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X-WR-CALDESC:Events for Myriam García Fidalgo
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TZID:Europe/Paris
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180623
DTEND;VALUE=DATE:20180624
DTSTAMP:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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:20260424T145826
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
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171111T180000
DTEND;TZID=Europe/Paris:20171111T193000
DTSTAMP:20260424T145826
CREATED:20171117T095705Z
LAST-MODIFIED:20171117T095705Z
UID:2360-1510423200-1510428600@myriamgarciafidalgo.com
SUMMARY:Portrait Concert Onute Narbutaite
DESCRIPTION:[:es]Programa \n  \nVijoklis [»Kletterpflanze«\, 1988] für zwei Klaviere \nPiano Duo HUA & WEI \nZhenhua Dong und Wei Zhang (Institut für Klavier) \n  \nPas de deux [2006] \nfür Mezzosopran und Violoncello \nMyriam Garcia Figaldo – Cello (Ensemble Schallfeld) \nHelena Sorokina – Mezzosopran (Cantando Admont – Vokalensemble für Neue und Alte Musik) \n  \nPoem of Vincas Mykolaitis-Putinas [1990] für Klavier und Sopran \nSi Yang – Klavier (Institut für Komposition\, Musiktheorie\, Musikgeschichte und Dirigieren) \nTung Lee – Sopran (Institut für Gesang\, Lied und Oratorium ) \n  \nTuštumoje [»In der Leere«\, 2016] für Klavier solo \nShiqi Geng – Klavier (Institut für Komposition\, Musiktheorie\, Musikgeschichte und Dirigieren)  \n\n\n\n\n\n\n\n\n  \n\n\n\n\n\n\n\n\n[:en]PORTRAITKONZERT \nVijoklis [»Kletterpflanze«\, 1988] für zwei Klaviere \nPiano Duo HUA & WEI \nZhenhua Dong und Wei Zhang (Institut für Klavier) \n  \nPas de deux [2006] \nfür Mezzosopran und Violoncello \nMyriam Garcia Figaldo – Cello (Ensemble Schallfeld) \nHelena Sorokina – Mezzosopran (Cantando Admont – Vokalensemble für Neue und Alte Musik) \n  \nPoem of Vincas Mykolaitis-Putinas [1990] für Klavier und Sopran \nSi Yang – Klavier (Institut für Komposition\, Musiktheorie\, Musikgeschichte und Dirigieren) \nTung Lee – Sopran (Institut für Gesang\, Lied und Oratorium ) \n  \nTuštumoje [»In der Leere«\, 2016] für Klavier solo \nShiqi Geng – Klavier (Institut für Komposition\, Musiktheorie\, Musikgeschichte und Dirigieren)  \n\n\n\n\n\n\n\n\n  \n\n\n\n\n\n\n\n\n[:de]PORTRAITKONZERT \nmit Einführungen von Onutė Narbutaitė\,  Moderation: Han-Gyeol Lie \n  \nVijoklis [»Kletterpflanze«\, 1988] für zwei Klaviere \nPiano Duo HUA & WEI \nZhenhua Dong und Wei Zhang (Institut für Klavier) \n  \nPas de deux [2006] \nfür Mezzosopran und Violoncello \nMyriam Garcia Figaldo – Cello (Ensemble Schallfeld) \nHelena Sorokina – Mezzosopran (Cantando Admont – Vokalensemble für Neue und Alte Musik) \n  \nPoem of Vincas Mykolaitis-Putinas [1990] für Klavier und Sopran \nSi Yang – Klavier (Institut für Komposition\, Musiktheorie\, Musikgeschichte und Dirigieren) \nTung Lee – Sopran (Institut für Gesang\, Lied und Oratorium ) \n  \nTuštumoje [»In der Leere«\, 2016] für Klavier solo \nShiqi Geng – Klavier (Institut für Komposition\, Musiktheorie\, Musikgeschichte und Dirigieren)  \n\n\n\n\n\n\n\n\n  \n\n\n\n\n\n\n\n\n[:]
URL:https://myriamgarciafidalgo.com/event/portrait-concert-onute-narbutaite/
LOCATION:Kunst Universität Graz\, Graz\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171031T190000
DTEND;TZID=Europe/Paris:20171031T200000
DTSTAMP:20260424T145826
CREATED:20170925T074756Z
LAST-MODIFIED:20170925T074756Z
UID:2290-1509476400-1509480000@myriamgarciafidalgo.com
SUMMARY:Afekt Festival - Tallin
