Antonioni Aperghis Bacri Battistelli Bianchi: Usic Publis Hing Classic Al Collectio Ns

ANTONIONI
APERGHIS
BACRI
BATTISTELLI
BIANCHI
BOCCADORO
BOESMANS
BRASS
CASALE
COLASANTI
COLE
CORGHI
CSAP
DUSAPIN
ETVS
EL-KHOURY
FNELON
FITKIN
FRANCESCHINI
FRANCESCONI
FUJIKURA
GLOBOKAR
GOEBBELS
GUO
HERSANT
HIND
HUBER
Pub
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JENEY
KURTG
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t io n s
LANZA
NA ME
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The Universal Music Publishing Classical Group includes the world-renowned

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a se
e
e coll
om th
r
f
n
l e c t io
c t io n s
of:
Casa ricordi
Durand Salabert Eschig
Editio MusicA Budapest
Ricordi London
Ricordi Munich
ta b l e o f c o n t e n t s
LI Z A LIM
68
L S Z L S RY
102
ANNETTE SCHL N Z
104
BECHARA EL - K HOURY
36
JOS MANUEL LPEZ LPEZ 7 0
PHILIPPE SCHOELLER
106
F RANCESCO ANTONIONI
06
PHILIPPE F NELON
38
PHILIPPE MANOURY
72
MARCO STROPPA
108
GEORGES APERGHIS
08
GRAHAM F IT K IN
40
YAN MARES Z
74
ANDR S S Z LL SY
110
NICOLAS BACRI
10
MATTEO F RANCESCHINI
42
MARTIN MATALON
76
MICHEL TABACHNI K
112
GIORGIO BATTISTELLI
12
LUCA F RANCESCONI
44
MARC MONNET
78
ERIC TANGUY
114
OSCAR BIANCHI
14
DAI F U J I K URA
46
OLGA NEU W IRTH
80
L S Z L TIHANYI
116
CARLO BOCCADORO
16
V IN K O GLOBO K AR
48
SERGE J NE W S K I
82
FABIO VACCHI
118
PHILIPPE BOESMANS
18
HEINER GOEBBELS
50
FABIO NIEDER
84
L S Z L V IDO V S Z K Y
120
NI K OLAUS BRASS
20
GUO W EN J ING
52
RICCARDO NO VA
86
IAN W ILSON
122
EMANUELE CASALE
22
PHILIPPE HERSANT
54
EMMANUEL NUNES
88
ISIDORA EBELJAN
124
SILV IA COLASANTI
24
ROL F HIND
56
SAMIR ODEH - TAMIMI
90
other composers
126
J ONATHAN COLE
26
K LAUS HUBER
58
YOUNGHI PAGH - PAAN
92
L i s t o f a b b r e v i at i o n s
128
A Z IO CORGHI
28
Z OLT N J ENEY
60
LAURENT PETITGIRARD
94
GYULA CSAP
30
GY RGY K URT G
62
ROBERT HP PLAT Z
96
PASCAL DUSAPIN
32
MAURO LAN Z A
64
ENNO POPPE
98
PETER E T V S
34
FABIEN L V Y
66
ROL F RIEHM
100
(*1971)
www.francescoantonioni.com
Biographical Timeline
1971 Born in Teramo, Italy. Lives in Rome, Italy
Grew up in a musicians family
1999 Graduated in piano and composition, obtained a masters
degree in composition under the guidance of Azio Corghi
at the Accademia Nazionale di Santa Cecilia in Rome
2002Studies with George Benjamin and Julian Anderson at the
Royal College of Music in London, with the support of a
Queen Elizabeth the Queen Mother scholarship
2003-2006 Composing assistant of Hans Werner Henze
2002-2008 Composed different size works (a multimedia chamber
opera, orchestra pieces, violin concerto premiered in USA,
string quartet, ballet for orchestra)
2009 World premiere of Ballata, performed by the Birmingham
Contemporary Music Group conducted by George Benjamin.
Excellent reviews from The Times The delicately controlled
sound and movement and the rigour of the writing and from
The Guardian a composer who knows exactly what he wants
and how to achieve it
2009 Spent six months at Cornell University (USA) engaged in a
research project after winning a Fulbright scholarship
2011 World premiere in Turin and Milan (September) of a work
with speaker, three singers and orchestra during the MITO
Settembre Musica festival
He is also a radio presenter on the Italian National Radio (classical
music programmes)
fra n ce sc o an ton ion i
CASA RICORDI
Selected works
Ballata for eight strings (2008)
for 3 vln, 2 vla, 2 vc, db 18min.
Gli occhi che si fermano (2009)
for orchestra 8min.
Tre preludi diatonici (2010)
for piano 10min.
PHOTO: Gianluca Moro
Of Francesco Antonionis many qualities, it is his delicacy that is

perhaps most surprising. His deft touch of inspiration goes hand
in hand with his precision and determination, without creating
the slightest sense of frivolity. Invariably animated by an interior
momentum that brings to mind the idea of flight, his music resounds
with melodies of unmistakable Mediterranean cantabilit, modal
recontruction and rock/funk rhythms. In his scores, Antonionis
Central European origins are crossed with a judicious postminimalism, achieving a language in which the contradictions
between classical and popular music prove extraordinarily fruitful.
(*1945)
www.aperghis.com
Wlfli Kantata (2005) after Adolf Wlfli,

for vocal ensemble 60min.
Teeter-Totter (2008) for ensemble
15min.
Happiness Daily (2009) for Soprano,
Mezzo-Soprano and ensemble 30min.
Seesaw (2010) for ensemble 10min.
Champ-Contrechamp (2010) for piano
and ensemble 15min.
* Full Evening
biographical timeline
1945 Born in Athens, Greece. Lives in Paris, France
1976-1997 Founded ATEM (Atelier Thtre et Musique) in Bagnolet
until 1991, then at the Thtre Nanterre-Amandiers.
Several musical theatre pieces premiered (H, Conversations,
Enumrations, Sextuor, Commentaires)
1996 Tristes Tropiques, after Claude Levi-Strauss. World premiere
at Opra national du Rhin
2000 Machinations, his first piece with electronics commissioned
by Witten Festival and Ircam-Centre Pompidou
2004 Avis de tempte, opera commissioned by Opra de Lille and
the French Ministre de la Culture. Grand Prix du Syndicat
de la Critique. Zig-Bang, texts by Georges Aperghis, book
published by P.O.L
2005 Guest artist at Dialoge Festival in Salzburg (performances of
Dark Side, 10 pices pour quatuor cordes, Machinations,
Le petit chaperon rouge)
2006 Wlfli Kantata, commissioned by SWR Stuttgart and Musica
Festival (Prix de composition musicale de la Fondation Prince
Pierre de Monaco)
2008 Teeter-Totter premiered by Klangforum Wien, cond. Emilio
Pomarico, commissioned by Donaueschinger Musiktage
2011 Champ-Contrechamp commissioned by BBC for London
Sinfonietta and Nicholas Hodges. World premiere at BBC Proms
Ge or Ges Aper GHI s
D URAND SALABERT ESCHI G
selected works
Histoire de loups (1976) opera, after
Siegmund Freud FE*
Rcitations (1978) for single voice
38min.
La Tragique histoire du ncromancien
Hieronimo et de son miroir (1971)
Puppets musical theatre, for actress,
Mezzo-soprano, luth (or gtr), vc and
tape 30min.
Sextuor - Lorigine des espces (1992)
musical theatre, for 5 female voices
and vc 60min.
Simulacres (1991-94) cycle of chamber
music for voice, cl and perc from 10
to 16min.
Tristes tropiques (1990-1995) opera,
after Claude Levi-Strauss FE*
Zwielicht/Entre chien et loup (1999)
musical theatre, after Paul Klee, Goethe
and Franz Kafka for Soprano, actor and 5
instruments: fl, perc, pf, vla, vc 60min.
Machinations (2000) musical theatre,
for 4 female voices, electronics and video
60min.
Die Hamletmaschine-Oratorio (2000)
oratorio, text by Heiner Mller 60min.
14 Jactations (2001) for Baritone
30min.
Le petit chaperon rouge / Rotkppchen /
Little Red Riding Hood (2001) musical
theatre, after Charles Perrault for 6
instruments: 2cl, saxS, 2pf, vl 40min.
Dark Side (2003), after Aeschylus, for
Mezzo-soprano and ensemble 30min.
PHOTO: patricia dietzi
A highly prolific composer, Georges Aperghis has shown tireless

innovation in building a personal catalogue that defies classification. His works are both serious and filled with humour, making
reference to tradition while simultaneously freeing themselves
from the constraints of vocabulary, grammar and genre. The artists and ensembles he meets and who perform his work directly
inspire his compositions. These human encounters and the successive surprises they engender are his main source of excitement and
motivation to compose.
(*1961)
www.nicolasbacri.net
10
1961 Born in Paris, France. Lives in Brussels, Belgium
1983-1985 Resident in the Villa Medici
1987 Composed Esquisses pour un tombeau
1987-1991 Artistic Delegate in the chamber music department
at Radio France
1991-1993 Resident in the Casa de Velazquez
1994 Founded the Rencontres musicales de La Pre
1995 First guest composer in the Orchestre Symphonique Franais
1995-1998 Resident Composer in the Orchestre de Picardie
(musical director: Louis Langre)
2000 First monographic concert with the Philharmonia Orchestra,
directed by Martyn Brabbins, at Southbank Centre (Royal
Festival Hall)
2002 London performance of Symphonie no. 6 by the London
Symphony Orchestra, conducted by Daniel Harding
2006 Prix SACEM de la Musique Symphonique
2009-2011 Associate Composer at the Ensemble Orchestral de Paris
n ic olas bac r i
dur a nd salabert E schi g
selected works
Symphonie no. 1 (1984) 18min.
Symphonie no. 2 Sinfonia dolorosa
(1990) 27min.
Symphonie no. 4 Symphonie classique
Sturm und Drang (1995) 14min.
Symphonie no. 5 Concerto pour
orchestre (1997) 27min.
Symphonie no. 6 Sinfonia breve (1998)
12min.
String quartet no. 3, Esquisses pour un
tombeau (1986) 8min.
Concerto pour violoncelle et orchestre
(1987) 22min.
Capriccio notturno (1987) for clarinet
and orchestra 17min.
Esquisses pour un tombeau (1988) for
string orchestra 8min.
Tre Canti e Finale, concerto no. 2 (1989)
for violin and orchestra 18min.
Concerto Episodes (1992) for trumpet
String quartet no. 4, Omaggio a
Beethoven (1995) 22min.
String quartet no. 5 (1997) 22min.
Concerto da camera (1998) for clarinet
and string orchestra 23min.
Concerto pour flte et orchestre (1999)
17min.
At one time anchored in a post-Webern aesthetic, Nicolas Bacri has

evolved since the mid 1980s, returning his music to a certain melodic
continuity and embracing a tonal language that is beyond simple
harmonic function. A taste for metaphysical investigation, a deep
attraction to intense artistic expression and a dialectic alchemy of the
Dionysian and the Apollonian are what characterise this composer
who is firmly anchored in the Western historical perspective that he has
chosen, in full lucidity, and in which he legitimately places himself.
Frank Langlois
11
(*1953)
12
Divorzio allitaliana (2008) opera, freely

