News

SonoMania – “Voyage” Interview

The beginning of winter brings not only cold weather and running noses, but also a boost in the Bucharest contemporary music stage, with the start of the MERIDIAN International Festival (read the whole program HERE). During the festival, SonoMania new music ensemble will perform, on December 4th 2013, VOYAGE, a concert with works by the young generation of Romanian composers, realized in partnership with CIMRO. On this occasion we’ve invited the young artists that participate in the concert to answer some questions about the contemporary academic music world and what they expect or take from it. Without further ado, here are their answers.

***

Some of you are still students, some are already established artists, nationally and internationally. What has determined you to start working in the new music field and what is it that keeps you going?

Gabriel Mălăncioiu (composer): Meeting Remus Georgescu and hearing a concert of contemporary music played by Trio Contraste were very important factors for my musical development.

Diana Rotaru (composer): I was very skeptical at first of this “contemporary music”, I didn’t listen to it until I was 15 or 16 years old. My mother, being a composer, had a lot of recordings, and so I gradually started to explore this new domain, starting with her works. And when I was hooked, I was hooked for good. At some point I listened to a CD of this Swedish ensemble, peärls before swïne experience, and I was surprised to see that, in its essence, no matter what the general audience may think, new music is mostlyFUN. Fun to write, fun to play and fun to hear. Even when it’s tough or deep or visceral or hallucinatory, once it grabs you it never lets you go. And this is why I’ll keep doing this, no matter the difficulties.

Raluca Stratulat (violinist): I first discovered what contemporary music feels like after I graduated. What made me want to do it seriously was the idea that haunted me for some time, that is that people often misunderstand contemporary music, and that the fault for that may very well be the performer’s (being one myself). Nobody forces you to accept to play something, and if you accepted to play it, then it’s only in your nature as a performer to search the perfect way to express it and to reach to as many people as possible. What keeps me going is the constant novelty of this kind of music, and the wish to continuously be a complete musician. The means of expression contained in this area of music (which is almost impossible to describe in words because of it’s immense mixture of genres) helped me improve my violin technique, my acting skills, it significantly widened my artistic horizon, made me want to always discover for new things, and finally, this music is an important part of what I mean today as a musician. 

Octavian Moldovean (flutist): Music has a lot to offer, as much as it has a broad spectrum of possibilities. As artists, we are built to seek diversity more than regular people do. In addition, a complete artist should have a performance repertory as wide as possible. In this way, new music proves to be both a challenge and a curiosity switch. I find contemporary music to be useful and interesting. It attracts me because of its complexity – thanks to all the miscellaneous effects and dynamics it develops instrumental technique. (For instance, after playing Ferneyhough or Takemitsu, any other classical piece feels like a walk in the park). Thus, I believe it is a matter of keeping an opened mind and broaden our perspectives with every experience that music has to offer. 

Sabina Ulubeanu (composer): I was attracted to new music since elementary school. The piano competitions included a mandatory Romanian new work which I loved and was eager to play every single time. When I was 8 years old, I was assigned a  piece by a living composer who came into the class and gave me indications and advice. It was a fascinating experience for me and it made me love the new music even more. Of course, now everything I played back then sounds so „normal” and even mainstream, but in those times when the repertoire was mainly baroque, classical and romantic, it was  a very welcomed variation. Later I decided to try to compose my self and it became addictive. I realised the new music and the new sounds are a necessity for me, I just have to let out every wave that haunts me. 

Eugen Bogdan Popa (cellist): Although it was not an exclusive choice regarding that music, my motivation has been, since the beginning, the sincere interest for the contemporary language and for the performing means it develops. My activity in that regard started about 10 years ago, when I received the honouring invitation from composer Dan Dediu to be a member in the PROFIL ensemble. The approach I made ever since to the new music also influenced my Ph.D. research, and being part in other newer ensembles, such as PROPULS and SONOMANIA keeps offering me possibilities to express as a musician in a field of ever growing interest, so I let myself be challenged and inspired! 

Maria Chifu (bassoonist): I felt a real need to grow, and new music offered me that unique joy of experimenting and surpassing my own limits, of being one step beyond of what had been created so far.

Sebastian Androne (composer): Stravinsky’s „Rite of Spring” was the trigger in my case. I’ve listened to it in highschool with my jaw on the floor, hardly believing that a piece of music can have such a humongous expressive force. Later, while I was still grasping the idea that the XXth century music merely expands the expressive pallet of the universal music, drilling into unexploited fields, I’ve come across another composition that blew my mind: Penderecki’s „De Natura Sonoris”. Gradually I realized that through art objects (a painting, a novel or a symphony for example), one can manifest his/her own view and attitude of his/her time. Why should I choose the unchangeable past when I can try to understand my own present and add my contribution to the future? 

Ana Giurgiu-Bondue (composer): I am a composer but also a pianist and a harpsichordist. As an interpret, I play very different musics, from baroque to contemporary. So, my interests in music are many and varied. I started to compose very early, even before knowing the musical notes, when I was around 5 years old but I decided quite late to be a composer. Nevertheless, composition is now for me a necessity, a permanent need to create and re-create my reality.

Gabriel Mălăncioiu ©  Stefan Firca

Diana Rotaru © Stefan Firca

Do you think that contemporary music in Romania benefited from a perceptible interest growth in the past few years, or do you think it remained mostly the same as it was after 1989? 

Gabriel: I can see some good signs in the later years: the composition workshop during George Enescu Festival is a very useful idea, helping young composers to get in touch with internationally recognized composers, the appearance of New Music Festivals like InnerSound is certainly giving a fresh look to our contemporary musical scene; another good sign is the emergence of ensembles dedicated to playing contemporary music in various cities: Sonomania Ensemble in Bucureşti, Ad-Hoc Ensemble in Cluj, Atem Ensemble in Timişoara to name just a few. 

Diana: I definitely think there are some changes, especially in the independent field. A lot of new people involved, a lot of events and a growing public for experimental music. This did not happen when I was a student. Still, we have a long way to go until we reach the level of other European centers, even the small ones, and our improvement should start with more funding and more respect for new music artists, especially the younger ones. 

Raluca: Yes, I think things have considerably changed since 1989, but I always believed that the more we musicians gain interest in it, the more the rest of the people will. So if we really want to gain more public, then we have to become truly in love with the new music ourselves first. 

Octavian: Hard to compare, since I came to exist precisely in ’89. However, I can say that compared to a few years ago, Romanian new music has grown. A reason for this growth is the solid tradition of several modern age composers such as Anatol Vieru, Aurel Stroe, Sigismund Toduta, Theodor Rogalsky, Constantin Silvestri and many more others. These people left a valuable heritage of works, establishing an inspired perspective for the living composers today. For example, Doina Rotaru is appreciated all over the world for her compositions. I had the privilege to work with Mario Caroli, one of the leader instrumentalists in new music, who is constantly playing Mrs. Rotaru’s creations. Henceforth, I find that young composers should become aware of our native predecessors and maintain a national tradition as much as they learn to express themselves. 

Sabina: Immediately after 1989…no, the interest did not raise.  But in the last few years it did. My explanation is simple: the involvement of new media, such as video, photography, contemporary dance  and electronics, attracts a new kind of public,  people that perceive art as a whole and develop a taste for new music with the help of visuals. And they don’t come only to syncretic shows, but begin to fill the concert halls even when only music is present. 

Maria: It surely did. I notice this each year in the increasing number of people in the concert halls and in the unconventional spaces, in the appearance of new festivals – which was absolutely necessary -, in the growing interest of composers and performers from abroad and in their reaction towards Romanian contemporary musical creation. Anyway, if one desires a boost of this impact, I think it’s necessary to have a more intense creative input, as well as a much better distribution towards the potential receptive audience. 

Ana: I think it is a huge difference between these two periods, the situation exactly after ’89 and nowadays times. The new generation of Romanian musicians is extremely concerned to discover new art forms and to conquer, at the same time, a new public. I think a very important aspect in promoting new music is establishing a really interactive dialogue, work and experimentation between musicians and other arts and artists, even scientists, as well as a better communication between different generations. When I helped Adina Dumitrescu and Catalin Cretu to create Opus in 1998, this was our goal. I was very happy to find some of these ideas embodied into another form, the InnerSound Festival. I think that, at the moment, the idea of Team work is vital for the future. Nobody works in science nowadays on their own, but in a team. But this implies patience and giving up one’s personal pride and rigid conceptions.

