Afiş /Poster
Afişul festivalului

Marţi, 26 Mai / Tuesday, 26 May

12.00 / 12.00 pm – Aula Palatului Cantacuzino / The Cantacuzino Palace Hall
Conferinţă / Lecture: Hiroyuki Itoh şi / and Misato Mochizuki Japonia / Japan

Hiroyuki ItohHiroyuki Itoh (b. Sakata, Japan, 1963) received his Ph.D. in music from the University of California, San Diego in 1994. He studied composition with Joji Yuasa, Shin-ichiro Ikebe, Roger Reynolds, and Brian Ferneyhough. His awards include the first prize at the Nuove Sincronie International Composition Competition (1995), a Stipendienpreis at the Darmstadt Ferienkurse (1996), and the Akutagawa Composition Award for Orchestral Music, one of the most prestigious composition awards in Japan (1998). His works have been performed at music festivals such as Darmstadt, Gaudeamus, ISCM World Music Days, Klangspuren, Ruemlingen, June in Buffalo, Music From Japan, Akiyoshidai, Takefu, and so on, by orchestras and ensembles such as the New Japan Philharmonic, Tokyo Philharmonic Chorus, Izumi Sinfonietta Osaka, Tokyo Sinfonietta, Nieuw Ensemble, Klangforum Wien, and the Arditti String Quartet. Itoh’s first portrait CD was released from the MusicScape (Tokyo) in 2006 and he is currently working on his second portrait CD to be released early next year form the Fontec (Tokyo). Itoh, living in Yokohama, is the assistant director of the Takefu International Composition Workshop and teaches at the Nihon University.

Misato MochizukiMisato Mochizuki Born in Tokyo in 1969, Misato Mochizuki has obtained a Masters degree in composition at the National University of Fine Arts and Music in Tokyo in 1992. She then moved to Paris and obtained a First prize for composition at the Conservatoire National Supérieur de Musique in Paris in 1995 in the class of Paul Méfano and Emmanuel Nunes. She then integrated the ”Composition and Computer Music” program at IRCAM in 1996 and 1997 under the direction of Tristan Murail. The works of Misato Mochizuki have obtained numerous international awards and distinctions. Among them: Fellowship award for the Darmstadt Summer Courses in 1998 for ”Si bleu, si calme”; Nomination by UNESCO, and recommended works of the International Tribune of Composers in 1999 for ”La chambre claire”; Akutagawa Award for best orchestral work from young composers in 2000 for ”Camera lucida”; Audience Award from the Brussels Festival Ars Musica in 2002 for ”Chimera”; Japanese Government Award along with the Idemitsu Award for New Artistic Talent in 2003; Otaka Award for best symphonic work in 2005 for ”Cloud nine”; ”L'heure bleue” was selected as ”the most impressive work” at the UNESCO International Tribune of Composers in 2008. As an original mixture of Western tradition and Asian breath, the music of Misato Mochizuki develops seductive rhythms and astonishing sound colors with a bright freedom in form and style. Nearly 40 pieces are published today in her catalogue at Breitkopf & Härtel, including 9 symphonic works and 10 ensemble pieces. Played in many international festivals, Misato Mochizuki is currently one of the most active composers in Europe and Japan. Her first opera ”The big bakery robbery” (opera buffa based on Haruki Murakami's short stories ”The bakery attack” and ”The second bakery attack”) was premiered on January 24, 2009 in Lucerne.

18.00 / 6.00 pm – Aula Palatului Cantacuzino / The Cantacuzino Palace Hall
Ansamblul „devotioModerna” / „devotioModerna” Ensemble
România / Romania
Carmen Maria Carneci

Conducerea muzicală / Music Director: Carmen Maria Cârneci
Ana Chifu
, flaut / flute, Teodora Ducariu, flaut / flute, Valentin Ghiţă, oboi/ oboe, Constantin Urziceanu, clarinet / clarinet, Raluca Stratulat, vioară / violin, Andrei Cavassi, violoncel / cello, Olga Podobinschi, pian / piano, Rareş Pahonţu, percuţie / percussion

Concert realizat cu sprijinul oferit de Muzeul Naţional „George Enescu” / Concert supported by The ”George Enescu” National Museum.

