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X-WR-CALDESC:Events for Myriam García Fidalgo
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BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20190117T190000
DTEND;TZID=Europe/Paris:20190117T203000
DTSTAMP:20260424T132540
CREATED:20181128T124951Z
LAST-MODIFIED:20181128T125222Z
UID:2890-1547751600-1547757000@myriamgarciafidalgo.com
SUMMARY:Átlátszó Hang New Music Festival
DESCRIPTION:Schallfeld Ensemble\nProgramm\n– Anahita Abbasi: Situation/Dialoge (2016) – 8 Min\n– Hannes Kerschbaumer: pedra.debris (version 2015) – 13 Min\n– Andres Gutierrez Martinez: IO (2015) – 7 Min\n– Lorenzo Troiani: La fine è senza fine (2017) – 13 Min\n– Franck Bedrossian: IT (2007) – 15 Min
URL:https://myriamgarciafidalgo.com/event/atlatszo-hang-new-music-festival/
LOCATION:October Hall\, Budapest\, Hungría
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20181218T140000
DTEND;TZID=Europe/Paris:20181218T170000
DTSTAMP:20260424T132540
CREATED:20180916T090611Z
LAST-MODIFIED:20180916T090611Z
UID:2848-1545141600-1545152400@myriamgarciafidalgo.com
SUMMARY:Beyond the limits
DESCRIPTION:[:es]14:00  “Approaches on cello technique and tradition since 1969”\, presentation by Myriam García Fidalgo\n14:45  “Materialities of Sound ”\, presentation by Luc Döbereiner\n15:30  Break\n16:00  “Instrumental sound matter inscribed in instrumental sound gestures. A compositional approach through the limits and the possibilities of piezo-electric microphones”\, presentation by Daniela Fantechi\n16:45  “The role of the sound sources”\, presentation by Davide Gagliardi \n\nThe technique of an instrument is constantly evolving\, moreover\, the literature for cello solo in the last century reflects an enormous development of the playing technique that expends vastly the possibilities of the instrument. In my presentation\, I want to focus on some pieces that\, in different ways\, limit the chosen materials: from the detachment of the tradition in Helmut Lachemann’s “Pression” (1969) – that considers the cello a new and unexplored sounding object – to Francesco Filidei’s Gagliarda – that recreates a XV. Century dance using very limited percussive elements on a prepared cello – or Liza Lim’s Invisibility\, that alters the sound of the cello by requiring an extreme scordatura and limits the resonance and behavior of the strings using a prepared bow. \n[:en]14:00  “Approaches on cello technique and tradition since 1969”\, presentation by Myriam García Fidalgo\n14:45  “Materialities of Sound ”\, presentation by Luc Döbereiner\n15:30  Break\n16:00  “Instrumental sound matter inscribed in instrumental sound gestures. A compositional approach through the limits and the possibilities of piezo-electric microphones”\, presentation by Daniela Fantechi\n16:45  “The role of the sound sources”\, presentation by Davide Gagliardi \n\nThe technique of an instrument is constantly evolving\, moreover\, the literature for cello solo in the last century reflects an enormous development of the playing technique that expends vastly the possibilities of the instrument. In my presentation\, I want to focus on some pieces that\, in different ways\, limit the chosen materials: from the detachment of the tradition in Helmut Lachemann’s “Pression” (1969) – that considers the cello a new and unexplored sounding object – to Francesco Filidei’s Gagliarda – that recreates a XV. Century dance using very limited percussive elements on a prepared cello – or Liza Lim’s Invisibility\, that alters the sound of the cello by requiring an extreme scordatura and limits the resonance and behavior of the strings using a prepared bow. \n[:de]14:00  “Approaches on cello technique and tradition since 1969”\, presentation by Myriam García Fidalgo\n14:45  “Materialities of Sound ”\, presentation by Luc Döbereiner\n15:30  Break\n16:00  “Instrumental sound matter inscribed in instrumental sound gestures. A compositional approach through the limits and the possibilities of piezo-electric microphones”\, presentation by Daniela Fantechi\n16:45  “The role of the sound sources”\, presentation by Davide Gagliardi \n\nThe technique of an instrument is constantly evolving\, moreover\, the literature for cello solo in the last century reflects an enormous development of the playing technique that expends vastly the possibilities of the instrument. \nIn my presentation\, I want to focus on some pieces that\, in different ways\, limit the chosen materials: from the detachment of the tradition in Helmut Lachemann’s “Pression” (1969) – that considers the cello a new and unexplored sounding object – to Francesco Filidei’s Gagliarda – that recreates a XV. Century dance using very limited percussive elements on a prepared cello – or Liza Lim’s Invisibility\, that alters the sound of the cello by requiring an extreme scordatura and limits the resonance and behavior of the strings using a prepared bow. \n[:]
URL:https://myriamgarciafidalgo.com/event/beyond-the-limits/
LOCATION:Royal Conservatoire Antwerp\, Desguinlei 25\, Antwerpen\, 2018\, Bélgica
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20181217T170000