Raluca Stratulat © Mihai Cucu

Octavian Moldovean

Do you think chamber music still has a place in the new music field, or did it became anachronistic in comparison with all the new technologies? 

Gabriel: Yes, I think chamber music is the first choice for many composers. I don’t think chamber music will ever became anachronistic in comparison with new technologies, but, certainly, it can be enhanced by the electronic medium. 

Diana: I think it does. There is still that irreplaceable quality of a human being touching a string or a flute that I doubt will go out of fashion. Working with multimedia or electronic devices is fascinating and opens whole new worlds, but I don’t think that these means of expression should exclude the “traditional” ones. 

Raluca: I like to believe that chamber music will never seize to exist regardless of the age we live in, and I also believe that all the new technologies that are used today can only help it to evolve or if you like help it transcend it’s status. Chamber music is my first love, and I think it is an important part of every musician’s life, one that cannot be dispersed without the risk of losing one’s identity. Chamber music is not only a superior way of communication among musicians, but because more than one of them play together, it also becomes a communion, a reflection of one’s self in the others and vice versa, and not lastly a supreme being in which one seize to exist as an individual, to become part of something greater. So yes, I think we will always feel the need of chamber music, because it’s a part of our human nature translated into music. 

Octavian: Regardless of how much technology would develop, people will still need the energy that flows in the concert hall during a performance. It is a chemistry between the transmitter and receiver, bounding that a machine or computer could never make. Solo playing can become boring, and orchestra requires a lot of organizing and it usually is expensive. Chamber music has a greater chance to thrive because it offers a more intimate approach to the music. It has the advantage of being more accessible for composers and the audience. Moreover, chamber music enhances solo performing and dialogue better than orchestra playing does. 

Sabina: Chamber music will never die. Even the new technologies are made by people! and these people play together: a composition for 2 computers is still chamber music. Chamber music means interaction, attention, empathy and a whole range of feelings. Also, the public and the players need variation. We need to hear classical music, contemporary music, made with a few instruments, made by a  big symphonic orchestra or  electronics. So I am positive that chamber music cannot be anachronistic. 

Eugen Bogdan: Chamber music will always exist in any type of new music. I strongly believe that the dialogue, as a valuable principle, will always be a key to understanding music, regardless of the specific era in which music was created. The topic is extremely debatable, but regarding the impact on new technologies, I don’t think it creates a situation of exclusion or marginalization of chamber music, but quite the opposite, it enhances it.

Maria: I am certain of it. For me, contemporary music is the sum of the multiple states a human being can feel, if the composer manages to convey their message to the audience. I think in that case, any means of communicating ideas, immages, emotions – that everybody needs – is useful.

Sebastian: I believe that technological innovation expands certain elements of what it can later replace. But I am convinced that chamber music will not disappear due to some technologically improved replicas. The tradition of an instrument for example cannot just be erased from the collective memory and be replaced by a substitute. 

Ana: Chamber music is like a pyramidal basis in our European musical tradition. So it is impossible to consider it “anachronistic”. New technologies bring other resources,  an enormous variety of sounds, effects and creates a new possibility, a new perspective for different arts to collaborate.

Sabina Ulubeanu © Cornel Brad

Eugen-Bogdan Popa © Florin Artist

The “avant-garde” concept seems to have scared the music lovers in the past century, although this didn’t happen with the other arts. Can we still speak of avant-garde in today’s music or not? 

Gabriel: I think in the present time it’ s more a question of synthesizing the discoveries made in the last centuries. And more than that, I think that each composer tries to find his own way by going more deeply into his own psyche and then using methods, systems, sonorities, structures… that resonate with those inner discoveries, than just finding himself in an endless search of something REALLY NEW. In the same time, the  avant-garde has the role of destroying the borders created by tradition; and these two opposite  forces paradoxically coexists, even in our times.

Diana: Not really. I think we have reached the point when we don’t have to reject the past or the non-academic music, we can embrace them and try to create something sincere and original by combining all sorts of influences. That doesn’t mean that I promote kitsch or facile music, far from it. I am puzzled by young composers that are writing as if they lived at the beginning of the XXth century, or worse. I see absolutely no use in trying to copy the past; one should learn it, yes, assimilate it and tranform it into something else, something personal – and by “past” I mean the whole XXth century, with all its currents and developments, as well! 

Raluca: My opinion is that the spirit of avant-garde is proper to the art itself, whose only constant is change, the continuously hunger for novelty and finding new means of expression. It depends of what we understand through the concept of avant-garde. If we see it as a reaction to something old that is already consumed and in a dead end, I’m sure there will always be people to think that, along with people who miss the old ways, like there always have been, and not just regarding music, but other arts too and even life itself. Also, the range of today’s music is so wide that I believe we cannot speak of anything absent. Something new happens every day, only thing is that everyone sees it as they can or like, and it’s not labeled as it used to be in the past. There are too many genres to be analysed and labeled, and as many as they are, the shorter their life seems to be. One of today’s feature is that one can constantly prove itself, which didn’t seem so happen so much in the past, perhaps because of our increase hunger to consume, to live more, to experience as much as possible. And if the avant-garde concept seize to exist in today’s music, then it means we have to remove it from our vocabulary too. Therefore I think that as long as we still use it, it exist, but maybe it’s signification has changed, or gained new meanings. 

Octavian: Avant-garde can be spoken of anytime during history; and thanks to that, we’re not in the cave right now, or hunting animals with our bare hands. There have always been people that simply did not settle for the rules and regulations imposed by others within a certain time. It’s quite the same in music too: some composers strive to find uniqueness in every aspect of their creation – and they succeed. Nevertheless, there is the danger of overdoing the avant-garde: in the hazardous attempt to be original, other music creators write a lot of meaningless repertory. And that is scary, for everyone. 

Sabina: The beauty of our times is that we can choose from a multitude of facets in new music. Feeling nostalgic? Listen to Doina Rotaru. Computer virtuosity and beautiful energy? Have some Henry Vega. Want to reflect on the meaning of life? Octavian Nemescu is your guy. Do you need to develop and search your innerself in a beethovenian way? It’s time for Tiberiu Olah. So, there is time and space for everyone who has the talent to transform you and your feelings. I don’t know if it’s avant-garde or not, but I am happy with the current state of music. 

Maria: Art, as well as science, in normal conditions, develops under the light of evolution, everything progressing along with our civilization. Within the audience there are always controversies, the history has continuously known these forms of reaction, while being witness to progress. One cannot create works that bring nothing innovative, only from fear of failure or to please the audience. I have met people who were reticent towards new music, but those same people, after a while, started to understand the message of the composer and are currently coming to syncretic concerts and shows with pleasure and interest. 

Sebastian: Probably the avant-garde has had this effect on humans since always in all arts. Novelty is obsession to some and kryptonite to others. Of course we can speak of avant-garde in today’s music. There are experiments in each new music festival. Although this fact does not guarantee masterpieces it still has the potential of opening new artistic directions. 

Ana: No, I really think the concept of avant-garde is not available anymore. The Avant-garde is supposed to precede something. We cannot forget that the “avant-garde” period in 20th century had also huge political and economical aspects and enormous artistic constraints. I think now is the time for a new “Renaissance”, a new Freedom and Responsibility for the artistic (musical) gesture. Responsibility? Yes, for the creators; because art is supposed to form the sensibility. We cannot ignore the human emotional function and just address “interesting concepts and ideas” to the intellect.

Maria Chifu © Alma Ghiulea

Sebastian Androne

Ana Giurgiu-Bondue

One last question, for composers only: tell us two words about your work and how it integrates with your own artistic search and aspirations. 

Gabriel: Into this work “Linişte” , I’m using Lucian Blaga’s poem, which creates a connection with an archaic musical culture that is fascinating me in this moment.

Diana: My work is called “Play!”, a polysemantic word that means “to play a musical instrument”, “to play a role”, “theatrical performance” as well as “to play a game”. It synthesizes my musical preoccupations, as it deals with narrative elements (contrast, musical characters, development) as well as trance-like, contemplative ones. I’ve used some little theatrical elements, like the “theatre” gong that the pianist has to play, as well as a quite strict modal language and rhythms based on the Fibonacci series. Mostly though I just had fun writing it. 