Program / Programme:
Misato Mochizuki –Intermezzi I for flute and piano (p.a.r.) / (Romanian Premiere)
Iulia Cibişescu-Duran – Self portrait for clarinet (p.a.a.) / (World Premiere)
Carmen Maria Cârneci – 2 Summer songs; «Zburător »« summer rains » for flute(s), piano, percussion (p.a.a.) / (World Premiere)
Corneliu Dan GeorgescuCum statua (for ensemble)(p.a.a.) / (World Premiere)

Composers and Programme Notes

Misato Mochizuki
(see ”Lecture: Hiroyuki Itoh and Misato Mochizuki”)

Intermezzi I for flute and piano
The cycle « Intermezzi » (I for flute and piano ; II for solo koto ; other pieces will follow) was inspired by Roland Barthes' (1915-1980) theory of 'fragmented discourse'. Many of his books are written in this form : without any predetermined order of argumentation, various themes are successively thought through and thus unimagined associations develop while reading. This rhethorical form epitomises the simultaneity of various layers of thought, the mutual collision and densification of concepts. On permanently shifting ground, the attentive reader has no choice but to generate a new type of synthesis. Gradually, through the use of small thought-prompts, a unified view is prepared ; it is accomplished precipitously, and crystallises in a novel perspective. Parhaps, this is, an elegant way of grasping the unfathomable by comprehensibly accumulating the multiplicity of its manifestations. In the way my music is perceived, I am seeking a similar experience and that disengages me from any strict planning of the form and
the technique of composition. My musical ideas have the appearance of improvisation, of a non-calculated process and my music only becomes meaningful in the very moment of events
unfolding. « Intermezzi I » consists of seven brief fragments, musical ideas which are arranged in an imaginary circle. I wanted to see how an emotion could spring from such patchwork. The interpreters whisper a series of words taken from Roland Barthes: Incidents (mini-textes plis, haïkus, notations, jeux de sens, tout ce qui tombe, comme une feuille) [Incidentals (mini-texts, folds, haikus, annotations, puns, fall, leaves)]

Misato Mochizuki

Iulia Cibişescu-Duran
Iulia Cibişescu-Duran was born in 1966 in Deva, Romania. She studied composition with Cornel Ţăranu at the” Gheorghe Dima” Academy of Music in Cluj-Napoca (1985-1990), where she then studied orchestral conducting with Emil Simon and Petre Sbârcea (1991-1996) and earned diplomas in both subjects, as well as her DMus in musicology in 2001. Her creation consists of mostly orchestral, chamber, choral, and vocal works that have been performed in Germany, France, Italy, USA, Brazil and Bolivia. Among her many honors are four prizes in the ”Gheorghe Dima” National Competition in Cluj, First Prize in the Iaşi National Competition and the Romanian TV Prize in Iaşi (1996) and ”Lucian Blaga Prize” in the competition of the Sebeş Festival (1996,1999). She also earned The Prize of the Romanian Composers’ Union (2006), as well as two prizes as a conductor in the ”Craiova Conductors’ Competition. In 1992 she founded the contemporary music ensemble ”Art Contrast” in Cluj-Napoca. After that she went on with conducting a.o. with the Bucharest Chamber Orchestra and several philarmonic orchestras in Romania and in Bulgaria (Vidin). She is also active as a musicologist: in 2002 she published Polymorphic Structures in Postmodern Romanian Music (Media Musica Edition).
Currently she is a professor at the ”Gheorghe Dima” Academy of Music in Cluj-Napoca.

Self portrait

”Self-portrait” for clarinetto solo (p.a.a.) is inspired of my own poems: ”Mona Lisa” and ”Unfinished travel” from my poetry book ”The Hiding Places of Masks”(1995, Ed. Mesagerul, Cluj-Napoca). It is a love and life story wrote in a musical language, a dynamic and expressive self picture. This composition is building on an alternance and a mixture between the serial and the modal music. That means that the modal structures are parts of a serie, which has a free development. Wrote in a bithematic sonata form, ”Self-portret” uses the juxtapositions between the dynamic and passionate structures and the modal tricordal elements wrote in a sweet and sensitive way, sometimes in the multiphonic system.

