Bridges 2019 @ Anton Bruckner Private University

Institute for Composition, Conducting and Computer Music | Computer Music Studio
Institute of Keyboard Instruments

Formal Music Night - "ASR - algorithmic and stochastic resonance"

Bridges 2019's Music Night features a concert of  algorithmic and stochastic compositions, improvisations and realtime processing organised by the Computer Music Studio of the Institute of Composition, Conducting and Computer Music in cooperation with the Institute of Keyboard Instruments at the ABPU.


17.07.2019 ABPU_Grosser_Saal 20:00

ABPU - Anton Bruckner Private University
Hagenstrasse 57, 4040 Linz

update 20.07.2019_12:11                 

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Bridges main page: http://bridgesmathart.org/bridges-2019/

events: http://bridgesmathart.org/bridges-2019/2019-events/

Fotos




Program



Idem
minimal music for accordion duo
by Andreas Weixler

accordion: Miloš Katanić, Vojtěch Drnek

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Trois cent notes

multidimensional vectoral composition for piano solo
by Karlheinz Essl (2019 Austrian premiere)

piano Jan Satler

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Time Paradox
8 channel electroacustic composition
by Rosalia Soria (2015)
based on 3 different sonifications of a mathematical model representing a mass-spring-damper system implemented in Supercollider

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Microsoft Word - Time Paradox- Description.docx Suite Irrational, 4. Satz
super symmetrical composition for 2 grand pianos
by Kurt Hofstetter (2018) 
premiere

piano performer: Till Alexander Körber and Sven Birch

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Pascherischer Tanz (Paschen-Dance)
quantum music for accordion
by Kim Helweg (2018)

accordion: Miloš Katanić

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Ashley Ave
algorithmic composition for piano and stochastic multichannel spectral delay
by Andreas Weixler (2008)

piano
: Aleksandra Dragosavac

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Momentum I
Realtime groove and melody generation through tessellation and randomized patterns for violoncello and electronics
by Michael Mayr/Katja Finsel

cello: Katja Finsel
electronics: Michael Mayr


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In großen Takten singt das Meer
composition for 2 pianos and resonances
by Se-Lien Chuang (version Bridges 2019)

piano performer: Till Alexander Körber and Aleksandra Dragosavac

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Virtuoso Chances
realtime computing of audiovisual intermedia improvisation with stochastic controlling methods
by all performer (2019)

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Performed by ABPU professors, staff, students and alumni:

piano performer: Till Alexander Körber, Sven Birch, Aleksandra Dragosavac und Jan Satler.
accordion: Miloš Katanić, Vojtěch Drnek
cello:  Katja Finsel
interactive video: Se-Lien Chuang
electronics: Michael Mayr, Andreas Weixler

CMS Organisation: Andreas Weixler & Se-Lien Chuang
VA Büro ABPU: Ursula Weber, Katrin Truttenberger
Technikleitung: Mathias Burghofer, Michael Wirthig





About


Anton Bruckner Private University for music, drama and dance

The Anton Bruckner Private University is an open, innovative centre for the arts, where the  performers and teachers of tomorrow receive an individualized education in music, drama and dance. As one of the six Austrian universities for music and drama, and one of the four universities in Linz, the UNESCO City of Media Arts, the Bruckner University sees its role both as a training ground for performing, teaching and academic research, and as an important agent in the development and communication of the arts. The new building of the Bruckner University impresses with its striking architecture and creates the ideal environment for many-facetted encounters with music, drama and dance.

The range of courses offered by the Bruckner University include performance and teaching degrees in the classical instrumental categories and in Vocal Studies, Early Music, jazz, composition, contemporary dance, drama, music promotion and communication and elementary music education. All courses of study are completed with the academic degrees “Bachelor of Arts” (BA) and “Master of Arts” (MA).
www.bruckneruni.at

The Computer Music Studio is part of the Institute of Composition, Conducting and Computer Music at ABPU

The Institute of Composition, Conducting and Computer Music - IKD
Aspiring composers and their new musical works have a particular value for our young and innovative music university. Their creative potential is developed and promoted by the interaction between the study areas Composition, Conducting, Improvisation and Ensemble playing.
https://www.bruckneruni.at/en/institutes/composition-conducting-and-computer-music/