Sabina: Raum und Liebe is a composition that explores my melodic world, a distinctive pattern in my creation, but also my less used harmonic interior, which I felt the need to „exercise”. Space-Time and Memory , my whole life obsessions, are the  two investigated concepts behind this music. Memory relies on affects, on feelings and on associations. Memory is therefore Love, that creates Time, Space and Presence. From the musical point of view,  Space is expressed transformative and evolutional, in its interlaced harmonic and melodic states. The harmonic paradigm becomes obsession,  ostinato,  while  melody travels from heterophony to polyphony, only to unveil the serenity of monody at the very end. I have deliberately worked  with harmony  and ostinatos and also with a more rythmical and energetic side of myself, and I have enjoyed that a lot.

Sebastian: „Le Voyage de l’Age Voy” is directly linked to Anouar Sarhan’s concert and the piece was composed to be performed in the opening of his concert. I wanted to compose a piece that would contrast his music but would still share some idiomatic traits. I was interested in expanding the expressive palette and I treated it like a real journey, a stylistic incursion into distinct and recognizable worlds of sound. One of my objectives was to create a homogenous discourse focusing on the transitions that were of great compositional interest to me.

Ana: My work “Le Feu” is written in 2012. I was very impressed by some poems belonging to a francophone poet and doctor from Haiti, Jean Metellus, poems about the 4 elements in Nature. My intention was to explore, in my musical way, the link between this metaphoric and mystical text, the voice, a melodic instrument (viola) and a harmonic instrument (piano). The form is inspired by an ancient profane cantata by Montéclair, a French composer in the 18th century. I am fascinated by the formal asymmetry in ancient and baroque music and my “narrative” approach in composition allows me to create links between some of these forms and my own musical ideas; of course, in a new context and in my personal musical language.

SonoMania’s “Voyage”

 

Music is a perpetual journey, from the composer’s colourful mind to the blankness of the page, where dreams are meticulously combed, clipped and fashioned until they become coherent form. Then it’s the performer’s turn to translate into living sound the hieroglyphics that had darkened the page, thus creating both in time and space a sound architecture. The audience is now provoked to assimilate the message in its own mental universe. This fragile act of communication repeats itself for each piece from the concert – which thus becomes a journey between musics. You are provoked to such a sound travel Wednesday, December 4th, 5 p.m., at the “Cantacuzino” Palace in Bucharest (Calea Victoriei 141). There you’ll meet SonoMania New Music Ensemble and its conductor for the evening, Alexandru Solonaru, who have chosen to focus on the new generations of Romanian composers. Each of them is different, yet each of them is connected to an undefinable yet typical Romanian expressiveness, enriched by the use of contemporary music techniques.

The concert is included in the MERIDIAN International Contemporary Music Festival, organized by the ISCM Romanian Section (director: Ulpiu Vlad). “Voyage” is supported by CIMRO and, as such, we’ll keep you updated on this event, also including on our website a short interview with the musicians involved in the concert.

PROGRAM:

Alexandru Sima – “Suite cambrienne” (2013) for oboe, bassoon, viola, cello, piano and percussion
Mihai Măniceanu – “Cadenza” (2007) for cello and piano
Ana Giurgiu-Bondue – “Le Feu” (2012) for soprano, viola and piano
Diana Rotaru – “Play!” (2007) for flute and piano
Sebastian Androne – “Le Voyage de l’Age Voy” (2010) for flute, cello and piano
Gabriel Mălăncioiu – “Linişte” (2012) for soprano and flute
Sabina Ulubeanu – “Raum und Liebe” (2012) for flute, viola, cello and piano
Vlad Maistorovici – “Khadina” (2005) for soprano, flute, english horn, violin, viola, cello, piano, harpsichord and guitar

The works:

Alexandru Sima, the youngest of the group (b.1990) uses a wide range of expressions in his “Suite cambrienne”: from darkness to light, from heterophonic weeping to percussion dance, from archaic incantations to jazz, all combined in a sort of ritual from the beginnings of the world.

An appreciated talent both as a composer and as a pianist, Mihai Măniceanu (b.1976) plays with the ironic and absurd in “Cadenza”, using the „à la manière de…” technique. Made entirely of classical and romantic cadenza-clichés, the work is a continuous cavalcade of communication errors between the cello and the piano.

Another double-career musician, composer and pianist Ana Giurgiu-Bondue (b.1977) was inspired by the form of the small, 18th century French secular cantatas for one voice. In “Le Feu”, the composer  illustrates a poem by Jean Métellus. The expressive melodic development can be described as “post-enescian”.

In “Play!”, Diana Rotaru (b.1981) takes advantage of the different meanings of the word in English (to play a instrument, to play a game, to play a role, theatrical performance) to create a quasi-theatrical dialogue between the flute and the piano, that chase each other, entwining their sonorities in a dreamlike time.

Sebastian Androne (b.1989) wrote “Le Voyage de L’Age Voy” at the initiative of the “Princess Margaret of Romania Foundation” to be performed in the opening of Anouar Brahem’s concert in 2011. Androne created a homogenous stylistic travel by using recognizable music material in a non-elitist discourse which is made with his usual talent and sincerity.

Gabriel Mălăncioiu (b.1979) wrote “Linişte” (“Quiet”) on the anniversary of his composition teacher, Remus Georgescu. The soprano and the flute weave a delicate and transparent texture on Lucian Blaga’s gorgeous poem.

Composer and photographer Sabina Ulubeanu (b.1979) says about “Raum und Liebe”: “We become aware of ourselves and the outside world through our senses. The feeling is the one that created the notion of interior space, close-far being thus the quantitative expression of love. We fill the distance between us and the others with love, and love is movement, travel towards the other, the space-time in which we all exist, individually and together.”

Last but not least, the violin and composition virtuoso Vlad Maistorovici (b.1985) explores in his sensual “Khadina” the dark forces of feminity, as these misterious entertainers (dancers and sometimes prostitutes) were known for using dark magic. The initial interwoven multiple lamento gradually transforms into a frenetic dance that leads to a final and desperate explosion.

The performers: 

SonoMania is a new music ensemble created in 2012 at the initiative of composer Diana Rotaru, its artistic director. The ensemble gathers some of the best young new music performers in Romania and is fully dedicated to promoting the music of today, as well as significant works from the 20th century. While recently formed, SonoMania has already participated in important festivals in Bucharest (The International New Music Week – SIMN, Bucharest Music Film Festival, MERIDIAN) as well as the “Happoman” Festival in South Korea.

Alexandru Solonaru is the only conductor in his generation that has dedicated himself exclusively to the contemporary music phenomenon. His artistic and managerial talent was made obvious by a series of events such as: portrait-concerts dedicated to Romanian key names such as Aurel Stroe, Ştefan Niculescu or Tiberiu Olah; alternative and multimedia events; the Romanian premiers of works by Steve Reich, Kevin Volans, Mauricio Kagel and Karlheinz Stockhausen; first performances of young Romanian composers.

Performers on December 4th: Veronica Anuşca (soprano), Octavian Moldovean (flute), Valentin Ghita (oboe, english horn), Maria Chifu (bassoon), Tamara Dica (viola), Eugen-Bogdan Popa (cello), Olga Podobinschi (piano), Diana Rotaru (piano), Sorin Rotaru (percussion), Radu Vâlcu (guitar). Guests: Raluca Stratulat (violin), Mihai Maniceanu (piano) and Andreea Butnaru (piano).

Free entrance.

The poster is created by visual artist Mihai Cucu. 

MEDIA PARTNERS: Metropotam, Contemporania

CAMP-festival in Cluj 2013

CAMP-Festival 2013 in Cluj, Romania 15 – 21 September 2013

International Festival for Visual Music

 

research and rehearsals 15 – 21 september |CASA MATEI andCASA TRANSIT

performances 20 / 21 September 9 pmCASA TRANZIT

symposium 19 septemberCASA MATEI

CAMP exhibition 18 – 21 septemberCASA MATEI

workshop 16 – 21 septemberCASA MATEI

 

Performances

audiovisual performances and concerts created and performed by theCAMPcollective featuring the participating artists.