Iulia Cibişescu-Duran

Carmen Maria Cârneci
She first studied composition and conducting in Bucharest (1976-81), later specialized in Freiburg, Germany on a DAAD-scholarship (1985-89) as a student of Klaus Huber. She participated in conducting courses, first with Constantin Bugeanu, Iosif Conta and Kurt Masur, later with Pierre Boulez, Peter Eötvös a.o., gained scholarships (Italy, France, England) and prizes (Austria, Germany). She was invited both as a conductor and a composer to several festivals of new music (Donaueschingen, Dresden, Heidelberg, Zürich, Saarbrücken etc). She was a regular guest conductor in Stuttgart (State Opera, Chamber Theatre), conducted also in Milan (at ‘Piccola Scala’) and in Bonn (at the ”Neues Theater für Musik”) where she also gave the premiere of her own chamber opera ”Giacometti”(1996). As a composer she received important awards (in Mannheim, Rome, Köln, Bucharest, Hong Kong etc.) and commissions( from ”The State Opera” in Bonn, ”ensemble für neue musik zürich” a.o.). Her works are edited by Ricordi-München and Furore-Edition-Kassel, Germany. She was the artistic director of the ”International Week of New Music” in 2005 and 2006. She is also active in Freiburg – as a conductor of the ensemble ”profectio initiative” – and in Bucharest, where currently she is the Director of ”Editura Muzicală”.

”Summer Songs” for soprano, piano and percussion
”Verse of a bride” and ”Hours of love” (p.a.)open this cycle that aims to put into sounds the few poems of Radu Carneci in which the lyric protagonist who makes the apology of love and urges anyone to learn from the beginning the subtle but all-powerful affective powers is of feminine gender.”Verse of a bride” expresses the particular mood of unnamed longing and feverish awaiting generated by the image of ‘Flying Eros’ (Zburătorul – a demonlike half god of early love in the romanian lyricism comming from the archaic folk tradition) – that leads toward flying from reality into the delirious world, while in ”Hours of love” the time pulsation – sometimes rhythmical, attentively measured, othertimes overdimenssioned as ‘the summer rains’ –projects human feelings of love also as part of the big Nature, close to the cosmical
vibrations… I felt like a composer’s challenge to throw light (...and sounds) upon the virtuosity and tumultuous inspiration of these verses.

Carmen Maria Cârneci

Corneliu Dan Georgescu (b. 1938) studied with M. Andricu and T. Olah at the Music Academy in Bucharest (1956-61). He attended further composition courses in Darmstadt (1970, 1974) and Amsterdam (1977, 1990) where he met Kagel, Ligeti, Stockhausen, Wolff, Xénakis, Ton de Leeuw. He was active at the Institute of Ethnological and Dialectical Research in Bucharest (1962-83, 1976-80 as a director of the Music department), and at the History of Art Institute (1984-87). In 1987 he emigrated to Germany where he first worked at the Internationales Institut für traditionelle Musik (1989-91), later at the Freie Universität in Berlin (1991-94). As an ethnomusicologist, his main fields of research were folk dance, alphorn-music, improvisation, maqam, computer-simulation. Already his early compositions reflected his preoccupation with the idea of the objective power of some archetypal musical structures as carrier for collective unconsciousness. He treated this idea - adapted from the psychology of C. G. Jung – in five papers of the series The Study of Musical Archetypes (1980-87). In the cycle Jocuri he searched for primitive folklore structures which he used as components of a palimpsest in an ‘atemporal’ musical form. This kind of music (as described in „Considérations sur une ‚musique atemporelle’”, 1979) ”narrates” nothing, but generates a statically, internally vibrating, multilayered periodicity. Starting with the next cycle, Models, the subject of his compositions has constantly been the contemplation of an archetype, e.g. in the opera Model Mioritic. The cycle Atemporal Studies, electronic music, and the cycle of string quartets dedicated to Piet Mondrian lead to a radical aesthetics of simplicity and objectivity, demanding a severe reduction of colours and forms in order to attain elementary structures having no regional or temporal refferences but some mystical resonance. Repetitive elements, consonances or classical harmonic functions are essential, as well as geometrical symmetries and principles of proportion. The composer is considering himself out of the competition or opposition between avant-garde and tradition.