DTEND;TZID=Europe/Paris:20181217T190000
DTSTAMP:20260424T132540
CREATED:20181128T124606Z
LAST-MODIFIED:20181128T124606Z
UID:2887-1545066000-1545073200@myriamgarciafidalgo.com
SUMMARY:“Sistema di prossimità”
DESCRIPTION:[:es]Sistema di prossimità has been written within the project “Composing with piezo”. Piezoelectric microphones transduce sound energy directly transmitted by the vibrating surface of the instrument where they are placed\, changing considerably its original sound quality. In Sistema di prossimità they are used not only to amplify the instruments\, but also to play different idiomatic gestures — such as glissando\, tapping\, scraping —  introducing a new palette of sounds. The instrumental sound matter becomes less predictable\, bringing new questions within the compositional process.[:en]Sistema di prossimità has been written within the project “Composing with piezo”. Piezoelectric microphones transduce sound energy directly transmitted by the vibrating surface of the instrument where they are placed\, changing considerably its original sound quality. In Sistema di prossimità they are used not only to amplify the instruments\, but also to play different idiomatic gestures — such as glissando\, tapping\, scraping —  introducing a new palette of sounds. The instrumental sound matter becomes less predictable\, bringing new questions within the compositional process.[:de]Am 17.12 um 17h präsentiert Schallfeld Ensemble im Rahmen des Festivals ‘Experiments are More Refreshing than New Socks’ im Gele zaal (Königliches Konservatorium Antwerpen) eine neue Arbeit der italienischen Komponistin Daniela Fantechi: “Sistema di prossimità” wurde als Teil ihres Projekts “composing with Piezo” konzipiert. Piezo-elektrische Mikrophone nehmen die Klangenergie direkt von der vibrierenden Oberfläche eines Instruments auf und verändern so deutlich dessen ursprüngliche Klangfarbe. In “Sistema di prossimità” werden die Piezo- Mikrophone nicht nur verwendet\, um die Instrumente zu verstärken\, sondern auch um verschiedene idiomatische Gesten mit ungewohnten Klangfarben hervor zu bringen. Der instrumentale Klang wird unvorhersehbarer und wirft dadurch neue Fragen im Kompositionsprozess auf.[:]
URL:https://myriamgarciafidalgo.com/event/sistema-di-prossimita/
LOCATION:Yellow hall\, Royal Conservatoire Antwerp\, Antwerpen\, Bélgica
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181214
DTEND;VALUE=DATE:20181215
DTSTAMP:20260424T132540
CREATED:20180701T131730Z
LAST-MODIFIED:20180701T131730Z
UID:2823-1544745600-1544831999@myriamgarciafidalgo.com
SUMMARY:NOW!
DESCRIPTION:New piece by Antonis Rouvelas
URL:https://myriamgarciafidalgo.com/event/now/
LOCATION:Theater am Lend\, Wienerstraße 58a 8020\, Graz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20181207T193000
DTEND;TZID=Europe/Paris:20181207T193000
DTSTAMP:20260424T132540
CREATED:20181128T123801Z
LAST-MODIFIED:20181128T123801Z
UID:2882-1544211000-1544211000@myriamgarciafidalgo.com
SUMMARY:Neofonia - Bienale Koper
DESCRIPTION:Ensemble Neofonia\nProgram\nSalvatore Sciarrino (1947): Canzona di ringraziamento  (1985) \nKarlheinz Stockhausen (1928-2007): Vibra – Elufa  (2003) \nFabio Nieder (1957): Marcia fatata\, Souvenir & Gift from the Republic of Slovakia (1978/2018)\nUrška Pompe (1969): Čez in čez (2017) \n \nArnold Schönberg (1874–1951): Pierrot Lunaire (1921)
URL:https://myriamgarciafidalgo.com/event/neofonia-bienale-koper/
LOCATION:Pokrajinski muzej Koper\, Kidričeva ulica 19\, 6000\, Koper\, Eslovenia
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20181123T200000
DTEND;TZID=Europe/Paris:20181124T000000
DTSTAMP:20260424T132540
CREATED:20181128T124229Z
LAST-MODIFIED:20181128T124229Z
UID:2885-1543003200-1543017600@myriamgarciafidalgo.com
SUMMARY:… SEI BEFLÜGELTE NATUR - NACHT DER KOMPONISTINNEN UND KOMPONISTEN 2018
DESCRIPTION:[:en]Musikalische Leitung: Kai Röhrig und Wolfgang Danzmayr \nModeration: Klemens Vereno \nKonzeption: Stefan David Hummel\, Achim Bornhoeft und Klemens Vereno \nAufgeführt werden Werke von rund 20 Salzburger Komponistinnen und Komponisten\, von denen die meisten dem Mozarteum als (ehemalige) Lehrende oder Studierende verbunden sind\, darunter der seit dem Wintersemester als neuer Kompositionsprofessor an der Universität wirkt.[:de]Musikalische Leitung: Kai Röhrig und Wolfgang Danzmayr \nModeration: Klemens Vereno \nKonzeption: Stefan David Hummel\, Achim Bornhoeft und Klemens Vereno \nAufgeführt werden Werke von rund 20 Salzburger Komponistinnen und Komponisten\, von denen die meisten dem Mozarteum als (ehemalige) Lehrende oder Studierende verbunden sind\, darunter der seit dem Wintersemester als neuer Kompositionsprofessor an der Universität wirkt.[:]
URL:https://myriamgarciafidalgo.com/event/sei-beflugelte-natur-nacht-der-komponistinnen-und-komponisten-2018/
LOCATION:Mozarteum Salzburg\, Universität Mozarteum\, Solitär\, Mirabellplatz 1\, Salzburg\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181117
DTEND;VALUE=DATE:20181118
DTSTAMP:20260424T132540
CREATED:20180701T131057Z
LAST-MODIFIED:20180701T131057Z
UID:2818-1542412800-1542499199@myriamgarciafidalgo.com
SUMMARY:Schallfeld 5. Birthday!