The Computer Music Studio - CMS
sees it self as a competency center for electroacustic music, computer music and intermedia arts in the region of Linz and Upper Austria.
The aim was to facilitate research and performance of electro accoustic compositions as well as international exchange  in teaching  and production  with other highly developed  national and international music studios. It is strongly connected and focus on cooperations regional, national and international.
The Sonic Lab is an intermedial computer music concert hall with a  peripheral loudspeaker system and was initiated  for the ABPU by Andreas Weixler between 2005 and 2015 in conjunction with the studios and facilities of the Computer Musik Studios CMS with in the new building opened 2015.
https://www.bruckneruni.at/en/institutes/composition-conducting-and-computer-music/computer-music-studio/


brief history of SAMT and CMS
The Computer Music Studio was founded in 1995 as SAMT Studio for Advanced Music and Media Technology by DI Adelhard Roidinger and the former Rector of the Bruckner Conservatory, Mr. Hans Maria Kneihs with Softwarepark Hagenberg. Since 2008 Ao.Univ.Prof. Andreas Weixler was directing the university studio, at the same time the studio was renamed by a institute decision in CMS - Computer Music Studio.
From 2005 to 2015, Andreas Weixler and Se-Lien Chuang developed concepts for the CMS studios, teaching and production studio, teaching and ancillary rooms for the construction of the ABPU and an intermedial, multi-channel computer concert hall, the Sonic Lab.
The Sonic Lab is an intermedial computer music concert hall with periphonic loudspeaker system and was initiated jointly with the studios and premises of the computer music studio CMS for the Anton Bruckner Private University by Andreas Weixler in the period 2005-2015 to research and perform electroacoustic composition and computer music as well as for international exchange to enable teaching and production with other advanced computer music studios nationally and internationally.
In 2015 Univ. Prof. Volkmar Klien became appointed Professor of Computer Music and Electroacoustic Composition and director of the Institute of Composition, Conducting and Computer Music.


Institute of Keyboard Instruments
The Keyboard Instrument Institute is one of the central institutes of the Anton Bruckner Private University. It has a dedicated team of distinguished teachers who offer students keyboard-instrument training using the most up-to-date methods. The basic training comprises the principal study – piano, piano chamber music, accordion, organ and harpsichord – as well as all keyboard related subjects. Figured bass, organ improvisation, principles of organ building. Chamber music and vocal accompaniment also play a significant role in the studies. A further important aspect of the institute‘s profile is music pedagogy, in co-operation with the local music school system (Musikschulwerk).
Additional activities such as master classes, projects involving students from various classes and exchange concerts, offer students a stimulating environment, enabling them to assess their skills in comparison with other musicians. We set great store by close cooperation with other institutes and departments within the university, to promote innovative creative ideas.
https://www.bruckneruni.at/en/institutes/keyboard-instruments/


PROGRAM DETAILS

Idem
minimal music for accordion duo
by Andreas Weixler

performed by Miloš Katanić and Vojtěch Drnek, accordion

„In 1990 I joined the concert series and the Austrian composers association „die andere saite“ to get my current work for two pianos premiered.
Idem is one of the significant pieces in my artistic work, it led me from minimal music, which I see as the archetype of algorithmic composition, on to computer music. Today, 29 years later, I deal with audiovisual interactivity in artistic consistency. It took just as long as 12 years for „idem“ to be premiered in my wonderful home town Graz in a concert for two pianos. You see, as a composer you sometimes have to be patient, but visions become carried out from time to time. That's why I have good hope to see more ideas come true. Tonight you hear the 2019 version for two accordions for two wonderful young musicians who choose this challenge.
and I have already taken a deep breath and wish you all a wonderful concert evening
Yours Andreas Weixler.“

Idem (Latin for the same) is a cycle of a group of works of various instrumentations, which deal with the the change of perception of equivalent events in different context. Idem I and Idem II are a procedure of two whole-tone groups in a minimal music composition. The consistent thought for Idem is the multilayered polyrhythmic shift of musical motifs, which allow the listener to hear new tonal contexts, gradually mutate into accompaniment while new material of the accompaniment grows out and, in turn, forms itself motivically. The music lies in the ear of the listener.

