7:30 PM19:30

Trio Recital @ Blue Lake Fine Arts Camp

Benjamin Downs, Piano
Rebeccah Parker Downs, Cello
Daniel Pate, Percussion

Stop Speaking (2011) Andy Akiho (b. 1979) for Snare Drum and Electronics

Warenfetisch (2016) for Amplified Cello                                                  Zach Thomas (b. 1988)

Serenatas (2008)                                                                                     Kaija Saariaho (b. 1952)


Bolts of Loving Thunder (2013)                                                                Missy Mazzoli (b. 1980)

Tight Sweater (2005)                                                                                  Marc Mellits (b. 1966)

I. Exposed Zipper
II. Trans Fatty Acid’s Rein
III. Mara’s Lullaby
IV. Pickle Trousers
V. Evil Yellow Penguin
VI. Mechanically Separated Chicken Parts

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8:00 PM20:00

Iktus / APNM Call for Scores Winners

APNM and Iktus Percussion present an electrifyingly unique program of percussion-centric chamber music! Joined by special guests Andrea Lodge; Piano, Roberta Michel; Flute and Piccolo, and Hannah Levinson; Viola, expect a colorfully diverse and bracing evening of music performed by New York City’s finest musicians. 

APNM-Association for the Promotion of New Music Composers and *Call for Scores Winners:


*Louis Aguirre

Alice Shields

*Morgan Greenwood

*Jeremy Rapaport-Stein

*Kevin Michael Kay

*Faye-Ellen Silverman

*Nicholas V. Hall

CLICK HERE for more info.

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Carlsbad Music Festival
6:00 PM18:00

Carlsbad Music Festival

Performing the West Coast Premiere of "These Things are Broken" by Nathan Hudson along with works by Hugo Morales Murguia, and Andy Akiho. at St. Michaels Church in Carlsbad CA.

for more information or to purchase tickets, please visit http://www.carlsbadmusicfestival.org

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8:00 PM20:00

Stony Brook Symphony Orchestra "Berio Sinfonia" with Special Guest "Room Full of Teeth"

Hear the Stony Brook Symphony Orchestra perform three virtuoso works of the 20th and 21st centuries. The Pulitzer Prize-winning vocal ensemble Roomful of Teeth joins the orchestra for Berio’s landmark Sinfonia(1968), originally performed by the Swingle Singers with the New York Philharmonic under Leonard Bernstein. Rachel Schutz performs Ligeti’s madcapMysteriesoftheMacabre(1992), and visiting composer Ken Ueno, overtone singer, performs Ona Sufficient Condition for the Existence of Most Specific Hypothesis (2008). Conducted by Eduardo Leandro. Free pre-concert lecture at 7 pm in the Recital Hall.

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Percussion Concepts at Darmstadt
4:00 PM16:00

Percussion Concepts at Darmstadt

Friday, 12 August 2016 | 16:00 | Edith-Stein-Schule

Percussion Concepts

Presentation of the Percussion Ensemble Composition Workshop


Participants of the percussion classes of Christian Dierstein and Håkon Stene


The Darmstadt Summer Course offers the special opportunity for young composers and musicians from over 40 countries to meet and work together intensively for two weeks. Each time, this leads to unexpected productive contacts and artistic projects. The work in Darmstadt does not always involve finished scores; often, the composers and musicians start from sketches and concepts that are only developed fully through joint experimentation to find specific ways of writing for the instruments. The two percussion tutors, Christian Dierstein and Håkon Stene, had issued a call for percussion concepts and project ideas from young composers involving three to five percussionists. Every kind of sound-producing object was expressly desired. The selected projects will be worked on intensively during the two-week workshop, accompanied by the composition tutors Rebecca Saunders, Georges Aperghis, Marko Ciciliani and Simon Steen-Andersen. In its workshop concert, the percussion class will offer a glimpse of this laboratory.


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Luigi Nono Celebration
4:00 PM16:00

Luigi Nono Celebration

Wednesday, 10 August 2016 | 16:00 | Edith-Stein-Schule (Sporthalle)

Rückspiegel – Sieben Werke aus sieben Jahrzehnten: NONO

Luigi Nono: Polifonica – Monodia – Ritmica (1951)
(2 Performances + Lecture in English)


Tutors and Participants of the Darmstadt Summer Course
Ulrich Mosch (Lecture)


Since the course’s beginnings at Kranichstein Hunting Lodge in 1946, there have been major changes in the work of composition, as well as aesthetic views and the notion of what music actually is. These changes are reflected in the history of events at the course and in the accompanying concerts. In 2016, the concert series “Rückspiegel” [literally “rear-view mirror”] will reflect on seven decades of the Darmstadt Summer Course with both music and commentary. For each decade, one piece will be selected from the respective course programs. What is important is that this view of the past is today’s view: the series will focus on those aspects of the musical phenomena in the relevant periods which are central from today’s perspective.


