Podcasts about ensemble musikfabrik

La renovación musical de la segunda mitad del siglo XX se hace visible en la originalidad radical de las partituras donde se escriben sus obras. La notación se asemeja ahora a trabajos científicos o de ingenieros, a dibujos o poemas experimentales, a esquemas o fórmulas matemáticas._____Has escuchadoBerlino (1980-1981) / Terry Fox. Apollo Records (1988)Gamelan Coming & Going (1985) / Philip Corner. Philip Corner y Evan Schwartzmann, piano y voz. Grabado en la Rutgers University, MGSA, New Brunswick (EE. UU.), noviembre de 1985. Ants (2017)Gradients of Detail (2005-2006) / Chiyoko Szlavnics. Ensemble musikFabrik; Peter Rundel, director. Maria de Alvear World Edition (2022)The Seasons: Vermont “Spring” (1980-1982) / Malcom Goldstein. Malcom Goldstein, violín; Robert Black, contrabajo; Mark Steven Brooks, varios instrumentos; Tom Guralnick, oboe y vientos; Joseph Celli, corno inglés; Brian Johnson, percusión; Kenneth Karpowicz, acordeón. XI Records (1998)_____Selección bibliográficaBARRETT, Richard, “Notation as Liberation”. Tempo, vol. 68, n.º 268 (2014), pp. 61-72*BISERNA, Elena, Walking from Scores: An Anthology of Text and Graphic Scores to Be Used while Walking. Les Presses du Réel, 2022*BLACK, Robert, “Contemporary Notation and Performance Practice: Three Difficulties”. Perspectives of New Music, vol. 22, n.º 1-2 (1983), pp. 117-146*BROWN, Earle, “The Notation and Performance of New Music”. The Musical Quarterly, vol. 72, n.º 2 (1986), pp. 180-201*BUJ CORRAL, Marina, “Sinestesias en la notación gráfica: lenguajes visuales para la representación del sonido”. Cuadernos de Música, Artes Visuales y Artes Escénicas, vol. 14, n.º 1 (2019), pp. 45-64*—, “Confluencias artísticas y experimentación: la notación gráfica en España”. En: Poéticas encontradas: convergencias artísticas en la música de los siglos XX y XXI. Editado por Belén Pérez Castillo y Ruth Piquer Sanclemente. Comares, 2023*DAVIES, Stephen, “Notation”. En: The Routledge Companion to Philosophy and Music. Editado por Theodore Gracyk y Andrew Kania. Routledge, 2011*EVARTS, John, “The New Musical Notation: A Graphic Art?”. Leonardo, vol. 1, n.º 4 (1968), pp. 405-412*GARCÍA FERNÁNDEZ, Isaac Diego, “El grafismo musical en la frontera de los lenguajes artísticos”. Sinfonía Virtual: Revista de Música Clásica y Reflexión Musical, n.º 5 (2007), consultada el 21 de junio de 2023: [Web]IGES, José y Manuel Olveira, El giro notacional. Cendeac, 2019*KOJS, Juraj, “Notating Action-Based Music”. Leonardo Music Journal, vol. 21 (2011), pp. 65-72*MESTRES QUADRENY, Josep María, Tot muda de color al so de la flauta. Fundació Joan Brossa i Ajuntament de Barcelona, 2010*PISARO, Michael, “Writing Music”. En: The Ashgate Research Companion to Experimental Music. Editado por James Saunders. Ashgate, 2009*POPE, Stephen Travis, “Music Notations and the Representation of Musical Structure and Knowledge”. Perspectives of New Music, vol. 24, n.º 2 (1986), pp. 156-189*RIVIÈRE, Henar, “José Luis Castillejo y la escritura moderna”. En: José Luis Castillejo y la escritura moderna. Editado por José María Lafuente. Ediciones La Bahía, 2018*SMITH, Sylvia y Stuart Smith, “Visual Music”. Perspectives of New Music, vol. 20, n.º 1-2 (1981), pp. 75-93*STONE, Kurt, “Problems and Methods of Notation”. Perspectives of New Music, vol. 1, n.º 2, (1963), pp. 9-31*VALLE, Andrea, Contemporary Music Notation: Semiotic and Aesthetic Aspects. Logos Verlag Berlin, 2018VILLA ROJO, Jesús, Juegos gráfico-musicales. Editorial Alpuerto, 1982*—, Notación y grafía musical en el siglo XX. Iberautor, 2003*WEIBEL, Peter et al. (eds), From Xenakis's UPIC to Graphic Notation Today. Hatje Cantz, 2020 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Kathryn is a member of several contemporary music ensembles including the renowned Australian ELISION Ensemble, Fonema Consort (NYC), and the Echoi Ensemble (LA). She has performed as a guest artist with various adventurous international ensembles such as Klangforum Wien, Ensemble MusikFabrik, Delirium Musicum, Ensemble Dal Niente, and Ensemble Vertixe Sonora.Equally passionate and experienced as an orchestral musician, Kathryn served as a core member of the Hawaii Symphony Orchestra for three consecutive seasons from 2014-2017 and has performed with the Ojai Festival Orchestra, Phoenix Symphony, New West Symphony, California Chamber Orchestra, Lucerne Festival Alumni Orchestra, Pacific Lyric Opera, Maui Chamber Orchestra, and Hawaii Opera Theater. Kathryn received her Doctor of Musical Arts degree in Contemporary Music Performance from the University of California San Diego, Master of Music degree from McGill University, and Bachelor of Music degree from the New England Conservatory of Music.In Fall 2023, Kathryn joined the faculty of the University of the Pacific Conservatory of Music as Assistant Professor of Practice in String Bass. Kathryn Schulmeister WebsiteSupport the showInstagram / Twitter / Youtube / Website / BSA / View More Episodes