Performances and CD
Idem was already performed amongst others by Klangforum Wien and Zurich Ensemble for New Music and became part of the Toy Piano World Summit at the Philharmonie Luxemburg dedicated to the 100th birthday of John Cage and is released on the CD d.a.s. 2 with the percussion ensemble Dama-Dama.

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Trois cent notes
multidimensional vectoral composition for piano solo
by Karlheinz Essl (2019 Austrian premiere)

performed by Jan Satler, piano

Trois Cent Notes weist einen Tonumfang von drei Oktaven ab und besteht aus drei Abschnitten zu je 100 Tönen. Die Oktavverhältnisse werden auch auf die Tempoveränderungen übertragen, die das ganze Stück prägen. Die Harmonik ist ebenfalls daraus abgeleitet: der Ton f spreizt sich über drei Oktaven zu einem vierstimmigen Oktavklang aus; diese Übergangsvektoren werden an 13 verschiedenen Punkten vertikal abgegriffen und ergeben unterschiedliche Akkorde, die jeweils aus gleichen Intervallen bestehen.

In this piece which last around 4 minutes, the sustain pedal has to be depressed until the very end.Although notated solely in quavers, the tempo emcompasses a wide range from very slow to extremly fast. Starting with a speed of MM = 50, it gradually accelerates to MM = 400 which equals three “time octaves”, speaking with Karlheinz Stockhausen (cf. his famous article ...how time passes... from 1957). A similiar transition also happens in the harmonic domain where the range of three octaves (from F to f”) finally collapses into a single pitch (f'):And also in the dynamics, a permanent process of crescendo and diminuendo takes place. Needless to mention, all this processes happen simultaneously at the same time. Despite its strict structure, the piece should be played in a fluent rubato attitude with lots of espressivo. Pay attentention to the piano resonance while playing – they will guide you through this sound journey.
http://www.essl.at/works/TCN.html

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Time Paradox
8 channel electroacustic composition
by Rosalia Soria (2015)
based on 3 different sonifications of a mathematical model representing a mass-spring-damper system implemented in Supercollider

This piece was composed using 3 different sonifications of a mathematical model representing a mass-spring-damper system implemented in Supercollider. The sonifications consist of multichannel synthesisers, modulated by the mass position and velocity when different “virtual forces” were applied to it in real time. The behavior of the system translates into changes in timbre and motion illusions.
These synthetic sounds are combined with recordings of the very traditional singing bowls to create depth and contrast. Additional textures where created by transforming fragments of these recordings using the dynamics of an inverted pendulum model manipulated in real-time in Max.
Microsoft Word - Time Paradox- Description.docx
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Suite Irrational, 4. Satz
super symmetrical composition for 2 grand pianos
by Kurt Hofstetter (2018) 
Uraufführung

Suite Irrational was composed using the Supersymmetrical Composition
Technique, which was defined and published by Hofstetter Kurt in 2016.
This technique is based on the time-space commutation through the
application of Inductive Rotation, a recursive method for generating
aperiodic and asymmetric patterns - Irrational Patterns. Due to
precise overlapping, Inductive Rotation simultaneously creates two
levels of Irrational Patterns that are interrelated and in
supersymmetrical relationship - i.e. the transparent overlap of
foreground and background pattern is completely symmetrical.

Here, the Inductive Rotation is applied on matrices of notes defined
as points (x,y) where x-axis=time and y-axis=pitch, to generate
Irrational note patterns.  Iteratively, these matrices of notes are
rotated successively by 90 degrees, so that the time axis of the note
is converted to the pitch of the note and vice versa. In this way, for
example, successive notes of the same pitch become chords and vice
versa.

Transparent strips of points/notes cut out from the foreground and
background patterns form the elements for successive arrangement in
the composition. The points correspond to notes on a piano, in the
same way as the holes on the perforated paper roll for a mechanical
player piano (Phonola / Pianola) correspond to piano notes. The notes
of the foreground patterns are assigned to one piano and those of the
background patterns to a parallel, second piano. Being played with the
pedal depressed closes the circle to its sound.

