SALT New Music Festival and Symposium 2018
May 8 and 9, the SALT New Music Festival and Symposium welcomes Germany’s acclaimed Schola Heidelberg and Ensemble Aisthesis for four programs of new work by Canadian and international artists.
The KlangForum Heidelberg is where two very distinctive formations pool their interpretive élan and their astounding virtuosity: the voices of the Schola Heidelberg and the instrumentalists of the Ensemble Aisthesis. The two ensembles for contemporary and ancient music thrill their audiences all over Germany, at international festivals and as much-sought-after guests of major concert series. With its innovative concert formats, KlangForum Heidelberg has injected new life into the relationship between music and society. Conductor for the ensemble is Walter Nussbaum.
The festival comprises two workshops at Open Space (510 Fort Street, 2nd floor) and two evening concerts at Congregation Emanu-El Synagogue (1461 Blanshard Street).
Program of events
Tuesday 8 May
11:00am-1:00pm — Young composer's reading session at Open Space
2:00pm-4:00pm — Young composer’s reading session at Open Space
8:15pm — Open rehearsal at Congregation Emanu-El. Featuring the music of Örjan Sandred, Philippe Leroux, and Claude Vivier.
Wednesday 9 May
7:30pm — Concert and lecture at Congregration Emanu-El.
The final concert, featuring works of Dániel Péter Biró and Gideon Klein, will be presented by the Klangforum Heidelberg and Ensemble Aisthesis. This last year, Dániel Péter Biró has been composing a large-scale musical composition based on Baruch Spinoza’s philosophical work, Ethica. They will also perform a work written by Gideon Klein during his internment in the Theresienstadt Concentration Camp.
These events are presented in collaboration with the SALT New Music Festival and Symposium and Open Space. The festival is made possible through support from the John Simon Guggenheim Memorial Foundation, the Canada Council for the Arts, the BC Arts Council and the Goethe Institute.
Dave Shively, New Music Coordinator
Open Space respectfully acknowledges that we are on unceded First Nations territory. The City of Victoria and the surrounding areas lie on the territories of the Coast Salish and Lekwungen-speaking peoples, including the Esquimalt, Songhees, and W̱SÁNEĆ First Nations.
Open Space is not wheelchair accessible and is accessed by a flight of 15 stairs. There are two gender inclusive washrooms, one multi-stall and one single stall with a urinal. Please get in touch if you have any other questions or concerns.
About the ensembles
The vocal soloists of the Schola Heidelberg are at home with widely differing styles and vocal techniques, including microtonal intonation and vocal and respiratory noise. Under the artistic directorship of their founder Walter Nußbaum, the ensemble frequently performs works from the sixteenth and seventeenth centuries alongside contemporary ones, reflecting a deep concern with historically informed practice and contemporary music. The ensemble’s extensive repertoire is the fruit of close collaboration with leading present-day composers. The ensemble frequently performs in its home city, throughout Germany, and at international festivals such the Salzburg Festival, Milano Musica, the Lucerne Festival, the Biennale in Venedig, the Biennale Salzburg and the Festival d’automne (Paris). The Schola has collaborated with Ensemble Modern, the WDR Symphony Orchestra Cologne, the SWR Symphony Orchestra, the Bamberg Symphony Orchestra, the Deutsche Radio Philharmonie, and the Gürzenich Orchestra.
The Ensemble Aisthesis (Greek, meaning: perception, to understand with your senses) specializes in contemporary music from the twentieth and twenty-first centuries. Under the artistic direction of founder Walter Nußbaum, the instrumentalists have built an extensive repertoire, from modern classics like Schoenberg, Webern, Boulez, Stockhausen, and Lachenmann, to forward-looking Romantic works by Wagner or Mahler. Commissions are developed in close collaboration with the composers. The ensemble performs regularly in Heidelberg and has been invited to festivals like musica viva in Munich, the Zurich Festival, the Romanische Nacht in Cologne, the Tongyeong International Music Festival in South Korea, the Kasseler Musiktage, and the Basel Music Forum.