An den Rändern des Jazz - heute mit: Christoph Spendel: Spirits from the South | Hans Anselm Quintett: A Permanent Place in Between Poles of Existence | Napoleon Murphy Brock & Ensemble Musikfabrik: Bad Doberan & Elswhere (Sendung vom 27.2.)

Compositora española afincada en Colonia, debe la gran originalidad de su obra a sus investigaciones etnomusicológicas, que la han llevado por todo el mundo. Se desenvuelve en el ámbito de la escena, la instalación sonora, el arte radiofónico, la video creación y la electroacústica._____Has escuchadoEquilibrio (2010). Juan Carlos Garbayo e Isabel Pérez-Requeijo, pianos; Atelier Gombau; Carlos Cuesta, director. Verso (2010)Flores V. Herbst (2003). Amelia Cuni y María de Alvear, voces; Ensemble musikFabrik. World Edition (2012)Thinking (2000). Stephen Clarke, piano; Marc Sabat, violín. World Edition (2003)_____ Selección bibliográficaÁLVAREZ-FERNÁNDEZ, Miguel, La radio ante el micrófono: voz, erotismo y sociedad de masas. Consonni ediciones, 2021*ALVEAR, María de, “‘Si quieres tener tu singularidad, al final eres la rara'. Entrevista con Ruth Prieto”. El Compositor Habla (2020), consultada el 20 de junio de 2023: [Web]HILLER, Egbert (ed.), Ein Konzert ist eine Feuerstelle: die Komponistin María de Alvear. Wolke Verlag, 2021IGES, José, “María de Alvear: resonancias del ser”. Sibila, n.º 53 (2017), p. 55*PRIETO, Ruth, “María de Alvear: femenino singular”. Ritmo, vol. 92 (2021), pp. 28-30* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Diese Sendung hat Jörg Müller-Jahns zusammengestellt. Das LIVE - Anspiel ist : „Cheek to cheek” – komponiert 1935 von Irving Berlin. Folgende Titel sind zu hören: 1. I've got you under my skin – Tony Bennett & Lady Gaga 3:06 2. Swing supreme – Robbie Williams 3:14 3. Village of the sun – Napoleon Murphy Brock & Ensemble Musikfabrik 3:36 4. Cheek to cheek – Roger Cicero & Yvonne Catterfeldt 5:17 5. Festival – Hans Koller & The International Brass Company 10:54 6. Träume heißen Du – Hildegard Knef 3:28 7. Squeeze me – Jazz-Optimisten Berlin 2:57 8. Oye com ova – Arturo Sandoval & WDR Big Band Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de

