaud

Vittorio Gnecchi

Noriko Hisada

Roberto Andreoni

Francis Bayer

Charles Bordes

Nicola Campogrande

René Challan

Nguyen Thien Dao

Albert Dupuis

Jean Françaix

Benjamin Godard

Alun Hoddinott

Alfredo Aracil

Vincenzo Bellini

Daniel Borenstein

André Campra

Cécile Chaminade

Xavier Darasse

Joël-François Durand

Alberto Franchetti

Franz Godebski

Máté Hollós

Paolo Aralla

Angelo Bellisario

Fabio Borgazzi

Edith Canat de Chizy

Pierre Charvet

Jean-Luc Darbellay

Louis Durey

Roger de Francmesnil

Léopold Godowsky

Jean-Paul Holstein

Paolo Arata

Stefano Bellon

Pietro Borradori

Bruno Canino

Olivier Château

Christian Darnton

Zsolt Durkó

Renaud François

Karel Goeyvaerts

Arthur Honegger

Pierre Arbeau

Umberto Benedetti

Mauro Bortolotti

Francisco Cano

Ernest Chausson

Tamás Daróci Bárdos

Maurice Duruflé

Sandro Fuga

Stan Golestan

John Hopkins

Paolo Arcà

Xavier Benguerel

Gilberto Bosco

Joseph Canteloube

Charles Chaynes

James Dashow

Henri Dutilleux

Takashi Fujii

Antonio Carlos Gomes

Balázs Horváth

Nick Ariondo

Gerald Bennett

Hans-Jürgen von Bose

Philippe Capdenat

Qigang Chen

Claude Debussy

Alphonse Duvernoy

James Fulkerson

Adam Gorb

Alexandre Hrisanide

Sir Malcolm Arnold

Adolfo Berio

Jean-Yves Bosseur

Lucien Capet

Luigi Cherubini

Michel Decoust

Paolo Furlani

Jerold James Gordon

Jenő Hubay

Claude Arrieu

Luciano Berio

André Boucourechliev

André Caplet

Francesco Cilea

János Decsényi

Harold East

Franz Furrer-Münch

Sandro Gorli

Georges Hugon

Girolamo Arrigo

Charles de Beriot

Lili Boulanger

Gilberto Cappelli

Domenico Cimarosa

Filippo Del Corno

Ludovico Einaudi

Ida Gotkovsky

Rogelio Huguet Y Tagell

Ali N. Askin

Hector Berlioz

Frédéric Boulard

Ezio Carabella

Paolo Di Cioccio

Maurice Delage

Maurice Emmanuel

Jean Gabriel-Marie

Arduino Gottardo

Engelbert Humperdinck

Rodrigo Asturias

Émile Bernard

Pierre Boulez

Mauro Cardi

James Clarke

Maurice Delaistier

Georges Enesco

Renaud Gagneux

Enrique Granados

Jean Huré

Chantal Auber

Marco Betta

François Bousch

Francesco Carluccio

Laura Clayton

Marcel Delannoy

Manuel Enriquez

Baldassarre Galuppi

Marcel Grandjany

Walter Hus

Louis Aubert

Bruno Bettinelli

Roger Boutry

Carmen-Maria Cârneci

Aldo Clementi

Stéphane Delplace

Hans-Ola Ericsson

Andrew Gant

Eugène-Cinda Grassi

Lajos Huszár

Pietro Auletta

Louis Beydts

Timothy Bowers

Gary Carpenter

Alberto Colla

Claude Delvincourt

Camille Erlanger

Lucio Garau

Claudio Gregorat

Georges Auric

Silvia Bianchera

Attila Bozay

Edwin Carr

Henri Collet

Chris Dench

Oscar Espla

Gérard Garcin

Olivier Greif







I Jacques Ibert



Gabriele Bianchi



Zoltán Gárdonyi


Alejandro Iglesias-Rossi Federico Incardona

René Koering

Carlo De Incontrera

Vladimir Kojoukharov

Claude Lenners

Vincent d’ Indy

Ádám Kondor

Jacques Lenot

Tigran Mansurian

Manuel Infante

Petros Korelis

Ruggero Leoncavallo

Giacomo Manzoni

Alain Moëne

Désiré-Émile Inghelbrecht

Nikolai Korndorf

Bryan Lester

Tomás Marco

Albert Moeschinger

Atli Ingolfsson