DESCRIPTION:[:es]I) Konzert Call for Scores – KUG \nII) Schallfeld Ensemble Konzert \nProgramm \nAnahita Abbasi: Neues Stück\nArturo Fuentes: Body Contact\nChristopher Trapani: Anyplace Else (2014) \nSylvain Marty: Neues Stück\nPetros Leivadas: Neues Stück[:en]I) Konzert Call for Scores – KUG \nII) Schallfeld Ensemble Konzert \nProgramm \nAnahita Abbasi: Neues Stück\nArturo Fuentes: Body Contact\nChristopher Trapani: Anyplace Else (2014) \nSylvain Marty: Neues Stück\nPetros Leivadas: Neues Stück[:de]I) Konzert Call for Scores – KUG \nII) Schallfeld Ensemble Konzert \nProgramm \nAnahita Abbasi: Neues Stück\nArturo Fuentes: Body Contact\nChristopher Trapani: Anyplace Else (2014)  \nSylvain Marty: Neues Stück\nPetros Leivadas: Neues Stück[:]
URL:https://myriamgarciafidalgo.com/event/schallfeld-5-birthday/
LOCATION:forum stadtpark\, Graz
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181102
DTEND;VALUE=DATE:20181103
DTSTAMP:20260424T132540
CREATED:20180215T084635Z
LAST-MODIFIED:20180630T171113Z
UID:2696-1541116800-1541203199@myriamgarciafidalgo.com
SUMMARY:Namphaise - Schallfeld Ensemble
DESCRIPTION:New work by Zesses Seglias \nMore info coming soon
URL:https://myriamgarciafidalgo.com/event/namphaise-schallfeld-ensemble/
LOCATION:Dom in Berg\, Graz\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181025
DTEND;VALUE=DATE:20181026
DTSTAMP:20260424T132540
CREATED:20180701T134128Z
LAST-MODIFIED:20180701T134128Z
UID:2820-1540425600-1540511999@myriamgarciafidalgo.com
SUMMARY:Musiktheater Deutschlandsberg
DESCRIPTION:More info coming soon
URL:https://myriamgarciafidalgo.com/event/musiktheater-deutschlandsberg/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20181011T193000
DTEND;TZID=Europe/Paris:20181011T210000
DTSTAMP:20260424T132540
CREATED:20180701T123652Z
LAST-MODIFIED:20180701T124815Z
UID:2815-1539286200-1539291600@myriamgarciafidalgo.com
SUMMARY:[:es]Signale[:en]Signale[:de]Signale Graz[:]
DESCRIPTION:[:es]More info coming soon[:en]More info coming soon[:de]In diesem Konzert erwartet Sie eine breite Palette des abwechslungsreichen Schaffens von Clarence Barlow. Der 1945 in Kalkutta geborene Komponist gilt als Pionier der computergestützten Komposition. Obwohl die Mehrzahl seiner Werke für akustische Instrumente geschrieben ist\, liegen fast allen Arbeiten computergenerierte Prozesse zugrunde | Von und mit Clarence Barlow\, Mitgliedern des Ensemble Schallfeld und Studierenden des Instituts Elektronische Musik und Akustik (IEM)[:]
URL:https://myriamgarciafidalgo.com/event/signale/
LOCATION:Ligeti Saal Graz\, Graz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20181004T160000
DTEND;TZID=Europe/Paris:20181004T170000
DTSTAMP:20260424T132540
CREATED:20180708T120948Z
LAST-MODIFIED:20180708T120948Z
UID:2826-1538668800-1538672400@myriamgarciafidalgo.com
SUMMARY:Schallfeld Ensemble Musikvermittlung — Musikprotokoll Graz
DESCRIPTION:Präsentation Musikvermittlungsprojekt
URL:https://myriamgarciafidalgo.com/event/schallfeld-ensemble-musikvermittlung-musikprotokoll-graz/
LOCATION:Helmut List Halle\, Graz\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180628T193000
DTEND;TZID=Europe/Paris:20180628T210000
DTSTAMP:20260424T132540
CREATED:20180409T084701Z
LAST-MODIFIED:20180409T084701Z
UID:2798-1530214200-1530219600@myriamgarciafidalgo.com
SUMMARY:PHACE - Vienna Summer Music Festival Composers Forum
DESCRIPTION:Music by Shin Mizutani\, Konstantinos Zisimopoulos\, Tianyu Zou\, Shoryu Itazu\, Scott Knier\, Tyler Bouque\, Christopher Paul Mitchell\, Jordan Key\, Lu Yin\, Hooman Rafraf\, Nicholas S. Heilborn\, Katherine Bodor\, William Shabecoff\, Steven Gudino\, Sterling Maffe\, Madeline Barrett\, Robert Bui\, Karl Stefans
URL:https://myriamgarciafidalgo.com/event/phace-vienna-summer-music-festival-composers-forum/
LOCATION:Brick5\, Fünfhausgasse 5\, Wien
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180623
DTEND;VALUE=DATE:20180624
DTSTAMP:20260424T132540
CREATED:20180309T173011Z
LAST-MODIFIED:20180309T173011Z
UID:2781-1529712000-1529798399@myriamgarciafidalgo.com
SUMMARY:Schallfeld Ensemble
DESCRIPTION:More info coming soon
URL:https://myriamgarciafidalgo.com/event/schallfeld-ensemble/
LOCATION:Theater am Lend\, Wienerstraße 58a 8020\, Graz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180613T203000
DTEND;TZID=Europe/Paris:20180613T213000
DTSTAMP:20260424T132540
CREATED:20180215T091248Z
LAST-MODIFIED:20180215T091248Z
UID:2708-1528921800-1528925400@myriamgarciafidalgo.com
SUMMARY:Hyena - Klangforum Wien. Holland Festival
DESCRIPTION:https://www.klangforum.at/projekt-detail/hyena.html \nThe Austrian composer Georg Friedrich Haas composed the remarkable music accompanying the autobiographical story told by his American wife\, the writer and storyteller Mollena Lee Williams-Haas. She was an alcoholic for years\, and wrote a searing story about her long journey to sobriety\, which she reads at this concert. The music reinforces the narrative’s hallucinatory qualities. hyena is a concerto for orchestra and narrator\, with the role of the orchestra being fulfilled by the unsurpassed Viennese ensemble for contemporary music\, klangforum Wien\, with the Dutch conductor Bas Wiegers. The hyena is Mollena Lee Williams-Haas’s inner demon\, which encouraged her to drink and which she is now settling scores with for once and for all.