adapted from the film Divorce, Italian
Style FE*
Fair is Foul, Foul is Fair (2008-9)
for orchestra 18min.
Inventis facile est addere (2009)
for ensemble 20min.
H375 (2010) for orchestra 15min.
FUTURE PROJECTS
Piccola ouverture allItaliana for
orchestra; Truth for ensemble (2011)
Three pieces for large orchestra,
commissioned by Mnster Orchestra
Orchestra Rai St.Paul Chamber
Orchestra; piece for Baritone and
ensemble commissioned by EOC (2012)
World premiere of the opera An Inconvenient Truth, based on the Al Gores
documentary film, at Teatro La Scala
directed by Robert Lepage (2013)
* Full Evening
1953 Born in Albano Laziale, Italy. Lives in Rome, Italy
1975-1979 Attended composition seminars by Karlheinz Stockhausen, Mauricio Kagel in Cologne and courses of technique
and interpretation in contemporary music theatre given by
Jean Pierre Drouet and Gaston Sylvestre in Paris
1981 World premiere of Experimentum Mundi, a work of imaginistic
music on texts taken from the Encyclopdie de Diderot et
DAlembert. Over 200 performances worldwide since the
premiere
1990 SIAE Prize for music
2003 Chevalier de lOrdre des Arts et des Lettres
2004-2007 Artistic Director of Music Biennale in Venice
2005-2006 Composer-in-residence of Antwerp Opera which
premiered Riccardo III, conducted by Robert Carsen. Further
performances in Dsseldorf at Deutsche Oper am Rhein
(2007) and Strasbourg at Opra national du Rhin (2009)
2006-2007 Artistic Director of Arena di Verona
2007-2008 Composer-in-residence of Deutsche Oper am Rhein
Dsseldorf. World premiere of The Fashion in Dsseldorf
2010 World premiere of H375 for large orchestra, commissioned
by Hannover Staatsoper to celebrate the 375th anniversary
of the Niederschsischen Staatsorchester
gior gio battis tell i
CASA RICORDI
selected works
Experimentum Mundi (1981) for actor
and 16 artisans 60min.
Ostinato (1986) for three percussionists
60min.
Anarca. Hommage Ernst Jnger
(1988-89) for orchestra 16min.
Teorema (1992) a parable in music
for actors, narrator, voices and 23
instruments. Freely adapted from
Pier Paolo Pasolini 70min.
Frau Frankenstein (1993) monodrama,
Mary Shelleys novel, for actor, orchestra,
live electronics 35min.
Prova dorchestra (1995) opera freely
adapted from Federico Fellini FE*
Orazi e Curiazi (1996) for two
percussionists 13min.
I Cenci (1997) music theatre after
Antonin Artaud FE*
Auf den Marmorklippen (2000-2001)
opera after Ernst Jnger FE*
The Embalmer (2002) monologue for
ensemble after Renzo Rosso FE*
El otoo del patriarca (2003) opera after
Gabriel Garca Mrquez FE*
Meandri (2004) for orchestra 13min.
Riccardo III (2004) opera after William
Shakespeare FE*
Afterthought (2005) for orchestra 15 min
Aprs Josquin (2006) for orchestra
12min.
Snape Skyscapes (2007) for orchestra
18min.
The Fashion (2007) opera FE*
PHOTO: roberto masotti
Characterized by an array of literary, cinematographic and pictorial references, which unveil broadly sweeping scenarios, the music
of Giorgio Battistelli is invariably invested with a vividly theatrical
sound. Even in his strictly instrumental work, rhythmic or melodic
motifs assume the guise of characters on an imaginary stage, as do
orchestral sections or individual instruments. The creative tension
between formal organisation and musical intuition, in tandem with
his contemporary and polychromatic language, grants Battistelli
the rank of heir hic et nunc to the grand symphonic tradition, still a
source of great fascination.
13
(*1975)
www.oscarbianchi.com
14
Future projects
Concerto for violin and orchestra (2011)
Thanks to my eyes, opera, after Jol
Pommerat (2011)
1975 Born in Milan, Italy. Lives in New York, USA and in Amsterdam,
Netherlands
2005 First Prize at the Gaudeamus Composers Competition
2005-2007 Ictus Fellowship in Brussels
2008-2009 Participated in the International Composition Seminar
by Ensemble Modern
2009 Artist in residence with the DAAD programme in Berlin
2010 World premiere of Ajna Concerto at the Musica Festival
in Strasbourg
osc ar bia nc h i
selected works
Primordia rerum (2003) for Soprano,
fl,cl, vl, vc 10min.
Crepuscolo (2004) for Paetzold flute
and tape 16min.
Mezzogiorno (2004-2005) for ensemble
14min.
Zaffiro (2005) for bfl, bsax, gtr and vla
12min.
Trasparente II (2007) for 10 instruments
11min.
Anahata Concerto (2008) for ensemble
20min.
Vishuddha Concerto (2009) for ensemble
21min.
Ajna Concerto (2010) for orchestra
15min.
Gr... (2010) for bass flute 10min.
PHOTO: patricia alia
Early in his career Oscar Bianchi was recognised by musicians and

critics alike as one of the most promising and dynamic composers
of his generation. His style, characterised by dense textures, a vivid
imagination and high dramatic tension, has become a favourite of
todays major musical ensembles. His future compositions, innovative and daring, are destined for orchestras and for musical theatre.
15
(*1963)
www.carloboccadoro.it
16
1963 Born in Macerata, Italy. Lives in Milan, Italy
1983 Graduated in Piano and Percussion at Milan Conservatory
of Music
1982-1989 Composition studies with Marco Tutino, Ivan Fedele
1990 Begins his career as conductor
1997 Co-founder, with other musicians of Ensemble Sentieri
Selvaggi
2001 Berio commissioned the childrens opera La nave a tre piani
2003 RAI selected a work of him to be included in the UNESCO
International Rostrum of Composers
2011 (March) World premiere in Milan of Variazioni per orchestra
commissioned by Filarmonica della Scala
2011 (October) World premiere in Leipzig of Ritratto di Musico
commissioned by Gewandhaus Orchester. Tour in Wien,
Paris, London
c ar lo b occ ad or o
CASA RICORDI
selected works
Dr. Jekyll (2006) for eight cellos 8min.
La nave a tre piani (2004) chamber
childrens opera 60min.
Robinson (2007) chamber childrens
opera, after Defoes 60min.
Come polvere o vento (2009) for chamber
orchestra 10min.
Cappuccetto Rosso Little Red Riding
Hood (2010) chamber childrens opera
60min.
Variazioni per orchestra (2010) for
orchestra 23min.
Ritratto di Musico (2011) for orchestra
26min.
Point of view (2011) for jazz quartet
PHOTO: all rights reserved
An astute pupil of post-modern thought and an insatiable seeker of

knowledge, Carlo Boccadoro assimilates materials, experiences and
suggestions derived from other styles from jazz to pop to world
music. His musical language however never fails to respect the criteria of construction that it borrows from the tradition of classical
music. The timbric energy and virtuoso audacity of his chameleonlike scores, in which rhythm acts as a recurrent propulsive element,
reveal a range of musical objects that are at times light-hearted, at
times vigorous, at times evocative, offering a concrete and thoughtful response to Stravinskys insistence on a consciousness of the
here and now.
17
(*1936)
18
CASA RICORDI
* Full Evening
1936 Born in Tongeren, Belgium. Lives in Brussels, Belgium
1971 Prix Italia
1985-2007 Residency at the Thtre Royal de la Monnaie, Brussels
1993 World premiere of Reigen, at the Thtre Royal de la Monnaie.
Further performances and new productions ever since in
France, Austria, Germany, Holland, Switzerland and
United States
1999 World premiere of Wintermrchen, based on The Winters Tale
by William Shakespeare, at the Thtre Royal de la Monnaie.
Performances in France, Germany, Austria and Spain
2000 Deutsche Grammophon release the CD of Wintermrchen
2000 Prix Arthur Honegger
2004 New version of Reigen for chamber orchestra by Fabrizio
Cassol. Many other productions followed the premiere of
Opra national du Rhin
2004 Prix Musique from SACD
2005 World premiere of Julie, based on Frken Julie by August
Strindberg, at the Thtre Royal de la Monnaie in March Wiener Festwochen in May - Festival dAix-en-Provence
in July
2007 Prix Charles-Cros for the DVD of Julie
ph il ippe b oesm an s
selected works
Trakl-Lieder (1987) for solo Soprano and
orchestra 23min.
Reigen (1993) opera (2003 transcription
for small orchestra), libretto by Luc Bondy
after Arthur Schnitzlers play FE*
Dreamtime (1993) for harp, bass tuba and
ensemble 15min.
Summer Dreams (1994) string quartet
no. 2 26min.
Smiles (1995) for two percussionists
25min.
Ornamented Zone (1996) for cl, vla, vc, pf
10min.
Wintermrchen (1997) opera, libretto by
Luc Bondy and Marie-Luise Bischofberger
FE*
Julie (2004) chamber opera, libretto by
Luc Bondy and Marie-Luise Bischofberger
after August Strindberg FE*
Sextuor clavier (2005) for 2 vln, 2 vla,
vc, pf 12min.
Without dismissing the serialism of his early work, Philippe Boesmans cultivates the gift of expressivity, thanks to a language that
embraces both consonance and repetition. His music is characterized by the voluptuous quality of his sound, crystalline at first listen,
and a complex compositional craftsmanship which, informed by a
dialectic relationship with tradition, features grand forms and an
instrumental virtuosity that is never gratuitous. Boesmans is a music
in which contrasting psychological impulses feed incessant dramatic
momentum, unleashing extraordinary emotional force.
19
(*1949)
20
Future projects
Flute Concerto (2011)
Der Garten [The Garden] for four male
voices and orchestra (2011-2012)
1949Born in Lindau/Bodensee, Germany. Lives near Munich,
Germany
1968 Studied medicine; simultaneously, private composition
studies with Peter Kiesewetter in Munich. After a scholarship
in Scotland, continued medical studies at the Free University,
Berlin. Here again, accompanying composition studies with
Frank Michael Beyer at the Hochschule fr Musik, and later
private studies with Helmut Lachenmann in Hannover
1980-1986 Repeatedly takes part in the Darmstadt Summer
Courses, including decisive meetings with Morton Feldman
1981 Invited to Gaudeamus Festival in Holland; composition prize
of the Jrgen Ponto Foundation
1982 Invited to the Composers Seminar in Boswil
2009 Awarded the Music Prize of the Regional Capital Munich
for his compositional output
2010 Portrait concert during Festival Ultraschall Berlin with
Mnchener Kammerorchester
Recently three portrait CDs with chamber and orchestral music
have been released on the labels col legno and NEOS
n ikola us br ass
r i cordi munich
selected works
Nachtmusik (1978-1981) for eight
instruments 16min.
Landschaft der Vergangenheit
Dialoghi damore VIII (1997) for eight
voices (2S. 2A. 2T. 2B.) and four clarinets
20min.
String Quartet no. 2 (1999-2000)
40min.
VOID II (2001) for saxophone, piano,
percussion and orchestra 36min.
the structures of echo - lindauer
beweinung (2002) for 32 voices and
orchestra 27min.
fallacies of hope - deutsches requiem
(2006) for 32 voices in four groups
24min.
abgewandt Musik fr Hrende (2006)
for chamber ensemble 20min.
songlines (2006-2007) cycle of solo
pieces and duets for vln, vla, vc, db
97min.
Von wachsender Gegenwart (2006) for
19 solo strings 20min.
music by numbers III (2007-2008) for
violin, accordion and small orchestra
22min.
String Quartet no. 4 (2008) 55min.
Zeit im Grund (2008) for two clarinets
and string orchestra 39min.
Im Offenen (2009) for violin, double bass
and small orchestra 23min.
Stimme und Tod (2009) music for seven
voices 35 min.
PHOTO: stefan forster
The title of one of Nikolaus Brass compositions translates into Of

Growing Presence. To a certain extent, this can also be taken as a
description of the composers career, since he has now emphatically emerged from all too long neglect. Influenced by Feldman and
Lachenmann, he has found his very own powerful tone. On hearing
his work, one immediately and forcefully perceives that Brass is dedicating a unique existential time/space to his sounds and structures.
During the creative process, the intensity and the twists and turns
grow without any ostensibly intended effect and the music flows
organically into the experience of the listener, and the listeners
perception of the piece. Serial principles of overstretching the material are alien to Brass, but his pursuit of intensity is unrelenting. This
sparseness stems from a concentration that admits nothing digressive. The pendant to this is endlessness, infinity. Both poles animate
and steer Brasss output: intellectual pleasure in concentrating on a
single point, sensual pleasure in a persistent, perpetual sound.
21
(*1974)
www.emanuelecasale.it
22
CASA RICORDI
* Full Evening
Future projects
Piece for Oslo Sinfonietta (2011)
1974 Born and lives in Catania, Italy
1989-1996 Self-taught musician. Complete studies in Catania
Conservatory. Specialization courses also with Salvatore
Sciarrino