Gábor Kósa

Denis Levaillant

Franco Margola

Andrea Molino

Franco Oppo

Maki Ishii

György Kósa

Sergio Liberovici

Wilfried Maria Danner

Pippo Molino

György Orbán

Michel Philippot

Hiroyuki Itoh

Wlodzimierz Kotonski

Rolf Liebermann

Jean-Étienne Marie

Frederic Mompou

Ritz Ortolani

Niccolò Piccinni

Alexander Raskatov

Zygmunt Krauze

Dinu Lipatti

Gino Marinuzzi

Italo Montemezzi

Alexandre Ouzounoff

Riccardo Pick-Mangiagalli

Horia Ratiu

François Rossé

Carlo Jachino

Franck Krawczyk

Ferenc Liszt

Rudolf Maros

Xavier Montsalvatge

Gabriel Pierné

Maurice Ravel

Renzo Rossellini

Friedrich Schenker

Michael Jacques

Georg Kröll

Paola Livorsi

István Márta

Claudio Morbo

Luis de Pablo

Willem Pijper

Irma Ravinale

Gioachino Rossini

Tona Scherchen-Hsiao

Pierre Jansen

Dennis Kuhn

Anestis Logothetis

Jean-Louis Martinet

Ennio Morricone

José Padilla

Mario Pilati

Olga Rayeva

Nino Rota

Giancarlo Schiaffini

Pál Járdányi

Gerd Kühr

Ruggero Lolini

Manuel Martinez-Sobral

Virgilio Mortari

Andrea Padova

Maurizio Pisati

Licinio Refice

Michel Roth

Christfried Schmidt

Maurice Jarre

Ladislav Kupkovič

Luca Lombardi

Vladimir Martinov

Juan-Jose Mosalini

Mario Pagliarini

Piera Pistono

Guy Reibel

Umberto Rotondi

Mia Schmidt

Christophe Looten

Bohuslav Martinu

Luca Mosca

Giovanni Paisiello

Ildebrando Pizzetti

Karel Reiner

Albert Roussel

Florent Schmitt

Paul Jeanjean

Francesco La Licata

Jorge É. López

Giuseppe Martucci

Piotr Moss

Guido Pannain

Stefan Pohlit

Franz Reizenstein

Poul Rovsing Olsen

Urs Peter Schneider

Hanns Jelinek

Helmut Laberer

Raymond Loucheur

Pietro Mascagni

Knut Müller

Marcello Panni

Emilio Pomarico

Davide Remigio

Alec Rowley

Brian Schober

Jan Jirásek

Marcel Labey

Arthur Lourie

Yoritsuné Matsudaïra

Angelo Musco

Lajos Papp

Amilcare Ponchielli

Sergio Rendine

Gysbrecht Royé

Avi Schönfeld

Maurice Johnstone

Marguerite Labori

Alain Louvier

Andrés Maupoint

François Paris

Trajan Popesco

Enrico Renna

Joshua Ruan

Francis Schwartz

Betsy Jolas

Helmut Lachenmann

Pierre Louÿs

André Mauprey

Nikolaus Nabokov

Renato Parodi

Francis Pott

Paolo Renosto

Edmund Rubbra

Kurt Schwertsik

André Jolivet

Steve Lacy

Adriano Lualdi

Giovanni Simone Mayr

Carlo Napoli

Hector Parra

Francis Poulenc

Ottorino Respighi

Madeleine Ruggli

Salvatore Sciarrino

Niccolò Jommelli

Paul Ladmirault

Alessandro Lucchetti

Jacques-Féréol Mazas

Jacopo Napoli

Ian Parrott

Denis Pousseur

Michael Reudenbach

Antonio Ruiz-Pipo

Vladislav Sciut

Joseph Jongen

László Lajtha

Witold Lutoslawski

Ian McQueen

Kazuko Narita-Yoshida

André Pascal

Walter Prati

Pierre Revel

Axel D. Ruoff

Flavio Emilio Scogna

Jörg Herchet

Edouard Lalo

Tilo Medek

Christoph Neidhöfer

Claude Pascal

Jacques de la Presle

Michèle Reverdy

Helge Jörns

Thierry Lancino

Malcolm MacDonald

Paul Méfano

Emile Nérini

Corrado Pasquotti

Claude Prey

Sugár Rezső

Victor De Sabata

Aurelio Scotto

Marcel Landowski

François-Bernard Mâche

Mela Meierhans

George Newson

Bernhard Paumgartner