Cum Statua
(2009), composed for the ensemble ”devotioModerna”
Eternity is perhaps the most significant domain of music... The ”manipulation of time” in any musical form seeks always to disturb the usual perception of time and may aspire to suggest a feeling of infinity. I am not interested in the material (which must be as simple as possible), but in the form as an ”infinite vibration” of this material. This piece has a cyclical form: motifs, refrains, colours come again and again, as in an eternal circle. The continuously variable musical details (because eternity ”speaks” in every detail, not only in its cyclical return) are included in a framework in which boundaries between ”changeable” and ”non-changeable ” aspire to be relativized.

Corneliu Dan Georgescu, Berlin, April 2009

19.00 / 7.00 pm – Aula Palatului Cantacuzino / The Cantacuzino Palace Hall
Recital: Toshiya Suzuki
, blockflöte, Japonia / Japan

Program / Programme:
Toshio Hosokawa – Sen Ib for recorder(p.a.r.) / (Romanian Premiere)
Hiroyuki Itoh – Salamander II for soprano recorder (p.a.r.) / (Romanian Premiere)
Maki Ishii – Black Intention for recorder and tam-tam(p.a.r.) / (Romanian Premiere)
Misato Mochizuki – Toccata for 20 string koto and recorder (p.a.r.) / (Romanian Premiere)
– pauză / intermission –
Violeta Dinescu – Immaginable (p.a.r.) / (Romanian Premiere)
Salvatore Sciarrino – L’orologio di Bergson (recorder version) (p.a.r.) / (Romanian Premiere)
Luciano Berio – Gesti (p.a.r.) / (Romanian Premiere)

Toshio Hosokawa (1955-)
Toshio Hosokawa, Japan's best known living composer explores the boundaries between cultures. His music draws on affinities and contrasts between Western avant-garde and traditional Japanese culture, and is influenced by the static structures of the Gagaku music of the Japanese court. Nature in its many forms and characterised by its transience can often be found at the centre of his works. "Transience is beautiful", says Hosokawa, who describes his musical language with analogy to the Buddhist idea of balance between life and death: "The tone comes from silence, it lives, it returns to silence."

Born in Hiroshima in 1955, Toshio Hosokawa came to Berlin in 1976 to study composition with Isang Yun. He continued his studies with Klaus Huber and Brian Ferneyhough. After initially orienting his work toward the Western avant-garde, he began to explore new musical terrain between East and West with his highly praised first opera Vision of Lear. His second opera Hanjo (2004) has become a frequent choice for opera house and festival programming in recent years. Toshio Hosokawa has received numerous awards and prizes. He has been a member of the Akademie der Künste Berlin since 2001 and a Fellow of the Berlin Institute for Advanced Study since 2006. He is a frequent guest at prominent festivals of contemporary music and has held numerous positions as composer-in-residence.

Sen Ib for recorder (1985) describes infinitely gradation from very black to water color, various density in space or static and dynamic movements of the brush. These are elements of calligraphy. Sen 1b is a calligraphy in music. The sounds with various noises are drawn in calligraphic space or in "ma" which means states in space in Japanese language. The original was composed for solo flute and Sen 1b is a version for solo recorder.

Toshio Hosokawa

Hiroyuki Itoh (see ”Lecture: Hiroyuki Itoh and Misato Mochizuki”)

Salamander II for soprano recorder (1995)
The title ”Salamander” refers to a mythological, lizard-like reptile that is said to have lived in fire. Despite this, a salamander is believed to be extremely cold. It is also believed to move very quickly. Once it is out of the fire, however, it dies immediately. This mysterious, imaginary creature inspired the sonic image of this piece, though no concrete narrative is intended.
Control over a constantly changing speed of the materials is one of the principal factors that underlie this piece. For this reason, rather complex rhythms are meticulously notated in the score. Because of this as well as the extensive employment of quarter-tones, this piece is extremely difficult to play. This piece is dedicated to and was premiered by Tosiya Suzuki at the International Summer Courses for NewMusic in Darmstadt in 1996. ”Salamander II” was selected and performed at the ISCM World Music Days 2000 in Luxembourg.