About the composers
Canadian composer Dániel Péter Biró (b. 1969) is associate professor of composition and music theory at the University of Victoria in Victoria, BC, Canada. He studied in Hungary, Germany, Switzerland, Austria, and Israel before completing his PhD from Princeton University in 2004. His dissertation examines historical relationships between orality, memory, and notational development in Hungarian laments, Jewish Torah recitation, and early Christian plainchant. In 2011 he was visiting professor at Utrecht University, where he researched Jewish and Islamic chant as practiced in the Netherlands. Biró has been commissioned by festivals (Eclat Festival, Darmstadt International Summer Courses, Toronto New Music Concerts, Vancouver New Music), and his music has been performed internationally by such ensembles as Frankfurt Radio Symphony, Ensemble Surplus, ensemble aisthesis, Kai Wessel, the Meitar Ensemble, ensemble recherche, Neue Vocalsolisten, Talea Ensemble, and Schola Heidelberg. He has won international prizes for his work (Kodály Prize, Gigahertz Production Prize, Vocal Music Competition of the ISCM–Austria). In 2013 his composition Kivrot Hata'avah (Graves of Craving) represented Canada at the World Music Days in Vienna, Austria. In 2014–2015 he was a fellow at the Radcliffe Institute for Advanced Study at Harvard University, where he worked on the completion of the composition cycle Mishpatim (Laws) for voices, ensemble and electronics in collaboration with Experimentalstudio. He co-edited The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective (Oxford University Press, 2014). In 2016–2017, he was artist-in-residence at the University of Victoria Centre for Studies in Religion and Society and was named a Guggenheim fellow in 2017.
The music of Philippe Leroux has been widely performed in international festivals and by orchestras such as Tonhalle Orchester Zürich, Orchestre Philharmonique de Radio-France, and the BBC Symphony. Philippe Leroux’s compositional output includes symphonic, vocal, electronic, acousmatic and chamber music. Born in Boulogne Billancourt 1959, he entered the Paris Conservatory in 1978 studying with Ivo Malec, Claude Ballif and Pierre Schäeffer and obtained three first prizes. Other prizes and awards include: Best contemporary musical creation Award 1996 for (d’) ALLER, SACEM Prize, Fondation Simone et Cino del Duca, André Caplet, Nadia and Lili Boulanger Prizes from the Academy of Fine Arts (Institut de France), Arthur Honegger Prize (Fondation de France) for his overall production. He is fellow of the Royal Society of Canada. From 2001 to 2006 he was a teacher in composition at IRCAM in the frame of the “Cursus d’Informatique Musicale”. From 2007 to 2009 he was composer-in-residence at Metz Arsenal and at Orchestre National de Lorraine. From September 2011 he is Associate Professor in composition at McGill University.
Örjan Sandred is a composer of both instrumental and computer music. His instrumental works reach from music for Symphony Orchestra to solo instruments. Several of his later compositions show an increased interest in mixed music, where acoustic instruments are combined with live electronics. He has composed music for performers in many countries, for example the Harrington/Loewen Duo (Ice Fog for saxophone, piano and live electronics), Sarah Jo Kirsch (A Ghasal, soprano and live electronics) and Oleg Pokhanovski (Sundogs for violin and live electronics) in Kanada, Camilla Hoitenga and Heloïse Dautry (Whirl of Leaves, flute and harp) in Germany/France, The Pearls Before Swine Experience (Fragments of Light), Das Orchestra (Flames and Blazes, blfl, tbn, vlc) and Mårten Falk (Cracks and Corrosion I, guitar and live electronics) in Sweden. Among his electroacoustic compositions is Konzert für Konzerthaus for the Wave Field synthesis loudspeakersystem at the concerthall in Detmold, Germany. He has also composed larger scale works, for example Magmafor symphony orchestra (for the Swedish Radio Orchestra), Labyrinths in the Wind for Yamaha WX5 Wind Controller and symphony orchestra, and Lament for Humanity (both commissioned by the Winnipeg Symphony Orchestra). Sandred is currently a Professor in Composition at the University of Manitoba in Canada, where he founded Studio FLAT – a studio for computer music research and production. Previous to his current position he was teaching composition and electro-acoustic music at the Royal College of Music in Stockholm 1998-2005. He is a frequent guest lecturer around the world. He has given seminars at Harvard University, at University of California at Berkeley and Davis, at Conservatoire National Superieur de Musique in Paris, at the Sibelius Academy in Helsinki, at the Bartok Seminar in Szombathely (Hungary), at Universität für Musik und darstellende Kunst Wien, at the Shanghai Conservatory of Music, at McGill University in Montreal, at the Interdisciplinary Centre for Computer Music Research at the University of Plymouth and other places. During the spring 2016 he was a DAAD visiting professor at the Hochschule für Musik, Detmold in Germany. Many of Sandred’s pieces are results of his search for new methods of composition. During 1999 he worked as a Composer on Research in the Musical Representation Team at IRCAM. He has a particular interest in Rule-based Computer Assisted Composition techniques, and he has published several articles on the outcome of his ongoing research (for example in Computer Music Journal 2010 and Contemporary Music Review 2009).Sandred’s music is regularly performed in many countries around the world. During 2017 he will be featured in a portrait concert at the concerthall in Uppsala, Sweden. He is currently working on a commission for the French string quartet Quator Leonis. Sandred’s music is available on the CD “Cracks and Corrosion”, released on the Navona label in 2009.