1999 Prize of the Concours International de Musique Electroacoustique in Bourges, France
2000 1st Prize at Frankfurt Opera House Competition
2001 World premiere of 2 by Ensemble Intercontemporain in
Paris - Patrick Davin conductor
2001 Prize of the International Irino Prize, Tokyo
2002 1st Prize of the Comit de Lecture, Ircam-Centre Pompidou /
Ensemble Intercontemporain, Paris
2003 The only composer to whom the Foundation Teatro La Fenice
(Venice) commissioned a piece for symphony orchestra to
inaugurate the reconstructed theatre
2006 Prize of the GRAME International Competition, Lyon
2009 Residency in American Academy in Rome
2010 World premiere of his first music theatre Conversazioni
con Chomsky
ema n ue le c as ale
selected works
2 (2001) for large ensemble 15min.
6 (2003) for large orchestra 15min.
7 (2004) for string quartet 12min.
9 (2005) for ensemble and electronics
10min.
A Victor Hugo Daza (2006) for orchestra
12min.
Esistere lago, nulla e un tempo (2007)
for ensemble 12min.
11 (2008) for large ensemble and
electronics 17min.
Teatrino di candele (2009) for mar, gtr,
vln, db 8min.
Buongiorno stanza audace (2010)
Conversazioni con Chomsky (2010)
talk-opera for singer/actor, actors
and ensemble FE*
PHOTO: Alfonso Marini
Emanuele Casales start as a self-taught musician has led him to

build a personal workshop of musical tools that defy attribution
to any school. Always purposeful, his work reveals a solid exploratory path, be it in the playful plasticity of pieces collected under
essential numeric titles, or in the assimilation of poetic influences
predominant in his symphonic pieces, not to mention the importance, dramatic and engag, of his more recent work. His music is
conceived as an incessant struggle between experimentation and
communication, designed to draw the public closer to contemporary
art music.
23
(*1975)
www.silviacolasanti.it
24
Future Projects
Concerto for cello and orchestra; Music
theatre on Pessoas Faust for actor, singer
and ensemble (2011)
1975 Born and lives in Rome, Italy
1999-2003 Graduated in Piano and Composition at Conservatorio
Santa Cecilia in Rome
2005 Masters degree in composition under the guidance of Azio
Corghi at the Accademia Nazionale di Santa Cecilia
2005 Chamber work In the Earth and Air included in a ballet with
the dancer Luciana Savignano
2006 One of the winners in Tactus - Young Composers Forum
2006 Brussels
2006 RAI selected a work to be included in the International
Rostrum of Composers
2009 CIDIM in co-production with Maggio Musicale Fiorentino
commissioned Il sole, di chi ?, childrens chamber opera to
be performed in the young audience season of the theatres
2009 World premiere of Il canto di Atropo. Piece written for the
violinist Massimo Quarta
2010 Rai National Orchestra commissioned Dal paese dei rami a
monologue for actor and ensemble performed during the
festival Rai Nuova Musica 2010
silvia c olas an ti
CASA RICORDI
selected works
Vision-air (2005) for orchestra 10min.
In the Earth and Air (2005) for ensemble
10min.
La rosa que no canto (2006) for string
quartet 14min.
Cede pietati, dolor (2007) for orchestra
12min.
Sentieri di sangue (2008) for string
orchestra - 12min.
To Muddy Death Ophelia (2008) for
ensemble 12min.
Il canto di Atropo (2009) for violin and
orchestra 14min.
Il sole, di chi ? (2009) childrens chamber
opera for 2 actors/singers, 3 actors and
fl, ob, cl, bn, hn, perc 60min.
Burning (2010) for ensemble 12min.
Di tumulti e dombre (2010) for string
quartet 14min.
If cut into cross-sections, like a mineral, Silvia Colasantis music

would reveal a complex, stratified magma of contrasting figures.
In the deepest stratum, a constant tension towards the saturation
of the acoustic space, achieved both through maximal density and
maximal rarefaction of the sonorous objects. Then, in the stratum
immediately above, the structural alternation of crescendo/diminuendo and accelerando/rallentando, a physical representation of
corporeal breath and its anxieties. Rising a step further, there is frequent recourse to rhythmic ostinato, the translation of a disturbed
pathology of memory. And finally, on the minerals surface, the fragments of a piercing lyricism that emerge from the thick magma of
sound. All the figures, in short, to create a troubled, unappeased
sound of foreboding.
25
(*1970)
www.jonathan-cole.co.uk
26
Future projects
A new work for organist Alistair Stout
(USA)
1970 Born in Welwyn Garden City, UK. Lives in London, UK
Studies at Kings College London and the Royal Academy of
Music, followed by the Guildhall School of Music and Drama,
Royal Holloway University of London, where he completed
a PhD in composition. Teachers include: Simon Bainbridge,
Peter Wiegold, John Woolrich and Simon Holt
1999 Winner of the Royal Philharmonic Composition Prize
1999-2002 Works performed at many festivals such as Aldeburgh
and Cheltenham (UK), Klara (Brussels), Musica Nova (Strasbourg), Music Today 21 (Tokyo), Ojai (USA), South Bank Centre
State of the Nation (London, UK)
2003 George Benjamin chose Cole to be the recipient of a commission from the London Symphony Orchestra as part of the
By George! Festival at the Barbican in London
2009 Jonathan Cole is a professor of composition at the Royal
College of Music where he leads the Department in
Postgraduate Composition
2009 He is appointed composer-in-association with the London
Contemporary Orchestra
jon ath an c ole
r i cordi l ondon
selected works
Totem (1998-1999) for solo oboe 8min.
Ouroboros I & II (1999) for chamber
orchestra 16 & 19min.
Trapdoor (1999) for solo piano 9min.
Marble Arch 4.30 (2000) for string trio
7min.
Suntrap (2001) for solo guitar 6min.
Tafos (2001) for chamber ensemble: 2 cl,
2 hn, 2 vln, 2 vc, db 16min.
Assassin Hair (2002) for Mezzo-soprano
and ensemble 16min.
Penumbra (2003, revised 2004) for
orchestra 13min.
Temporale Distante (Penumbra II) (2003)
Sandlining (2004) for piano trio 12min.
Testament (2005) for 2 cl, 2 tpt, 2 perc,
str 13min.
Ash Relics (2009) for six players, fl
(swanee whistle in G), bcl, perc, gtr,
vln, vc 17min.
burburbabbar za (2009) music theatre
piece for 2 voices, 2 perc, vln, vla, vc
35 to 40min.
PHOTO: ERIC RICHMOND
The works and ideas of Luigi Nono, John Cage and Pierluigi Billone
have all had a huge influence on Jonathan Coles music, as have the
films of David Lynch and Werner Herzog, and the writings of Elias
Canetti and Georges Bataille. Coles music also draws much of its
inspiration from the environmental sounds we hear in everyday
life. During a two year sabbatical between 2006 2008, his musical
thinking underwent many changes which are beginning to be realised in his most recent pieces such as Ash Relics which has been
described by Alex Ross as primordial avant-gardism.
27
(*1937)
28
Jopliszt (2010) for string trio 10min.

TangJok (them) (2010) for string trio
10min.
FUTURE PROJECTS
Cansun Bsiarda for soprano and pf
(2011)
la vera storia del Va pensiero for
reciting voice, childrens chorus (S C),
madrigal choir (S C T B), pf (2011)
* Full Evening
1937 Born in Ciri (Turin), Italy. Lives near Mantova, Italy
1965 Begins teaching at Conservatories of the most important
Italian cities and combines this important commitment
with musicological activity
1973 Fondazione Rossini commissioned the critical edition of
LItaliana in Algeri
1989 World premiere of Blimunda at Teatro La Scala. This opera
marks the beginning of the partnership with the writer Jos
Saramago on whom novels Corghi will write seven works
1991 A jury chaired by Goffredo Petrassi awardes him the Omaggio
a Massimo Mila prize for his teaching activities
1992 SIAE Prize for Blimunda
1992 Composes for the Rossini bicentenary Suite Dodo, after
Rossinis Pchs de vieillesse, while his ballet Un petit
train de plaisir is performed in Pesaro and broadcast live
throughout the world
1995 CD Un petit train de plaisir wins the 1995 Editors Choice
prize in the Cannes Classical Awards
1997 For the Donizetti bicentenary celebrations he is commissioned
to transcribe some ariettas from Nuits dt Pausilippe
2001 For the Stdtische Bhnen Mnster he writes Cruci-Verba, a
reading and comment from Saramagos Gospel according to
Jesus Christ on Listzs Via Crucis
2006 World premiere of the opera Il dissoluto assolto in Lisbon.
Co-production of the Teatro Nacional de So Carlos in Lisbon
and Teatro La Scala
2008 For the 500th anniversary of the birth of Palladio, he was
commissioned to compose Giocasta after Sophocless
Oedipus Rex. The opera was performed at Teatro Olimpico
in Vicenza
azio c or ghi
CASA RICORDI
selected works
Blimunda (1989) opera in three acts,
libretto by the composer and Jos
Saramago - FE*
Amorsacro/Amorprofano (1991) for
Soprano, chamber choir, chamber
orchestra, electronics 60min.
Un petit train de plaisir (1991) ballet for
2 pf and perc 60min.
Divara (1993) music drama, libretto by
the composer and Jos Saramago FE*
... fero dolore I[II] (1993-2005) for
female voice, oboe damore [or vla], perc
and strings. Cantata upon Monteverdis
Lamento dArianna 30min.
... sotto lombra che il bambino solleva
(1999) for voice and orchestra, from Jos
Saramagos Lanno mille993 60min.
Tatjana (1999) opera in one act after
Tatjana Repina by Chekhov FE*
Cruci-Verba (2001) for actor and orchestra
40min.
Pia? (2004) music drama after Yourcenars
Dialogue in the Swamp, for actress/singer,
actor, chamber choir, oboe, percussions
and strings 60min.
Il dissoluto assolto (2005) opera in one
act, libretto by the composer and Jos
Saramago FE*
Poema sinfonico (Seven pictures from
Blimunda) (2006) for orchestra
20min.
Giocasta (2008) opera after Sophocless
Oedipus Rex FE*
Filigrane bachiane (2009) concerto for
piano and string orchestra 18min.
PHOTO: Mauro fermariello
Animated by a profound desire to communicate and by unfailing

dramatic intuition, Azio Corghi is always eager to tell a story, not
just in his pieces that are explicitly tied to a text often conceived
in fertile collaboration with Jos Saramago but also in his purely
instrumental works. His passionate search for the perfect timbre, his
refined orchestration and his sense of rhythm as a vital pulsation,
are flanked by a Rossini-like sharpness and a post-modern play with
tradition. Together they create a theatre of sound that transforms
the listener into the protagonist of an all-encompassing cultural
experience.
29
EMB
30
selected works
Krapps Last Tape (1975) after Samuel
Beckett, for a violinist-actor and two
assistants, a tape-recorder, a sine-wave
generator, a stage with curtain and four
spotlights 26min.
Handshake after Shot (1977) for two
muted tpt, ob, electric organ and
suspended cardboard box 3min.
Hark, Edward Homage to Edvard Grieg
(1979, rev.1997) for two cimbaloms,
piano and doublebass 20min.
Phdre (1984 in progress) tragdie/
parodie en musique in five acts, libretto
by the composer based on the original
text and various translations of Racines
play in French, English, German and
Hungarian, for eleven voices, double
stage and chamber ensemble FE*
[Khrnoi] In memoriam Morton
Feldman (1988, rev. 1992) for string
quartet 18min.
A Desert March (1993) for piano
40min.
Sutrcitations (1995-1996) text fragments
from the Avatamsaka Sutra in the English
translation by Thomas Cleary, (version
1995) for Soprano or Tenor and four
players: 3 cl, pf, amplifier, loudspeaker
(version 1996) for Mezzo-soprano or
Baritone and four players ca. 25min.
The Straight Labyrinth Le sacre de tousles-temps (2001) for piano 15min.
Phrag Mental Friezes (2001) for cl. (bcl),
vln, vc, pf and three woodblocks (one
player) 22min.
Tundragobelin Finnegans Dreams to the