20 and 21 september at9 pm

Workshop

“do it yourself” sound systems. The materials and geometry of ordinary objects will be used as an analog sound system amplifier. One can amplify sound from old and low power speakers using recycled install pipes and boxes, cans, paper tubes and cardboard boxes sealed with polyurethane foam. Materials proposed by the participants can also be included.

with: Justin Baroncea – architect, visuals artist, performer, Eduard Gabia – performer, musician

Symposiun CAMP-Festival 2013 Cluj

19 september 2013at10 am – 5 pmCasa Matei

“We’re in this Together Now”

A Symposium on Crossmedial Experiments in the Collaborative Arts

The symposium is dedicated to the recently much discussed theme of collaboration in the arts and related fields, with a focus on the performative arts. Particularly in avant-garde or neo-avantgarde experimental projects, collaborative approaches are often deployed as a means to transcend the myth of the solitairy genius artist, but also to bring together various media and technologies in open, laboratory-style environments – for instance in the visual music scene in which theCAMPfestival has been situated since 1999. In the context of this symposium, “collaborative arts” does not simply refer to projects in which several participants are involved, but to those which encourage genuine exchange, interaction, amalgamation and hybridization. The speakers will present and discuss case studies from their respective fields of research and/or practical experience, and contextualize them against the background of contemporary and historic discourses on experimentation, collaboration and performativity. Moreover, a question to be addressed is to which extent the latest rise of collaborative art projects mirrors the postindustrial, digital-based era which increasingly looks for new modes of production and consumption such as “prosumerism” or “wikinomics”.

With: Cornelia Lund, Miron Ghiu, Horea Avram, Jörg Scheller, Mircea Florian

Concept

TheCAMPFestivalwas founded in 1999 by Prof. Fried Dähn and Thomas Maos. Since 2003, it has been organized and run and coordinated byCAMPe.V. (Thomas Maos, Fried Dähn, Stefan Hartmaier, and Martin Mangold) .

The international CAMP(Creative Arts and Music Project) festival is an innovative platform and interactive research lab for sound artists, musicians, and artists in the areas of video, installation, projection and new media. It focuses on new, experimental music in conjunction with light, projection and media art. In what is effectively a laboratory created for a defined period, artists – all of them recognized members of the international avantgarde in their respective fields – collaborate for several days on new forms of audio-visual art, presentation techniques and live performances. The results are showcased to the public in concerts, installations, and performances held alongside the event. Moreover, various topics and aspects are presented and developed in accompanying lectures and workshops.

Each festival is staged at a different location, with a new team of international artists. The unfamiliar spaces, the associated creative criteria, and collaboration with new artists pose challenges that unlock vast creative potential and foster intensive international dialogue. GOAL The development of new forms of artistic presentation in sound and light art, in the context of contemporary and forward-looking creative approaches. International dialogue and collaboration between artists from different backgrounds, with a catalytic effect at both a personal and cultural level.

Read more HERE.

 

Jazz & More 2013

Jazz &More International Festival – the 9th Edition

Sibiu, October 4/5/6 2013

Organiser: INTERZONE Cultural Association

During October 4-6, Sibiu will host yet again the International Improvised Music Festival Jazz & More. This 9th edition of the festival will take place at the Gong Theater, the „St. John“ evangelic church and Atrium Cafe. The director, Mircea Streit, proposes a 100% non-commercial festival, dedicated to a creative audience interested in improvised and new music, one that always asks itself questions regarding the evolution and the developing of music. Jazz & More is a unique experience in Romania, a different kind of festival.

Hosting 17 concerts in only 3 days time, this musical marathon will present jazz, chamber music as well as improvised music. Romanian artists such as Mircea Tiberian, Stylipsticks or String Trio will performs alongside foreign guests in common projects: The Convergence Quartet (Taylor Ho Bynum, Harris Eisenstadt, USA and Alexander Hawkins, Dominic Lash, England); saxophonist’s Sabir Mateen trio as well as Scott Fields (guitar) and his group, Freetet (USA); from Denmark, Lotte Anker (saxophone) and the Angel trio; Eve Risser, Jean-Luc Guionnet, Edward Perraud and Benjamin Duboc (France); Erase trio (Poland); Elisabeth Harnik (piano, Austria) and many more.

Find the complete program and how to buy tickets HERE, on the festival’s official website. 

The festival is sponsored by Sibiu City Hall and the Local Council of Sibiu – through the Cultural House of Sibiu.

Partners: the Polish Cultural Institute in Bucharest, the Austrian Cultural Forum Bucharest and the Danish Jazz Federation.

FALSE FESTIVAL 2013

FALSE FESTIVAL 2013 @CNDB, September 15-17

 

 

 

Sâmbăta Sonoră invokes the concept of false / resistance to false: having never intended to organize a music festival, we now have to fake it.

“Magic exists” – thus announces the yearly recurring and largest music festival in RO happening now and dedicated to the memory of composer &c George Enescu – and needs a wand and top hat. It is useful and grossly lacks contemporary sense. This makes us want to demonstrate without falling into repertory that there must be yet another ear inside the ear. Capable of perceiving also non-academic, experimental music. It feels like work and is a system of production and open network distribution and this is where we stand. Quantitative and qualitative proofs via London-Bucarest-Tel Aviv will be presented instantly for a non-delirious musical space and time. Program below.

But is it legit? Even though unpopular &musical institutions are incapable of taking it seriously without patrimonialist/comercial &status arguments, this “non-academic experimental music”, fairly easy to recognize due to its lack of interest in harmony (magic, according to the new calendar), only breaks with the past in order to acknowledge a premise, the new &non-organisational sound. Nothing unheard of here &so-called False Festival isn’t made in ivory towers of corporate nostalgia &is more a superspecialized platform. We call upon this false festival music to do what it knows how to do best: sound problematic &in touch with other art forms of the present-real, be rare and accesible to all those who realise that it only sounds strange &already anachronistic if associated with a self-image &too familiar &too inspired from life, ultramodernist, more efficient, more dehumanized. If this is its postmodern condition &anything is possible musically, why even bother to define it negatively in relation to the magical kind, which always asks where is the absolute? &why doesn’t it keep that safe distance with tradition? Because this is the false perspective, and what’s further ahead must appear larger than what is at hand.

(re)Capitulating: the phenomenon to be perceived is so sensible that it appears false. No graduated link with the past will make it seem any more real. Its specificity is activist. It poses problems and offers no solutions for a festival we can’t afford and have no way out of.

It has: international activists and local exponents, sounds capable of reaching deeper than the classics, possible links between musicians and organizers: Sâmbăta Sonoră and

Cafe OTO (UK)

Maybe the world’s busiest small performance space, Cafe OTO opened in London in April 2008 with the aim of providing a home for creative new music that exists outside of the mainstream, hosting an evening programme of adventurous live music almost seven nights a week. Hamish Dunbar, Cafe OTO programmer, presents Paul Abbott, a quietly innovative presence in London’s improvised music scene working with electronics and self-built instruments before more recently dedicating a good part of his energy to the radical potential of an unadorned drumset, notably as one third of lll人 with Seymour Wright and Daichi Yoshikawa. His practice focuses on the heuristic aspect of free improvisation – as a process of discovery, learning and dialogue. Paul has worked with musicians including Eddie Prévost, Otomo Yoshihide, Evan Parker, Seymour Wright, Toshimaru Nakamura, Sebastian Lexer, Guillaume Villtard, Daichi Yoshikawa and Benedict Drew.

Primate Arena (IL)

The longest running and most consistent platform for freeform, free spirited and experimental music in Israel. Curated by Eran Sachs and Alex “Drool” Yunowitch, Primate Arena has been active since 2008 and includes concerts, a radio program, an international festival, tours, panels and many additional activities, which have successfully raised the profile of experimental music in Israel and has nurtured a community of adventurous local musicians including Maya Dunietz and Yoni Silver, as well as hosted visiting internationals such as Blood Stereo, Dave Philips, Jérôme Noetinger, Fritz Welch, Arnaud Rivière, Ignatz Schick, Daniel Padden, Bob Ostertag and many others. Both Sachs and Yunowitch (as well as their guest musician Yoni Silver) are also members of Ensamblul Hyperion, dedicated to the works of Romanian Spectral composers Iancu Dumitrescu and Ana-Maria Avram.

