Longyou Grotto International Music Festival 2019
Oct 24 - 27. 2019

New Music and Media in Ancient Longyou Caves
a cross-cultural 4 day technology-mediated international music festival in the Longyou Grottos, Quzhou, ZheJiang, China in October 2019.
Organized by LTA Longyou Tourism Agency and Shanghai Conservatory of Music, China


Foto © Longyou Grotto Music Festival

ICs (International Center)

• Shanghai Conservatory of Music, China

• HfMT - Hamburg Hochschule für Musik und Theater, Department of Multimedia Composition, Germany

• Electronic Production and Design, Berklee College of Music, USA

• Ellen Lindquist, Norway

• Birmingham City University, Royal Birmingham Conservatoire, Integra Lab, UK

• acustic measurements by the team of CCRMA, Stanford University, USA
• in cooperation with NTNU Norwegian University of Science and Technology, Norway

• IC Austria
    abpu - Anton Bruckner Private University Austria (Linz)
    mdw - University of Music and Performing Arts (Vienna)
    aaa - Atelier Avant Austria

The IC
(International Center) Austria music program for Longyou Grotto festival
contains contemporary computer music and electroacoustic music from three institutions, the Computer Music Studio at Anton Bruckner Private University in Linz, the Institute of Composition and Electroacoustics
and Tonmeister Education at the University of Music and Performing Arts in Vienna and the artists group of Atelier Avant Austria who is also presenting the program at Longyou Grotto.
On invitation of CCRMA - Center for Computer Research of Music, Stanford University, USA

Longyou Festival
Organisation Site IC Austria
by Andreas Weixler & Se-Lien Chuang

IC Austria Program
abpu - Anton Bruckner Private University Austria (Linz)
mdw - University of Music and Performing Arts (Vienna)
aaa - Atelier Avant Austria

concert on Friday 25.10.2019:

Andreas Weixler
WaterGhosts for Longyou 

performed by Andreas Weixler

Karlheinz Essl   
river_run  for Guzheng and live-electronics
    performed by  Gu Wen Qi, Guzheng.   頋文麒 (古箏) and Andreas Weixler, live electronic 

Se-Lien Chuang   
double fancy for Longyou caves
performed by  Se-Lien Chuang

concert on Saturday 26.10.2019:

Johannes Kretz   
Quintessence II     

    spatialisation performer: Andreas Weixler   

25.10.2019, Guanghe Radisson

SEMINAR by Andreas Weixler & Se-Lien Chuang
"realtime - non realtime – audiovisual processing in composition and performance“

Foto © Longyou Grotto Music Festival

update 17.11.2019 _ 16:21                              
  short notes
short notes en | simple chinese | traditional chinese


the Longyou Caves

Fotos from Longyou Grotto Music Festival

Andreas Weixler
WaterGhosts for Longyou 
07:21    computer, audiocard, multichannel speaker

excerpt: https://soundcloud.com/aweixler/waterghosts-excerpt
full length stereo version: http://avant.mur.at/download/Waterghosts/WaterGhosts_full_stereo.mp3
full length stereo version uncompressed: http://avant.mur.at/download/Waterghosts/WaterGhost_Full4416.aif
5 channel full length version: http://avant.mur.at/download/Waterghosts/WaterGhosts__full_5.0_4824.aif

©  Andreas Weixler                                                                                       ©  Se-Lien Chuang

concert on Friday 25.10.2019:

programm note

Andreas Weixler 2017 VICC
5 channel electroacoustic composition based on contemporary instrumental sounds and vocals
composed 2017 at VICC - Visby Internationale Centre for Composers, Sweden

WaterGhosts was created in the Studio Alpha of VICC during a composer in residence in February 2017. All electronic sounds are based on recordings of acoustic instruments. A multichannel realtime audio processing studio session of voice and double bass gave gestural movements of acoustic as well as generated electronic sounds in a  mutual improvisation. Recordings of the acoustic sounds of low drums and a trombone are then altered by the same max msp live processing of granular synthesis and stochastic spatialisation. The compositions is then completed by a Petzold subcontrabass recorder audio processing in the studio to configure a spatial composition in an organic soundscape.