Yves Prin


Guy Sacre

Humphrey Searle

Pál Kadosa

István Láng

Dame Elizabeth Machonchy

Alessandro Melchiorre

Serban Nichifor

Thierry Pécou

Charles Proctor

Paolo Ricci

Philip Sainton

György Selmeczi

Emmerich Kalman

Sergio Lanza

Tod Machover

Fernando Mencherini

Luigi Nicolini

Carlo Pedini

Carlo Prosperi

Hugh Collins Rice

Camille Saint-Saëns

Dov Seltzer

László Kalmár

Ana Lara

Iván Madarász

Gian Carlo Menotti

Stefan Niculescu

Jorge Peixinho

Bernfried E.G. Pröve

André Richard

Luca Salvadori

Carlo Florindo Semini

Alexandros Kalogeras

Thomas Lauck

Bruno Maderna

Benoît Mernier

Riccardo Nielsen

Francesco Pennisi

Cergio Prudencio

Nicolaus Richter de Vroe

Gustave Samazeuilh

Ronald Senator

Giya Kancheli

Sylvio Lazzari

Katsuji Maeda

André Messager

Joaquín Nin-Culmell

Mario Peragallo

Giacomo Puccini

Jean-Claude Risset

Aurelio Samorì

Zsolt Serei

Sukhi Kang

Paul Le Flem

Fabio Maestri

Olivier Messiaen

Piero Niro

Paolo Perezzani

David del Puerto

Jean Rivier

Luciano Sampaoli

Déodat de Séverac

József Karai

Claude Lefebvre

Dario Maggi

Patrice Mestral

Herbert Nobis

Giovan Battista Pergolesi

Damiano Puliti

Paul Roberts

Pierre Sancan

Makoto Shinohara

Noriko Kawakami

Philippe Legrandgérard

Giorgio Magnanensi

Giacomo Meyerbeer

Harold Noble

Don Lorenzo Perosi

Ludovico Rocca

Raffaele Sargenti

Gil Shohat

Roland Kayn

Jacques Leguerney

Albéric Magnard

Serra Michele

Luigi Nono

Sandro Perotti

Mestres Quadreny

Jean-Jules Roger-Ducasse

József Sári

Manuel De Sica

David Keberle

Ferenc Lehár

Mesias Maiguashca

Costin Miereanu

Mario Persico

Felice Quaranta

Uroš Rojko

Erik Satie

Roberto Sierra

Rudolf Kelterborn

Franz Lehar

Ivo Malec

Marcel Mihalovici

Maurice Ohana

Maurice Pesse

Jean Rollin

Henri Sauguet

Constantin Silvestri

Heera Kim

Kenneth Leighton

Paul de Maleingreau

András Mihály

Tiberiu Olah

Gérard Pesson

Henri Rabaud

Bernhard Romberg

Carlo Savina

Roberta Silvestrini

László Király

Édith Lejet

Gian Francesco Malipiero

Sugár Miklós

Gonzalo Olavide

Jean-Claude Petit

Horatiu Radulescu

Fausto Romitelli

Virginio Savona

Jean Simon

Miklós Kocsár

Guillaume Lekeu

Nikos Mamangakis

Darius Milhaud

Krzysztof Olczak

Jean-Louis Petit

João Rafael

Lucia Ronchetti

Alessandro Sbordoni

Roberto De Simone

Zoltán Kocsis

Dominique Lemaître

Gabriele Manca

Rosario Mirigliano

Arthur Oldham

Goffredo Petrassi

György Ránki

Peter Ronnefeld

Domenico Scarlatti

Robert Simpson

Zoltán Kodály

Aubert Lemeland

Paolo Manfrin

Francis Miroglio

Betty Olivero

Ionel Petroï

Andreas Raseghi

Joseph-Guy Ropartz

Giacinto Scelsi

Jean-Marc Singier

Charles Koechlin

Kamilló Lendvay

Franco Mannino

Mihaï Mitrea-Celarianu

Max d’ Ollone

Emil Petrovics

Victor Rasgado

Léon Roques

Boguslaw Schaeffer

Giuseppe Sinopoli

Maurice Jaubert











Giuseppe Scotese

I– S




vib Vibraphone fl Flute

b sa x Baritone Saxophone

hp Harp

Carl-Maria von Weber

picc Piccolo

bsn Bassoon

cel Celeste

Reinhold Urmetzer

Alain Weber

afl Alto Flute