Michael Mautner - Transkription und musikalische Koordination

- supported by the commission for composition from the City of Vienna
and the Federal Chancellery of Austria

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Pascherischer Tanz (Paschen-Dance)
Quantum music for accordion
by Kim Helweg (2018)

performed by Miloš Katanić, accordion

"This piece was composed in 2018 as a part of an Erasmus agreement between the University of Music and Performing Arts in Graz and The Danish National School of Performing Arts and directly written to Milos Katanic.
The title indicates that the music is inspired by dance and also science. Friedrich Paschen was a German physicist well known for the discovering of the Paschen series in 1908, which is one of the series of the hydrogen spectral lines. The Danish physicist Klaus Mølmer has composed a list of the hydrogen series as frequencies, which by transpositions can be used as musical scales. The 6 first scales are based on the Lyman, Balmer, Paschen, Brackett, Pfund and Humphrey series. In this piece, the Brackett and the Pfund “scales” are used and it is the first piece using two different series.

This quantum composing technique was developed 2015-2018 in the international artistic research project called Quantum Music, which was supported by Creative Europe and the Danish Arts Foundation.
The piece is built on two ideas:
1) A very rhythmical section aggressively presenting the Brackett scale. First, one note alone then slowly adding the other notes of the scale.
2) A lyrical theme using the tonal aspect of the Quantum series.
In the development section, the material is mixed and it ends up this way, that the lyrical theme takes over the rhythmical shape of the first material.
The mood of the music expresses an atmosphere of both mechanical movements and of pastoral harmony. The sound of quantum mechanics."
- Kim Helweg

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Ashley Ave
algorithmic composition for piano and stochastic multichannel spectral delay
by Andreas Weixler

This composition has been created during the residence at SARC - the Sonic Arts Research Center at the Queen´s University in Belfast.
It deals with pulsation of single chord notes wihtin random functions - an arpeggio of virtuoso chances if you will.
The acoustic sound of the grand piano  will then be slightly processed by spectral delays and spatialised by the sarcastic system (algorithmic sound diffusion system by the author).

piano: Aleksandra Dragosavac

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Momentum I
Realtime groove and melody generation through tessellation and randomized patterns for violoncello and electronics,
by Michael Mayr/Katja Finsel

cello: Katja Finsel
electronics: Michael Mayr

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In großen Takten singt das Meer
composition for 2 pianos and resonances
by Se-Lien Chuang (version Bridges 2019)

This piece is conceived of experiencing the harmonic series of open strings - i.e. muted keys - on the piano, where the resonances of the unplayed strings/notes could be induced.
From the open bass strings that vibrate through the overtones of the related pitch we can surprisingly generate audible virtual sound waves.
To perceive the musical sounds without the optical/visual corresponding feedback of the keystrokes is a challenging listening reflection.

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Virtuoso Chances
realtime computing of audiovisual intermedia improvisation with stochastic controlling methods
by all performer (2019)

The realtime processes of an audiovisual interactive computer system collude with a free artists musical expression. Our art work and research describes the hook-up between human and machine, between musical inspiration and digital concepts. Nowadays, as different forms of machine musicianship are blooming and where computer act like virtuoso musical instruments we are focusing on a very specialized form of realtime performance with a computer system. Every performance of our interactive audiovisual works - even of the same title - is unique not only because of the inherent concept of improvisation, but also because the computer system and the progamming are further developed for every event to perform virtuoso audiovisual interaction with musical instruments. To achive this we combine improvised music and real-time computer processes in an audiovisual real-time improvisation. The live sound of acoustic instruments serve as an interface in an audiovisual interactive concert. To control the big punch of available parameters we use limited random functions - which we call virtuoso chances. The peculiarity is the intuitive and artistic control and linking of the parameters and treating the computer system like a musical instrument, which has to be studied, continueously trained and rehearsed to perform in a virtuoso manner. The intention of our realtime performances is to create a special field of improvisation between the instrumental player and the computer performer, the computer performer are considered as an equally active improvising and composing musician.
The musical and visual components interact and reciprocally influence each other in order to blend into a uniqe, synaesthetic, improvisational work of art.

piano performer: Till Körber, Sven Birch, Aleksandra Dragosavac und Jan Satler.
accordion: Miloš Katanić, Vojtěch Drnek
cello:  Katja Finsel
electronics: Michael Mayr, Se-Lien Chuang, Andreas Weixler
--



bios:

composer


Kurt Hofstetter
concept- and media artist, composer

*1959 | Linz, Austria, lives in Vienna, Austria.

