BRIDGES LINZ 2019 - Mathematics, Art, Music,
Architecture, Education, Culture organised by JKU - Johannes Kepler University Formal Music Night - "ASR - algorithmic and stochastic
resonance" organised by CMS - Andreas Weixler & Se-Lien Chuang
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.
Idem minimal music for accordion duo
by Andreas Weixler
accordion: Miloš Katanić, Vojtěch Drnek
-
Trois cent notes
multidimensional vectoral composition for piano solo
by Karlheinz Essl (2019 Austrian
premiere)
piano Jan Satler
-
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
-
Microsoft Word - Time Paradox- Description.docxSuite Irrational, 4. Satz
super symmetrical composition for 2 grand pianos
by Kurt Hofstetter (2018)
premiere
piano performer: Till Alexander Körber and Sven Birch
-
Pascherischer Tanz (Paschen-Dance)
quantum music for accordion
by Kim Helweg (2018)
accordion: Miloš Katanić
- Ashley Ave algorithmic composition for piano and stochastic multichannel
spectral delay
by Andreas Weixler (2008)
piano: Aleksandra
Dragosavac
- 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
-
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
-
Virtuoso Chances
realtime computing of audiovisual intermedia improvisation with
stochastic controlling methods
by all performer (2019)
-----------------
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.
-
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
-
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
-
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
-
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
-
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
-
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
-
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.
-
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".
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.
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.
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.
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).