Diese Sendung hat Jörg Müller-Jahns zusammengestellt. Das LIVE - Anspiel ist : „Cheek to cheek” – komponiert 1935 von Irving Berlin. Folgende Titel sind zu hören: 1. I've got you under my skin – Tony Bennett & Lady Gaga 3:06 2. Swing supreme – Robbie Williams 3:14 3. Village of the sun – Napoleon Murphy Brock & Ensemble Musikfabrik 3:36 4. Cheek to cheek – Roger Cicero & Yvonne Catterfeldt 5:17 5. Festival – Hans Koller & The International Brass Company 10:54 6. Träume heißen Du – Hildegard Knef 3:28 7. Squeeze me – Jazz-Optimisten Berlin 2:57 8. Oye com ova – Arturo Sandoval & WDR Big Band Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de

Marco Blaauw is trompetist. Blaauw werkt als solist bij verschillende ensembles en is sinds 1993 verbonden aan het Ensemble Musikfabrik. Zijn werk is breed opgenomen op radio en televisie. In 2016 ontving hij de Karl Sczuka Prize voor zijn radiowerk deathangel. Onder leiding van Blaauw staat Call for the Company op het Holland Festival. Het is een compositie voor acht trompettisten en verwijst naar de jacht en alles wat daarbij komt kijken: opgejaagde dieren, hoe mensen deel worden van een groep en hoe te leren van een leider. Lotje IJzermans gaat met Marco Blaauw in gesprek.

A cimbalom Prima díjas művésze részben jazzmuzsikusnak tekinti magát, nem csoda, ha jazzrajongó, de minthogy hangszere egyáltalán nem jellemző a műfaj múltjában és jelenében sem, Lukács Miklós jazzhez való kötődési pontjairól izgalmas lesz hallani a Náray Erikával folytatott zenés beszélgetésben. Lukács Miklós a nemzetközi színtéren fontos elismerést szerzett a magyar jazznek, amikor évekkel ezelőtt csatlakozott Charles Lloyd zenekarához. De természetesen rendkívül büszke lehet pályája több más állomására is. Már tizenegy évesen az UNICEF egy brüsszeli gálaestjén adott szólókoncertet, később pedig olyan zenekarokkal dolgozott szólistaként, mint a Budapesti Fesztiválzenekar, a BBC Symphony Orchestra, az Orchestre de la Suisse Romande, a Philharmonisches Staatsorchester Hamburg, az ORF Vienna Radio Symphony Orchestra, a Remix Ensemble, az Israel Contemporary Players, az Ensemble Musikfabrik, a Ligeti Ensemble, az UMZE Kamaraegyüttes vagy a THReNSeMBle. Kurtág György és Eötvös Péter műveik tolmácsolására kérték fel, sőt kifejezetten számára írt versenyművet Eötvös mellett Bella Máté, Fekete-Kovács Kornél, Szakcsi Lakatos Béla, Oláh Kálmán, Bacsó Kristóf, Vukán György és Borbély Mihály. Lloyd mellett olyan jazzsztárokkal dolgozott együtt, mint Archie Shepp, Steve Coleman, Bill Frisell, Chris Potter, Uri Caine vagy Frank London. Játéka több mint ötven lemezen hallható, ezek egyharmadán saját produkcióival. Cimbiózis elnevezésű trióját 2013-ban alapította Orbán György nagybőgőssel és Baló István dobossal. az est háziasszonya, ének: Náray Erika Közreműködők zongora: Juhász Attila basszusgitár: Frey György dob, zenei vezető: Berdisz Tamás