DESCRIPTION:Program: \nRichard BARRETT (*1959): Codex I (2001) for 6-12 improvising musicians \nLorenzo ROMANO (*1985): Furore (2016) for Flute\, Clarinet\, Piano\, Percussion\, Violin\, Cello and live electronics \nLorenzo TROIANI (*1989) :  La fine è senza fine (2017) for Flute\, Clarinet\, Piano\, Violin\, Cello 10’ \nMarianna LIIK (*1992) : New Piece (Title TBA) (2017) for Flute\, Clarinet\, Piano\, Violin\, Cello \nGEORG FRIEDRICH HAAS (*1953) Tria ex Uno for Flute\, Clarinet\, Piano\, Percussion\, Violin\, Cello (2001)
URL:https://myriamgarciafidalgo.com/event/afekt-festival-tallin/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171030T190000
DTEND;TZID=Europe/Paris:20171030T200000
DTSTAMP:20260424T145826
CREATED:20170925T074438Z
LAST-MODIFIED:20170925T074438Z
UID:2283-1509390000-1509393600@myriamgarciafidalgo.com
SUMMARY:Afekt Festival - Tartu
DESCRIPTION:Program: \nRichard BARRETT (*1959): Codex I (2001) for 6-12 improvising musicians \nLorenzo ROMANO (*1985): Furore (2016) for Flute\, Clarinet\, Piano\, Percussion\, Violin\, Cello and live electronics \nLorenzo TROIANI (*1989) :  La fine è senza fine (2017) for Flute\, Clarinet\, Piano\, Violin\, Cello 10’ \nMarianna LIIK (*1992) : New Piece (Title TBA) (2017) for Flute\, Clarinet\, Piano\, Violin\, Cello \nGEORG FRIEDRICH HAAS (*1953) Tria ex Uno for Flute\, Clarinet\, Piano\, Percussion\, Violin\, Cello (2001)
URL:https://myriamgarciafidalgo.com/event/afekt-festival-tartu/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171025T200000
DTEND;TZID=Europe/Paris:20171025T220000
DTSTAMP:20260424T145826
CREATED:20170928T181340Z
LAST-MODIFIED:20171001T082145Z
UID:2298-1508961600-1508968800@myriamgarciafidalgo.com
SUMMARY:[:es]Jungle's End[:en]Jungle's End[:de]Jungle's End [:]
DESCRIPTION:Program\nYair KLARTAG – A Villa in the Jungle\nChristof RESSI (Musik) / Miroslava SVOLIKOVA (Text) –\nNeues konzertantes Hörspiel\nLorenzo TROIANI – La fine è senza fine\nYing WANG – Glissadulation
URL:https://myriamgarciafidalgo.com/event/jungles-end/
LOCATION:Minoritensaal\, Graz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20171004T193000
DTEND;TZID=Europe/Paris:20171004T210000
DTSTAMP:20260424T145826
CREATED:20170719T084120Z
LAST-MODIFIED:20170719T084120Z
UID:1840-1507145400-1507150800@myriamgarciafidalgo.com
SUMMARY:Primen - Zeitfluss Ensemble
DESCRIPTION:[:es]For three choirs and twelve sub-conductors \nA host of voices from Graz probe the voice as a manipulative instrument. The premiere of Peter Jakober’s composition features three choirs and a total of twelve conductors\, among others. \nCreating an eternal light at the beginning of a festival history can probably only be a symbolic undertaking verging on the foolhardy: the first iteration of the musikprotokoll festival at steirischer herbst in 1968 opened with György Ligeti’s as yet young sixteen-voice motet “Lux Aeterna”. \nThe fascination of the voice as an instrument remains both timeless and contemporary in 2017. Three Graz-based choirs\, conductor Gerd Kenda\, no fewer than twelve sub-conductors\, four instrumentalists and a writer open this year’s musikprotokoll with a space-filling premiere of composer Peter Jakober. The conductors each conduct different tempi\, with this overlap creating a very special acoustic experience. Author Ferdinand Schmatz recites his own text\, the Graz-based ensemble zeitfluss sets the instrumental tone\, and the varied voices of chor pro musica Graz\, Vocalforum Graz and Domkantorei Graz unashamedly venture an overt manipulation of their listeners. \nAfter all\, “Primen” deals with phenomena that define our being\, whether we admit it or not: with the manipulation of the word and the contingent manipulation of human beings\, the delicate boundaries between the conscious and the unconscious. Between the sense and sensuality of language and voice there lies a thin line\, and yet a wide sphere.