Guests (RO)

Sillyconductor

Dyslex

Mihai Balabaș

Dan Michiu

Fierbințeanu

Programme

Sunday, 15th of September: 6pm – Romanian showcase (short sets) – @ National Center of Dance

Monday, 16th of September: 6pm – London, Tel Aviv, Bucharest: experimental music scenes, discussion with the programmers invited – @ Control Club

Thusday, 17th of September: 8pm – Concert Primate Arena and Paul Abbott – @ National Center of Dance

This initiative is possible through the support of British Council, CNDB and Control Club; big thanks to Florin Cojocaru for the sound.

Media partners: TATAIA, modernism.ro, metropotam.ro

Director of the festival: Octav Avramescu

Dark Room Auditions @ InnerSound 2013

The Romanian Music Information Centre contributes to a project during InnerSound International New Arts Festival, a project that promotes Romanian electronic and electroacoustic music by placing it in an international context. Leave all your worries and prejudices behind, listen with your “eyes wide shut” and enter a magical world of mysterious sounds – such is the principle of Dark Room Auditions, a 5 hours installation that will be open daily between August 28th - August 31st, between 2 p.m. - 7 p.m. (free entrance during that period).

The project is realised in partnership with OPUS Association, the organizer of the festival, as well as Ephemair Association (Suzana Dan) that provided the location of the Dark Rooms: BlackBox (Piaţa Amzei nr.5, sector 1, Bucharest), the atelier that belongs to NAG („Noaptea Albă a Galeriilor” / „White Night of Galleries”).

The opening of Dark Room Auditions will take place on Tuesday, August 27th 2013, at 7 p.m.. The installation will run only partially on this particular occasion (1h30) and will be followed by Laurenţiu Darie’s bassoon recital at A1 Bar (Piata Amzei nr. 1, just two blocks away from Black Box).

Dark Room focuses on soundscapes, repetitive and hypnotic musics, various enough to include names from Romanian new music giants such as Octavian Nemescu or Călin Ioachimescu, to respected electronic music specialists such as Cătălin Creţu (OPUS President) or Adrian Borza and to the fascinating sound worlds of Sillyconductor (Cătălin Matei), Fluidian (Emil Gherasim) and Avânt’n’Gard.

The foreign part of Dark Room Auditions is equally eclectic and valuable: Henry Vega (Holland), Mattias Petterson (Sweden), Farang (Stefan Schmidt), the live code laptop quartet Benoît and the Mandelbrots & member composer Juan A. Romero (Germany). A special mention is due to Marcus Beuter (Germany), whose sound installation (faszination maschine – der mensch in der reflektion l) was created specially for InnerSound.

 

Dark Room Auditions

TIME SCHEDULE

 

14:00 – 14:30  – Part 1: Silly lovesongs

Sillyconductor / Romania

- Colour reading room (4:11 min)

Henry Vega / Holland (25:00):

- ONEderfull (5:40) tema festivalului

- Orbit Correction (5:31)

- A Thousand Tones (4:34)

- East of the Lake Mix (6:26)

- Piano Music 1 (2:43)

 

14:30 – 15:00 – Part 2: Meditation sketch

Farang (Stefan Schmidt) / Germany

– Ashqem – Sketches for processed classical guitar (30:00)

Classical guitar / Sound design /Composition: Stefan Schmidt (2012)

Mastering: Matthias Geiges

 

15:00 – 16:00 – Part 3: Birds, Soundscapes and Carols

15:00 Călin Ioachimescu / Romania

– Digital Birds (14:00)

15:14 Cătălin Creţu / Romania

– Lüneburg Soundscape (8:00 )

15:23 Adrian Borza / Romania

– Akedia (17:00)

Original title: Akedia for oboe,  nanoKontrol and iFPH (2011); Program:  iFPH (2011)

15:40 Fluidian (Emil Gherasim) / Romania (8:20)

- Inner Soundscapes (3:00)

- Soundpaintings (5:18)

15:48 Avânt’n’Gard / Romania – Non-tempered carols (12:00)

- Susu-n ‘naltul cerului (4:51)

- La sfarsitul lumii (7:09)

 

16:00-16:30 – Part 3: Into the Lake of Tears

Octavian Nemescu / Romania

– Lacul Lacrimilor (30:00)

 

16:30 – 17:10 – Part 4: Mechanisms

16:30 Benoît and the Mandelbrots / Germany (livecoding laptop band)

–Nadelrauschen (at Hochschule für Gestaltung (HfG) Karlsruhe, 14.12.2010 ) (23:30)

Juan A. Romero / Germany

– Drone (5:06)

17:00 Mattias Petersson / Sweden

– Darken your Veil (9:34) modular system

17:10 Marcus Beuter / Germany

- faszination maschine – der mensch in der reflektion l – Sound installation (80:00)

 

18:30 – 19:04 – Part 5: Coda

Sillyconductor / Romania

- Diorama (34:00)

 

Curator: Diana Rotaru (composer, Artistic Director of InnerSound and CIMRO coordinator)

 

For more information on the second edition of InnerSound International New Arts Festival, click HERE or visit the websiteFacebook page.

 

Țintea Muzicală Festival

The aim of the Țintea Muzicală Festival is to invite audiences to rethink notions such as “contemporary – past, new – old” in music as well as to re-evaluate the social norms of the concert.
The Festival began in July 2009 with unconventional concerts that took place solely in a  house in Țintea belonging to the festival’s founders and organizers: composers Adina Dumitrescu and Dana Cristina Probst .

Facebook page HERE.

EDITION 2014 HERE.

EDITION 2013:

As it is the tradition of Țintea Muzicală, eight composers from Austria, Finland, France and Romania – Nicolae Brânduş, Jean-Pascal Chaigne, Dan Dediu, Adina Dumitrescu, Sebastian Dumitrescu, Dieter Kaufmann and Dana Cristina Probst – were invited in 2013 to deal with a rather untouched chapter of music history: the Medieval polyphony – an extraordinary opportunity for the audience to gain insight into The Montpellier Codex – “the most somptuous extant manuscript of thirteenth-century polyphonic music”, almost unknown in Romania. The fifth edition of Țintea Muzicală brought to life four concerts, a dance theatre video performance and a composition workshop under the motto “Playing with voices”.

Țintea Muzicală 2013

Fifth edition of Ţintea Muzicală
PLAYING WITH VOICES
18-21 July 2013
Ploieşti, Ţintea, Bucureşti – România

Day 1
Thursday, 18 July 2013
Biserica Romano-Catolicӑ “Cristos Rege”
str. Ştefan cel Mare, nr.13
100568 Ploieşti, judeţul Prahova

07.00 pm – Welcome to the fifth edition of Țintea Muzicală by composer and artistic director Adina Dumitrescu

First Concert
BEYOND THE VOICES

Works from the Montpellier Codex – the largest and most somptuous extant manuscript of thirteenth–century polyphonic music
Deus, in adiutorium
Organum: Benedicamus Domino
Gaude, chorus omnium
Mellis stilla
Plus bele que flor
Par un matinet l’autrier
Ce que je tieng pour deduit
O Maria, virgo Davitica
Au cuer ai un mal
Mout me fu grief departir

Adina Dumitrescu – Jolietement* for vocal sextet, first performance
Dan Dediu – Motet* for vocal sextet, first performance

performers:
Vocal Sextet “București”: Anna Szekely – soprano, Anna Mirescu – soprano, Teodora Jaworski – mezzo-soprano, Florian Costea – tenor, Emanuel Pecingină – tenor and conductor and Radu Isăcescu – baritone
Otto Probst – piano, organ
Maria Magdalena Probst – violoncello
Moderator: Alexandru Bădulescu

Day 2
Friday, 19 July 2013
Casa Teodorescu
str. Albăstreleor 25
105250 Ţintea – Băicoi, judeţul Prahova

04.00 pm
Composition Workshop
ANSWERS TO THE MEDIEVAL POLYPHONY

participants:
Nicolae Brânduş, Jean-Pascal Chaigne, Adina Dumitrescu, Sebastian Dumitrescu,
Dieter Kaufmann and Dana Cristina Probst
Moderator: Ruxandra Arzoiu