URL:https://myriamgarciafidalgo.com/event/hyena-klangforum-wien-holland-festival/
LOCATION:Muziekgebouw Amsterdam\, Piet Heinkade 1\, Amsterdam\, Netherlands
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180529T190000
DTEND;TZID=Europe/Paris:20180529T210000
DTSTAMP:20260424T132540
CREATED:20180409T082509Z
LAST-MODIFIED:20180409T082509Z
UID:2796-1527620400-1527627600@myriamgarciafidalgo.com
SUMMARY:PHACE | LUFT
DESCRIPTION:More info in http://www.phace.at/portfolio-posts/phace-series-201718-luft/
URL:https://myriamgarciafidalgo.com/event/phace-luft/
LOCATION:Wiener Konzerthaus\, Lothringerstraße 20\, Wien
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180526
DTEND;VALUE=DATE:20180527
DTSTAMP:20260424T132540
CREATED:20180309T173605Z
LAST-MODIFIED:20180309T173605Z
UID:2784-1527292800-1527379199@myriamgarciafidalgo.com
SUMMARY:Impuls Minutenkonzerte
DESCRIPTION:More info coming soon
URL:https://myriamgarciafidalgo.com/event/impuls-minutenkonzerte-2/
LOCATION:Graz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180510T190000
DTEND;TZID=Europe/Paris:20180510T200000
DTSTAMP:20260424T132540
CREATED:20180309T172454Z
LAST-MODIFIED:20180309T172454Z
UID:2778-1525978800-1525982400@myriamgarciafidalgo.com
SUMMARY:UMZF Budapest
DESCRIPTION:More info coming soon
URL:https://myriamgarciafidalgo.com/event/umzf-budapest/
LOCATION:Artisjus terem (Artisjus Raum)\, 1016 Bp Mészáros utca 15-17\, Budapest\, Hungary
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180509T200000
DTEND;TZID=Europe/Paris:20180509T210000
DTSTAMP:20260424T132540
CREATED:20180409T090245Z
LAST-MODIFIED:20180409T090245Z
UID:2802-1525896000-1525899600@myriamgarciafidalgo.com
SUMMARY:Digital:Analog - FESTIVAL TONRAUM XXI
DESCRIPTION:Cathedral – by Brian Questa \nIn collaboration with IEM
URL:https://myriamgarciafidalgo.com/event/digitalanalog-festival-tonraum-xxi/
LOCATION:Minoritensaal\, Graz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180502T200000
DTEND;TZID=Europe/Paris:20180602T210000
DTSTAMP:20260424T132540
CREATED:20180405T083657Z
LAST-MODIFIED:20180409T081227Z
UID:2794-1525291200-1527973200@myriamgarciafidalgo.com
SUMMARY:Schallfeld Ensemble TRANS/DISLOKATIONEN
DESCRIPTION:WERKE VON: \nIris ter Schiphorst und Uroš Rojko \nEintritt: Festivalpass / EUR 14 (regulär) / EUR 7 (ermäßigt)\nKartenverkauf an der Abendkassa \nEine Veranstaltung der IGNM Steiermark in Kooperation mit dem Experimentalstudio des SWR.
URL:https://myriamgarciafidalgo.com/event/schallfeld-ensemble-trans-dislokationen/
LOCATION:Minoritensaal\, Graz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180310T170000
DTEND;TZID=Europe/Paris:20180310T183000
DTSTAMP:20260424T132540
CREATED:20180215T085855Z
LAST-MODIFIED:20180215T085855Z
UID:2702-1520701200-1520706600@myriamgarciafidalgo.com
SUMMARY:Close-up - Studio6 Oxford
DESCRIPTION:Close-up for electroacoustic sextet (recorder\, trumpet\, accordion\, harp\, cello and computer) is the result of a close collaboration between Richard Barrett and Ensemble Studio6 which began in April 2013. \nEach of its six parts explores a different angle on the relationship between pre-composed and spontaneously improvised musical actions – sometimes one\, sometimes the other\, sometimes in distinct combinations and sometimes merging together. \nWhile not being in any way programmatic or illustrative\, many aspects of close-up derive from a contemplation of natural and biological phenomena\, from the complexity of forests to the microscopic details of their smallest inhabitants (hence the title).