Van de jonge componiste (en pianiste) Sara Zamboni zijn twee werken te horen in dit programma. Uit 2020 stamt haar Trio voor viool, cello en piano; het werd opgenomen in de studio van Radio 4 in een coproductie met Dutch Composers Now, uitgevoerd door Loes Dooren (viool), Berber Heerema (cello) en Rutger Jansen (piano). En uit 2018 het werk 'Lumen est lumine' voor 11 instrumenten en fixed media, gecomponeerd voor Ensemble Musikfabrik. 23.04 CD Christmas Carols with The King's Singers John Tavener: O, do not move The King's Singers 1'55” 23.07 eigen opname Radio 4 Sara Zamboni: Trio voor viool, cello en piano I. Data Streaming (for the pianist) II. Arco Infinito (for the cellist) III. Step Dance (for the violinist) Loes Dooren (viool); Berber Heerema (cello); Rutger Jansen (piano) 17'03” 23.29 eigen opname musici Sara Zamboni: Lumen de Lumine voor 11 instruments and 6-channels fixed media (2018) Musikfabrik 19'45” Ensemble Musikfabrik olv Christian Eggen Helen Bledsoe, flute Peter Veale, oboe Carl Rosman, clarinet Hannah Weirich, violin I Sara Cubarsi, violin II Axel Porath, viola Dirk Wietheger, cello Christine Chapman, horn Marco Blaauw, trumpet Ulrich Löffler, piano Dirk Rothburst, vibraphone, glockenspiel, crotales Melvyn Poore, tape cues Christian Eggen, conductor Wolfgang Ellers, recording and mastering engineer The recording has been made as part of Composer Collider Europe with the support of the Creative Europe Programme of the European Union. Premiere: 11 november 2018, State Symphony Orchestra, Thessaloniki (GR) Opnamedatum: 9 november 2020, Im Mediapark 7, Köln (DE)

Today's guest is Christine Chapman, an eclectic American horn player, and a member of the innovative and explosive Ensemble Musikfabrik. I will read her bio now for those listeners who might not be familiar with her work. Raised in the coastline woods of western Michigan, Christine Chapman has traveled far and wide to pursue her passion for music. In 1990, after finishing her musical studies at the University of Michigan and Indiana University, she broke out of the rural heartland of America for an orchestra job on the still fresh border between East and West Germany. The desire to gain a bit of work experience before returning to the States has since turned into a quarter of a century of exploration and adventure. As a member of Ensemble Musikfabrik, Christine Chapman has had the opportunity to collaborate directly with many of today's greatest composers, premiering and performing works by Karlheinz Stockhausen, Wolfgang Rihm, Peter Eötvös, Rebecca Saunders and Georg Friedrich Haas, among others. The experience of performing "outside of the box", such as with the music of Harry Partch, La Monte Young, Sun Ra, or Mouse on Mars, is the main impetus of her work. "Trying to see through the technicalities of playing to bring out the soul of the music; that is what's so exciting for me.” --- Support this podcast: https://anchor.fm/artssalon/support

This is a special conversation to me, as Marco has been an important influence, and mentor for me throughout the last decade. Marco embodies all of the rarest qualities in the trumpet community, and like anything this rare, it makes Marco a huge asset to us all. Marco taught me how to listen more deeply, to enjoy sound to its fullest, and to be grateful for the moments spent making music. He has also been an important influence to me in having the courage to be outspoken and fierce in defending the arts. In our time together he has always been generous and pulled no punches, often going for the jugular. In enduring his nudging, I have discovered more about myself than I could ever have imagined. --- Support this podcast: https://anchor.fm/artssalon/support

In the 7th episode of Darmstadt On Air we are witnessing the start of a new artistic collaboration between two extraordinary musicians: Marco Blaauw, trumpet player of Ensemble Musikfabrik, soloist and Darmstadt brass tutor has started a series of seven commissions that take the human breath as their main idea and inspiration. Ayanna Witter-Johnson will contribute one of the new pieces for trumpet. Born in London into a family with a Jamaican background, Ayanna's musical expression is taking many different shapes: she is a singer-songwriter, composer, cellist, pianist and performer who embraces various musical cultures and, as she names it, navigates transnational identity within her music. After a first e-mail and Skype exchange, they met in person on 4 September 2020 in Cologne on the occasion of the premiere of Ayanna's commission for Gürzenich Orchestra and conductor François-Xavier Roth. Sitting in the Musikfabrik studios (with musical rehearsals in the background), they had also listened to Marco's interpretation of Georg Friedrich Haas' lament in the memory of Eric Garner from 2015 with the title "I can't breathe". In their conversation they touch topics like belonging and background, everyday experiences of being a black woman, being a black female artist and the burden of having to represent that group. They talk about white privilege, about one's personal sound, about being on the fringes of may worlds and about bringing other people into the space.