07.00 pm
Second Concert
THE HIDDEN VOICES

Works from the Montpellier Codex:
Par une matinee
Povre secors ai encore recovré
Por vos, amie…
En non Diu, que que nus die…
Entre Copin et Bourgeois
Coument se poet…
Dieus, que porroit…
Puisque bele dame m’eime
Deus in adiutorium
In sompnis, mira Dei

Sebastian Dumitrescu – Puisque bele dame m’eime* for soprano and live electronics, first performance
Dana Cristina Probst – Lis ne glay* for mezzo-soprano and piano, first performance
Jean-Pascal Chaigne – De sa disparition – in memoriam Anne-Marie Albiach for soprano, celtic harp and violoncello, first performance
Dieter Kaufmann – “Organisch – anorganisch” on texts by Augustinus and Dieter Kaufmann for soprano, mezzo-soprano and live electronics, combined with Op.139 “Island”, first performance

performers:
Cristina Radu – soprano
Irina Ungureanu – soprano
Carolina Astanei – mezzo-soprano
Roxana Moișanu – celtic harp
Mladen Spasinovici – violoncello
Otto Probst – piano, organ
Maria Magdalena Probst – violoncello
Sebastian Dumitrescu – electronics
Moderator: Ruxandra Arzoiu

Day 3
Saturday, 20 July 2013
Casa Teodorescu
str. Albăstreleor 25
105250 Ţintea – Băicoi, judeţul Prahova

11.00 am
Third Concert
TROUVÈRS’ VOICES

Works from the Montpellier Codex:
Plus bele que flor
Par un matinet l’autrier
Ce que je tieng pour deduit
O Maria, virgo Davitica
Amours mi font souffrir peine a tort
Au cuer ai un mal
Mout me fu grief departir
Amours dont je sui espris
On parole de batre de vanner
S’on me regarde

Cele m’a tolu la vie
Amors ne mi tendra mes cointe ne jolis
Quant voi la fleur en l’arbroie
Quant vient en mai, k’erbe va verdoiant
Hu main au doz mois de mai
Quant je parti de m’amie

Adina Dumitrescu – Jolietement* for vocal sextet
Nicolae Brânduș – Menestrel* for soprano, mezzo-soprano, celtic harp and violoncello, first performance
Dan Dediu – Motet* for vocal sextet

performers:
Vocal Sextet “București”: Anna Szekely – soprano, Anna Mirescu – soprano, Teodora Jaworski – mezzo-soprano, Florian Costea – tenor, Emanuel Pecingină – tenor and conductor and Radu Isăcescu – baritone
Irina Ungureanu – soprano
Carolina Astanei – mezzo-soprano
Roxana Moișanu – celtic harp
Mladen Spasinovici – violoncello
Otto Probst – piano, organ
Maria Magdalena Probst – violoncello
Moderator: Alina Velea

Day 4
Sunday, 21 July 2013
Muzeul Ţăranului Român, Sala Irina Nicolau
Şoseaua Kiseleff 3, Sector 1
011341 Bucureşti

07.00 pm
Fourth Concert
VOICES AND SOUNDS

Works from the Montpellier Codex:
Quant voi l’erbe reverdir…
Quant voi l’aloete…
Sovent me fait…
Coument se poet nul tenir de joie faire
Dieus, qui porroit, quant il vodroit, sanz mal penser
Ne sai, que je die…
S’Amours eust point de poer…
Dame, que je n’os noumer…

Dieter Kaufmann – “Organisch – anorganisch” on texts by Augustinus and Dieter Kaufmann for soprano, mezzo-soprano and live electronics, combined with Op.139 “Island”
Dana Cristina Probst – Lis ne glay* for mezzo-soprano and piano
Jean-Pascal Chaigne – De sa disparition – in memoriam Anne-Marie Albiach for soprano, celtic harp and violoncello
Sebastian Dumitrescu – Puisque bele dame m’eime* for soprano and live electronics
Nicolae Brânduș – Menestrel* for soprano, mezzo-soprano, celtic harp and violoncello

performers:
Cristina Radu – soprano
Irina Ungureanu – soprano
Carolina Astanei – mezzo-soprano
Roxana Moișanu – celtic harp
Mladen Spasinovici – violoncello
Otto Probst – piano, organ
Sebastian Dumitrescu – electronics
Moderator: Ruxandra Arzoiu

* works on texts from the Montpellier Codex

08.30 pm
Presentation
VOICE.WORD.SOUND.
by Dieter Kaufmann

Klang.Raum.Frau – symphonie pour une femme seule
Dance Theatre on „symphonie acousmatique“ and „Lui comme elle“ on texts by Elfriede Jelinek

Sapia Nedwed – dance
Ulrich Kaufmann – video

Closing word: Dana Cristna Probst

InnerSound 2013

 

InnerSound International New Arts Festival

2nd edition – Mysterium - Bucharest, August 26-31 2013 

InnerSound New Arts Festival was created by young and enthusiastic artists from Romania, who gave it an unique format at its first edition in 2012. The organizer and its partners (The National Peasant Museum, The National University of Music in Bucharest – The Center of Electroacoustic and Multimedia Music, Aiurart Gallery and so on) are set to offer the people in Bucharest a fresh sonic and visual oasis at the end of each torrid August.

InnerSound New Arts Festival wishes to create a new perspective on art music by embedding it in different visual projects – from photography exhibition, silent short movies with live music to multimedia shows. InnerSound is growing into a strong platform for the emerging composers, instrumentalists, photographers, visual artists and film directors, while at the same time including in its program internationally renowned artists (such as Alexandru Tomescu, Henry Vega, Anat Spiegel, Dublin Sound Lab or Irina Ungureanu, in 2012).

The theme of InnerSound 2013 is Mysterium. Provocative and challenging for both the artists and the audience, Mysterium refers to the European medieval tradition of syncretism. The idea of “mystery plays”, the predecessors of theatrical manifestations, is updated  to contemporary secular realities. The InnerSound audience is invited to discover the hidden meaning behind every event, by hearing, seeing, feeling and interacting with the magic the artists prepared for them.

What will happen in 2013:

  • MULTIMEDIA PERFORMANCES – GEST (Poland) – Bytom Crew and Friends (Krzysztof Wolek – live electronics, Domink Strycharski – voice, recorders, electronics, Sebastian Smolyn – trombone, electronics, Artur Smolyn – electronics, Marysia Stoklosa & Aleksandra Borys – movement);  WEAPON OF CHOICE (Austria) – Barbara Lüneburg (violin, electric violin, iPod) & Marko Ciciliani (computer, iPod, lights, video);OPUS.ART(Romania) –  Cătălin Creţu (synthesizers) & Alexandru Dan (percussions); AROUNDANDABOUT ARACHNEEA (Romania) – Irinel Anghel (performer) & Mihai Cucu (video)
  • EXPERIMENTALPOPCONCERT fromHolland: CONTROLLAR (Anat Spiegel – voice, Thomas Myrmel – computer, Gur Spiegel – drums)
  • SILENTFILMNIGHT – short silent films with live music; conductor –  Gabriel Bebeşelea; ensemble: Octavian Moldovean – flute, Maria Chifu – bassoon, Raluca Stratulat – violin, Tamara Dica – viola, Eugen-Bogdan Popa – cello
  • CHAMBER MUSIC CONCERTS – ENCOUNTERS IN TIMEANDSPACE – a series of concerts that mix musics from all eras and styles, that also started in 2012: Matei Ioachimescu (flute), Laurenţiu Darie (bassoon), Raluca Stratulat (violin), Ana Topalovic (cello), Adriana Toacsen (pian)
  • VOCAL RECITAL –ANATSPIEGEL (Holland): voice, guitar
  • ELECTRONIC MUSIC – DARKROOMAUDITIONS
  • PANTOMIME-CONCERT – Gyorgy Ligeti’s Musica Ricercata and Hungarian Rock (re)interpreted by Adriana Paler-Nicolescu (piano, Austria) and Mihai Bisericanu (actor)
  • PHOTO EXHIBITIONS – “Contemporary Mysteries” – special guest: Johanna Si (Austria)

PROGRAM:

MONDAY, August 26th

Entrance: 10 RON

Löwendal House (Piața Gh. Cantacuzino nr.1, sector 2)

7 p.m. Opening of the photo exhibition ‘Contemporary Mysteries’

The exhibition is open daily between August 27th - September 7th, between 10 a.m. – 6 p.m. (free entrance during that period)

Can the contemporary world still reveal the hidden, subtle side of phenomena and feelings? How do film and camera intercept the most intimate experiences awaked by ordinary or impressive events? 