URL:https://myriamgarciafidalgo.com/event/close-up-studio6-oxford/
LOCATION:Wesley Memorial Church\, New Inn Hall Street\, Oxford
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180309T193000
DTEND;TZID=Europe/Paris:20180309T210000
DTSTAMP:20260424T132540
CREATED:20180215T090226Z
LAST-MODIFIED:20180215T090226Z
UID:2705-1520623800-1520629200@myriamgarciafidalgo.com
SUMMARY:[:es]Close-up - Studio6 Leeds[:en]Close-up - Studio6 - Leeds[:de]Close-up - Studio6 Leeds[:]
DESCRIPTION:Close-up is the result of a close collaboration between Richard Barrett and the Serbian Ensemble Studio6 which began in April 2013. Each of its six parts explores a different angle on the relationship between pre-composed and spontaneous musical actions\, whilst the electronic part explores a range of degrees of flexibility from fixed media to a completely “instrumental” approach. \nWhile not being in any way programmatic or illustrative\, many aspects of close-up derive from a contemplation of natural and biological phenomena\, and in particular of the ephemeral interventions into the natural world embodied in the sculptures of Andy Goldsworthy\, conceiving musical materials as something analogous to the leaves\, icicles\, thorns and stones which Goldsworthy selects from the natural environment and then returns to it in such a way that the viewer sees them differently from that point on. \nEnsemble Studio 6 gathers internationally acclaimed soloists and performers of contemporary composed and improvised music. The ensemble encourages an open dialogue between listening\, interpretation and creation in contemporary artistic practices. \nClothworkers Centenary Concert Hall\, School of Music\, University of Leeds
URL:https://myriamgarciafidalgo.com/event/close-up-studio6-leeds/
LOCATION:Clothworkers Centenary Concert Hall\, Clothworkers Centenary Concert Hall\, School of Music\, University of Leeds\, Leeds\, United Kingdom
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180306T190000
DTEND;TZID=Europe/Paris:20180306T190000
DTSTAMP:20260424T132540
CREATED:20180215T085452Z
LAST-MODIFIED:20180215T085452Z
UID:2699-1520362800-1520362800@myriamgarciafidalgo.com
SUMMARY:[:es]Close-up -  Ensemble Studio6[:en]Close-up -  Ensemble Studio6 London[:de]Close-up -  Ensemble Studio6[:]
DESCRIPTION:Close-up by Richard Barrett\nThe virtuosic Belgrade-based Ensemble Studio6 perform Richard Barrett’s major new piece close-up\, scored for recorders\, trumpet\, accordion\, harp\, cello and electronics\, the result of four years’ close collaboration between the ensemble and composer. \nThis 70-minute work comprises a cycle of smaller components (entitled tendril\, codex Ia\, pauk\, codex XIIa\, nachtfalter and šuma)\, that each explore a different angle on the relationship between pre-composed and spontaneous musical actions\, while the electronic part explores a range of degrees of flexibility from fixed media to a completely “instrumental” approach. \nWhile not being programmatic or illustrative\, many aspects of close-up derive from a contemplation of natural and biological phenomena and\, in particular\, the ephemeral interventions into the natural world embodied in the sculptures of Andy Goldsworthy\, conceiving musical materials as something analogous to the leaves\, icicles\, thorns and stones which Goldsworthy selects from the natural environment and then returns to it in such a way that the viewer sees them differently from that point on. \nRichard Barrett is internationally active as composer and performer\, and also teaches at the Institute of Sonology in Den Haag and at the Academy of Creative and Performing Arts at Leiden University. His work encompasses a range from free improvisation to intricately-notated scores\, and from acoustic chamber music to innovative uses of digital technology. Recent compositions include everything has changed/nothing has changed for orchestra\, given its premiere by the SWR Symphony Orchestra conducted by Peter Rundel in February 2017; and the first instalment of natural causes\, a work in progress for the ensemble Musikfabrik\, given its premiere in May 2017. Current projects include new works for ELISION\, with whom Richard Barrett has been working regularly since 1990\, and for the Los Angeles-based ensemble gnarwhallaby. Ongoing performative collaborations include with Paul Obermayer (in FURT)\, Evan Parker\, and several other improvising ensembles such as SKEIN (with Achim Kaufmann\, Frank Gratkowski\, Wilbert de Joode and others) and Colophony (with Jon Rose and Meinrad Kneer). Richard Barrett’s principal composition teacher was Peter Wiegold\, and he currently resides in Belgrade. His work as composer and performer is documented on over forty CDs\, including seven discs devoted to his compositions and nine by FURT. \nhttps://www.city.ac.uk/events/2018/march/richard-barrett
URL:https://myriamgarciafidalgo.com/event/close-up-ensemble-studio6-london/
LOCATION:City University\, London\, St John Street\, London\, United Kingdom
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180302T203000
DTEND;TZID=Europe/Paris:20180302T213000
DTSTAMP:20260424T132540
CREATED:20171213T133440Z
LAST-MODIFIED:20180215T084332Z
UID:2373-1520022600-1520026200@myriamgarciafidalgo.com
SUMMARY:Schallfeld in Elevate Festival - Fluid Disorder