Artistis domains:
Sound, light, and computer installations, sculptures in public space,
experimental art videos, music compositions, mathematical reflections.
Following his discovery of the Inductive Rotation (2008), a recursive
method to create aperiodic and asymmetric tilings, extensive artistic
experimentation and research work has derived not only the very first
Aperiodic Weave leading to the new art form – "Ambient Tactile Art" but
also the new composition strategy  through time-space commutation -  the
"Supersymmetrical Composition Technique".

http://hofstetterkurt.net

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Rosalia Soria Luz
is a Mexican composer, bass player, and electronics engineer. She is currently a member of the National System of Art Creators in Mexico.
She studied composition at the “Conservatorio de las Rosas” in Morelia Michoacán, with Eduardo Solís, Javier Álvarez and Juan Sebastián Lach. She studied electronics engineering at the UAEM in Mexico State. She also completed a masters in Electrical Engineering at the UMSNH in Morelia, Mexico, focusing in Automatic Control Systems and Linear Systems Modelling. She worked as a Lecturer at the Electrical Engineering Faculty of the UMSNH from 2008 to 2012.
In 2012 she was awarded with the prestigious “President’s Doctoral Scholar Award” from the University of Manchester for doctoral studies. In 2016 she completed her PhD in Music at NOVARS research centre. She worked as an academic, lecturing at the University of Manchester from 2014 to 2017.
Her research and artistic practice are focused on the use of state-space mathematical models for sound synthesis in electroacoustic composition. Her works include multichannel fixed media pieces, mixed media and instrumental works.

https://rosaliasorialuz.com

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Karlheinz Essl

Born in Vienna, 15 Aug 1960. Austrian composer, performer, improviser, media artist and composition teacher.
Karlheinz Essl attended the Vienna Musikhochschule (1981-87), where he studied composition with Friedrich Cerha and electro-acoustic music with Dieter Kaufmann. From 1979, he also studied musicology and art history at the University of Vienna (doctorate 1989 with his thesis Das Synthese-Denken bei Anton Webern). Active as a double bassist until 1984, he played in chamber and experimental jazz ensembles. As a composer he has contributed to the Projekt 3 composition programming environment of Gottfried Michael Koenig at Utrecht and Arnheim (1988-89) which later transformed into his own Real Time Composition Library (RTC-lib) for Max/MSP/Jitter.

Essl also served as composer-in-residence at the Darmstadt summer courses (1990-94) and at IRCAM (Paris, 1992-1993). Between 1995-2006 he taught Algorithmic Composition at the Studio for Advanced Music & Media Technology at the Bruckner University, Linz. Since 2007, he is professor of composition for electro-acoustic and experimental music at the Vienna University of Music and Performing Arts. Between 1992 and 2016, he acted as the music curator of the Essl Museum in Klosterneuburg / Vienna.

His work with computers (with emphasis on Algorithmic Composition and generative art) and a prolonged occupation with the poetics of serial music have been a formative influence on his compositional thinking. He has frequently sought to combine music with other genres and has collaborated with the graffiti artist Harald Naegeli (Partikel-Bewegungen, 1991), the writer Andreas Okopenko and the artists' group "Libraries of the Mind" (Lexikon-Sonate, 1992--8), the architect Carmen Wiederin (Klanglabyrinth, 1992-95), the video artist Vibeke Sorensen (MindShipMind, 1996, a multimedia installation for the Internet) and the artist Jonathan Meese (generative video and sound environment FRÄULEIN ATLANTIS, 2007).

During the 1990s Karlheinz Essl carried out various projects for the Internet and became increasingly involved with improvisation. At the festival WIEN MODERN 1989 he presented as an emerging composer, and in 1997 he was featured at the Salzburg Festival with portrait concerts and sound installations. In 2003, he was artist-in-residence of the festival musik aktuell, and in 2004 he was presented with a series of portrait concerts at the Brucknerhaus Linz. In 2004, Karlheinz Essl received the cultural prize for music of the state Lower Austria.