[:en]For three choirs and twelve sub-conductors \nA host of voices from Graz probe the voice as a manipulative instrument. The premiere of Peter Jakober’s composition features three choirs and a total of twelve conductors\, among others. \nCreating an eternal light at the beginning of a festival history can probably only be a symbolic undertaking verging on the foolhardy: the first iteration of the musikprotokoll festival at steirischer herbst in 1968 opened with György Ligeti’s as yet young sixteen-voice motet “Lux Aeterna”. \nThe fascination of the voice as an instrument remains both timeless and contemporary in 2017. Three Graz-based choirs\, conductor Gerd Kenda\, no fewer than twelve sub-conductors\, four instrumentalists and a writer open this year’s musikprotokoll with a space-filling premiere of composer Peter Jakober. The conductors each conduct different tempi\, with this overlap creating a very special acoustic experience. Author Ferdinand Schmatz recites his own text\, the Graz-based ensemble zeitfluss sets the instrumental tone\, and the varied voices of chor pro musica Graz\, Vocalforum Graz and Domkantorei Graz unashamedly venture an overt manipulation of their listeners. \nAfter all\, “Primen” deals with phenomena that define our being\, whether we admit it or not: with the manipulation of the word and the contingent manipulation of human beings\, the delicate boundaries between the conscious and the unconscious. Between the sense and sensuality of language and voice there lies a thin line\, and yet a wide sphere.[:de]Für drei Chöre und zwölf Subdirigenten \nEine Vielfalt an Grazer Stimmen untersucht die Stimme als manipulatives Instrument. An der Uraufführung der Komposition von Peter Jakober sind unter anderem drei Chöre und insgesamt zwölf Dirigenten beteiligt. \nEin ewiges Licht an den Beginn einer Festivalgeschichte zu setzen\, kann wohl nur eine an Verschlagenheit grenzende symbolträchtige Absicht sein: 1968 wurde die erste Ausgabe des Festivals musikprotokoll im steirischen herbst mit der damals noch jungen 16-stimmigen Motette „Lux Aeterna“ von György Ligeti eröffnet. \nDie Faszination des Instruments Stimme bleibt auch im Jahr 2017 so zeitlos wie zeitgemäß. Drei Grazer Chöre\, der Dirigent Gerd Kenda\, gleich zwölf Subdirigenten\, vier Instrumentalisten und ein Literat eröffnen das musikprotokoll dieses Jahr mit einer raumfüllenden Uraufführung des Komponisten Peter Jakober. Dabei werden die Dirigenten jeweils unterschiedliche Tempi dirigieren und durch deren Überlagerung ein ganz besonderes Klangerlebnis herbeiführen. Der Autor Ferdinand Schmatz spricht selbst seinen eigenen Text\, das Grazer ensemble zeitfluss gibt instrumental den Ton an\, und die vielseitigen Stimmen des chor pro musica Graz\, des Vocalforum Graz und der Domkantorei Graz versuchen sich ganz ungeniert in einer offenen Manipulation der Hörerschaft. \nDenn „Primen“ beschäftigt sich mit Phänomenen\, die unser Sein bestimmen\, ob wir es uns eingestehen wollen oder nicht: mit der Manipulation des Wortes und der damit einhergehenden Manipulation des Menschen\, der zarten Grenze zwischen Bewusstem und Unbewusstem. Zwischen Sinn und Sinnlichkeit von Sprache und Stimme liegt ein schmaler Grat und doch ein weites Land.[:]
URL:https://myriamgarciafidalgo.com/event/primen-zeitfluss-ensemble/
LOCATION:Helmut List Halle\, Graz\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20170921T200000
DTEND;TZID=Europe/Paris:20170921T213000
DTSTAMP:20260424T145826
CREATED:20170725T140153Z
LAST-MODIFIED:20170725T140606Z
UID:1918-1506024000-1506029400@myriamgarciafidalgo.com
SUMMARY:Schallfeld Ensemble - ZZM Klagenfurt
DESCRIPTION:Agostino Di Scipio\nTexture Multiple \nAnahita Abbasi\nSituation II/Dialoge\nYing Wang\nGlissadulation\nHannes Kerschbaumer\npedra.debris expanded version II\nLorenzo Romano\nFurore