Hiroyuki Itoh

Maki Ishii (1936-2003)
Maki ISHI was born on May 28th, 1936 in Tokyo. After studying composition and conducting from 1952 to 1958 in Tokyo he moved to Berlin where he continued his studies under Boris Blacher and Josef Rufer. In 1962 he returned to Japan. In 1969 he was invited to Berlin by the DAAD (German Academic Exchange Service) to take part in the "Berliner Kuenstlerprogramm". Since then he has been active there as well as in Japan as a composer and conductor. His compositions have been performed all over the world. Concerts as "Composer's Portrait of Maki Ishii" have been held in Paris at the Festival d'Automne 1978, at the Berliner Festwochen 1981, in Geneva at the Ete Japonais 1983, in Tokyo at the Music Today 1987, at the Suntory Music Foundation Orchestral Concert 1989, at the Tokyo Metropolitan Symphony Orchestra 1990, in the Hague at the residentie Orchestra 1992, to name but a few. He has conducted many of the world's leading orchestra, including the Radio Symphony Orchestra Berlin, the Orchestre de la Suisse Romande, New Japan Philharmonic Orchestra and Radio Symphony Orchestra Beijing, Hong-Kong Symphony Orchestra, in performance of his works and other. Particularly successful has been his two-act ballet "Kaguyahime" (choreographed by Jiri Kylian for the Nederlands Dans Theater), which he conducted on more than 80 occasions between 1988 and 1995 in The Hague, Amsterdam Rotterdam, Esse, Paris, and throughout Japan.

Black Intention I for one recorder player Op.27 (1976)
I composed three pieces as a series "Black Intention". The second one is for ob, cl, and fg, and the third one is for piano. A common idea through three works is "Black Intention" as the title, which means special musical intention. That is the intention to weave specific rhythm, style, sonority or techniques which were ever come out before. "Black Intention no,1" written for a recorder virtuoso, Frans Bruggen has such a Black Intention which are to play two recorder simultaneously or to form multi-layers sonorities played by Shakuhachi techniques plus voice and Tam-Tam in counterpoint.

Maki Ishii

Misato Mochizuki (see ”Lecture: Hiroyuki Itoh and Misato Mochizuki”)

Toccata for 20 string koto and recorder (2005)
Misato Mochizuki (born in1969) writes a modern music free from the weight of "cultural meaning". Her music is full of energy and vitality, often with pulsating rhythms. She uses Western and Asian instruments as resonating bodies of sound, listening to the vitality within them. The term "Toccata" comes from baroque music and does not refer to any fixed form: they are free, almost improvised musical organisms in which the whole range of the instruments is explored, often with abrupt changes of expression. All these elements are in this piece, too. In addition, the virtuosity involved requires a certain playfulness of the musicians, bringing a "sparkling" to the surface which makes Misato Mochizuki’s music so unique. Deutschlandfunk, Cologne Commission / Premiere: March 12, 2006 in Eindhoven, Jeremias Schwarzer (recorder) and Makiko Goto (koto)

Jeremias Schwarzer

Violeta Dinescu was born in Romania in 1953. In 1977, after finishing her studies at the Ciprian Porumbescu Conservatory in Bucharest with diplomas in composition, piano and pedagogy, she furtheres her special studies in composition for one year with Myriam Marbe. From 1978 to 1982 she was teaching theory, piano nand aesthetics at the George Enescu Music School in Bucharest. During this period she became a member of the Romanian Union of Composers. Since 1982 she has been living in Germany where her works have received numerous international prizes and awards. After lecturing at several German and US Universities, Dinescu became a composition professor at the Carl von Ossietzky University in Oldenburg since 1996. Her major commissioned works include 'Akrostichon' and 'L'ORA X' for orchestra, 'Pfingstoratorium', the music for the Friedrich Wilhelm Murnau silentfilm 'Tabu', the ballets 'Der Kreisel', 'Effi Briest' and the operas 'Hunger and Thirst', 'Der 35 Mai', 'Erendira', 'Schachnovelle' and 'Herzriss'.

Immaginabile for recorder is choreography of melodies. These melodies are overlapping in memories and create strange immages which receive more and more densities. In this context they still have an elastic dimension. The interpretation has to have an improvizatoric character of spontaneous creativity. The musical notation allows this flexibility.