Jonny Axelsson (S), low drums and Ivo Nilsson (S), trombone,recorded 2016 in Stockholm, Sweden.
Matilda Andersson (S), vocal and Jonas Nilsson (S), double bass and Andreas Weixler (A) live electronics are recorded 2017 in Studio Alpha VICC, Visby, Gotland, Sweden.
Julia Russer (GER), Petzold subcontrabass recorder, recorded at the Computer Music Studio in Linz, Austria 2014. All recordings and electronic processing by the composer.

world premiere: Sonorities festival, SARC Belfast, 22. April 2018.
further premiere: ICMC - International Computer music Conference, New York City 2019
Version for Longyou Grotto 2019 contains a multichannel realtime spatialisation in Cave 2

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 piece by the International Computer Music Association (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.

Karlheinz Essl   
river_run (2016) for Guzheng and live-electronics
12:07    1 AKG C411 contact microphone, audiocard, computer

Video demo: https://youtu.be/o9_z38DOWgw
audio demo: https://soundcloud.com/karlheinz-essl/river_run
score: http://khz96.org/sco/riverrun-guzheng.pdf

Guzheng: Gu Wen Qi   頋文麒 (古箏)
live electronic: Andreas Weixler
Foto © Longyou Grotto Music Festival

concert on Friday 25.10.2019:

programm note

Karlheinz Essl   
river_run (2016) for Guzheng and live-electronics

The Guzheng is an old Chinese instrument with 21 plucked strings. Its characteristic sound is strongly determined by a pentatonic tuning which evokes numerous clichés. In order to avoid them, I created an uncommon scordatura that combines Asian pentatonic with European chromaticism. Thanks to the live-electronics, the sound of the Guzheng can be transformed from orchestral aggregations to bell-like timbres.
These interventions generate an unstable equilibrium between instrument and electronics, East and West, old and new. At certain points, memories of Schubert, Mahler, Berg and Deep Purple float to the surface before they are washed away by the stream of sounds.

Guzheng: Gu Wen Qi   頋文麒 (古箏)
live electronic: Andreas Weixler

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.

Se-Lien Chuang   
double fancy for Longyou caves            (2019)
multichannel electroacoustic composition
12:00    computer, audiocard, multichannel speaker

full stereo version mp3: http://avant.mur.at/download/chuang_doublefancy_Longyou/double_fancy_for_Longyou_caves_ChuangSL_stereo.mp3
full stereo version wav: http://avant.mur.at/download/chuang_doublefancy_Longyou/double_fancy_for_Longyou_caves_ChuangSL_stereo.wav
16 multichannel tracks: http://avant.mur.at/download/chuang_doublefancy_Longyou/16channel_mono_16bit_44_1kHz_wav.zip

Foto © Longyou Grotto Music Festival
screenshot ©  Se-Lien Chuang

concert on Friday 25.10.2019:

programm note

Se-Lien Chuang   
double fancy for Longyou caves            (2019)
multichannel electroacoustic composition

The sonic crossings happen within contemporary composition, improvisation, physical playing technics and digital audio processing.
The spatialization and the application of the varied reverberations go within the in-situ alliance as the sounding opposes the musical experience, the extrinsic encounters the acquainted, last but not least, the unnoted poses the noted. All electronic sounds are transformed from the recordings of acoustic instruments. I would like to acknowledge especially and respectively to clarinet duo Petra Stump (Austria) and Heinz-Peter Linshalm (Austria). The sounds are recorded 2012 at Computer Music Studio of Anton Bruckner Private University, Linz/Austria.

première, Longyou Festival 23.10. - 27.10.2019, Longyou caves / Quzhou, Zhejiang Province, China

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.
2016-2019 lecturer at Computer Music Studio, Institute of Composition, Conducting and Computer Music at the Anton Bruckner Private University for computer notation and contemporary playing techniques.
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.

Johannes Kretz   
Quintessence II        (2011)    
12:48    computer, audiocard, multichannel speaker

full version stereo mp3: http://avant.mur.at/concerts/2019/LongyouGrotto/Kretz_Quintessence2.mp3
full version stereo aif: http://avant.mur.at/concerts/2019/LongyouGrotto/Kretz_Quintessence2.aif

© Stewart Collinson

concert on Saturday 26.10.2019:

programm note

Quintessence (from latin „quinta essentia“, fifth element)
is also used in common language as synonyme for the nature of something, the main point or thought. Originally in alchemy it was also the name of aether. Already Aristotle had complemented the theory of the four elements (fire, water, air and earth, as constituting substances of all things) by the fifth element, which is the basis of all the apparent elements in the world (fire, water, air and fire), bing unchangeable and eternal, pervading them all as purely immaterial essence. Today in physics quintessence is a hypothetical form of dark matter being postulated to explain observations of an accelerated universe.

