Under the supervision of members of thed Klangforum Wien , students learn both the new solo literature, chamber music, and relevant ensemble works, as well as a thorough knowledge of the aesthetics, history, and repertoire of contemporary music.
The studies are complemented by exciting special projects. From opera to performance in collaboration with renowned composers and the IEM Graz.
The extremely lively festival and music scene in Graz and at KUG offer an inspiring environment for the implementation of innovative collaborations and experimental projects.
Programme semester concert 21.12.2020:
Klangforum Wien / PPCM Class
(Performance Practice in Contemporary Music)
Salvatore Sciarrino
- from "Quaderno di strada".
From the song cycle for baritone and ensemble No: 5, 12, 13
Bernhard Lang
- Songbook II.2 Retextured, UA
- No. II "I am a knot"
Text Christian Loidl
- No. III "As the Saying goes"
Text Sperl
Olga Neuwirth
- "Last Highway" Suite
From the opera "Last Highway".
PPCM Class
Lea Moullet, violin
Alona Pynzenyk, violin
Silvija Ciuladyte, viola
Anna Grenzner Metheu, cello
Leo Morello, cello
Aleksandra Skrillec, flute
Shino Saito, flute
Jennifer Seubel, flute
Felix Martl, clarinet
Katherine Oseid, Saxophone
Petra Horvat, Saxophone
Andraz Frece, Accordion
Filip Novakovic, Accordion
Yuki Murakami, Piano
Ana Ostojic, Piano
Mihael Toma, Tuba (Substitute)
Daniel Dundus, Electric Guitar (Substitute)
Dakota Wayne, Electric Bass (Substitute
Contributors:
Holger Falk, baritone
Peter Plessas, live electronics on "Lost Highway" commissioned by IEM Graz
Yalda Zamani, CONDUCTOR
Ulla Pilz, moderation
Soloists on "Lost Highway"
Bernhard Zachhuber, clarinet (Klangforum Wien)
Katherine Oseid, saxophone (PPCM)
Mikael Rudolfsson, trombone (Klangforum Wien)
Yuki Murakami, piano (PPCM)
Filip Novakovic, accordion (PPCM)
Daniel Dundus, electric guitar (KUG student)
Klangforum Wien
Dimitrios Polidoidis, viola
Andreas Lindenbaum, cello
Paul Salomon, double bass
Markus Deuter , oboe
Bernhard Zachhuber, clarinet
Johannes Feuchter, clarinet
Lorelei Dowling , bassoon & contrabass
Anders Niqvist, Trumpet
David Schmidt, Trumpet
Christoph Walder, Horn
Mikael Rudolfsson, Trombone
Daniel Holzleitner, Trombone
Björn Wilker , Percussion
Lukas Schiske, Percussion
Technical staff
MUMUTH
Ulrich Gladisch, sound
To be announced, camera
Alexander Zwierzina, live stream
To be announced, lighting
Ursula Fleischhacker, stage
Alexander Wiedenhofer, stage
Klangforum Wien
Jürgen Semlitsch, Schedule & Coordination
Matthias Meinharter, Orchestra Warden
Alexander Steininger, Orchestra Warden
Salvatore Sciarrino - Quaderno di Strada
Playing this music means, above all, rediscovering the power of suggestion. Of course, its formal perfection, the search for timbre, originality also count. Nevertheless, what I mean here goes far beyond the normal expressive power of the notes. We are led by the music to the threshold of silence, where our ear sharpens and the mind opens to any sound event as if hearing it for the first time. Perception is thus renewed and listening becomes an emotional event.
Should we call such an experience direct (or deep) communication?
Without going back to Orpheus and the mythical origins of music, one must probably refer here to disciplines that are currently remote from musicology: psychoacoustics, music therapy, or studies of animal language.
The purpose of a notebook is also its purpose: to fill with words and signs. Or: when you have discovered the world, decided to keep a small part of it for yourself, the notebook is closed and put aside.
From the debris of lost wholeness, other contexts, other paths are formed. From this I draw the means to create my music and these titles that amaze so many people. I own numerous magazines with lyrics, magazines with titles. What I collect has not only literary origins, but it also comes from orality, as well as from inscriptions or graffiti on walls.
The booklet accompanies me every day and complements itself in the metaphor of the journey. We could succumb to a mistake if we believed that this metaphor follows us everywhere; no, we are, perhaps, its shadow.
quaderno di strada is dedicated to Otto Katzameier and to Klangforum Wien .
Salvatore Sciarrino
(Translation from Italian: Mirella Stefani)
From: Konzerthausprogramm cycle Klangforum Wien, 3rd concert. 8.12.2003.
Olga Neuwirth's stage work Lost Highway
(libretto by Elfriede Jelinek and the composer based on a screenplay by David Lynch and Barry Gifford) was premiered on the occasion of steirischer herbst in Graz on October 31, 2003. As in other works by Neuwirth, the focus here is on an examination of the questionable reality of perception: the approach of deconstructing images and sounds through a discourse of perception in order to show the logic of their functioning at the same time as their manipulability makes essential aspects of the original screenplay - such as the replacement of the goal-oriented narrative by a logically incomprehensible course of action interspersed with time loops - usable for the stage and thinks its implications further on a musical level. For her suite, the composer has extracted some striking passages from the stage work and connected them with newly composed transitional passages. Although the sequence of the individual excerpts is oriented to the course of the stage action and is even linked to the opening and closing scenes of the musical theater, the plot no longer plays any role beyond that. It is replaced by the multi-layered play with the perspectives of differentiatedly elaborated sounds: the music played live is interwoven with sampled and live-electronically processed sounds to form a constantly changing soundscape, whose enormous plasticity becomes perceptible as a sequence of suggestive sound images.
(Stefan Drees)