DESCRIPTION:[:es] \nPrograma\nLorenzo Romano – Furore\n(for violin\, cello\, clarinet\, flute\, percussion and electronics)\nArturo Fuentes – New piece*\n(for violin\, cello\, doublebass\, clarinet\, flute\, saxophon\, percussion\, electronics and video)\nAndrés Gutiérrez – New piece*\n(for violin\, cello\, doublebass\, clarinet\, flute\, saxophon\, percussion and electronics)\nHannes Kerschbaumer – Kritzung (for violin and three performers)\nJorge Sánchez-Chiong – Interludes (for ensemble) \nVedran Kolac – Live Visuals \n*Pieces commisioned thanks to the support of the \n \n  \nhttps://elevate.at[:en] \nProgram\nLorenzo Romano – Furore\n(for violin\, cello\, clarinet\, flute\, percussion and electronics)\nArturo Fuentes – New piece*\n(for violin\, cello\, doublebass\, clarinet\, flute\, saxophon\, percussion\, electronics and video)\nAndrés Gutiérrez – New piece*\n(for violin\, cello\, doublebass\, clarinet\, flute\, saxophon\, percussion and electronics)\nHannes Kerschbaumer – Kritzung (for violin and three performers)\nJorge Sánchez-Chiong – Interludes (for ensemble) \nVedran Kolac – Live Visuals \n*Pieces commisioned thanks to the support of the \n[:de] \nProgramm\nLorenzo Romano – Furore\n(for violin\, cello\, clarinet\, flute\, percussion and electronics)\nArturo Fuentes – New piece*\n(for violin\, cello\, doublebass\, clarinet\, flute\, saxophon\, percussion\, electronics and video)\nAndrés Gutiérrez – New piece*\n(for violin\, cello\, doublebass\, clarinet\, flute\, saxophon\, percussion and electronics)\nHannes Kerschbaumer – Kritzung (for violin and three performers)\nJorge Sánchez-Chiong – Interludes (for ensemble) \nVedran Kolac – Live Visuals \n*Pieces commisioned thanks to the support of the \n \n  \nhttps://elevate.at[:]
URL:https://myriamgarciafidalgo.com/event/schallfeld-in-elevate-festival/
LOCATION:Orpheum\, Orpheumgasse 8\, Graz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20180118T193000
DTEND;TZID=Europe/Paris:20180118T210000
DTSTAMP:20260424T132540
CREATED:20171213T130956Z
LAST-MODIFIED:20171213T130956Z
UID:2369-1516303800-1516309200@myriamgarciafidalgo.com
SUMMARY:Systema Naturae
DESCRIPTION:Mauro Lanza/ Andrea Valle \nRegnum animale (2013) for string trio and electromechanical objects\nRegnum vegetabile (2014) for sextet and electromechanical objects\nRegnum lapideum (2016) for ensemble and electromechanical objects\nFossilia (2016/17) for 10 musicians and electromechanical objects \n\n\n\nEvery part of the cycle takes as its subject a branch of nature or natural science. Here\, the two composers refer to the medieval cataloging of research objects on the one hand and to the classification scheme of Carl von Linné’s “Systema Naturae” on the other hand.\n\n\n\n\n\n\nCombining scientific observation and artistic creativity\, the composers Mauro Lanza and Andrea Valle have written a collection of short pieces\, whose fictional titles follow the principle of “binomial nomenclature.”\n\n\n\n\n\n  \n18.01.2018\, 19:30 Schaumbad Puchstraße 41\, 8010 Graz
URL:https://myriamgarciafidalgo.com/event/systema-naturae/
LOCATION:Schaumbad\, Puchstrasse 41\, Graz\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171212T193000
DTEND;TZID=Europe/Paris:20171212T193000
DTSTAMP:20260424T132540
CREATED:20171117T101407Z
LAST-MODIFIED:20171117T101407Z
UID:2366-1513107000-1513107000@myriamgarciafidalgo.com
SUMMARY:[:es]"Précarité" para cello solo y orchestra (F. Neyrinck)[:en]"Précarité" for cello solo and orchestra (F. Neyrinck)[:de]"Précarité" for cello solo and orchestra (F. Neyrinck)[:]
DESCRIPTION:[:es]Más información aquí[:en]More info here[:de]More info here[:]
URL:https://myriamgarciafidalgo.com/event/precarite-cello-solo-orchestra-f-neyrinck/
LOCATION:[:es]Musikverein\, Stephaniensaal[:en]Musik Verein Graz[:de]Musik Verein Graz[:]\, Graz\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171211T193000
DTEND;TZID=Europe/Paris:20171211T210000
DTSTAMP:20260424T132540
CREATED:20171117T100607Z
LAST-MODIFIED:20171117T100607Z
UID:2363-1513020600-1513026000@myriamgarciafidalgo.com
SUMMARY:[:es] Estreno de "Précarité"\, para cello solo y orquesta de F. Neyrinck[:en]"Précarité" for solo cello and orchestra by F. Neyrinck[:de]"Précarité" für solo cello and orchestra von F. Neyrinck[:]
DESCRIPTION:[:es]Con la orquesta de la Kunst Universität Graz. \nMás información aquí[:en]More info here[:de]More info here[:]
URL:https://myriamgarciafidalgo.com/event/precarite-fur-solo-cello-and-orchestra-von-f-neyrinck/
LOCATION:[:es]Musikverein\, Stephaniensaal[:en]Musik Verein Graz[:de]Musik Verein Graz[:]\, Graz\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171130T200000
DTEND;TZID=Europe/Paris:20171130T220000
DTSTAMP:20260424T132540
CREATED:20170928T182407Z
LAST-MODIFIED:20171001T081714Z
UID:2300-1512072000-1512079200@myriamgarciafidalgo.com
SUMMARY:Schallfeld in MACRO - Roma
DESCRIPTION:[:es] \nProgram\nBeat Furrer (1954) Aer (clarinet\, violoncello and piano ) (1991)\nLorenzo Troiani (1989) La fine è senza fine (flute\, clarinet\, violin\, violoncello and piano) (2017)\nGerd Kühr (1952) Come una Pastorale (violin\, clarinet\, violoncello)\nLorenzo Romano (1985) Trio (piano\, violin\, cello)  (2017)\nFausto Romitelli (1963-2004) Domeniche alla periferia dell’impero (flute\, clarinet\, violin\, violoncello)[:en] \nProgram\nBeat Furrer (1954) Aer (clarinet\, violoncello and piano ) (1991)\nLorenzo Troiani (1989) La fine è senza fine (flute\, clarinet\, violin\, violoncello and piano) (2017)\nGerd Kühr (1952) Come una Pastorale (violin\, clarinet\, violoncello)\nLorenzo Romano (1985) Trio (piano\, violin\, cello)  (2017)\nFausto Romitelli (1963-2004) Domeniche alla periferia dell’impero (flute\, clarinet\, violin\, violoncello)[:de] \n\n\n\nProgram\nBeat Furrer (1954) Aer (clarinet\, violoncello and piano ) (1991)\nLorenzo Troiani (1989) La fine è senza fine (flute\, clarinet\, violin\, violoncello and piano) (2017)\nGerd Kühr (1952) Come una Pastorale (violin\, clarinet\, violoncello)\nLorenzo Romano (1985) Trio (piano\, violin\, cello)  (2017)\nFausto Romitelli (1963-2004) Domeniche alla periferia dell’impero (flute\, clarinet\, violin\, violoncello) \n\n\n\n\n\n[:]