URL:https://myriamgarciafidalgo.com/event/schallfeld-ensemble-zzm-klagenfurt/
LOCATION:Jazzclub Klagenfurt\, Adlergasse 1\, 9020\, Klagenfurt\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20170919T180000
DTEND;TZID=Europe/Paris:20170919T190000
DTSTAMP:20260424T145826
CREATED:20170719T083157Z
LAST-MODIFIED:20170719T084318Z
UID:1837-1505844000-1505847600@myriamgarciafidalgo.com
SUMMARY:Klangspuren Schwaz
DESCRIPTION:HOMMAGE À JOAN LA BARBARA\nPia Palme Three Noises [Homage to Morton Feldman and Joan La Barbara] für Stimme und Zuspiel UA\nAnahita Abbasi n.n. für Stimme und Perkussion UA\nJoan La Barbara The River Also Changes for two voices\, chamber ensemble and ‚sonic atmosphere’ UA \nHOMMAGE À JOAN LA BARBARA\nClaudia Cervenca / Joan La Barbara Stimme\nSchallfeld Ensemble\nClaudia Cervenca Konzept
URL:https://myriamgarciafidalgo.com/event/klangspuren-schwaz-2/
LOCATION:Pfarrkirche Hl. Josef\, Itter\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20170917T180000
DTEND;TZID=Europe/Paris:20170917T190000
DTSTAMP:20260424T145826
CREATED:20170619T210001Z
LAST-MODIFIED:20170619T210001Z
UID:2252-1505671200-1505674800@myriamgarciafidalgo.com
SUMMARY:Klangspuren Schwaz
DESCRIPTION:[:de]PILGERSTATION I\n09.00 Uhr\, Hintergranderhof\, Römerweg 56\, St. Johann \nMagnus Lindberg Ablauf für (Bass)Klarinette und zwei Basstrommeln \nPILGERSTATION II\n10.30 Uhr\, Pfarrkirche Hl. Kreuz\, Going \nPia Palme Vom Rausch im Schwarm für Ensemble und Windmaschine \nSchallfeld Ensemble \nPILGERSTATION III\n11.30 Uhr\, Pfarrkirche Hl. Michael\, Ellmau \nHOMMAGE À JOAN LA BARBARA\nJoan La Barbara Solitary Journeys of the Mind für Stimme\nClaudia Cervenca n.n. für Stimme und Zuspiel UA\nElisabeth Harnik n.n. für Stimme\, (Bass)Klarinette und Kontrabass UA\nJoan La Barbara Windows für Stimme und Zuspiel\nPILGERSTATION V\n18.00 Uhr\, Pfarrkirche Hl. Josef\, Itter \nHOMMAGE À JOAN LA BARBARA\nPia Palme Three Noises [Homage to Morton Feldman and Joan La Barbara] für Stimme und Zuspiel UA\nAnahita Abbasi n.n. für Stimme und Perkussion UA\nJoan La Barbara The River Also Changes for two voices\, chamber ensemble and ‚sonic atmosphere’ UA \nHOMMAGE À JOAN LA BARBARA\nClaudia Cervenca / Joan La Barbara Stimme\nSchallfeld Ensemble\nClaudia Cervenca Konzept[:en]PILGERSTATION I\n09.00 Uhr\, Hintergranderhof\, Römerweg 56\, St. Johann \nMagnus Lindberg Ablauf für (Bass)Klarinette und zwei Basstrommeln \nPILGERSTATION II\n10.30 Uhr\, Pfarrkirche Hl. Kreuz\, Going \nPia Palme Vom Rausch im Schwarm für Ensemble und Windmaschine \nSchallfeld Ensemble \nPILGERSTATION III\n11.30 Uhr\, Pfarrkirche Hl. Michael\, Ellmau \nHOMMAGE À JOAN LA BARBARA\nJoan La Barbara Solitary Journeys of the Mind für Stimme\nClaudia Cervenca n.n. für Stimme und Zuspiel UA\nElisabeth Harnik n.n. für Stimme\, (Bass)Klarinette und Kontrabass UA\nJoan La Barbara Windows für Stimme und Zuspiel \nPILGERSTATION V\n18.00 Uhr\, Pfarrkirche Hl. Josef\, Itter \nHOMMAGE À JOAN LA BARBARA\nPia Palme Three Noises [Homage to Morton Feldman and Joan La Barbara] für Stimme und Zuspiel UA\nAnahita Abbasi n.n. für Stimme und Perkussion UA\nJoan La Barbara The River Also Changes for two voices\, chamber ensemble and ‚sonic atmosphere’ UA \nHOMMAGE À JOAN LA BARBARA\nClaudia Cervenca / Joan La Barbara Stimme\nSchallfeld Ensemble\nClaudia Cervenca Konzept[:]
URL:https://myriamgarciafidalgo.com/event/klangspuren-schwaz-2-2/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20170915T200000
DTEND;TZID=Europe/Paris:20170915T220000
DTSTAMP:20260424T145826
CREATED:20170719T081852Z
LAST-MODIFIED:20170719T081853Z
UID:1833-1505505600-1505512800@myriamgarciafidalgo.com
SUMMARY:Klangspuren Schwaz