memory of James Joyce (2002) for cl, vln,
vc and pf 20 min.
Talea Iacta Est (2008) for orchestra
20min.
Concerto for Viola and a Changing
Environment (2004-2009) for viola and
orchestra 30min.
Parmi les Blancs et Noirsat Intervals
from the Cabin (2008) for fl. (afl, bfl.), cl.
(bcl), hn, perc, pf, vln, vc 21 min.
FUTURE projects
Commission of a string quartet
Dj? Koj? for the Bozzini Quartet
Montral, Canada, (2011)
Commission of a Triple Concerto for
Viola, Cor anglais, Hungarian Cymbalum,
Percussion and Strings by Rivka Golani
(work-in-progress, 2011)
Composing La Ville au Lac dArgent
(working title), a chamber opera based
on the short story by Raymond Radiguet
(2011)
PHOTO: andrea Felvgi
Gyula Csaps music grew out of the minimalism of the 1970s, and
was given a new dimension through his early analytical minimalism, drone systems and timbral sensitivity. Exposure to the music
of Cage, Feldman, Kurtg, Boulez, Stockhausen and Xenakis and the
Budapest New Music Studio merely strengthened his pursuit of his
own unmistakable path in works quintessentially Csap without ever
repeating or citing his own previous work. His career led him from
Hungary through Paris to New York and Canada, and this trajectory
has given him a truly global musical outlook that he has consciously
cultivated with great care. His music, once heard, is impossible to
forget due to its often timeless beauty, referencing multiple traditions while remaining exceptionally innovative. He has found a voice
that speaks to the general and the highly individual alike, and has
created unique narratives and dramaturgies that embrace and mesmerize its listeners worldwide.
* Full Evening
1955 Born in Ppa, Hungary. Lives in Saskatoon, Canada
1979 Joined the New Music Studio Budapest
1981 Graduated in Composition and Music Theory at the Ferenc
Liszt Academy of Music. Received a French Government
Scholarship to pursue studies in musical acoustics and
computer music at Ircam-Centre Pompidou, Paris
1983-1987 Woodburn Fellowship to study with Morton Feldman
in the United States. At the recommendation of John Cage,
he was twice awarded grants from the Foundation for
Contemporary Performance Arts in New York City
1990 Performance of Handshake After Shot by the Continuum
Ensemble at Lincoln Center in New York. Invited to teach
at McGill University in Montreal
1991-1994 Assistant Professor of Composition at Princeton
University
Since 1994 Professor at the University of Saskatchewan in
Saskatoon, Department of Composition and Music Theory
19961997 Fellow of Collegium Budapest Institute for Advanced
Study, continued working on his Phaedra, a tragedy in
music, based on Jean Racines Classic
1998 Modern Quartet of Toronto, Canada premiered his works in
Ottawa, Berlin, Paris and Stuttgart
2001 World premiere of Straight Labyrinth performed by Gbor
Csalog at Huddersfield Contemporary Music Festival
2008 World premiere of Concerto for Viola and a Changing
Environment performed by Rivka Golani, and the Hungarian
Radio Symphony Orchestra, conducted by Lszl Tihanyi at
Budapest Autumn Festival. World premiere of Parmi les Blancs
et Noirsat Intervalsfrom the Cabin commissioned and
performed by the Ives Ensemble Amsterdam at the Shift
Festival of Contemporary Canadian and Dutch Art
2009 ARTISJUS Prize for Concerto for Viola and a Changing Environment, voted The Classical Music Composition of the Year 2009
GYU LA CSAP
(*1955)
info.bmc.hu
31
(*1955)
32
Future projects
Morning in Long Island, Concert no. 1 for
large orchestra 30min. (2011)
Microgrammes string trio 12min. (2011)
* Full Evening
1955 Born in Metz, France. Lives in Paris, France
1981-1983 Resident in the Villa Medici in Rome
1989 Critical success of Romo & Juliette
1992-2009 Composed a series of seven Solos pour orchestre
1993 World premiere of To be sung, in collaboration with James
Turrell
2001 World premiere of Perel, Uomo di fumo at the Opra national
de Paris
1998, 2002 and 2007 Composer of the year at Victoires de la
Musique in France
2005 Prix Cino del Duca of the Acadmie Franaise
2006 Presentation of Faustus, The Last Night at the Staatsoper in
Berlin. Further performances at the Thtre du Chtelet in
Paris and the Spoleto Festival (USA)
2007 Dan David Prize
2007-2008 Chair of artistic creation at the Collge de France,
Paris.Published lessons in Une musique en train de se faire,
Editions du Seuil, Paris
2008 World premiere of Passion at the International Festival of
Lyrical Art in Aix-en-Provence
2010 World premiere of Hinterland his string quartet VI in Lucerne
pas c al dus apin
dur a nd salabert E schi g
selected works
Seven string quartets (1983-2010): I, II
(Time zones), III, IV, V, VI (Hinterland), VII
(OpenTime) from 13 to 40min.
Romo & Juliette (1985-1988) opera,
after Olivier Cadiot FE*
Medeamaterial (1991) opera, after Heiner
Mller 60min.
La Melancholia (1991) operatorio
32min.
Seven Solos: Go, Extenso, Apex, Clam,
Exeo, Reverso, Uncut (1992 2009),
for orchestra from 10 to 18min.
To be sung (1993) chamber opera after
Gertrude Stein 70min.
Watt (1994) for trombone and orchestra
17min.
Celo (1996) for cello and orchestra
20min.
Trio Rombach (1997) for pf, vl or cl and
vc 18min.
Granum sinapis (1998) a cappella choir
20min.
Dona Eis (1998) mixed choir (S.A.T.B) and
7 instruments 20min.
Sept tudes (1999-2001) for piano
from 5 to 10min.
Perel, Uomo di fumo (2001) opera,
after Aldo Palazzeschi FE*
A Quia (2002) concerto for piano and
orchestra 27min.
Faustus, The Last Night (2004) opera,
after Christopher Marlowe FE*
Passion (2008) chamber opera FE*
O Mensch! (2010) for voice and piano
55min.
PHOTO: collge de france
Pascal Dusapin is the creator of one of the most successful catalogues

in modern music. He is a celebrated artist on all international stages
to the point where, along with Henri Dutilleux and Pierre Boulez,
his name is now synonymous with French contemporary composition. Dusapin is worthy of a prominent place in any encyclopaedia
of music that is being written here and now, with over a hundred
major works to his credit. He has demonstrated that the questions of
form, syntax and vocabulary, which have so long tormented modern
musicians, actually yearn to be transcended by the artists stamp.
His stamp, recognisable among all others, has already made history.
33
D URAND SALABERT ESCHI G / RICOR DI M UNICH / EMB
34
selected works
Intervalles intrieurs (1981) for cl, tbn,
vln, vc, perc, stereo tape 30min.
Drei Madrigalkomdien (1970-1990)
for twelve voices 20min.
Chinese Opera (1986) for large ensemble
27min.
Windsequenzen (1975/1987/2002)
for ensemble 29min.
Steine (1985-90/1992) for ensemble
17min.
Brass The Metal Space (1990) action
piece for 7 brass players and 2 perc.
22min.
Triangel (1993) musical actions for one
creative percussionist and 27 musicians
35min.
Psychokosmos (1993) for cimbalom solo
and traditional orchestra 17min.
Atlantis (1995 rev. 2010) for Baritone,
Boy Soprano, cimbalom, synthesizer
Shadows (1996/1997) for fl, cl and
ensemble or orchestra 15min.
Tri Sestri [Three Sisters] (1996-1997)
opera, after Tchechov FE*
Replica (1998) for viola and orchestra
15min.
Lady Sarashina (1999-2007) opera in
9 scenes after a libretto by Mari Mezei
after As I Crossed A Bridge of Dreams.
Recollections of A Woman in EleventhCentury Japan in English
translation by Ivan Morris FE*
Octet plus (2007) for Soprano and eight
wind instruments 19min.
1944 Born in Szkelyudvarhely, Transsylvania/Romania/today:
Hungary. Lives in Budapest, Hungary
1958 Admitted by Kodly to the Budapest Music Academy for
composition, where he finally graduated. Influenced by Pl
Kardos, Jnos Viski, Albert Simon, Gyrgy Kurtg, Bartk,
Boulez, Stockhausen and Miles Davis
1968-1976 Plays piano, percussion and his own live electronic
instruments with the Stockhausen Ensemble
1971-1979 Works at the Studio for Electronic Music of Westdeutscher Runfunk in Cologne. His compositions regularly
appear in the programme of the major concert halls, festivals,
recorded by Erato, EMI, Hungaroton
1978 On invitation of Pierre Boulez conducts inaugural concert
of Ircam-Centre Pompidou, and was subsequently named
musical director of the Ensemble InterContemporain
(1979-1991)
1986 Officier de lOrdre des Arts et des Lettres by the French
Ministre de la Culture
1985-1988 Principal guest conductor of the BBC Symphony
Orchestra (London)
1991 Founds the International Etvs Institute and Foundation
for young conductors. Professor at the Karlsruhe Hochschule
fr Musik
1992-1995 First guest conductor of the Budapest Festival Orchestra
Since 1994 Chief conductor of the Radio Chamber Orchestra
Hilversum
Conducting regularly at the main European orchestras, he is one
of the best known interpreters of the 20th century music and is
actively engaged in major European festivals
1997 Elected member of the Akademie der Knste Berlin and
awarded Bartk Bla Psztory Ditta Price, Budapest
Since 1
998 professor at the Staatliche Hochschule fr Musik in
Cologne and guest conductor and artistic advisor of the
National Philharmony Orchestra Budapest
* Full Evening
PETER ETV S
Peter Etvs was a composer before becoming a world-famous conductor. A child prodigy who was admitted to the Budapest Academy
of Music by Zoltn Kodly when he was only fourteen years old, his
path as a composer is far from being conventional. Perhaps this is
why he is so difficult to classify. There are no techniques and styles
recurring in each piece; he does not use leitmotifs. The work of
Etvs seems to have a unique quality and reveal a more individual
voice than those of his contemporaries. Behind each piece can be
felt the presence of an independent concept, the slowly emerging
seed of thought, the big idea. In his compositions, craftsmanship
does not solidify into speculation, nor is enchanting instrumentation
an end in itself, but rather a means of expression.
(*1944)
www.eotvospeter.com
35
(*1957)
36
1957 Born in Beirut, Lebanon. Lives in Paris, France
1983 First recordings with Erato
1994 Arts and Culture Award from the first television station
in Lebanon
1996 Composition of Sextuor, commissioned by Shlomo Mintz.
Events in Tel Aviv and New York
2001Knighted by the Ordre National du Cdre in Lebanon
Since 2002 Several recordings with Naxos
BECHARA EL- KHOU RY
selected works
Srnades no. 1 & no. 2 (1980 & 2001)
for string orchestra 4 & 7min.
Pomes no. 1 & no. 2 (1980 & 1981)
for piano and orchestra 20 & 10min.
Symphonie Les Ruines de Beyrouth
(1985) for orchestra 30min.
Mditation symphonique Colline de
lEtrange (1993) for orchestra 12min.
Sextuor (1996) for six violins 5min.
Les Fleuves Engloutis (2001) for orchestra
15min.
Concerto pour cor et orchestre The Dark
Mountain (2007-2008) 25min.
Unfinished Journey (2009) for violin and
string orchestra 7min.
Pome nocturne (2009) for flute and
orchestra 15min.
Srnade no. 3, Les Chemins de la nuit
(2010) for string orchestra 18min.
Concerto pour clarinette et orchestre
Autumn Pictures (2010) 25min.
Concerto pour violon et orchestre no. 2,
War Concerto (2010) 35min.
Since his youth as a child prodigy, Bechara El-Khoury has been recognised as an orchestral magician, much appreciated by the greatest
international conductors. Nourished by his poetic explorations, his
work covers a remarkable panorama of emotions and atmospheres,
ranging from intimate elements to a vast, sonorous fresco. At the
height of his artistic maturity, now more than ever, this priceless
artist embodies the universal influence of the Lebanese/French cultural tradition.
37
(*1952)
www.philippefenelon.net
38
DU RAN D SALABERT ESCHIG
* Full Evening
1952 Born in Suvres, France. Lives in Paris, France and in
Barcelona, Spain
1984 Prize-Premiere of the SACEM Prix Herv Dugardin
1992 Performance of Chevalier Imaginaire at the Thtre du
Chtelet in Paris
1998 Peformance of Salammb at the Opra national de Paris.
Revival in 2000
1998 Published Arrire-penses, interviews with Laurent Feneyrou,
Musica Falsa, Paris
2000 Presentation of the ballet Yamm at the Opra national de Paris
2004 World premiere of Les Rois at the Opra national de Bordeaux
World premiere of Judith at the Opra national de Paris
World premiere of Faust at the Thtre du Capitole in Toulouse
and further performances in 2010 at the Opra national de Paris
Published Histoires dOpras with Actes Sud, Paris
PHILIPPE F NELON
selected works
Onze inventions (1988) for string quartet
15min.
String quartet no. 4 (1999) with voice
after Rainer Maria Rilke 31min.
Le Chevalier imaginaire (1984-1986)
opera, after Cervantes and Kafka FE*
Saturne, Concerto no. 1 (1987-1988) for
violin and orchestra 24min.
Les Rois (1989) opera, after Julio Cortzar
FE*
Salammb (1992-1996) opera, after
Gustave Flaubert FE*
Dix-huit Madrigaux (1996) for vocal
ensemble 75min.
Concerto pour piano et orchestre (1996)
22min.
Yamm (1999-2000) ballet for orchestra
30min.
Concerto no. 2 pour piano et orchestre
(2001-2002) 22min.
Postludes from Dix-huit madrigaux
(2005) for string orchestra 6min.
The free style of Philippe Fnelon, composer, author and film director, embraces both historical tradition and innovation. A sensitive
observer and a seasoned practitioner of the connections between
the arts, Philippe Fnelon does not hesitate to rethink the musical
genres of pure music (concertos, string quartets, madrigals) all the
while creating some of todays most admired modern lyrical works.
39
(*1965)
www.fitkin.com
40
Twenty-Six Days (2010) for ensemble

