Festival KlangHaus / Stadthaus Ulm / 21. – 24. April 2022
Künstlerische Leitung: Jürgen Grözinger / Ensemble-In-Residence: European Music Project
Mikołaj Laskowski Transnatural#2: Life-Like 3D® Ocean Series für Streichquartett und Elektronik (UA Donaueschinger Musiktage 2021)
John Cage Aria, with Fontana Mix, for voice and playback
Clara Iannotta dead wasps in the jam-jar (iii), for string quartet and sinus waves
Laurie Schwartz Outtakes from the Baroness Files: #4. the heroines, for voice, video and playback
Luigi Nono La Fabbrica Illuminata, for voice and multichannel tape
George Crumb Black Angels, for electric string quartet
Samstag, 23.4. / 20h
Hayden Chisholm Love in Numbers – Ulm Variations, for soprano & saxofone ensemble (premiere)
Caroline Shaw Dolce Cantavi, for 3 singers
Giacinto Scelsi Khoom, for voice & ensemble
Edgard Varèse Octandre, for ensemble
David Lang Just (Song After Songs), for 3 singers, viola, cello and percussion
Antonis Anissegos Ram, for ensembles (2021)
Sonntag, 24.4., 11h
Presentation Sound Researches / students of the Music School Of The City Of Ulm / Dir.: Elisabeth Haselberger
Krzysztof PendereckiStringquartet No 2
Caroline Shaw Can´t voi l´aube, for soprano and string quartet
Martin Daske Foliant 36, for voice & glass sculpture
Giacinto Scelsi Tre Pezzi, for Saxophone, with intros by Hayden Chisholm
David Lang Simple Song #3, from „Youth“ / „Ewige Jugend“ (premiere of the version for EMP)
Hayden Chisholm, Altsaxofon / Anna Clementi, Stimme / consord / Maria Rosendorfsky, Sopran / Angela Braun, Sopran / Maria Wester, Alt / Dieter Kraus & Ensemble / Janis Pfeifer / Salma Sadek / European Music Project
In April 2020, the festival for new music in the Stadthaus Ulm should take place for the first time under its new name “KlangHaus”, combined with the title “Monte Verità”.
The completely changed situation now demands new programmatic ideas for the concerts, which have been postponed to February 2021.
“Proximity” and “distance” are currently experiencing unimagined, even dramatic presence in the concert context, in that they are becoming the fundamental instance regulating space and choice of piece, and thus the social and aesthetic parameter of live musical performances.
Both the process of creation and the reception of music are being re-experienced and re-evaluated by artists and audiences alike:
It is precisely in the KlangHaus concerts, characterized by liveliness and intellectual as well as sensual complexity, that the dimension of live musical performances manifests itself – in the sense of a collective act of performers and audience. Perhaps it is something of the primordial nature of music, that archaic anchoring in the cultic, which reappears through the new focus.
The ingenious program, which is a mixture of outstanding works from the last 50 years and current compositions by younger and young composers*, promises additional extraordinary events and situations when the hall and the house themselves become “resonant spaces” in specially composed works. It is about music that wants to touch and about sounds that challenge, about compositions that stimulate intellectually and sensually.
Two world premieres (made possible by the “freundeskreis neue musik im stadthaus”) will pay special tribute to this idea: once a work by the internationally renowned saxophonist and composer Hayden Chisholm – for soprano (Maria Rosendorfsky) and widely distributed saxophonists. And a large piece – written for the entire house – by Antonis Anissegos, as a pianist and composer also at home on the stages of the world and known as a long-time member of the European Music Project in Ulm.
We want to trace the possibilities of the (live) electronics used compositionally in some pieces with regard to the physical presence and proximity of the extended sound in space.
Revolutionary and epoch-making for the second half of the 20th century are the early compositions of Krysztof Penderecki, such as his 2nd string quartet, George Crumb’s “Black Angels”, for electric string quartet or Luigi Nono’s “La Fabbricca Illuminata”, for voice and 4-channel spatial sound. In contrast, there are new works, such as “dead wasps in the jam-jar (iii)”, for prepared string quartet and sine waves by the young award-winning composer Clara Ianotta, as well as a multimedia composition by the American Laurie Schwartz, a homage to the Baroness Elsa von Freytag-Loringhoven, stylized as a muse by Marcel Duchamp, the actual “inventor” of the “Fountain” attributed to him. The 1968 “Okanagon – The Heartbeat of the Earth” by the Roman Giacinto Scelsi, in turn, reflects the composer’s spiritual spirit. Georg Friedrich Haas’ “Schattenspiel” places the piano in a large spectral sound space through the use of electronics. David Lang’s “Simple Song #3” from the soundtrack to the film “Youth” / “Ewige Jugend” will be premiered in a new version arranged by the composer especially for the European Music Project.
Sarah Nemtsov’s “Seven Thoughts-Her Kind” for sample keyboard will be performed by the young Ulm pianist Janis Pfeifer.
Not only the changed situation, but also the programs of the festival demand interpreters who are willing to leave their comfort zones again and again in order to let music emerge in the now:
the artist profile shows a mixture of international soloists. These include, for example, vocalist Anna Clementi, saxophonist Hayden Chisholm and cellist Anne Müller, who last year released her first solo album on the renowned London label Erased Tapes, after becoming known through her collaboration with Nils Frahm, who comes from the club and neo-classical scene – and greats anchored in the regional area such as soprano Maria Rosendorfsky, the aforementioned Janis Pfeifer and saxophonist Dieter Kraus. Anissegos’ space-sound work “Ram” will be realized by the ensemble “consord”, while the proven “European Music Project” will again be present in various formations as Ensemble-In-Residence.
Official website Stadthaus Ulm
The festival is supported by Freunde Neue Musik Ulm.