Violeta Dinescu

Salvatore Sciarrino – (Palermo, 1947) likes to boast that he was born free and not in a school of music. Self-taught, he began to compose when he was twelve. His first public concert was given in 1962. But Sciarrino considers what he wrote before 1966 as immature works of apprenticeship, for it is then that his personal style came to the fore. There is something truly special about this music: it induces a different way of listening, projecting a thrilling awareness of reality and of the self. And after forty years his huge catalogue of compositions is still in a phase of astonishing creative development. After completing his schooling and a few years of university in his home town, he moved first to Rome in 1969 and then to Milan in 1977. Since 1983 he was been living in Umbria. He published for Ricordi from 1969 to 2004. From the very next year exclusive rights passed to Rai Trade. His discography is particularly large: around 80 CDs, issued by the major international labels, have been acclaimed and often awarded prizes. As well as the librettos of his own works of music theatre, Sciarrino has written many articles, essays and texts of various kinds; some have been chosen and collected in Carte da suono (Cidim– Novecento, 2001). Also important is his interdisciplinary book on musical form: Le figure della musica, da Beethoven a oggi (Ricordi, 1998). He has taught at the conservatories of Milan (1974-83), Perugia (1983-87) and Florence (1987-96). He has also held courses of specialization and master classes: particularly worth mentioning are those of Città di Castello from 1979 to 2000. Between 1978 and 1980 he was artistic director of the Teatro Comunale of Bologna. An Academician of Santa Cecilia (Rome), Academician of the Fine Arts of Bavaria and Academician of the Arts (Berlin), he has won numerous prizes, the most recent ones being the Prince Pierre de Monaco (2003) and the prestigious Premio Internazionale Feltrinelli (2003). He is also the first winner of the new Musikpreis Salzburg (2006).

The clock of Bergson strikes violent blows, in appearance always equal. Instead the time imperceptibly flette. Where it stops of pulsare, we continue to perceive it. In means to these blows swarms of heterogenous sonorous events pass, in the same direction of the time or in contrary direction. In means to these blows swarms of heterogenous sonorous events pass, in the same direction of the time or in contrary direction. This piece takes advantage of in inaudito way the more elementary articulations that are, sounds distances to you and repeated, using them as it detaches of periodic and intermittent sonorous images. A singular experience of kinetic type derives some. They enter in game: persistence, directionality of the image, and above all the discontinuity of space and time from which the pluralità it determine the proportions gushes them.

Salvatore Sciarrino

Luciano Berio (1925-2003) studied at Milan until 1951, and then set upon a long career of living alternately in Italy and the United States, studying under various modernist masters and forging his own unique style. From 1955 to 1960, he directed the ”Studio di Fonologia Musicale,” a center for electronic music which he and Bruno Maderna had founded at RAI (Italian Radio). After another decade of living in America, he returned to Italy and founded ”Centro Tempo Reale,” an institute for music research which drew together musicians and computer science experts in order to advance and explore new forms of composition. Of the same generation as Cage, Boulez and Stockhausen, Berio pioneered modernism in music and the use of electronics to explore new musical frontiers. He employed a myriad of idioms and techniques during his long and prolific career, specializing in works for the voice, ”chance” music, serialism, electronic music. Berio was also fascinated with literature, particularly twentieth century modernism and postmodernism. Italo Calvino wrote the text for two of Berio's stage works, and his work in Italian radio led him to a friendship with Umberto Eco. It was perhaps only natural that he should turn to Joyce and Beckett for musical inspiration.

Gesti (1966)
The series is known as solo works which were thoroughly investigated the possibilities of the instrument or the voice. Gesti which explored extraordinary original stage by the drastic use of the instrument can be regard as one of the series of ”. The piece has very clear concept which brings the basic form. It is the integration of ”mouth (articulations etc.)” and ”finger (movement)”. This forms three parts; ”contradictions” or ”no relation”, ”parallel movement” and ”coincidence”. In the first part where the controlled 'indefiniteness' or 'chance' was taken due to the optional finger movement and the graphic notation, it goes on with the poly rhythm by ”mouth” and ”finger”. ”Mouth” inlay various articulation, voice and inhaling during ”finger” strike its own rhythm. Without interruption, it continues to the secound part, which is filled up elastic glissando, forwards to the climax where the degree of the fluctuation increase furiously.