19min.
Future projects
New commissions for Yo-Yo Ma, BBC
Proms, ROH2 (Royal Opera House,
London) and the 2012 Cultural Olympiad
1965 Born and lives in Cornwall, UK
1990 Composer for Dance Award which led to many dance works
1994 Winner of the International Grand Prix Music for Dance
Video Award
1994 to 1996 Resident composer with the Royal Liverpool
Philharmonic Orchestra producing five new works
Founded his own ensemble, fittingly named Fitkin
Recent collaborations with London Chamber Orchestra
and Royal Ballet choreographer Jonathan Watkins
2009 Winner of the British Composer Award for a Stage Work
2010 New production for the Royal Ballet and a new work for
Ensemble10:10
2011 A concerto for midi-harp and orchestra for harpist Sioned
Williams and the BBC Symphony Orchestra
GRAHAM FITKIN
r i cordi l ondon
selected works
Ghosts (1993) for speaker, three voices,
sax, kbd, string quartet 25min.
Bebeto (1995) for orchestra 6min.
Game Show (1995) for saxophone and
orchestra 15min.
Granite (1995) for solo piano and
orchestra 22min.
Agnostic (1997) for solo cl, timp, perc,
str 16min.
Aract (1997) for orchestra 3min.
Devout (1997) for orchestra 15min.
Graf (1997) for orchestra 22min.
North (1998) for orchestra 16min.
Vassal (1998) for string orchestra
13min.
Plan B (1999) for four saxophones and
strings 17min.
Child (2000) for childrens choir,
percussion and strings 13min.
Perfect Crime (2000) for SATB choir and
orchestra 22min.
Timber (2000) for orchestra and brass
and samba band 17min.
Ascendant (2001) for orchestra 28min.
Circuit (2002) for two pianos and
orchestra 20min.
Reel (2008) for ensemble 10min.
Mindset (2009) for orchestra 32min.
Ruse (2009) for piano, timpani and strings
22min.
Tidal (2009) for orchestra 28min.
PK (2010) for orchestra, 2 chorus groups,
flexible orchestra: wind.brass.percussion.
guitars.harps.plucked instruments, 2
high/low string groups 10min.
PHOTO: Steve Tanner
Fitkin works with acoustic and electronic instruments, collaborates

with dance, film and digital media alongside concert orchestral and
chamber music, and is committed to involvement throughout the
chain of music making - performing, conducting, publishing, producing and educating. In his music he prefers clarity and a straightforward
approach through jazzy rhythms and minimalist patterns.
41
NEW IN OU R CATALO GU ES
(*1979)
www.matteofranceschini.com
42
PHOTO: bacciardi turriani
CASA RICORDI
1979 Born in Trento, Italy. Lives in Paris, France
2000 Graduated in composition with Alessandro Solbiati at
Conservatorio G.Verdi in Milan - masters degree in
composition under the guidance of Azio Corghi at the
Accademia Nazionale di Santa Cecilia in Rome
2004 Receives prize in the composition competition for
symphonic works Tactus (Brussels)
2006-2008 Composer in the Cursus Annuel de Composition
et dInformatique Musicale Ircam-Centre Pompidou
2006 Member of AGON, one of the most important centers
of Acoustic and Musical Informatics in Italy
2010-2012 Composer-in-residence at Orchestre National
dle de France, Paris
2010-2012 Composer-in-residence at Accademia Filarmonica
Romana, Rome
2011 World premiere in February (in Dijon) of the childrens
opera Les Epoux. More than 60 additional performances
programmed up to June in France
2011 World premiere of Triple Concerto in May (Bolzano, Italy) with
Trio di Parma and the Bolzano and Trent Orchestra Haydn.
The piece will be programmed in November in Paris with Trio
Wanderer and the Orchestre National dle de France
2011 World premiere in September of a new piece for the London
Sinfonietta to be performed in Milan and Turin during the
MITO Settembre Musica Festival
MATTEO FRANCESCHINI
FUTURE PROJECTS
Menu (2010) for SATB choir and orchestra
12min.
Les Epoux (2011) childrens chamber
opera for actress/singer, cl, acc, vc
50min.
Triple concerto (2011) for vln, vc, pf and
orchestra 20min.
Clarinet Concerto (2011) 20min.
Lied (2011) for Soprano, pf 5min.
Work for ensemble (2011) 20min.
String quartet (2012) 15min.
Zazie (2012) childrens chamber opera
for S, T, actor, orchestra and electronics
50min.
Work for orchestra (2012) 20min.
Notwithstanding his youth, Matteo Franceschini already boasts a

substantial and multi-facetted catalogue, often enriched by successful interaction with literary texts or video art. He reflects creatively
on traditional forms and genres, and never renounces the dramatic
conception intrinsic to musical composition, which moulds the
instruments as if they were characters in the agon. His work thus
resounds with features borrowed from a wide array of repertoires
from baroque music to contemporary rock thus opening classical
music to the multitude of expressive possibilities available today.
43
CASA RICORDI
44
selected works
Da Capo (1985) for ensemble 12min.
Attesa (1988) for wind quintet 13min.
Islands (1992) for piano and orchestra
15min.
Plot II (1993) for saxophone and
ensemble 10min.
Etymo (1994) for Soprano, ensemble
and electronics 23min.
Animus (1995-1996) for trombone and
Ballata (1996-1999) opera in two acts
FE*
Wanderer (1998-1999) for orchestra
26min.
Cobalt, Scarlet-Two Colours of Dawn
Terre del rimorso (2000-2001) for vocal
soloists, choir and orchestra 40min.
Let me Bleed (2001) for cappella choir
22min.
Rest Luciano Berio in memoriam
(2003-2004) for cello and orchestra
25min.
Gesualdo Considered as a Murderer (2004)
opera for chamber choir, ensemble and
electronics 70min.
IV Quartetto. I voli di Niccol (2004) for
string quartet 21min.
Kubricks Bone (2005) for cimbalom and
ensemble 25min.
Hard Pace (2007) concerto for trumpet
Unexpected End of Formula (2008) for
cello, ensemble and electronics 25min.
Sirne (2009) for SATB choir, orchestra

Quartet (2011) opera for Soprano,
Baritone, chorus, orchestra and live
electronics, libretto by the composer
after Heiner Mllers drama
Future projects
Oratorio for solos, chorus and orchestra
(2011)
Piano Concerto (2012)
PHOTO: roberto masotti
Fascinated by the instruments and sounds forged over the centuries

of the history of music, Luca Francesconi is also animated by the
non-conceptualised creativity that he has experienced first-hand in
his practice of jazz and rock. He constantly strives to blur the lines
between culture and nature, technology and corporeality, complexity
and beauty. He uses a rigorous control, at times electronic, of all the
parameters of sound with which he administers the transformation
of the material. This co-exists in his music with an intimately perceptive logic, giving rise to an experience of great acoustic impact with
profound intellectual and sensorial charm.
* Full Evening
1956 Born and lives in Milan, Italy
1981-1983 Works as an assistant to Berio
1990 Foundation of the AGON (center for music research and
production using new technologies) - Kranichsteiner
Musikpreis (Darmstadt)
1994 Prize Frderpreis der Ernst-von-Siemens-Musikstiftung
(Munich); Prix Italia for Ballata del rovescio del mondo,
a radio opera
2000 World premiere of Cobalt, Scarlet-Two Colours of Dawn
by Oslo Philharmonic with Marek Janowsky. The work has
been performed since then in the main European cities and
also in USA (San Francisco, Los Angeles) and Israel (Tel Aviv,
Haifa, Jerusalem). A version of the piece with a reduced
duration exists
2002 World premiere of Ballata, based on Samuel T. Coleridge,
at Thtre Royal de la Monnaie in Brussels, under the
baton of Kazushi Ono. Direction Achim Freyer
2003 World premiere of Rest Luciano Berio in memoriam, written
for the soloist Anssi Karttunen, performed by RAI Symphonic
Orchestra under the direction of Jukka-Pekka Saraste
2008 World premiere of Hard Pace written for Hkan Hardenberger.
The piece was a joint-commission of five important international music institutions
2008-2011 Artistic Director of Music Biennale in Venice
2008 World premiere of Unexpected End of Formula, commissioned
by musikFabrik and dedicated to Helmuth Lachenmann
2011 World premiere of opera Quartet after Heiner Mllers play
at Teatro La Scala
At present he is professor and head of the department of composition at the Musikhgskolan in Malm in Sweden
LU CA FRANCESCONI
(*1956)
45
(*1977)
www.daifujikura.com
46
Mirrors (2009) for six violoncellos