The composition „Quintessence II“ by Johannes Kretz takes this idea of a immaterial substance and tries to explore this transcendental, appartenly bodyless quallity of synthtic soudns. the latter have been mostly realised using the software „Klangpilot“ developed by the composer.

spatialisation performer: Andreas Weixler   

Johannes Kretz
composer, electronics performer, artistic researcher

Born 1968 in Vienna.
Studies (composition, pedagogy) at the music academy Vienna with F.BURT and M.JARRELL and mathematics at the University Vienna • 1992/93:  studies at IRCAM, Paris with Marco Stroppa and Brian Ferneyhough. 1994-2003 Assistant/Professor for computer music at the International Bartok Seminar in Szombathely (H) • 1996-2001 Teacher for music theory and composition at the conservatory of Vienna since 1997: teacher for for computer music at the university for music and performing arts Vienna (mdw), since 2001 also music theory, since 2004 also composition, since 2009: habilitation in composition, associate professor • Since 2008: Head of ZiMT ("center for innovative music technology") of mdw, since 2013 dean/head of department of the Institute for composition and electro-acoustics of mdw • 2018-2021: project leader of "creative (mis)understandings, a 3-year artistic research project funded by FWF-PEEK.
Founding member of NewTonEnsmble Vienna, of the European Bridges Ensemble, the international composers group PRISMA, of the performance duo TOUCHING, and of ikultur.com. Co-curator of aNOther festival Vienna together with Wei-Ya Lin und Mahdieh Bayat.
Scholarships and Awards: e.g. Austrian Federal Grant 1997, Stiftung Delz (CH, 2001), Theodor Körner Prize 2004
Commissions of work & performances at/with National Theater Hall, Taipei, Wien modern festival, Festival Ars Electronica, Konzerthaus Wien, Eclat festival Stuttgart, Klangforum Wien, Ensemble On Line, Vienna Flautists, quartett22, Internationale Lemgoer Orgeltage, Haller Bachtage, Triton Trombone Quartett, Wiener Kammerchor
Performances in Austria, Germany, Poland, France, Czechia, Hungary, Turkey, Latvia, Lithuania, Argentinia, Mexico, Canada, USA, Japan, South Korea, Taiwan, China, Uzbekistan, Iran, India.


25.10.2019, Guanghe Radisson

SEMINAR by Andreas Weixler & Se-Lien Chuang
"realtime - non realtime – audiovisual processing in composition and performance“

In the Austrian part of the seminar, we also presented the computer music concert halls in Graz, Linz and Vienna with the associated institutions together with an insight of our artistic work:

AAA - realtime non-realtime works by Atelier Avant Austria

IEM - Institute of Electronic Music and Acoustics
and the Cube and the MUMUTH at the KUG - University of Music and Performing Arts Graz

IKE - Institute for Composition, Electroacoustics and Sound Engineer Training
and the Future Art Lab at the mdw - University of Music and Performing Arts Vienna

CMS - Computer Music Studio and
the Sonic Lab at the Anton Bruckner Private University in Linz


Fotos © Longyou Grotto Music Festival

Supported by
Austrian Embassy and Austrian Cultural Forum in Peking
Austrian Consulate General Shanghai

Other IC s at Longyou:

Li Jia
Shanghai Conservatory of Music, China

Georg Hajdu, Rama Gottfried, Sello Jakob, Chen Lin
 HfMT - Hamburg Hochschule für Musik und Theater, Department of Multimedia Composition

Richard Boulanger, Ben Houge
Electronic Production and Design
Berklee College of Music, USA

Ellen Lindquist, Norway

Lamberto Coccioli, Edmunt Hunt, James Dooley, Simon Hall, Lamberto Coccioli
Birmingham City University, Royal Birmingham Conservatoire, Integra Lab

acustic measurements by the team of CCRMA, Stanford University, USA
John Chowning, Matt Wright, Fernando Lopez-Lezcano, Stefania Serafin

in cooperation with NTNU Norwegian University of Science and Technology, Norway