Photographers: Johanna Si (special guest, Austria), Șerban Mestecăneanu, Cornel Brad, Cristina Irian, Mihai Cucu, Sabina Ulubeanu, Lucian Muntean (Romania) and the winners of the ‘Contemporary Mysteries’ photo project competition

Jury: Alexandru Tomescu (violin player), Șerban Mestecăneanu (photographer, director of the Bucharest Photography Salon), Lucian Muntean (photographer, editor at Modernism.ro), Sabina Ulubeanu (composer, photographer, Artistic Director of InnerSound)

7:30 p.m. Encounters in Time and Space I – chamber music concert

This mini-series of chamber music concerts guides the audience from one era to another, from one style to another, in a perpetually surprising journey through newer or older musics. 

Duo ATRIS: Raluca Stratulat - violin, Adriana Toacsen - piano (Romania)

Program:

Francis Poulenc - Piano Suite (Presto; Andante; Vif)

Witold Lutosławski - Subito for violin and piano

Cătălin Creţu - Sonatina for violin and piano

Sabina Ulubeanu - Fugue for solo violin

Robert Schumann - Sonata no.2 op.121 in D minor for violin and piano (1. Ziemlich langsam – Lebhaft; 2. Sehr lebhaft; 3.  Leise, einfach; 4.- Bewegt)

8:30 p.m. Opening Cocktail 

 

***

 

TUESDAY, August 27th

Entrance: 10 RON

BlackBox (NAG Atelier, Piaţa Amzei nr.5, sector 1)

7 p.m. Opening of the electronic music installation ’Dark Room Auditions’

The installation is open daily between August 28th - August 31st, between 2 p.m. - 7 p.m. (free entrance during that period). Complete schedule on www.innersoundfestival.webs.com.

An initiative of the Romanian Music Information Center (CIMRO) that places Romanian electronic and electroacoustic music in an international context. Leave all your worries and prejudices behind, listen with your “eyes wide shut” and enter a magical world of mysterious sounds.  

Music by: Sillyconductor (Colour reading room), Henry Vega (ONEderfull; Orbit Correction; A Thousand Tones; East of the Lake Mix; Piano Music 1), Farang/Stefan Schmidt (Ashqem – Sketches for processed classical guitar), Călin Ioachimescu (Digital Birds),  Cătălin Creţu (Luneburg Soundscape), Adrian Borza (Akedia), Fluidian/Emil Gherasim (Inner Soundscapes, Soundpaintings), Avânt’n’Gard (Colinde netemperate - Susu-n ‘naltul cerului,La sfarsitul lumii), Octavian Nemescu (Lacul Lacrimilor), Benoît and the Mandelbrots (Nadelrauschen), Juan A. Romero (Drone), Marcus Beuter (faszination maschine – der mensch in der reflektion I); Sillyconductor (Diorama)

Curator: Diana Rotaru (composer, Artistic Director of InnerSound and CIMRO coordinator)

A1 Bar (Piaţa Amzei nr.1, sector 1 )

8:30 p.m. Encounters in Time and Space II - chamber music concert 

Laurenţiu Darie – bassoon, Mădălina Florescu – piano (Romania)

Program:

Gordon Jacob - Partita for bassoon (1. Preludio; 2. Valse; 3. Presto; 4. Aria antique; 5. Capricietto)

Antonio Vivaldi - Sonata in E minor for bassoon and cembalom (1.Largo; 2. Allegro; 3.Largo; 4. Allegro)

Nicolae Brânduş - Melopedie şi Fugă for bassoon

Edward Elgar - Romance for bassoon and piano

Cristian Bence-Muk - Meditations of a Lonely Basoon 

Paul Jelescu - Rapsodie dobrogeană for bassoon and piano

 

***

 

WEDNESDAY, August 28th

Free Entrance

Clubul Ţăranului (Str. Kiseleff nr. 3, intrarea Monetăriei, sector 1)

5 p.m. Five O’Clock Symposium 

Speakers: Stefan Firca (musicologist), Maria Balabas (musicologist, jurnalist, member of Avant’n'Gard experimental group), Mirona Radu (filmmaker, photographer), Laura Manolache (musicologist, composer)

Little Workshop of Experiential Composition (Irinel AnghelRomania)

Theoretical exposition (“Experiential Composition as an Alternative Educational Practice”) and a free demonstrative workshop. Sign-up for active participation until August 26th 2013, at the following address: irinel.anghel@gmail.com. Musicians and non-musicians allowed, the maximum number of participants being 9. 

 

***

 

THURSDAY, August 29th

Free Entrance

The National University of Music inBucharest, The Opera and Multimedia Studio (Str. Ştirbei Vodă nr. 33, sector 1)

7 p.m. Pantomime Concert -  György Ligeti - Adriana Paler-Nicolescu - piano (Austria), Mihai Bisericanu - actor (Romania)

Works by György Ligeti – Musica RicercataHungarian Rock

‘Musica Ricercata’ – a search for music, from one note to all 12 of them. A set of 11 short pieces for piano that György Ligeti wrote between 1952-53, before eloping to Germany, where he will form one of the most original and complex musical languages in the XXth century. A search for music but also a search for his own style, as, even if they are deeply influenced by Bartok, the miniatures bear in them the seeds of what would become the Ligeti sound: deranged mechanisms, polyrhythms, wailing chromaticism, obsessive ostinatos. The last piece is an hommage to Girolamo Frescobaldi, the “father” of the ricercare form, a forerunner of the later fugue. Another hommage to the Baroque period is the fascinating ‘Hungarian Rock’, where Ligeti takes the strict Chacconne form – where a chord pattern is repeated while variations on it are played simultaneously – and embellishes it with wild improvisations, allusions to rock and jazz music (genres of music also based on chord repetition). All this with a delicious Hungarian flavour. Rarely played in Romania, Ligeti’s music – vivid, enthralling sound-mechanisms – will be revealed by Adriana Paler-Nicolescu’s magical fingers and Mihai Bisericanu’s pantomime in an unique syncretic show.


8 p.m. The Bright Side of Mechanisms - multimedia concert 

OPUS.ART: Cătălin Creţu  – keybords, electronics, Dan Alexandru – percussions, electronics; guests: Cătălin Milea - saxophone;  Ana Maria Costea & Tabita - performers (Romania)

9 p.m. Gest (Reakcja, Interpretacja, Komunikacja) – multimedia show

Bytom Crew and Friends: Krzysztof Wolek - live electronics, Domink Strycharski - voice, recorders, electronics, Sebastian Smolyn- trombone, electronics, Artur Smolyn - electronics, Marysia Stoklosa and Aleksandra Borys – movement (Poland)

The title ’Gest (Interpretacja, Reakcja, Komunikacja)’ in Polish means ‘Gesture (Interpretation, Reaction, Communication)’. The artists of the Bytom Crew and Friends that conceived the idea for this improvised music and movement show are interested in the discourse between sound and movement in which both mediums are equally influencing the other. Both movement and sound are equal partners creating a constantly evolving open form based on the art of listening, buildups, counterpoints, action, reaction and interaction. The project is conceived as an event which creates its own meaning, the essence of nonverbal communication. 

Seven elementary messages are points of departure and inspiration for each section of the piece: 1. Impulse; 2. Movement; 3. Arousal; 4. Manipulation; 5. Power; 6 Stagnation; 7 Resolution. These messages are also important and universal aspects of social interactions. 

 

***

 

FRIDAY, August 30th

Entrance: 10 RON

The Romanian Peasant Museum– Courtyard (Str. Kiseleff nr. 3, intrarea Monetăriei, sector 1)

7 p.m. Encounters in Time and Space III - chamber music concert

Matei Ioachimescu – flute, Ana Topalovic – cello (Austria)

Program:

Domenico Scarlatti - Allegro from Sonata for cembalom K 159

Alexandru Sima - Atavism for flute

Daniele Corsi - Dark Matter pentru cello (p.a.a)

Joseph Bodin de Boismortier - RondoSarabande and Gavotte from the 3rd Suite for flute

Călin Ioachimescu - Celliphonia for cello and tape

Joachim Quantz - Prelude for flute

Alexandru Murariu - La Cathedrale de Rouen for flute and cello

Ülkemin Akbas - Tendril for flute and cello (W.P.)