12min.
Phantom Splinter (2009) for ob, cl, bn and
Fluid Calligraphy (2010) for violin and
video ad lib. 8min.
Recorder Concerto (2010) for recorder and
strings 15min.
Samarasa (2010) for violin 8min.
Tocar y luchar (2010) for orchestra
10min.
String Quartet no.2: Flare (2010) 15min.
Future projects
Dolphins for two violas 8min. for
Nobuko Imai and Kim Kashkashian (2011)
Bassoon Concerto with Pascal Gallois as
soloist (2011-2012)
Two new works for clarinet and string trio
and string orchestra (2011)
1977 Born in Osaka, Japan. Lives in London, UK
1992 Moves to London to study at Trinity College of Music, Royal
College of Music and at Kings College London with George
Benjamin.
1998 First Prize in the Serocki International Composers Competition
1998 Huddersfield Contemporary Music Festival Young Composers
Award
2004 Royal Philharmonic Societys Composition Prize
2005 Internationaler Wiener Kompositionspreis (the Claudio
Abbado Composition Award)
2006 BBC Proms debut with Crushing Twister
2007 Schleswig-Holstein Music Festivals Paul Hindemith Prize
2008 Special Prize from the Giga-Hertz-Award
2009 OTAKA prize for Secret Forest and Akutagawa Award for
...as I am...
2010 Exxon Mobile Prize
DAI FU JIKU RA
RICORDI LONDON / RICOR DI M UNICH
selected works
Reach Out (2002) for saxophone quartet
10min.
Fifth Station (2003-2004) for ensemble
15min.
Moromoro (2003) for piano, tape and
video 8min.
abandoned time (2004 rev. 2006) for solo
electric guitar and fl, cl, pf, perc, vln, vla,
vc, db 10min.
Vanishing Point (2004, rev. 2006) for
ensemble 10min.
String Quartet no. 1: Another Place (2005)
10 min
But, I fly (2005) for 12 voices (3333),
text by Harry Ross 10min.
Vast Ocean (2005) for trombone and
orchestra with live electronics 20min.
Crushing Twister (2006) for orchestra
8min.
Phantom Pulse (2006) for 12 percussionists 20min.
Wave Embraced (2006) solo horn and
ensemble 18min.
as I am (2007) for solo voice and large
ensemble, text by Harry Ross 20min.
SAKANA (2007) for tenor saxophone
9min.
Swarming Essence (2007) for orchestra
Time unlocked (2007) for ob, cl, bn, pf, vln,
vla 11min.
Ampere (2008) for solo piano and
orchestra 22min.
Secret Forest (2008) for small orchestra
13min.
PHOTO: AI ueda
Fujikuras music is bold, daring, energetic, colourful and thrilling to

play and to hear. He has compared it to Japanese food: the combination of different tastes, sweet and salty. His astonishing versatility
has made him successful in vastly different genres ranging from
orchestral and chamber music, to free-improvisation, pop, and
music for film and dance. He is at ease exploiting both traditional
Japanese instruments as well as electronic sounds to find his own
unique voice.
47
(*1934)
48
Les chemins de la libert (2003-2005)

for orchestra without conductor 14min.
Radiographie dun roman (2009-2010)
for mixed choir with seven soloists,
accordion solo, percussion solo, 30
instruments and electronics 45min.
Future projects
Destines machinales Version for soloists
(perc, cl, trb, vc) and percussion ensemble
(2008-2011)
New Work for actor/percussionist and
big band (2011)
* Full Evening
1934 Born in Anderny, France. Lives in Paris, France and Zuzemberk,
Slovenia
1947-1955 Lived in Ljubljana, Slovenia, where he made his debut
as a jazz musician
1955-1959 Studied trombone at National Conservatory in Paris
1960-1963 composition and conducting with Leibowitz; further
studies with Berio
Since 1960 has performed the premires of a large number of
works for trombone by Berio, Kagel, Stockhausen, Leibowitz,
Takemitsu and others. He has conducted his works with the
orchestras of Westdeutscher Rundfunk, Radio France, Radio
Helsinki, Radio Ljubljana, the Tokyo Metropolitan Symphony
Orchestra and many others
1967-1976 Professor of composition at the Musikhochschule in
Cologne
1969 Co-founder of the free improvisation group New Phonic Art
1973-1979 Director of the department of instrumental and vocal
research at Ircam-Centre Pompidou Paris
1983-1999 Teaches and conducts 20th century repertoire with
Orchestra Giovanile Italiana Fiesole
1995 World premiere of his music theater composition Larmonia
drammatica in Berlin (Biennale)
2003 Elected honorary member of the International Society for
Contemporary Music (ISCM)
2010 World premiere of his cantata Radiographie dun roman at
Donaueschinger Musiktage
VINKO GLOBOKAR
DU RAN D SALABERT ESCHIG / RICORDI M UNICH
selected works
Tribadabum extensif sur rythme fantme
(1981) for three percussionists or for
three percussionists and an unlimited
number of percussionists 25min.
Les migrs. Triptych (1982-1985) for
Baritone, Mezzo-soprano, five narrators,
five singers, jazz trio, orchestra, tape,
film, slides FE*
Larmonia drammatica (1987-1990) music
drama for orchestra, mixed choir, seven
singers and tenor saxophone FE*
Kolo (1988) for mixed choir, solo
trombone and electronics 25min.
Eisenberg (1990) for orchestra or
ensemble 25min.
Labour (1992) for large symphony
orchestra 27min.
Blinde Zeit (1993) for seven musicians
and tape playback 26min.
Masse, Macht und Individuum (1994) for
orchestra and 4 soloists (acc, gtr, db, perc)
40min.
Zlom (1997) for 26 musicians and tape
playback 23min.
La Prison (2001) for eight instruments
22 min.
Der Engel der Geschichte (2000-2004)
for two orchestras and live-electronics,
in three parts (I. Zerfall; II. Mars; III.
Hoffnung) 30 & 32 & 33min.
Eppure si muove (2003) for conducting
trombonist and eleven instruments
19min.
Les Otages (2003) for orchestra and
sampler 30min.
One of the central figures of 20th centurys music and its interpretation, the composer and trombone player, Vinko Globokar, has
always made his way far off the beaten path. Fusing different modes
of performance, the speaking voice and the singing voice, he has
demonstrated with great originality that music is a language. A complete mastery of his instrument and of compositional styles, which
Globokar has learned to perfection, has made him utterly distrustful
of all conventions. His inimitable contribution to new music consists
above all in the ingenious transformation of classical instruments
and non-musical objects. Right from his first years in Paris, Globokar
understood that collective interpretation is an extremely complex
exercise in social and mental communication. This point is central to
his inspiration. In recent years he has also shown his overwhelming
mastery in composing large-scale orchestral works and cantatas.
49
(*1952)
www.heinergoebbels.com
50
1952 Born in Neustadt/Weinstrae, Germany. Lives in Frankfurt/
Main, Germany
1975 Degree in sociology, 1978 degree in Music and State
Teachers Certificates
1976 Co-founder of Sogenanntes Linksradikales Blasorchester
(So-Called Left-Radical Wind Orchestra, till 1981) and the
Duo Heiner Goebbels / Alfred Harth (till 1988)
1978-1980 Musical director at the Frankfurt Schauspiel
1982 Founded the experimental rock group Cassiber
1997-1998 Guest professor for composition at Hochschule fr
Musik, Karlsruhe
1999 Professor at the University of Giessen (Angewandte
Theaterwissenschaften)
1986, 1992 and 1996 Prix Italia
1988 German recordings critics prize (Golden Needle of Honour),
1991 Prix Futura
1993 Hessischer Kulturpreis
2001 European Theatre Award New Theatrical Realities
2002 Goethe-Plakette of the City of Frankfurt
2003 German Critics Award in the music category
2006 Theatre Award by the German centre of the ITI (International
Theatre Institute)
Heiner Goebbels is a member of the Akademie der Knste Berlin
and the Academie der Darstellenden Knste, Frankfurt, since 2006
he is also President of the Hessische Theaterakademie
* Full Evening
HEINER GOEBBELS
RICORDI MUNICH
selected works
Befreiung (1989) concert scene for
speaker and ensemble 14min.
Herakles 2 (1991) for seven instruments
15min.
La Jalousie (1991) for speaker and
ensemble 18min.
Red Run (1988-1991) nine songs for
eleven instruments 18min.
Surrogate Cities (1993/94) for Mezzosoprano, speaker, sampler and large
orchestra after Heiner Mller, Hugo
Hamilton, Paul Auster FE*
Industry and Idleness. Popular Print (1996)
for orchestra or ensemble 16min.
Schwarz auf Wei (1995-1996) music
theater after Poe, John Webster, T.S. Eliot
and Maurice Blanchot (with the voice of
Heiner Mller) for eighteen musicians
75min.
Landscape with Distant Relatives (2002)
opera after texts and motifs by Giordano
Bruno, T.S. Eliot, Michel Foucault, Claude
Lorrain, a.o. for ensemble, choir and
soloists FE*
Aus einem Tagebuch (2002-2003) for
orchestra 22min.
Ou bien Sunyatta (2004) for griot singer,
kora and orchestra 15min.
Songs of Wars Ive Seen (2002-2007)
scenic concert after Gertrude Stein for
chamber orchestra 50min.
I went to the house but did not enter
(2007-2008) scenic concert after T.S.
Eliot, Blanchot, Beckett and Kafka for
four male voices FE*
PHOTO: rumpenhorst
Amongst composers of contemporary music, Heiner Goebbels is a

singular figure. After an early experience with rock music, he found
his artistic career shaped by the student movement. In his dissertation for his sociology degree (The Question of the Progressiveness
of Musical Material. The Social Relationship between Compositions
Produced During the Pre-Classical Period and by Hanns Eisler) he
found his way to the categorical imperative that is still valid for
him today: always compose in such a way that your music does
not deprive the listener of his right to form his own opinion. Music
reflects social reality; its position and attitude have to be continually
redefined. To this purpose, Goebbels uses many different genres and
ensembles ranging from theatre, film and ballet music, radio plays,
experimental music theatre, to ensemble and orchestral works.
51
52
selected works
She Huo (1991) for ensemble 13min.
Wolf Cub Village (1994) chamber opera
48min.
Drama (1995) for three pairs of cymbals
and voices 10min.
Concertino (1996) for cello and ensemble
12min.
Elegy (1996) for Soprano and three
Inscriptions on Bone (1996) for Alto voice
and ensemble 14min.
String quartet no. 2 (1997-2003) for
string quartet with percussion 14min.
Echoes of Heaven and Earth (1998) for
chamber choir and percussion 30min.
Vimala (2000) for eight cellos 20min.
Ye Yan/The Night of the Banquet (2001)
opera FE*
Fengyiting (2004) chamber opera FE*
Concerto for erhu (2006) for erhu and
orchestra 20min.
Poet Li Bai (2007) opera, libretto by
Xu Ying FE*
CASA RICORDI
* Full Evening
1956 Born in the Chinas Sichuan province. Lives in Beijing, China
1978 Admission to the re-opened Beijings Central Conservatory
of Music (one of a hundred students accepted out of 17,000
applicants)
1983 His music becomes known in the West when Suspended
Ancient Coffins on the Cliffs on Sichuan was premiered in
Berkeley
1994 World premiere of the chamber opera Wolf Cub Village by
the Nieuw Ensemble at the Holland Festival; further
performances in seven countries
1997 Riding on the Wind is commissioned for the celebrations of
the reunification of Hong Kong
1998 World premiere of Night Banquet at the Almeida Theatre in
London; further performances at Hong Kong Arts Festival,
Wien Modern
2000 World premiere of the Second String Quartet by the Kronos
Quartet in Beijing
2001 World premiere of the chamber opera Ye Yan/The Night
of the Banquet by the Ensemble Modern in Paris (Festival
dAutomne), in Berlin (Hebbel Theatre), New York, Perth (Perth
Festival)
2004 World premiere of the chamber opera Fengyiting by Nieuw
Ensemble in Amsterdam
2007 World premiere of Concerto for erhu, piece co-commissioned
by Singapore Symphony Orchestra and Musica Viva festival
2007 World premiere of the opera Poet Li Bai in Denver (USA),
Central City Opera; further performances in Beijing, Shanghai
and in Rome in 2008 at Parco della Musica Auditorium
(European premiere)
2011 World premiere in Milan and Turin (September) of a concerto
for Zheng and Orchestra during the MITO Settembre Musica
festival
GUO WENJIN G
In contrast to many of his fellow countrymen, Guo Wenjing has chosen not to leave China for other than very circumscribed periods so
as to be able to cultivate his fervent interest in the musical heritage
of his homeland. In fact, his patrimony permeates his works, blending in with the stylistic elements of the late 20th century European
avant-garde. His recurrent use of traditional Chinese instruments
or references to folk songs do not, however, translate into mere
colouring effects, but rather invest the Western elements of Guos
composition with a distinctive character. His writing is enchanting
both in its dramatic majesty and in its dreamlike lyricism.
(*1956)
53
(*1948)
www.philippehersant.com
54
* Full Evening
Future projects
Lieder for Baritone and piano (2011)
Concert for Jean-Jacques Rousseau
300th anniversary of birth with the
Choir and Ensemble Solistes de Lyon
(January 2012)
Third string quartet by the Cypress
quartet in San Francisco (spring 2012)
Vpres la Vierge Marie Notre Dame
de Paris Jubilee (2013) FE*
1948 Born in Rome, Italy. Lives in Paris, France
1978-1980 Resident at the Villa Medici in Rome
1991 World premiere of Chteau des Carpathes at the Opra
national de Montpellier
1998-2000 Residency with the Orchestre national de Lyon
2004 Dedication of the Prsences Radio France Festival to
Hersant
2005 and 2010 Composer of the year at Victoires de la musique
in France
2006 World premiere of Le Moine Noir at the Leipzig Opera
2007-2009 Residency with the Orchestre national des Pays de Loire
2008-2010 Residency with the Orchestre de Bretagne where his
Concerto for piano and Concerto for violin were premiered
PHILIPPE HERSANT
selected works
Concerto pour violoncelle no. 1 (1989)
16min.
Concerto pour violoncelle no. 2 (1997)
20min.
Le Chteau des Carpathes (1989) opera,
after Jules Verne FE*
Lebenslauf (1992) for soprano, fl, cl, hn,
pf and strings 16min.
Ephmres (1999-2003) 24 pieces for
piano 44min.
Paysage avec Ruines (1999) for Mezzosoprano and orchestra 21min.
Streams (2000) for piano and orchestra
30min.
Der Wanderer (2002) for male choir and
orchestra 10min.
Musical Humors (2003) for viola and
orchestra 20min.
Concerto pour violon (2003) 20min.
Le Moine noir / Der schwarze Mnch
(2004-2005) opera, after Anton Tchekhov
FE*
Heathcliff (2005) orchestral suite from
the ballet Wuthering Heights 35min.
Les mes du Purgatoire (2008) for
orchestra 11min.
Cinq Pomes de Trakl (2009) for Baritone
Concerto pour piano et orchestre (2009)
19min.
Concerto pour clarinette et orchestre
(2010-2011) 21min.
PHOTO: a. yanez
Philippe Hersant is unanimously recognised as a master of formal

