Austrian Contemporary Music Festival
Sunday, Sept. 12, 1999, 2 pm at the UI Museum of Art
Christine Bellomy, clarinet
|Kanon für Bläsersextett||Peter LACKNER|
Emily Helvering, oboe
Christine Bellomy, clarinet
Michelle Fox, clarinet
Notes & Bios
The title means transformation, change, turnabout and points to the creation of the work. Even through the title might reflect the structural method of composition, it is built rather freely. Cambiamenti is a musical diary which originated between August and October 1998 and in which everything possible and impossible was formed to an event in sound, not isolated in a sequence, but at different times in the composition appearing in a different form.
Helmut DENCKER (b. 1944, Husum, Germany) began his musical studies in Hamburg at the Klaerschen Conservatory. From 1968-71 he was a student of church music at the Musikhochschule in Lübeck. After many years of working in north German churches, he studied composition with Andrej Dobrowolski at the University of Music and Dramatic Arts in Graz, and in 1975 received the diploma in composition.
In the 70s and 80s he was intensively occupied with information aesthetics, french structuralism and electronic music - the realization of numerous software projects and computer music languages. Since 1976 he has been a teacher of music history of the 20th century, music theory and electronic music at the University of Music in Graz. He has received many awards and prizes, including the Dr. Edurard Coudenhove Prize (1975), a state scholarship of the Republic of Austria (1976), an art sponsoring prize of Graz (1977) and a special award at the International Competition Musica Nova 93-Prague.
Kanon für bläsersextett
For Peter Lackner, the sense of balance is the central focus of my "thoughts, feelings and deeds" in connection with music. All processes involved in making music audible, from the so-called selection of musical material to the instrumentation and performance, are determined by this stirring for balance. I try to avoid, as far as possible, any other attempted "expression"). I feel that a symbolic representation of totality, rather than the utilization and expansion of a broad material spectrum, is the greater freedom.
Peter LACKNER (b. 1966 Graz, Austria) studied composition with Hermann Markus Pressl at the University of Music, Graz starting in 1988. In 1991 he received the Cultural Encouragement Prize from the City of Graz, and in 1994 the Composition Diploma with Distinction. From the Federal Ministry of Arts and Education he was awarded the Prize of Excellence. Since 1994 he has been a tutor for Music Theory and Aural Training at the University of Music, Graz.
ROBERT RAINER HÖLDRICH
Alef (1994-95) for violin, clarinet, and piano
In ALEF, I attempted to construct a new kind of harmony. The partly microtonal chords were so conceived that frequency differences between adjacent tones are practically identical. As a starting point, I used a chord consisting of the overtone series. Due to various amounts of frequency shifting, this chord is increasingly distorted.
Robert Rainer HÖLDRICH (b. 1962, Linz, Austria) began his studies in Graz in 1983 in Electronics and Audio Engineering at the Technical University in Graz. He studied composition and music theory with A. Dobrowolski, H. M. Pressl, Younghi Pagh-Paan, and Beat Furrer at the University of Music and Dramatic Arts in Graz as well as flute studies at the Konservatorium in Graz. Since 1986 he has done intensive work in the field of electronic music, computer music and algorithmic composition, and holds a PhD in Mathematics.
In 1989 Höldrich was appointed a research assistant and lecturer at the Institute of Electronic Music Graz. He is the producer of the CD series "Klangschnitte - Momente Neuer Musik". (Sound Cuts - Moments of New Music) and the editor of the periodical "Beiträge zur Elektronischen Musik" (Contributions to Electronic Music) at the Institute of Electronic Music Graz. He has served as a guest professor at the University Olomouc, Czech Republic, in the field of acoustics and computer music. In 1995 he served as the General Chair of the "1995 Graz Lectures on Computer Music" and in 1999 appointed Professor for Electronic Music at the University of Music and Dramatic Arts in Graz.
Joachim Jung's composition was intentionally written in the romantic nocturne tradition.
...a glance at night into the clear deep sky of a deeply frozen winter landscape...
...stars in the darkness - cold blue -...and which pitch could be colder than 'g'?
Joachim JUNG (b. 1963 Munich, Germany) studied composition with Gloria Coates in Munich. In 1984 he majored in composition at the Music Academy in Graz, Austria, and was a pupil of Prof. Hermann Markus Pressl. He received a diploma and the Masters degree in 1989. Since then, he has been teaching theory and composition in Graz, and has been a guest professor for the past two years.