Johann Sebastian Bach - Bourrée from the 3rd Suite for cello

Corina Alexandra Tîrziman - Flight for  flute

Peteris Vasks - The Book for cello

Katrina Emtage - Winds on Waves for flute and cello

Clubul Ţăranului (Str. Kiseleff nr. 3, intrarea Monetăriei, sector 1)

 

8 p.m. Anat Spiegel Recital – voice, guitar (Holland)

Guests: Thomas Myrmel – electronics, Raluca Stratulat – violin

Program:

Morton Feldman - Only (lyrics by Rainer Maria Rilke) for solo voice

Anat Spiegel - I’ll be seeing you for voice and guitar

Henry Vega - How I extrovert you / like a sunken gong for solo voice

Claude Vivier - Tao Tao Tao arranged for voice and electronics

Diana Rotaru - I like (lyrics by E.E. Cummings) for voice, typewriter and tape

Thomas Myrmel - Parallax (lyrics by Walt Whitman) for voice, violin and electronics

Anat Spiegel - Oh how I  for voice and guitar

Sabina Ulubeanu - Slide 1&2 (lyrics by Anat Spiegel) for voice and violin

 

The Romanian Peasant Museum– Courtyard (Str. Kiseleff nr. 3, intrarea Monetăriei, sector 1)

9:30 p.m. Silent Film Night 

Gabriel Bebeşelea – conductor, Octavian Moldovean – flute, Maria Chifu – bassoon, Raluca Stratulat – violin, Tamara Dica – viola, Eugen-Bogdan Popa - cello (Romania)

Anna Florea - Salon 216B – Music: Sebastian Androne

Simona Fitcal - Transhumant – Music: Diana Simon

Nelio Costa – Sanctuary – Music: Şerban Marcu

Liviu Varlam – The Boy and the Dog – Music: Gabriel Mălăncioiu

Mira Chendler – Hauntings – Music: Tudor Feraru

Cătălin Soare – Daylight – Music: Dan Popescu

Mirona Radu - When building a home, consider orienting windows to the south – Music: Sabina Ulubeanu

Mihai Zgondoiu - Hefaistos Dream – Music: Cristian Bence-Muk

Anda Puşcaş – Edge – Music: Diana Rotaru

Paul Richard-Tremeau - La boite à souvenirs (proiect pentru InnerSound) – Music: Alexandru Murariu

Ioana Mischie - Between already and not yet – Music: Adina Sibianu

Mihai Cucu – [new project for InnerSound] – Music: Darie Nemeş-Bota

Şerban Jipa – [new project for InnerSound] – Music: Ana Giurgiu-Bondue

Constantin Basica - Deadline - Music: Constantin Basica*

 

*on the recording, Orchestra of theUniversity of Music and  TheaterHamburg, conductor René Gulikers

 

***

 

SATURDAY, August 31st
Entrance: 10 RON

Clubul Ţăranului (Str. Kiseleff nr. 3, intrarea Monetăriei, sector 1)

7 p.m. Around and About Arachneea - multimedia performance

Irinel Anghel – soundacting, Mihai Cucu – live visuals (Romania)

Normal is an illusion

(What is normal for the spider is chaos for the fly

But, what if the spider itself is caught in its own web?)…

Irinel Anghel and Mihai Cucu develop crossing borders artistic experiences as interdisciplinary events with no gap between music, theatre, dance and video work. They offer a live “piece of art” inviting the participants to experiment themselves in this direct contact. Meeting Arahneea is about observing the interaction between our so many connections, thoughts, emotions, a huge invisible network made visible and audible by these 2 artists in their misterious performance.

The Romanian Peasant Museum– Courtyard (Str. Kiseleff nr. 3, intrarea Monetăriei, sector 1)

 

8.30 p.m. Weapon of Choice – multimedia performance

Barbara Lüneburg – violin, electric violin, iPad; Marko Ciciliani – iPad, live electronics, lasers, lights, video (Austria)

Violinist Barbara Lüneburg invited composers and visual artists to collaborate with her in the creation of new multimedia works for electric or acoustic violin with the goal of exploring artistic relations that can be found between the classical instrument violin, mediated sound, and visuals. 

Program:

Marko Ciciliani - Intersection (2013) for live-electronics, live-video and lighting

Yannis Kyriakides - Bayesian Poison (2010) for violin, soundtrack and video

Yannis Kyriakides/Marko Ciciliani - 8’66” (or everything that is irrelevant) (2012) for 2 iPad performers and video

Marko Ciciliani - Alias (2007) for e-violin, electronics, light and laser


9:30 p.m. Controllar – Art Pop Concert

Anat Spiegel – vocals, Thomas Myrmel – computer, Gur Spiegel – drums (Holland)

 

***

 

Tickets are available at www.bilete.ro, the Romanian Post offices, Bilete.ro flagged Inmedio stores and Germanos stores.

Entrance fee:

Pass August 26-31 – 25 RON

Monday, August 26 – 10 RON

Tuesday, August 27 – 10 RON

Wednesday, August 28 – free entrance

Thursday, August 29 – free entrance

Friday, August 30 – 10 RON

Saturday, August 31 – 10 RON

 

***

 

Organiser: OPUS Association

Team: Sabina Ulubeanu (Artistic Director), Diana Rotaru (Artistic Director), Cătălin Creţu (Executive Director), Mariana Manolescu (PR), Şerban Jipa (Graphic design), Suzana Dan (Graphic Design), Mihai Cucu (Video)

Special thanks: Adina Hotinceanu, Monica Isăcescu, Oana Dobre, Irinel Anghel

Supported by: RAIFFEISEN Bank

Other sponsors: Grolsch, Aqua Carpatica, NouMax, All Deco International, Electra

Parteners: The Austrian Cultural Forum, The Bucharest Polish Institute, The Netherlands Embassy in Bucharest, Löwendal Foundation, The National University of Music in Bucharest, The Electroacoustic and Multimedia Music Center, The Romanian Peasant Museum, Clubul Țăranului, Ephemair Association, A1 Bar, Rembrandt, KOTKI Visuals, Aiurart Gallery, Art&Co Association, Brigada de Voluntari, Centrul de Cercetare Alternativă, Bilete.ro, Germanos, Romanian Post Office, Inmedio

Media Partners: Radio Guerilla, Cocor Media Channel, Sapte Seri, Mixtopia.ro, Revista Arta, LiterNet, Accente, Zeppelin, TATAIA,SUB25, VICE, Ziarul Ring, Observator Cultural, Modernism.ro, WebCultura, ArtClue, Revista Cultura, OnlineGallery, Art Act Magazine, Sâmbăta Sonoră, Love Issue, Oitzarisme.ro, Cărturești, SensoTV, Revista TONICA, TvCity, Sunete SubSol, Veioza Arte, Anyplace.ro, GetLokal, Feeder, HotNews, WebPR, Ginger Group, Comunicatemedia.ro,PORT.ro, Ziarul Alb, Hipmag.ro, Urban.ro, Cooperativa Urbană, B365, Revista Atelierul, DacicCool, InParc, BeUnderground, BuBu Bookinghouse and Events, Vernisaje, Metropotam,  IGLOO, Experimental biennial, Revista de Povestiri, Atelier 030202, Contemporania, CIMRO, România Pozitivă

Official website: HERE

Facebook: HERE

 

ICon Arts 2013

ICON ARTS ACADEMY AND FESTIVAL – SIBIU, 2013

The 11th edition of the ICon Arts Academy & Festival takes place in Sibiu, between the 24th of July and the 4th of August. Over 150 participants from Europe, Asia and USA will meet this summer for various workshops in music (solo, chamber & jazz), dance and photography.

This year brings a new section – the Composer in residence program, a special guest-ensemble – European Contemporary Orchestra and the first edition abroad: ICon Arts Rome, in partnership with Accademia di Romania, during August 6-12.

More details on www.iconarts.ro and https://www.facebook.com/icon.arts.