Besides writing instrumental music, Karlheinz Essl also works in the field of electronic music, interactive realtime compositions and sound installations. He develops software environments for algorithmic composition and acts as a performer and improviser, utilzing his own computer-based real time composition environment m@ze°2 and also instruments like electric guitar, toy piano and music box.

http://www.essl.at


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Andreas Weixler
born 1963 in Graz, Austria, is a composer with an emphasis on audiovisual interactivity. He is teaching computer music as well as music and media technology as an associate university professor and director of the Computer Music Studio CMS at Anton Bruckner Private University, where he initiated the development of the computer music studios and intermedia multichannel computer music concert hall, Sonic Lab. He is also teaching as a Senior lecturer at the mdw - University of Music and Performing Arts - in Vienna at the Department of Composition, Electroacoustics and Tonmeister Education he is as well as a lecturer for audiovisual interactive projects at InterfaceCulture at the University of Arts in Linz.


His concepts led to invitations to performances, presentations and lectures in Europe, Asia, North and South America.
2018 Andreas Weixler was awarded as the best European pieces by the ICMA together with Se-Lien Chuang for their audiovisual work.
Selections for ICMC 2019 New York, 2018 Daegu, 2017 Shanghai, 2016 Utrecht, 2014 Athens, 2013 Perth, 2012 Ljubljana, 2011 Huddersfield, 2010 New York, 2008 Belfast, 2007 Copenhagen; NIME 2017 Copenhagen, 2015 Baton Rouge, 2007 New York City; ISEA 2016 Hongkong, 2008 Singapore, 2002 Nagoya as well as for several NYCEMF, SICMF, Sonorities, SMC, ars electronica among others.
Currently he is specializing in intermedia concerts of improvisation simultaneously with realtime multichanneling audio processing.

http://avant.mur.at

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Se-Lien Chuang
composer, pianist and media artist, 1965 born in Taiwan, since 1991 residence in Austria. The artistic and compositional emphases range from contemporary instrumental composition/improvisation, computer music to audiovisual interactivity.
International productions, research stays and lectures as well as numerous representations of compositions in Europe, Asia, North- and South America: ICMC, SICMF Seoul, NIME, ISEA, IAMAS Japan, Ars Electronica Linz, among others.
Lecturer at Computer Music Studio, Institute of Composition, Conducting and Computer Music at the Anton Bruckner Private University.
Since 1996 jointly with Andreas Weixler running Atelier Avant Austria, with key aspects in development of audiovisual interactive systems and audio/visual realtime/non-realtime processing, computer music and algorithmic composition.
http://avant.mur.at/chuang


Katja Finsel
classical cellist recently turned to jazz and grew up with beat and bass-driven sounds. She enjoys the coalescence of her musical worlds, walking the edge between loosing herself in monotonous beats and breaking them up with the multifaceted sounds of her instrument. 

Michael Mayr
student of composition, producer and bricoleur in various media formats. Loves electronic sounds old and new and is not afraid of reduction or repetition. 
Together they develop ideas and compositions, exploring and leaving room for each other until finding a place where everything fits.





performer

Jan Satler, piano

Jan Satler is a Slovene pianist. He is currently studying at the Anton Brucken Privatuniversität Linz (2 directions: Konzertfach and Instrumentalpädagogik) in the class from Ao. Univ.Prof Mag. Till Alexander Körber. He had numerous performances at concerts and festivals as a soloist with orchestra (O. Messiaen: Oiseaux Exotiques, 3 original works for piano and orchestra: Fantasia in f, Symphonic Pictures no. 1 and 2), solo pianist and chamber musician in the mayor concert halls of Slovenia (including SNG Maribor Kazina Hall, Union hall and others), Austria (Brucknerhaus, Kunst Universität Graz, Anton Bruckner Privatuniversität, Puchenau), Italy (Brescia) and Great Britain (Glasgow). In the year 2016 Jan received the diploma Dr. Roman Klasinc for outstanding artistic achievements from the Conservatorium Maribor. He participated at many competitions, including the Carinthian International Piano Competition in 2013 (1st Prize, 100 points and special prize for most promising young musician), International Music Competition in Belgrade in 2014 (99.33 points), 2015 (96.33 points) and 2016 (96 points), where he received the first prize all years, and the national competition in the category Temsig solfège: 2. B (2nd Prize, 95.33 points). Jan participated at courses Slovenia and abroad for both piano and composition, including ISA (Internationale Sommerakademie), RCMS (Royal Conservatoire Scotland) and others.