Each of the seven concert lectures will open with a complete performance of a piece, followed by an explanatory commentary by Ulrich Mosch (University of Geneva) on the historical context, compositional technique and aesthetics, and finally a second performance of the entire piece. (Only Wolfgang Rihm’s string trio, on account of its 45-minute duration, will be played just once.)

For the listeners, the advantage of this format is that they will already have had a first aesthetic experience with the respective piece before the commentary, allowing them to connect it to what they have heard. The second listen will then profit both from the commentary and the first listen.


The works:
31 July 2016 Stefan Prins: Piano Hero
1 August 2016 Brian Ferneyhough: String Quartet No. 3
2 August 2016 John Cage: Concert for Piano and Orchestra (1958)
6 August 2016 Wolfgang Rihm: Musik für drei Streicher (only one performance due to its duration of 45 minutes)
7 August 2016 Helmut Lachenmann: Intérieur I
10 August 2016: Luigi Nono: Polifonica – Monodia – Ritmica
14 August 2016 Isabel Mundry: Traces des moments


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Cloud Polyphonies at Darmstadt
4:00 PM16:00

Cloud Polyphonies at Darmstadt

Monday, 8 August 2016 | 16:00 | Edith-Stein-Schule

James Wood: Cloud-Polyphonies (2011)
Georges Aperghis: Zig Bang
François Sarhan: Situations
Francesco Filidei: per tre o sei interpreti (2005-06) 
Marko Ciciliani: Black Horizon (2009)
Simon Løffler: c (2013)
Klaus Lang: the moon in a moonless sky. (two.) (2007)


Participants of the percussion classes of Christian Dierstein and Håkon Stene


“Percussion music is the contemporary shift from a piano-based music to a pan-sonic music of the future. For the composer of percussion music, every sound is acceptable; he explores the academically forbidden field of ‘non-musical’ sounds, as far as manually possible.”
John Cage, 1937


What John Cage predicted in 1937 has become a reality: in the 20th century, percussion instruments began a series of triumphs that still seems to be in progress. Diverse percussion instruments have become a natural part of contemporary orchestral forces, and percussion is a prominent solo and chamber music instrument as well as a fixed part of many specialist New Music ensembles. The increased importance of percussion can also be seen, of course, at the Darmstadt Summer Course; there have long been two percussion tutors in Darmstadt, in fact, and this year they will be teaching 24 students. In their workshop concert, the tutors Christian Dierstein and Håkon Stene will, together with their participants, be presenting an enormous range of the many things percussion can be today. The central feature will be James Wood’s roughly 30-minute percussion sextet Cloud-Polyphonies. In the surrounding rooms of the Edith-Stein-Schule the audience will experience music for smaller forces, including works by Georges Aperghis (Zig Bang), Klaus Lang (the moon in a moonless sky), Francesco Filidei (per tre o sei interpreti), Marko Ciciliani (Black Horizon for four percussionists and two electric guitars laid flat), body percussion pieces by François Sarhan (Situations), and Simon Løffler’s (c) will explore how one listens to music through one’s teeth.


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Darmstadt Music Festival
to Aug 14

Darmstadt Music Festival

70 Years: 1946 – 2016
International Summer Course for New Music (29 July to 14 August 2016)


Music in the Expanded Field

Temporal whirl, temporal maelstrom – vortex temporum: the right metaphor for the opening concert of the 48th Darmstadt International Summer Course for New Music in 2016, but also a fitting image for the eventful history of one of the most important platforms in the world for the music of our time. The Darmstadt Summer Course has existed for 70 years; it took place for the first time in 1946 at Kranichstein Hunting Lodge, before the gates of an utterly destroyed city. Seven decades of the Darmstadt Summer Course – which also means seven decades of shaping music history. The name of Darmstadt is associated with virtually all significant figures in contemporary music after 1945, as well as the aesthetic debates and sometimes vehement controversies about the present and future of composition.


When Anne Teresa De Keersmaeker’s version of Gérard Grisey’s Vortex Temporum opens the 2016 Darmstadt Summer Course, it will mark the first time that the choreographer’s current object of success is being presented at a music festival at all: a breathtaking work for an ensemble of musicians and dancers, an almost hour-long artistic reflection on how time is compressed and unfolds in space, in order to grant an equal and independent status to the sounds, gestures, movements and the dynamics of the space in a choreographic counterpoint. Grisey was one of the most influential figures in the history of Darmstadt, and his piece Vortex Temporum (1996) is one of the landmarks of spectral music.