URL:https://myriamgarciafidalgo.com/event/schallfeld-in-macro-roma/
LOCATION:MACRO Roma\, Macro Museum\, Roma\, Italia
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171124T193000
DTEND;TZID=Europe/Paris:20171124T203000
DTSTAMP:20260424T132540
CREATED:20171117T094420Z
LAST-MODIFIED:20171117T094420Z
UID:2353-1511551800-1511555400@myriamgarciafidalgo.com
SUMMARY:[:es]Nou Ensemble Madrid[:en]Nou Ensemble Covers Madrid[:de]Nou Ensemble Covers Madrid[:]
DESCRIPTION:[:es] \nVang #2\nLiteralmente\, el término anglosajón cover significa “cubierta”\, “portada”\, “tapa”. Durante la segunda mitad del siglo XX pasó a utilizarse para denominar a aquellas versiones/recreaciones de canciones grabadas con anterioridad por otros músicos. Partiendo de la premisa de revisar nuestra historia musical\, tanto la clásica como la popular\, Nou Ensemble propone un recorrido por obras/canciones del repertorio universal (W. Byrd\, A. Bruckner\, B. Holiday\, Sex Pistols\, Sttepenwolf…) reinterpretadas por la mirada de ocho compositores de estéticas contrastantes. \nEn Ritual I :: Commitment :: BiiM de la compositora norteamericana Jessie Marino (1984) un filtrado sonoro de la canción I make you love del grupo Boyz II Men se descubre a través de un incesante pulso de caja. Este elemento oculto puesto en relieve le sirve a Marino para desarrollar un posicionamiento crítico de la “escucha pasiva” propia de la sociedad contemporánea. \nEl compositor colombiano Camilo Méndez (1982) parte en Volpi/Formentera de la estructura propia típica de cualquier canción con sus estrofas y estribillos para llevar este concepto al mayor grado de abstracción posible. Como si de las islas de un archipiélago sonoro se tratara\, los intérpretes deben reconstruir libremente las seis piezas que conforman esta propuesta de canción abstracta. \nLa traducción de parámetros sonoros a visuales y viceversa es el principal recurso compositivo de la obra para percusión y vídeo Ritratto senza voce – Billie Holiday del compositor madrileño Alberto Bernal (1978). Partiendo de la canción de Billie Holiday Strange fruit – considerada la primera canción en protesta contra el racismo – Bernal descompone el texto original del poeta Abel Meeropol para ser reconstruido por los sonidos de un set de percusión que asocia cada instrumento a un fonema. Asimismo las imágenes de Billie Holiday proyectadas en vídeo desarrollan un proceso paralelo que sirve de contrapunto al discurso sonoro. \nEver get the feeling you’ve been cheated? del también madrileño Germán Alonso (1984) toma su título de las últimas palabras de un asqueado John Lydon – aún en la piel de Johnny Rotten – en el último concierto de Sex Pistols en 1978. La obra se articula como un mashup o superposición de creaciones musicales emparentadas\, no tanto por sus características sonoras\, como por contener algún tipo de referencia a un hastío existencial. \nQuizá sea del Born to be wild del compositor norteamericano David Lang (1957) la recreación que en mayor medida se acerca al original de partida hasta el punto de poder considerarse un arreglo de la canción del grupo canadiense Steppenwolf. Con elementos muy simples – voz hablada y elementos sonoros extraídos del original – Lang construye un monólogo para percusionista que – aún considerándose un arreglo – consigue crear un discurso propio que se aleja del himno heavy metal que supuso la canción en los años 60-70. \nLos recuerdos de un pasado se hacen presentes en Gagliarda para cello solo del compositor italiano Francesco Filidei (1973). El espíritu del compositor William Byrd planea por toda la pieza a través de ciertos gestos rítmicos propios de la gallarda del siglo XVI. Un dialogo de presencias y ausencias en el que una idea del pasado convive con el riquísimo universo tímbrico que propone Filidei a través del amplio abanico de técnicas extendidas aplicadas al violoncello. \nPrecisamente es la ausencia lo que resume Adagio de la compositora norteamericana Carolyn Chen (1983). El punto de partida es el siguiente: 3 intérpretes escuchan en silencio con sus auriculares el adagio de la séptima sinfonía de A. Bruckner dirigida por S. Celibidache. Cada uno de ellos interpreta la obra del compositor alemán con gestos faciales provocando\, a través de este “teatro mudo”\, una suerte de escucha imaginaria que parte de un elemento puramente visual. \nEsos mismo auriculares son parte fundamental de 1\,2\, 1-2-3-4 del compositor de Reino Unido\, Gavin Bryars (1943). A través de una selección de música familiar utilizada como partitura sonora\, cada músico responde con su instrumento a la línea instrumental o vocal que desee. El resultado final es un remix de músicas desordenadas\, una interpretación de un mundo sobresaturado de sonidos en el que en ocasiones la escucha se convierte en una obligación más que una decisión.