cbsn Contrabassoon

hpsd Harpsichord

Vladislav Uspensky

Leó Weiner Eugen Wendel

bfl Bass Flute

hn Horn


rec Recorder

tpt Trumpet

egtr Electric Guitar



Bettina Skrzypczak

Toru Takemitsu

Giuseppe Soccio

Alexandre Tansman

Nicola Vaccaj

Jean Wiener

Michel Sogny

Cornel Taranu

Horacio Vaggione

Jacques Wildberger

Martial Solal

Vladimir Tarnopolski

János Vajda

Caroline Wilkins

ob Oboe

pictpt Piccolo Trumpet

Bgtr Bass Guitar

Alessandro Solbiati

Timothy Taylor

Ivan Vandor

Adrian Williams

ca Cor Anglais

btpt Bass Trumpet

acc Accordion

József Soproni

Alexandre Tchérepnine

Edgar Varèse

Dominique de Williencourt

Bojidar Spassov

Nicholaï Tchérepnine

Peteris Vasks

Pierre Wissmer

obda Oboe d’amore

tbn Trombone

zith Zither

Charles Spinks

Claude Terrasse

John Veale

Georges-Martin Witkowski

cl Clarinet

atbn Alto Trombone

org Organ

Gaspare Spontini

Alicia Terzian

Cristiano Vecchi

Róbert Wittinger

Gerhard Stäbler

Tonino Tesei

Pierre Vellones

Ermanno Wolf-Ferrari

Ebcl E Flat Clarinet

btbn Bass Trombone

vln Violin

Jeffrey Stadelman

Roger Tessier

François Vercken

Lucien Wurmser

acl Alto Clarinet

euph Euphonium

vla Viola

Marco Stassi

Flavio Testi

Giuseppe Verdi

Hans Wüthrich

Victor Staub

Giampaolo Testoni

Sándor Veress

Jürg Wyttenbach

bcl Bass Clarinet

tba Tuba

vc Violoncello

Christoph Staude

Maurice Thiriet

Antonio Veretti

cb cl Contrabass Clarinet

timp Timpani


Daniel Stefani

Leilei Tian

Louis Vierne

Bernard Stevens

Ton-That Tiêt

Anatole Vieru

ssa x Soprano Saxophone

perc Percussion

strb String Bass

Ernstalbrecht Stiebler

Antoine Tisne

Henri Vieuxtemps

Gyu-Bong Yi

asax Alto Saxophone

mar Marimba

Robert Still

Kasper Toeplitz

Heitor Villa-Lobos

Susumu Yoshida

Aurel Stroe

Camillo Togni

Jesùs Villa-Rojos

Douglas Young

Hubert Stuppner

Henri Tomasi

Pierre Villette

Maurice Yvain

Yoichi Sugiyama

Luigi Torrebruno

Antonio Viozzi


Horia Suriano

Paul Tortelier

Demis Visvikis

Frank Zabel

Carlos Surinach

Vieri Tosatti

Franco Vittadini

Mario Zafred

Robert Suter

Daniel Tosi

Roman Vlad

Vittorio Zago

Witold Szalonek

Giorgio Tosi

Wladimir Vogel

Riccardo Zandonai

Zsigmond Szathmáry

Péter Tóth

Toni Völker

Amilcare Zanella

István Szelényi

Charles Tournemire

André Volkonsky

Michel Zbar

Endre Szervánszky

Olivier Trachier

Emile Vuillermoz

Istvan Zelenka

Sándor Szokolay

Gilles Tremblay

Alexander Vustin

Alexander Zemlinsky

Erzsébet Szőnyi

Armando Trovaioli

Karol Szymanowski

Guido Turchi

Emile Waldteufel

Walter Zimmermann

Joaquín Turina

John Wallace

Niccolò Antonio Zingarelli

Newell Wallbank

Gérard Zinsstag

T Gabrio Taglietti Germaine Tailleferre


pf Piano

U Gianluca Ulivelli


Stephen Watson

X Iannis Xenakis


Bernd Alois Zimmermann

Double Bass

S –Z / abbr ev iation s

Yoshihisa Taïra

tsax Tenor Saxophone


© 2011 Universal Music Publishing Classical

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



López López




























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