balances, colours and lines. An incomparably talented harmonist
and a particularly inspired melodist, he uses his naturally elegant
compositions to create solid and convincing forms that have inspired
and will continue to inspire the most demanding musicians and the
most discerning audiences.
55
(*1964)
www.rolfhind.com
56
Future projects
Sit Stand Walk (clarinet concerto) a
commission from Spitalfields Festival,
London and an accordion concerto
forJames Crabb and the BBCSO
commissioned by the BBC.
1964 Born and lives in London, UK
Student of composition and piano at the Royal College of Music
2000 After a long silence, Rolf began to compose again, inspired by
repeated trips to India and a subsequent fascination with the
culture and language.
2008 and 2010 Nominee for the British Composers Awards.
r olf hin d
r i cordi l ondon
selected works
Cloud Shadow & Solgata (2000) for solo
piano 11min.
The Horse Sacrifice (2001) for ensemble
(fl/bfl/treble recorder, cl/Eb/recorder,
vln, vc, perc, pf with ratchet + triangles)
20min.
Thirteen Oclock Shadow (2001) for two
singing percussionists 4min.
The City of Love (2002) for voice, violoncello and piano 10min.
Das Unenthllte (2002) for violin and
piano 12min.
Your black mouth (2002) for bass clarinet
and harp 12min.
The Eye of Fire (2004) for string quartet
and prepared piano 28min.
Sunnata (2005) for grand piano, four
uprights and a honkytonk 11min.
Follow the Leader (2006) for voice and
percussion 10-12min.
The Thing is (2006) for piano, violoncello
and violin 14min.
Maya-Sesha (2007) for piano and
orchestra 21min.
The Towers of Silence (2007) for solo
piano 16min.
The Flower in the next Corner (2008)
for string quartet 21min.
King David (2008) for clarinet and violin
7min.
Shashankasana (2008) for string quartet
5min.
A Single Hair, a Jasmine Petal, Seven
Mattresses, a Pea... (2009) for solo piano
10min.
PHOTO: mykel nicolau
Rolf Hind is an accomplished composer and concert pianist. His

compositions range from solo piano pieces, a piano trio, two string
quartets and a piano quintet to a piano concerto, Maya-Sesha, his
first orchestral work. Much of his music is inspired by a fascination
with the culture, mythology, philosophy and music of India, where
he has travelled often. At the same time it draws on the technical
adventurousness of certain performers. In a career that has taken
him all over the world in the last twenty years, as a pianist, Rolf Hind
has worked with many of the greatest names in 20th and 21st century
contemporary classical music.
57
(*1924)
www.klaushuber.com
58
Schwarzerde (1997-2001) stage work

in nine sequences for six soloists, vocal
ensemble, orchestra and tape, libretto
by Michael Schindhelm FE*
Die Seele muss vom Reittier steigen...
(2002) chamber concerto for three
soloists (Countertenor, vc, baryton)
and 37 instruments, text by Mahmoud
Darvish 35min.
Miserere hominibus... (2005-2006)
cantata for seven voices and seven
instruments 37min.
* Full Evening
1924 Born in Berne, Switzerland. Lives in Bremen and Panicale, Italy
Violin studies at Zurich Conservatory, composition with
Willy Burkhard
1955-1956 studies with Boris Blacher in Berlin
1959 International breakthrough at ISCM festival in Rome, where
he won 1st prize for chamber music
1964-1973 Director of the composition class at the Academy of
Music in Basle
1969 Founds the International Composers Seminar in Boswil,
Switzerland
1970 Beethoven Prize of the City of Bonn, 1978 Art Prize of the
City of Basel
1973-1990 Director of composition class and Institute for New
Music at Musikhochschule Freiburg/Breisgau. His students
included Ferneyhough, Rihm, Pagh-Paan, Hosokawa, and
many others
1979-1982 President of the Swiss Composers Guild
1984 Beginning of world-wide international activity as visiting
professor
2000 Member of the Bavarian Academy of Fine Arts, the Berlin
Academy of Arts, honorary member of the ISCM. Honorary
Doctorate from Strasbourg University
2007 European Church Music Prize
2009 Member Hochschule fr Musik und Theater in Leipzig.
Awarded Salzburg Music Prize and Ernst von SiemensMusic Prize
kla u s h ub er
r i cordi munich
selected works
Erniedrigt Geknechtet Verlassen
Verachtet... (1975/1978-1983) oratorio
for soloists, choir and orchestra, texts
by Ernesto Cardenal, George Jackson,
Carolina de Jess, Prophet Jesaja
67min.
Cantiones de Circulo gyrante (1985)
for three groups of musicians and five
soloists 39min.
Des Dichters Pflug (1989) for string trio
12min.
La terre des hommes (1987-1989) for
Mezzo-soprano, Countertenor and
ensemble, texts by Simone Weil, Ossip
Mandelstam 35min.
Spes contra spem (1986-1989) a CounterParadigm to Wagners Gtterdmmerung
for five singers, five speakers, orchestra,
tape, electronics 50min.
Die umgepflgte Zeit (1990) space music
for soloists, two mixed ensembles, choir
voices and instruments distributed in
space 20min.
Lamentationes Sacrae et Profanae ad
Responsoria Iesualdi (1993/1996-1997)
for six singers and two instruments
43min.
Intarsi (1993-1994) chamber concerto
for piano and seventeen instruments
20min.
Lamentationes de fine vicesimi saeculi
(1992-1994) for orchestra with
Sufi-Singer 18min.
Ecce homines (1997-1998) string quintet
37min.
Whenever there is talk of politically engaged music these days,

Klaus Huber springs to mind. Since 1983 and the Donaueschingen
premiere of his major oratorio Erniedrigt Geknechtet Verlassen
Verachtet..., if not earlier, he has ranked as a composer who believes
in the possibility of a better world, and gives expression to this belief
in his work. Musically, his humanistic ideas are formulated with a
high degree of artistic ethos, in which respect he resembles Luigi
Nono (who was also born in 1924), and he has always insisted that
music is a necessary form of communication between human beings.
In Hubers compositions there is a taut balance between intensity of
expression, and construction. Obviously, this requires a high level
both of consciousness of form and of craftsmanship. In the course
of almost 60 years of composing, he has developed these skills to
the highest degree, while making them subservient to his need for
expression. There are few composers today who can extract music
from within and allow it to speak as eloquently as he can.
59
(*1943)
60
future projects
Rimembranze (in progress) for orchestra
commissioned by the Hungarian National
Cultural Fund (2011)
Three new compositions for small chamber ensembles comissioned by Kaposvr
International Chamber Music Festival
(2011)
* Full Evening
1943 Born in Szolnok, Hungary. Lives in Budapest, Hungary
1961-1968 Composition studies with Ferenc Farkas at the Ferenc
Liszt Academy of Music in Budapest, postgraduate studies
with Goffredo Petrassi at the Accademia Nazionale di Santa
Cecilia in Rome
1968 World premiere of Soliloquium No.1 for flute at Gaudeamus
Festival in Utrecht
1970 Foundation of the New Music Studio Budapest, in collaboration with Pter Etvs, Zoltn Kocsis, Lszl Sry, Albert
Simon and Lszl Vidovszky
1984 Tour in Sweden: 30 of his works performed in nine concerts,
five of them as world premieres
1985 A portrait concert is given at the Experimental Intermedia
Foundation in New York
Twelve Songs performed at the ISCM Festival in Amsterdam
Since 1986 Professor at the Liszt Academy of Music, Department
of Composition, from 1995 as Head of Department
1993 Fellow of the Szchenyi Academy of Letters and Arts
(founded by the Hungarian Academy of Sciences)
1996-1999 Vice-President of the ISCM
2001 Awarded the Kossuth Prize by the Hungarian state
2005 First complete performance of Funeral Rite by the National
Philharmonic Orchestra and Choir conducted by Zoltn
Kocsis, in Budapest
ZOLTN JENE Y
EMB
selected works
Alef Hommage Schnberg (1972) for
orchestra 13min.
Endgame (1973) for solo piano 8min.
Orpheus Garden (1974) for eight optional
instruments 18min.
Twelve songs (1975-1983) on poems by
e. e. cummings, William Blake, Friedrich
Hlderlin, Dezs Tandori and Sndor
Weres, for Soprano, vln, and pf 29min.
To Apollo (1978) cantata to a hymn by
Callimachus, for female or mixed chamber
choir, ca, org, 12 crotal 27min.
El silencio (1986) on a poem by Federico
Garcia Lorca, for female voice and string
quintet 16min.
Funeral Rite (1987-2005) on Hungarian
vigil songs, Latin, Hebrew, Russian and
Greek liturgical texts and poems by
Hungarian poets, for vocal soloists (Sopr,
A, Ten, Bar, B), double mixed choir and
orchestra FE*
Self-Quotations (1991) for five instruments:
cl, vln, vc, mar, pf 10min.
Contrafactum (1998) on a poem by Jnos
Pilinszky for Soprano and orchestra
25min.
& silence everywhere (2001) for chamber
ensemble 12min.
Farewell to Gyrgy Ligeti (2006) for solo
cimbalom 12min.
Pavane (2007) for orchestra 16min.
Memories of Delphoi (2008) for vln, tbn,
mar, pf 10min.
Zoltn Jeney is one of the leading personalities of the experimental

art movement that evolved in Hungary in the 1970s and 80s. To
create elements of form, melody, rhythm and tone in his early compositions, he made frequent use of non-musical base materials such
as text quotations, chess match moves, solitaire game moves, and
telex text rhythms, among others. From the 1980s onward, he once
again began to employ counterpoint methods reminiscent of the
Baroque and pre-Baroque periods. In addition, he incorporated an
archaic style of tone production that in its declamation and melody
formation drew on both Gregorian traditions and those of Hungarian
folk music. Although, in a technical sense, all of his work transmits
and summarizes the basic principles developed in previous decades,
today his art gives free rein to the emotional freedom and sensitive
directness that were hidden behind the more severe constructions
of his youthful pieces.
61
e mb
62
selected works
String Quartet, Op.1 (1959) 14min.
Games (in 8 volumes) (1975-) for piano,
piano four hands, two pianos
varied duration
Messages of the Late Miss R.V.Troussova,
Op, 17, (1976-1980) to 21 poems by
Rimma Dalos, for Soprano and chamber
ensemble 27min.
Songs of Despair and Sorrow, Op. 18,
(1980-1994) six choruses to poems by
Lermontov, Blok, Esenin, Mandelshtam,
Akhmatova and Tsvetayeva, for double
mixed choir and ensemble 25min.
Attila Jzsef Fragments, Op.20 (1981)
for Soprano solo 15min.
Kafka-Fragmente, Op.24 (19851987)
letters and diary entries of Franz Kafka,
for Soprano and violin 56min.
quasi una fantasia Op.27 no. 1
(1987-88) for piano and groups of
instruments dispersed in space 10min.
Messages,Op.34 (1991-1996) for
orchestra and mixed choir 15min.
pas pas nulle part pomes de
Samuel Beckett,Op.36 (1993-1998) for
Baritone solo, percussion and string trio
35min.
Stele, Op.33 (1994) for large orchestra
13min.
New Messages,Op.34a (1998-2009) for
orchestra 13min.
6 moments musicaux, Op. 44 (1999-2005)
Four Poems by Anna Akhmatova, op. 41