DESCRIPTION:Programm\nAgostino di Scipio Texture – Multiple für Ensemble und Live Elektronik\nAnahita Abbasi Situation II / Dialoge für Ensemble\nYing Wang Glissadulation für Ensemble\nJamilia Jazylbekova Chiaroscuro II für Ensemble\nLorenzo Romano Furore für Ensemble und Live Elektronik ÖEA
URL:https://myriamgarciafidalgo.com/event/klangspuren-schwaz/
LOCATION:Innsbruck\, Treibhaus\, Unterm Volksgarten\, Angerzellgasse 8\, Innsbruck\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20170830T200000
DTEND;TZID=Europe/Paris:20170830T220000
DTSTAMP:20260424T145826
CREATED:20170725T134657Z
LAST-MODIFIED:20170725T134657Z
UID:2264-1504123200-1504130400@myriamgarciafidalgo.com
SUMMARY:Novalis Festival
DESCRIPTION:Novalis Festival focuses on contemporary music repertoire that collaborates with other art forms. Instead of having a fixed set-up each year\, Novalis migrates around Croatia’s beautiful landscapes\, offering the excellent combination of high quality music with charming Mediterranean surroundings. The three concepts that best represent this festival are: innovation\, instruction and interaction. \nMore info coming soon
URL:https://myriamgarciafidalgo.com/event/novalis-festival-2/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20170830T200000
DTEND;TZID=Europe/Paris:20170830T213000
DTSTAMP:20260424T145826
CREATED:20170715T084702Z
LAST-MODIFIED:20170715T084746Z
UID:1828-1504123200-1504128600@myriamgarciafidalgo.com
SUMMARY:Novalis Festival - Schallfeld Ensemble
DESCRIPTION:Novalis Festival focuses on contemporary music repertoire that collaborates with other art forms. Instead of having a fixed set-up each year\, Novalis migrates around Croatia’s beautiful landscapes\, offering the excellent combination of high quality music with charming Mediterranean surroundings. The three concepts that best represent this festival are: innovation\, instruction and interaction. \nMore info coming soon
URL:https://myriamgarciafidalgo.com/event/novalis-festival-schallfeld-ensemble-2/
LOCATION:Zagreb\, Zagreb\, Croacia
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Paris:20170828T210000
DTEND;TZID=Europe/Paris:20170828T223000
DTSTAMP:20260424T145826
CREATED:20170715T083314Z
LAST-MODIFIED:20170715T083944Z
UID:1823-1503954000-1503959400@myriamgarciafidalgo.com
SUMMARY:Novalis Festival - Schallfeld Ensemble
DESCRIPTION:[:es] \nNovalis Festival focuses on contemporary music repertoire that collaborates with other art forms. Instead of having a fixed set-up each year\, Novalis migrates around Croatia’s beautiful landscapes\, offering the excellent combination of high quality music with charming Mediterranean surroundings. The three concepts that best represent this festival are: innovation\, instruction and interaction. \nMore info coming soon[:en] \nNovalis Festival focuses on contemporary music repertoire that collaborates with other art forms. Instead of having a fixed set-up each year\, Novalis migrates around Croatia’s beautiful landscapes\, offering the excellent combination of high quality music with charming Mediterranean surroundings. The three concepts that best represent this festival are: innovation\, instruction and interaction. \nMore info coming soon[:de] \nNovalis Festival focuses on contemporary music repertoire that collaborates with other art forms. Instead of having a fixed set-up each year\, Novalis migrates around Croatia’s beautiful landscapes\, offering the excellent combination of high quality music with charming Mediterranean surroundings. The three concepts that best represent this festival are: innovation\, instruction and interaction. \nMore info coming soon \n [:]
URL:https://myriamgarciafidalgo.com/event/novalis-festival-schallfeld-ensemble/
LOCATION:Zadar\, Zadar\, Croacia
END:VEVENT
END:VCALENDAR