The contemporizing approach to recent music history that manifests itself in De Keersmaeker’s Vortex Temporum marks the starting point for a number of artistically highly diverse projects that all refer to the 70th anniversary of the course. The concern is not so much to celebrate what has been, but rather to offer artistic responses to Darmstadt’s history and also to the digital archive of the Darmstadt International Music Institute (IMD), which has been established extensively in the last few years. In the large-scale project historage – 7 places, 7 readings, for example, Ashley Fure (New York/Boston), Hanno Leichtmann (Berlin), Philip Miller (Cape Town), Aleksej Shmurak (Kiev), Nicolás Varchausky (Buenos Aires), Samson Young (Hong Kong) and the Distractfold Ensemble (Manchester) each develop individual readings of the digital course archive – from performances to sound/video installations and a “Call for Remixes.”


Multimedia composition has been thematized and discussed repeatedly in Darmstadt, and this year the motto “Music in the Expanded Field” will be at the center of the program, predominantly with new commissioned works in which performance, venue, light, sound motions, audience movements and many other factors combine to create a composite audiovisual experience. Annesley Black will conceive a form of reenactment of early electronic music production in Darmstadt. Lars Peter Hagen’s live installation Archive Feverwill take the archive as an object of aesthetic experience as its starting point and allow the activities of curating and composing to merge.


In her “opera for objects” The Force of Things, Ashley Fure (2014 Kranichstein Prize winner) combines instrumental and electroacoustic music, architectural design and theater to create musical-dramatic events where the activity is focused on objects. In a concert installation François Sarhan and ZWERM illuminate the meaning of the division of labor and specialization in the field of music. With The Lichtenberg Figures, Eva Reiter and Ictus open up a musical space of sometimes bizarrely concentrated acoustic and electronic, vocal and instrumental sounds that likewise have a counterpoint in the form of a scenographic concept.


Projects like Marko Ciciliani’s workshop about audiovisuality entitled “Music in the Expanded Field” or “Just Beyond Our Instruments Is the World” by Steven K. Takasugi and the young Ensemble Mocrep from Chicago continue a path that began at the 2014 Summer Course under the motto “Performing Matters.” Events following on from this are new works by Stefan Prins (PIANO HERO), the guitarist Nico Couck (“Polyptychon”) or Sasha Waltz & Guests (“UN/RUHE”). The closing project, a choreographic concert with Sash Waltz & Guests, the Junge Deutsche Philharmonie and the violinist Carolin Widmann, will round off the process that started with De Keersmaeker’s Vortex Temporum.  


At more than 65 public events, the 48th Darmstadt International Summer Course in 2016 will present some 40 premieres, including more than ten works commissioned especially for this year’s anniversary festival. The partnership with the Darmstadt State Theater, which extends back to the early days of the course, will also be reactivated when the house at the Büchnerplatz appears in the program as the venue for no less than two new productions: alongside KOMA, the new opera by Georg Friedrich Haas, works by the finalists of theInternational Music Theater Competition Darmstadt will also be presented.


On the theoretical side of things, the international conference EXCESS: Forum for Philosophy and Art (4 – 7 August 4 2016) will establish one of the course’s focuses: curated by Jörn Peter Hiekel, Dieter Mersch and Michael Rebhahn with the cooperation of Fahim Amir, EXCESS will feature international guests and examine questions such as the de-restriction of the arts (“Surpluses”), the “Political” and “Music as Philosophy.” The aim will be to show how compositional strategies are exemplary for reflection on contemporary culture.

A think tank on the topic of “Critique,” curated and led by Patrick Frank, will focus on fundamentalquestions about the self-image of New Music, starting from Darmstadt as one of its centers.


With over 60 tutors, the 2016 Darmstadt Summer Course will offer an extensive program of tuition and workshops, from classes in composition and various instrumental disciplines, via workshops at the “Atelier Elektronik” and a writing workshop for young music journalists, to experimental projects like a laboratory for new violin music with the violinist PatriciaKopatchinskaja and the composer/turntablist Jorge Sánchez-Chiong. Roughly 450 participants from some 50 nations will be expected in Darmstadt between 29 July and 14 August 2016.


Tickets for the concerts as well as the regularly-updated program can be found atwww.internationales-musikinstitut.de/en/program2016


Supported by Kulturstiftung des Bundes, Kulturfonds Frankfurt RheinMain, Jubilee Foundation of the Darmstadt Sparkasse, Ernst von Siemens Musikstiftung, Allianz Kulturstiftung, Merck'sche Gesellschaft für Kunst und Wissenschaft
as well as many other supporters and sponsors


The IMD is a culture institute of the City of Darmstadt.

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