Tosiya Suzuki

20.30 / 8.30 pm – Teatrul Naţional de Operetă „Ion Dacian” / ”Ion Dacian” National Music Theatre
& Pro Contemporania România / Romania
Irinel Anghel, voce, ”live electronics”, acordeon / voice, live electronics, accordion, Mihaela Vosganian, voce, ”live electronics”/ voice, live electronics, Sorin Romanescu, chitară electrică / electric guitar, Marius Lăcraru, vioară / violin, Andrei Kivu, violoncel, trompetă, laut, acordeon, sunete electronice / cello, trumpet, flute, accordion, electronics, Virgil Oprina, chitară bas / bass guitar
Invitat / Guest musician: Jürg Solothurnmann, saxofon / saxophone, Elveţia / Switzerland

Program / Programme:
Irinel Anghel – Shopping in ParadoXphere (micro-opera)
Mihaela Vosganian – Il Gioco degli Innocenti
Mihaela Vosganian – Never ending...
Irinel Anghel, Sorin Romanescu – Talking to my Fears (p.a.a.) / (World Premiere)
– pauză / intermission –
Crossover Improv Concert

Concert realizat cu sprijinul ARFA / Concert supported by ARFA

InterARTINTER-ART International Contemporary Music and Dance Group brings to the Romanian contemporary art scene a unique initiative of integrating live performance of new music and original choreography, featuring artistic personalities from Romania and abroad. The Inter-Art group brings to the Romanian contemporary art scene, a unique initiative of mixing live performances of new music with original choreographic creations. ARFA, Romanian Association of Women In Art, is the main producer and promoter. Its goal is to present a special dynamics of the performance, conceived as a miraculous travel between different cultures. The use of some ethnic instruments enriches the multicultural dialogue, offering to the composers, new possibilities and new ideas. Created through the initiative of composer Mihaela Stanculescu-Vosganian and choreographer Liliana Iorgulescu, INTER-ART has a flexible formula which can includes a variable number of participants (instrumental and vocal soloists, dancers, composers, visual artists) according to the type of project undertaken. INTER-ART presents each different project as a countinous performance, alternating instrumental theatre pieces with dance episodes to live or recorded music, sometimes using electronic effects and or video projection, the whole conceived as a miraculous travel between cultures.

Founded in 1990 on the initiative of a group of young musicians, the Romanian ensemble’s programmatic commitment to the promotion of contemporary music is envisioned as a stimulus for the collaboration with artists from all fields, nourished by an openness to new ideas and challenges - as non-conventional as they can be. The ensemble covers an extremely wide repertoire, from classical music to ambiental music, jazz, new-age, fusion, improvisation, electronic, and up to the very experimental. Since 2001, Pro Contemporania’s work has focused on free improvised music and interdisciplinary projects, conceived as platforms for new approaches and cooperations. In the last 4 years, their interest has been increasingly focused towards the Fusion-Music (Crossover) phenomenon, filling the gap between contemporary music and Jazz, combining traditional Asian and African instruments with electric sound sources, melting classic-contemporary musical textures with world music grooves and free, non-conventional experiments. Their projects became multicultural dialogues between musicians coming from very various geographical and musical landscapes.

Jurg SolothurnmannSaxophonist, musicologist and broadcaster Jürg Solothurnmann (1943) started out with blues, postbop and latin music but for a long time has enjoyed to team up with flexible improvisers from diverse backgrounds. During the years his music has changed and "reinvented" itself several times. Concerned with the development of an authentic contemporary expression, it lives and evolves in the large transitional zone of various mentalities, cultures and esthetics. Today, his playing integrates and transforms a variety of musical approaches ranging from folklore imaginaire to new jazz and speech-like or pointilist sound events. He is fascinated by the miriad of singing and instrumental esthetics in world- and experimental music and enjoys collaborations with artists from other media (film, acting, modern dance, instant poetry, painting and art performance). He collaborates and still studies with musicians from Europe, the USA and the Orient. Among his post bop, free music and new jazz formations were Uepsilon, At the Crossroads, First Aid Band (1985-92), the Alpine Jazz Herd (1983-94) which combined and confronted old Swiss folk music with contemporary jazz - and more recently the Swiss-Romanian The Magic Triangle, the Agasul Ochester (1990-2004), Alive According To E.E.Cummings, Potage du Jour, September Winds, Zone Franche, Transit (with Michael J.Stevens), Ensemble Free Sound (including the duo Pro Contemporaneo) in Bucharest and Next (the follow-up of Agasul).