Ich habe Trompeter, Komponist und Forscher David Aguila während seiner Europareise gesprochen. Gerade sind die Stockhause-Tage & die Blechbläser-Akademie des Ensemble Musikfabrik zu Ende gegangen und er verbringt einige Tage in Kürten bei der Stockhausen-Stiftung, um für seine Dissertation zu forschen. Im Podcast sprechen wir über seinen Weg zur Musik, Kalender aus Papier und einen besonderen Auftritt in der Jay Leno 'Tonight Show' in der David Trompete spielend mit einer Hand den Rubik's Cube löste. Buch-Tipps: Luigi Russolo, Futurist: Noise, Visual Arts, and the Occult: https://amzn.to/2PsiVqq Point and Line to Plane (Dover Fine Art, History of Art): https://amzn.to/2NHRDtg Davids Website: https://www.davidaguila.com ___________________________ Die Playlist zum Podcast findet ihr hier: https://open.spotify.com/user/c92fbemzutxl9fezydyrgvfra/playlist/4S82PES9ya7R1QMy4XYEoI?si=TRNBwWadQmqAM3ryT3W0jQ

För ett liv i musikens tjänst. Som en poet eller alkemist omvandlar hon ljud till skulpturer. Som första kvinnliga tonsättare någonsin får Rebecca Saunders det som kallas Musikens Nobelpris, Ernst von Siemens Musikpreis på 250 000 Euros. Hon föddes i London men lever sedan många år i Berlin och får priset för ett liv i musikens tjänst. "Som en poet eller alkemist omvandlar hon ljud till skulpturer. Hennes intelligenta, intuitiva musik har stränghet, genialt berättande, listig humor och explosiv energi." Rebecca Saunders verklista innehåller drygt 70 verk: solostycken, duostycken, trios, kammarmusik, orkesterstycken. För henne är rummen, det arkitektoniska och spatiala, oerhört viktigt och musikerna är ofta utplacerade på olika platser när verken framförs. Hon känner instrumenten utan och innan och deras klangfärg och tonart/pitch betyder allt. Mekaniska misstag i t ex en oboe, då ljudet spricker upp i två toner, kallar Rebecca Saunders en dyad, ett ackord av två toner. Hon älskar sådana "biprodukter" och använder sig av dem i sina kompositioner. Hennes verk chroma, för upp till 16 musiker, finns i 20 olika versioner, uppförda i olika länder. Stycket spelas två gånger vid varje konserttillfälle och till instrumentationen hör upp till 270 speldosor. Rebecca Saunders senaste stora orkesterverk har titeln Yes, efter det sista ordet i Molly Blooms inre monolog i romanen Odysseus av irländske författaren James Joyce. I Yes använder Rebecca Saunders en fulltalig Ensemble Musikfabrik från Köln. Sammanlagt 19 solister samt sopran och dirigent, som spelar slagverk, reciterar och sjunger text. Instrumentet ackordion är ett måste för Rebecca Saunders. -Utan ackordion kan jag inte skriva musik! Det finns något  förunderligt med ackordion. Instrumentet är mångsidigt och känslomässigt: mycket subtilt och extremt kraftfullt. Ackordion kan uttrycka en djup melankoli men kan också vara både iskallt och distanserat. Saunders har varit professor i komposition vid Hannover University of Music, Theatre and Media och undervisar regelbundet vid Darmstadts sommarkurser och vid Impuls Academy i Graz i Österrike. Hon är medlem i Berlin Academy of Arts och Sachsen Academy of Arts i Dresden. Här är en helt färsk och gedigen verklista: https://www.editionpeters.com/resources/0001/writers/pdf/Saunders_worklist_17_Jan_2019.pdf Vi möter även tonsättaren Malin Bång och dirigenten Rei Munakata som med ensemblen Curious Champer Players har arbetat med Rebecca Saunders och hennes musik. Bland annat vid Stockholm New Music Festival på Musikaliska på Nybrokajen i Stockholm då Saunders chroma IV uppfördes. Malin Bång: Det som inspirerade mig från början var den här väldigt dynamiska kraften i Rebecca Saunders musik och de stora kontrasterna mellan det ganska ruffa och det väldigt sköra och svaga. Det blir en stor relief i musiken och hon var intresserad av det rumsliga redan då, fast det sker inne i instrumentationen på något vis. Rei Munakata: Det var mycket intressant att arbeta med Rebecca Saunders. Hon är fast beslutsam och vet exakt hur hon vill ha det i dessa komplicerade musikstycken. Det mest intressanta är att hon känner instrumenten mycket bra. Hon använder instrumentet på ett mycket färgstarkt sätt för att skapa olika nyanser. Manus, regi och produktion: Birgitta Tollan som mötte Rebecca Saunders inför prisutdelningen i hennes studio i Prenzlauer Berg i Berlin. Spellista: Stirrings Still Rebecca Saunders Ensemble Musikfabrik, Köln Skin Rebecca Saunders Juliet Fraser, sopran Ensemble Modern Vimbayi Kazibon, dirigent Live av BBC Skin Rebecca Saunders Juliet Fraser, sopran Ensemble Modern Vimbayi Kazibon, dirigent Live av BBC Blaauw for double-bell trumpet Rebecca Saunders Marco Blaauw, trumpet Miniata Rebecca Saunders Teodoro Anzellotti, ackordio Hans Zender, dirigent Southwest German Radio Symphony Orchestra Solitude Rebecca Saunders Severine Ballon, cello To And Fro Rebecca Saunders Hannah Weirich, violin Peter Veale, oboe chroma IX Rebecca Saunders Ensemble Contrechamp chroma IX Rebecca Saunders Ensemble Contrechamp Yes Rebecca Saunders Juliet Fraser, sopran Ensemble Musikfabrik, Köln Enno Poppe, dirigent