Vojtěch Drnek, accordeon

Czech accordeonist and composer, who studied at the jazz department of JAMU in Brno and ABPU, Linz. He is very active in many musical fields, from swing and bebop to modern jazz, contemporary music and free improvisation, leading and taking part in many Czech and Austrian based projects and bands.
https://vdrnek.wixsite.com/drnek


Sven Birch, piano

was born in Denmark in 1960, and trained to be a pianist in Aarhus, Denmark, finishing his studies with a diploma as a soloist. Many prizes won at competitions enabled him to attend further studies in Vienna with Prof. A. Jenner. He also attended masterclasses with renowned pianists such as Tatjana Nicolajewa, Conrad Hansen, John Lill, Leonid Brumberg and Peter Feuchtwanger.
As a soloist, accompanist, conductor and chamber musician Mr. Birch has a busy concert schedule with concert tours through Europe, Asia and both North and South America.
Sven Birch is teaching piano at the Anton Bruckner - University Linz where he is head of the piano department. From 1996-2004 he also taught at the Mozarteum Salzburg. 
He is a member of the duo Georgiadis/Birch, 'Ensemble Nord' in Copenhagen and the George Crumb Trio, Linz .
He is often invited to run courses and workshops and has done numerous CD-, TV and radio recordings. Sven Birch is composer and editor of a series of Piano music with Universal Edition Wien, Zimmermann Frankfurt and Edition Peters.
He studied conducting with GMD Janos Fuerst and was his assistant in "Aalborg Symfoniorkester" (DK). Mr. Birch is conducting a lot of concerts and projects and he is the conductor and artistic director of chamber orchestra "Danube 2135.


Till Alexander Körber, piano

wurde in Tübingen geboren. Er studierte in Freiburg/Breisgau Klavier, Liedbegleitung und Chordirigieren; schließlich 1990 bis 1995 bei Hans Petermandl an der Wiener Musikhochschule. Als Pianist und Komponist wurde er verschiedentlich mit Preisen ausgezeichnet.
Konzerte als Solist, als Liedbegleiter und Kammermusiker, vor allem in enger Zusammenarbeit mit dem Geiger Martin Walch, sowie Runfunk-, Fernseh- und CD-Aufnahmen führten ihn durch Europa, sowie nach Afrika, Asien und in die USA. Er spielte Beethovens Tripelkonzert unter Sir Neville Marriner, etliche Uraufführungen und arbeitete mit vielen Komponisten zusammen. Körber ist Mitglied im Merlin Ensemble Wien und konzertiert mit diesem Ensemble international an zahlreichen großen Konzerthäusern und Festivals. Seit 2017 ist Körber Präsident der EPTA Österreich.
Im Jahr 2003 erhielt Till Alexander Körber das Österreichische Staatsstipendium für Komponisten, 2008 den Landeskulturpreis für Musik Oberösterreich. Seine Werkliste reicht von Liedern über Kammermusik bis zur Symphonie und zum abendfüllenden Oratorium. Die jüngsten Uraufführungen spielten das Merlin Ensemble Wien, das Brucknerorchester Linz und die Bamberger Symphoniker unter Rainer Honeck.
Von 1994 bis 2003 unterrichtete Till Alexander Körber an der Musikuniversität Graz zeitgenössische Klaviermusik und gab oftmals masterclasses am Lysenko-Konservatorium Lemberg, Ukraine. Er leitet eine Klasse für Klavier und Klavierkammermusik an der Anton-Bruckner-Privatuniversität Linz.



Aleksandra Dragosavac , piano

was born in Belgrade (Serbia) where she finished bachelor piano studies in class of professor Nevena Popovic at Faculty of Music (University of Arts in Belgrade). Currently she is doing her master studies at Anton Bruckner University in Linz under the guidance of Prof. Till Alexander Körber. She won several prizes at music competitions in Serbia, Bosnia, Italy and China.

She took part at numerous performances as a soloist as well as a chamber musician in the mayor concert halls in Serbia and abroad (Kolarac Hall in Belgrade, Hall of Belgrade Philharmonic, Serbian Academy of Arts and science, Belgrade City Hall, St. Stephan´s Cathedral in Budapest, Stiftung Mozarteum in Salzburg, Brucknerhaus in Linz) as well as at numerous remarkable festivals like 47. BEMUS -Belgrade´s music festival, Sarajevo Chamber music festival 2014, Festival Vrsar Inspirira 2017 (in Vrsar, Croatien).