Composers and Programme Notes

Irinel Anghel
Romanian composer, pianist and improviser (b. 1969). Her activities are devoted to the experimental music. She studied composition with Octavian Nemescu at the National University of Music in Bucharest, where she graduated in 1996 and earned her MA in composition in 1997 and PhD in composition in 2003. Among her many honors are First Prize in the competition of Romanian Radio (1998, for Mondes Impossibles I), four prizes from the Romanian Composers Union (1998-99, 2002, 2004) and the Prize of the Romanian Academy of Arts and Sciences (1999). She has also earned a creation - residency in Belgium (2000) and a grant from the Ernst von Siemens Musikstiftung (2002). She received the Uchimura Prize from the International Theatre Institute/UNESCO for stage music (2002, shared with the creative team of The Bloodied Lovers), the prize of the journal Actualitatea Muzicala in Bucharest (2003, for her work with Pro Contemporania Group), the Camajani Fellowship from New York University (2003, to lecture there), and the International New Music Consortium Award in New York (2003, for her work in all areas of new music). Her music has been performed in Albania, Belgium, France, Germany, Israel, Italy, Japan, Canada, The Netherlands, Poland, Romania, Sweden, Switzerland, and the USA and has been broadcast throughout the world. Irinel Anghel is one of the founders of New Surrealism in music.

Shopping in ParadoXphere
Micro-opera for 2 voices, electric guitar, live electronics and computer music. Everybody knows women’s pleasure for shopping… But, ParadoXphere is a huge surreal hypermarket where you can buy unexpected desires, prophetic fiction, weird seduction, an identity crisis, the flower of life, absurd expectations, creative illusions, irrational topography, corporeal obsessions, the tree of hope, a vanishing planet, strange singing visions and find what you are not looking for. Its aim is to change the ”normal” perception of life by offering an alternative as a magic journey to a fantasy world.

Mihaela Stănculescu-Vosganian
Mihaela Stanculescu-Vosganian has a degree in composition and a PhD in Musicology from the Music University of Bucharest where she is presently Professor of Composition, Formes and Analyzes, and Counterpoint. She has won prizes: Romanian Academy Prize for 2000, Santa Cecilia Alba Adriatica Composition Prize (Italy, 1992), The 1998 International New Music Consortium Composition Award (SUA), Union of Romanian Composers’ Prize (1986), prizes at G. Dima Composition Contest (1984, 1985). She has two published theoretic works: The Polyphonic Typologies in the Romanian Contemporary Music and Technical –Expressive Ways of Playing The Saxophones in the Symphonic Romanian Music. She has given lectures at international events: Pennsylvania (1996, 1998), Donne in Musica (Fiuggy, 1997-1999), XIth IAWM Congress1999 (London), Ateneo de Musica y Danza (Malaga, 2000), University of Oldenburg (2003). Her music has been recorded on many author CDs and collective CDs, performed in Romania and internationally (France, Italy, Germany, Belgium, England, Spain, SUA, Hong Kong, Korea, Israel, Greece, Japan, Australia etc). She is the President of Romanian Association of Women in Art, founder and Artistic Director of Inter-Art - Contemporary Music and Dance Group - Founder Director of Forum Art Season and the Artistic Director of Multi Sonic Fest –fusion festival.

Il gioco degli innocenti (2008) for live processed voice, electric guitar, accordion, violin, cello and CD
The piece has been commissioned and premiered during the ”Est-Ovest” Festival in Turin in 2008. The piece has been especially composed for a mixed formula between the Italian Xenia Ensemble and the Romanian Inter-art Ensemble which are partners in the Macrame European Project. The piece was inspired by the composer’s interactive experience with the children from Riesi during the same European project that will be followed by a Children Video Opera.

Never ending….
Written for live processed voice and flute/cello, the piece presents a dialogue between 2 musical characters: one of them (the voice) being stable during her journey through many hypostasis, transformed by real time electronic processing and the other one having the choice to change ”identities” (instruments).

Sorin Romanescu
Romanian guitar player and composer. He plays jazz and contemporary music, being member of the Inter-Art and Pro Contemporania Ensembles. Romanescu received the ”Best Romanian Jazz Musician Award for 2008” from the Muzza Foundation.

Talking to my Fears
Experimental ”poem” for voice and electric guitar

Working with our Fears is not an easy thing... we have to be strong enough to confront them in order to find the peace of mind. Fear of Humiliation, Fear of Loss, Fear of Rejection, Fear of Failure... are some of the demons chasing us on our way. It’s a choice to face them and to see them as illusions, as creatures of our mind. The keyword here is... FAITH.