För ett liv i musikens tjänst. Som en poet eller alkemist omvandlar hon ljud till skulpturer. Som första kvinnliga tonsättare någonsin får Rebecca Saunders det som kallas Musikens Nobelpris, Ernst von Siemens Musikpreis på 250 000 Euros. Hon föddes i London men lever sedan många år i Berlin och får priset för ett liv i musikens tjänst. "Som en poet eller alkemist omvandlar hon ljud till skulpturer. Hennes intelligenta, intuitiva musik har stränghet, genialt berättande, listig humor och explosiv energi." Rebecca Saunders verklista innehåller drygt 70 verk: solostycken, duostycken, trios, kammarmusik, orkesterstycken. För henne är rummen, det arkitektoniska och spatiala, oerhört viktigt och musikerna är ofta utplacerade på olika platser när verken framförs. Hon känner instrumenten utan och innan och deras klangfärg och tonart/pitch betyder allt. Mekaniska misstag i t ex en oboe, då ljudet spricker upp i två toner, kallar Rebecca Saunders en dyad, ett ackord av två toner. Hon älskar sådana "biprodukter" och använder sig av dem i sina kompositioner. Hennes verk chroma, för upp till 16 musiker, finns i 20 olika versioner, uppförda i olika länder. Stycket spelas två gånger vid varje konserttillfälle och till instrumentationen hör upp till 270 speldosor. Rebecca Saunders senaste stora orkesterverk har titeln Yes, efter det sista ordet i Molly Blooms inre monolog i romanen Odysseus av irländske författaren James Joyce. I Yes använder Rebecca Saunders en fulltalig Ensemble Musikfabrik från Köln. Sammanlagt 19 solister samt sopran och dirigent, som spelar slagverk, reciterar och sjunger text. Instrumentet ackordion är ett måste för Rebecca Saunders. -Utan ackordion kan jag inte skriva musik! Det finns något  förunderligt med ackordion. Instrumentet är mångsidigt och känslomässigt: mycket subtilt och extremt kraftfullt. Ackordion kan uttrycka en djup melankoli men kan också vara både iskallt och distanserat. Saunders har varit professor i komposition vid Hannover University of Music, Theatre and Media och undervisar regelbundet vid Darmstadts sommarkurser och vid Impuls Academy i Graz i Österrike. Hon är medlem i Berlin Academy of Arts och Sachsen Academy of Arts i Dresden. Här är en helt färsk och gedigen verklista: https://www.editionpeters.com/resources/0001/writers/pdf/Saunders_worklist_17_Jan_2019.pdf Vi möter även tonsättaren Malin Bång och dirigenten Rei Munakata som med ensemblen Curious Champer Players har arbetat med Rebecca Saunders och hennes musik. Bland annat vid Stockholm New Music Festival på Musikaliska på Nybrokajen i Stockholm då Saudners chroma IV uppfördes. Malin Bång: Det som inspirerade mig från början var den här väldigt dynamiska kraften i Rebecca Saunders musik och de stora kontrasterna mellan det ganska ruffa och det väldigt sköra och svaga. Det blir en väldig relief i musiken och hon var intresserad av det rumsliga redan då, fast det sker inne i instrumentationen på något vis. Rei Munakata: Det var mycket intressant att arbeta med Rebecca Saunders. Hon är fast beslutsam och vet exakt hur hon vill ha det i dessa komplicerade musikstycken. Det mest intressanta är att hon känner instrumenten mycket bra. Hon använder instrumentet på ett mycket färgstarkt sätt för att skapa olika nyanser. Manus, regi och produktion: Birgitta Tollan som mötte Rebecca Saunders inför prisutdelningen i hennes studio i Prenzlauer Berg i Berlin.