[:en] \nVang #2\n\n\n\nRitual I :: Commitment ::  BiiM\nJessie Marino \n\n\npara percusionista\, luces y audio-tape\n(USA\, 1984)\n\n\nVolpi / Formentera                    \nCamilo Méndez San Juan\n\n\npara clarinete bajo y guitarra eléctrica\n(Colombia\, 1982)\n\n\nGagliarda\nFrancesco Filidei \n\n\npara cello solo\n(Italia\, 1973)\n\n\n-TIEST *                              \nJose Pablo Polo\n\n\npara saxo soprano\, electrónica y vídeo\n(España\, 1984)\n\n\nBorn to be wild                    \nSttepenwolf / David Lang \n\n\npara percusionista                                          \n(USA\, 1957)\n\n\nEver get the feeling you’ve been cheated?        \nGermán Alonso\n\n\npara cello\, clarinete bajo y guitarra eléctrica\n(España\, 1984)\n\n\nAdagio\nCarolyn Cheng \n\n\npara 3 intérpretes escuchando Bruckner\n(USA\, 1983)\n\n\n1\,2. 1-2-3-4                               \nGavin Bryars \n\n\npara 4 intérpretes\n(UK\, 1943)\n\n\n\n[:de] \nVang #2\n\n\n\nRitual I :: Commitment ::  BiiM\nJessie Marino \n\n\npara percusionista\, luces y audio-tape\n(USA\, 1984)\n\n\nVolpi / Formentera                    \nCamilo Méndez San Juan\n\n\npara clarinete bajo y guitarra eléctrica\n(Colombia\, 1982)\n\n\nGagliarda\nFrancesco Filidei \n\n\npara cello solo\n(Italia\, 1973)\n\n\n-TIEST *                              \nJose Pablo Polo\n\n\npara saxo soprano\, electrónica y vídeo\n(España\, 1984)\n\n\nBorn to be wild                    \nSttepenwolf / David Lang \n\n\npara percusionista                                          \n(USA\, 1957)\n\n\nEver get the feeling you’ve been cheated?        \nGermán Alonso\n\n\npara cello\, clarinete bajo y guitarra eléctrica\n(España\, 1984)\n\n\nAdagio\nCarolyn Cheng \n\n\npara 3 intérpretes escuchando Bruckner\n(USA\, 1983)\n\n\n1\,2. 1-2-3-4                               \nGavin Bryars \n\n\npara 4 intérpretes\n(UK\, 1943)\n\n\n\n[:]
URL:https://myriamgarciafidalgo.com/event/nou-ensemble-madrid/
LOCATION:Centro Centro\, Plaza de Cibeles 1\, Madrid\, España
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171123T200000
DTEND;TZID=Europe/Paris:20171123T213000
DTSTAMP:20260424T132540
CREATED:20171117T095051Z
LAST-MODIFIED:20171117T095051Z
UID:2356-1511467200-1511472600@myriamgarciafidalgo.com
SUMMARY:Nou Ensemble Covers Burgos
DESCRIPTION:[:es]Literalmente\, el término anglosajón COVER significa “cubierta”\, “portada”\, “tapa”. Durante la segunda mitad del siglo XX pasó a utilizarse para denominar a aquellas versiones/recreaciones de canciones grabadas con anterioridad por otros músicos.Partiendo de la premisa de reVisar nuestra historia musical\, tanto la clásica como la popular\, Nou Ensemble propone un recorrido por obras/canciones del repertorio universal (W. Byrd\, A. Bruckner\, Sex Pistols\, Sttepenwolf…) reinterpretadas por la mirada de ocho compositores de estéticas contrastantes. \nPrograma\n\n\n\nRitual I :: Commitment ::  BiiM\nJessie Marino \n\n\npara percusionista\, luces y audio-tape\n(USA\, 1984)\n\n\nVolpi / Formentera                    \nCamilo Méndez San Juan\n\n\npara clarinete bajo y guitarra eléctrica\n(Colombia\, 1982)\n\n\nGagliarda\nFrancesco Filidei \n\n\npara cello solo\n(Italia\, 1973)\n\n\n-TIEST *                              \nJose Pablo Polo\n\n\npara saxo soprano\, electrónica y vídeo\n(España\, 1984)\n\n\nBorn to be wild                    \nSttepenwolf / David Lang \n\n\npara percusionista                                          \n(USA\, 1957)\n\n\nEver get the feeling you’ve been cheated?        \nGermán Alonso\n\n\npara cello\, clarinete bajo y guitarra eléctrica\n(España\, 1984)\n\n\nAdagio\nCarolyn Cheng \n\n\npara 3 intérpretes escuchando Bruckner\n(USA\, 1983)\n\n\n1\,2. 1-2-3-4                               \nGavin Bryars \n\n\npara 4 intérpretes\n(UK\, 1943)\n\n\n\n[:en] \n\n\n\nRitual I :: Commitment ::  BiiM\nJessie Marino \n\n\npara percusionista\, luces y audio-tape\n(USA\, 1984)\n\n\nVolpi / Formentera                    \nCamilo Méndez San Juan\n\n\npara clarinete bajo y guitarra eléctrica\n(Colombia\, 1982)\n\n\nGagliarda\nFrancesco Filidei \n\n\npara cello solo\n(Italia\, 1973)\n\n\n-TIEST *                              \nJose Pablo Polo\n\n\npara saxo soprano\, electrónica y vídeo\n(España\, 1984)\n\n\nBorn to be wild                    \nSttepenwolf / David Lang \n\n\npara percusionista                                          \n(USA\, 1957)\n\n\nEver get the feeling you’ve been cheated?        \nGermán Alonso\n\n\npara cello\, clarinete bajo y guitarra eléctrica\n(España\, 1984)\n\n\nAdagio\nCarolyn Cheng \n\n\npara 3 intérpretes escuchando Bruckner\n(USA\, 1983)\n\n\n1\,2. 1-2-3-4                               \nGavin Bryars \n\n\npara 4 intérpretes\n(UK\, 1943)\n\n\n\n[:]
URL:https://myriamgarciafidalgo.com/event/nou-ensemble-covers-burgos/
LOCATION:Centro de arte Caja de Burgos\, C/ Saldaña s/n\, Burgos\, España
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171112T200000
DTEND;TZID=Europe/Paris:20171112T213000
DTSTAMP:20260424T132540
CREATED:20170719T085041Z
LAST-MODIFIED:20170719T085041Z
UID:1845-1510516800-1510522200@myriamgarciafidalgo.com
SUMMARY:Wien Modern - Schallfeld Ensemble
DESCRIPTION:Programm \nBnaya Halperin-Kaddari\nKinky Kings (2014) \nHannes Kerschbaumer\npedra.debris (2013) \nLorenzo Romano\nFurore \nFrancesca Verunelli\nCinemaolio (2014) EA \nCarola Bauckholt\nOh\, I see (2015-2016) EA
URL:https://myriamgarciafidalgo.com/event/wien-modern-schallfeld-ensemble/
LOCATION:Künstlerhaus Wien\, Stolberggasse 26 1050\, Wien\, Austria
END:VEVENT
END:VCALENDAR