Serbia helilooja Marko Nikodijevici autoriplaadile "dark/rooms" on kogutud ansambli- ja orkestriteosed aastatest 2000-2012. Albumil esinevad ORF Raadio Sümfooniaorkester Wien dirigent Jonathan Stockhammeri juhatusel, Nieuw Ensemble (dirigent Micha Hamel) ja Ensemble musikFabrik (dirigent Clement Power). Klaverisolist on Bejamin Kobler.

Serbia helilooja Marko Nikodijevici autoriplaadile "dark/rooms" on kogutud ansambli- ja orkestriteosed aastatest 2000-2012. Albumil esinevad ORF Raadio Sümfooniaorkester Wien dirigent Jonathan Stockhammeri juhatusel, Nieuw Ensemble (dirigent Micha Hamel) ja Ensemble musikFabrik (dirigent Clement Power). Klaverisolist on Bejamin Kobler.

Concert: CDMX: New Music from Mexico (Contemporary Mexico) Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department. She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

Concert: Salonen & Sibelius Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department.  She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

Concert: Mirga Conducts Mozart & Haydn Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department.  She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

Concert: Dances of Death Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department.  She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

Concert: Green Umbrella: All-Reich Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department.  She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

VERONIKA KRAUSAS Of Lithuanian heritage, composer Veronika Krausas was born in Australia, raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes "her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life." Mark Swed of the Los Angeles Times said of her chamber opera The Mortal Thoughts of Lady Macbeth “Something novel this way comes.” Performances ?include Ensemble musikFabrik (at the Darmstadt Music Festival), The Los Angeles Philharmonic, New York City Opera, Fort Worth Opera, Esprit Orchestra, The Vancouver Symphony, San Francisco Choral Artists, Alexander String Quartet, Fort Worth Opera, Motion Music, and the Penderecki String Quartet. Her work was an official selection of the US for the 2012 World Music Days in Belgium and she was the featured composer at the 2013 Céret Music Festival. She was one of the composers for The Industry’s mobile opera project Hopscotch. The Los Angeles Philharmonic has commissioned a work for 5 basses to be performed in a tent designed by artist Ana Prvacki in the fall of 2016. Krausas has music composition degrees from ?the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at the University of Southern California in Los Angeles, where she is currently on faculty. www.veronikakrausas.com

VERONIKA KRAUSAS Of Lithuanian heritage, composer Veronika Krausas was born in Australia, raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes "her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life." Mark Swed of the Los Angeles Times said of her chamber opera The Mortal Thoughts of Lady Macbeth “Something novel this way comes.” Performances ?include Ensemble musikFabrik (at the Darmstadt Music Festival), The Los Angeles Philharmonic, New York City Opera, Fort Worth Opera, Esprit Orchestra, The Vancouver Symphony, San Francisco Choral Artists, Alexander String Quartet, Fort Worth Opera, Motion Music, and the Penderecki String Quartet. Her work was an official selection of the US for the 2012 World Music Days in Belgium and she was the featured composer at the 2013 Céret Music Festival. She was one of the composers for The Industry’s mobile opera project Hopscotch. The Los Angeles Philharmonic has commissioned a work for 5 basses to be performed in a tent designed by artist Ana Prvacki in the fall of 2016. Krausas has music composition degrees from ?the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at the University of Southern California in Los Angeles, where she is currently on faculty. www.veronikakrausas.com