(1997-2008) for Soprano and chamber
ensemble 15min.
concertante, Op.42 (2003) for violin
(also dumb vln) solo, viola (also dumb
vla) solo and orchestra 26min.
Hipartita, Op. 43 (2000-2004) for violin
solo 20min.
Colind-Balad Op.46 (2007-2009) for
mixed choir and chamber ensemble:
vla, vc, 2cl, hn, trp, tbn, perc 15min.
future projects
Fin de partie (in progress) opera based
on the play by Samuel Beckett commissioned by the Salzburger Festspiele
(2012-2013)
Gyrgy Kurtg is the most reknowned and frequently played living

Hungarian composer today. His music simultaneously captivates the
listener with its enigmatic density and its powerful expressivity. In
his style, a synthesis is created that unites the achievements of the
international avantgarde of the last several decades with the legacy
of Hungarys and Europes musical past. His work confronts the listener with the deepest and most personal questions relating to the
human soul and the fate of mankind. The Hungarian culture of the
end of the 20th century is represented in his music with the same
general human validity as that of the first half of the century is in the
uvre of Bla Bartk.
1926 Born in Lugos (Lugoj), Romania. Lives in St. Andr de Cubzac,
France
1946-1955 Studied composition at the Ferenc Liszt Academy of
Music in Budapest with Sndor Veress and Ferenc Farkas,
piano with Pl Kadosa and chamber music with Le Weiner
1957-1958 Studied with Marianne Stein and attended courses
given by Darius Milhaud and Olivier Messiaen in Paris
1967-1993 Professor at the Ferenc Liszt Academy of Music,
Budapest, first of piano, then of chamber music
1973 and 1996 Awarded the Kossuth Prize by the Hungarian state
1981 World premiere of Messages of the Late Miss R.V. Troussova,
op. 17 given by the Ensemble InterContemporain, in Paris
1985 Awarded the title Officier des Arts et des Lettres by the
French state
1987 Member of the Bayerische Akademie der Schnen Knste,
Munich, and member of the Akademie der Knste, Berlin
1993-1994 Composer in Residence with the Berlin Philharmonic
1994 Austrian State Award for European Composers. Denis de
Rougemont Prize awarded by the European Association
of Festivals
1995 One-year stay in Vienna as composer in residence
1996-1998 Honorary professor at the Royal Conservatory of The
Hague, residency with the Concertgebouw Orchestra, the
Netherlands Opera, the Vredenburg Music Centre, the
Schnberg Ensemble and the ASKO Ensemble
1999-2001 Composer in Residence in Paris (Ensemble
InterContemporain, Conservatoire, Festival dAutomne)
2001 Honorary Member of the American Academy of Arts and
Letters.
2002 Settled in France
2006 Grawemeyer Award for concertanteOp.42 (University of
Louisville)
2009 World premiere of Colind-Balad Op. 46 in Cluj (Romania)
GYR GY KU RT G
(*1926)
info.bmc.hu
63
(*1975)
64
FUTURE PROJECTS
World premiere in September of a piece
for ensemble and live electronics (2011)
World premiere of a piece for Neue
Vocalsolisten Stuttgart (2012)
1975 Born in Venice, Italy. Lives in Paris, France
1998 Composer in the Cursus Annuel de Composition et dInformatique
Musicale Ircam-Centre Pompidou Cursus on composition and
computer music at the Ircam-Centre Pompidou
2004 Guest professor at McGill University in Montreal
2005 World premiere of Songe de Mde at the Opra national
de Paris, choreography by Angelin Preljocaj
2008 World premiere in Lyon of Descrizione del Diluvio with the
Neue Vocalsolisten and Les Percussions de Strasbourg,
co-production of Royaumont Foundation, Les Fresnoy, Grame,
Gmem, La Monnaie and Les Percussions de Strasbourg
2007-2008 Guest of the French Academy in Rome at the Villa Medici
2009-2010 Residency at Akademie Schloss Solitude (Stuttgart)
m au ro l an za
CASA RICORDI
selected works
Barocco (1998-2004) for Soprano, vla and
six instruments playing on toys 7min.
Erba nera che cresci segno nero tu vivi
(1999-2001) for Soprano and electronics
14min.
Aschenblume (2002) for nine musicians
17min.
Mare (2003-2004) for Soprano, ensemble,
five instrumentists playing on music toys,
electronics 14min.
Predellino (2005) for piano 7min.
I funerali dellAnarchico Passannante
(2006) for chamber choir, electronics
12min.
Vesperbild (2007) for ensemble, six
instrumentists playing on music toys,
electronics - 15min.
Descrizione del diluvio (2007-2008)
multimedia show for six voices and six
percussion instruments - 45min.
Sol (2007) for ensemble 9min.
Mess (2008) for piano 6min.
I funerali dellAnarchico Acciarito (2009)
for Intonarumori and sound objects
10min.
Number Nine (2010) for ensemble 9min.
Herzstcke (2010) for string quartet
A passionate explorer in the field of computer-assisted music and

synthesis through physical models, Mauro Lanza navigates the
border between the acoustic and the electronic worlds, aiming to
effect their fusion and reciprocal integration. The highly original
sound that invests his music is characterised by a dimension that
is as much playful and childlike as it is disturbing and crepuscular.
This quality gives rise to a gradual and unexpected transformation
of the musical material, calling to mind the astounding fluidity
of natural phenomena and drawing the listener into a perceptive
experience akin to alchemy.
65
(*1968)
www.fabienlevy.net
66
Future projects
New Cantata for seven vocal soloists
and ensemble (2011-2012) 50min.
New Ensemble Piece (2012)
1968 Born in Paris, France. Lives in New York, USA and Berlin, Germany
Studied composition with Grard Grisey at the Conservatoire
National Superieur de Musique de Paris. He received a Ph.D.
in musicology from the EHESS
1999-2000 Works at Ircam-Centre Pompidou as pedagogical
advisor and lectures in the musicology department at the
Sorbonne University (Paris)
2001 Resident of the DAAD Berliner Knstlerprogramm in Berlin
2002 Resident of the Villa Medici / French academy in Rome
2004-2006 Teaches orchestration at the Hochschule fr Musik
Hanns-Eisler in Berlin (Germany),
2004 Frderpreis from the Ernst von Siemens Foundation for music
Currently he is Assistant Professor of Composition at Columbia
University in New York (USA)
FABIEN L VY
r i cordi munich
selected works
Tre Volti del Volubile Ares (2006) for
orchestra of winds and percussion.
Versions for 27 or 49 musicians 23min.
pour orchestre (2007) for orchestra
14min.
Lexemes hirsutes (2007-...) Cycle
of pieces for cello 10min.
(movements 1 & 2)
propos (2008) for five instruments
21min.
Querwchsig (2006/09) for thirteen
instruments 12min.
peu prs de (2010) for two trumpets
13min.
PHOTO: mutesouvenir i bienert
Filled with acoustic puzzles, trompe loreille effects and musical

paradoxes, Fabien Lvys compositions always challenge listeners
not to trust their ears. His music arouses expectations, only to immediately subvert them, to create situations like those visual images
that can be seen in two ways, and to stage a permanent irritation of
hearing. For Lvy, art and lucid reflection are not mutually exclusive;
rather, they condition one another. And yet he gives primary importance to sensual pleasure: the joy of nuance, of the unexpected, of
discovering something that has never been heard before. What he
says about his ensemble piece propos applies to all his music: it
should be heard with the ears of a child.
67
(*1966)
68
Songs found in dream (2005) for ob, cl,

sax, tpt, 2 perc, vc, db 16min.
City of Falling Angels (2006) for 12
Shimmer Songs (2006) for double
quartet or string quartet, harp, 3 perc
15min.
The Navigator (2007) opera in 6 scenes
and a prelude, libretto by Patricia Sykes
for 5 singers, 16 instruments and
electronics FE*
The Four Seasons (2008) after Cy
Twombly for solo piano 40min.
Invisibility (2009) for violoncello with
two bows 10min.
Ehwaz (Journeying) (2010) for trumpet
and percussion 15min.
The Guest (2010) for recorder and
orchestra 20min.
Pearl, Ochre, Hair String (2010) for
orchestra 18min.
1966 Born in Perth, Australia. Lives in Manchester, UK
1991 Lecturer of composition at Melbourne University
2003 Featured composer at both Musica Nova in Helsinki and the
09(03) Festival in New Zealand
2001 Commission by the Los Angeles Philharmonic for an orchestra
piece, Ecstatic Architecture, to celebrate the inaugural season
of the Frank Gehry-designed Walt Disney Concert Hall.
Premiered in May 2004
2007 Senior Composers Fellowship from the Ian Potter Cultural Trust
2007-2008 Awarded a DAAD Knstlerprogramm Artists Residency
to live and work in Berlin
Presently Professor of Composition at Huddersfield University, UK
Future projects
Gyfu [Gift] for solo oboe 10min. (2011)
New Songs for Olaf Nicolais project
Escalier du chant for ensemble of
vocalists 20min. (2011)
Tongue of the Invisible for improvising
pianist, Baritone and 16 musicians
60min. (2010-2011)
* Full Evening
LIZA LIM
CASA RICOR D I / RICORD I LONDON / RICORDI M U NICH
selected works
The Oresteia (1991-93) memory theatre
(opera) in 7 parts after Aeschylus, Sappho
and Tony Harrison for 6 voices, 11
instruments and dancer 75min.
Street of Crocodiles (1995) for fl, ob, sax,
tbn, cimbalom/perc, vln, vla, vc, baroque
vc 14min.
The Alchemical Wedding (1996) for
Inguz (Fertility) (1996) for cl, vc 6min.
The Hearts Ear (1997) for fl, cl and string
quartet 12min.
Yu Lng Ji (Moon Spirit Feasting)
(1997-99) Chinese ritual street opera
in 7 parts, libretto by Beth Yahp for
3 singers, 9 instruments and live
electronics 75min.
Machine for Contacting the Dead (19992000) for 27 musicians including 2
soloists (Bass Cl/Cbass Cl & Vc) 38min.
Veil (1999) for fl, cl, tpt, perc, pf, vln, vc
10min.
Ecstatic Architecture (2002-2004)
for large orchestra 25min.
In the Shadows Light (2004) for string
quartet 26min.
The Quickening (2004-2005) for Soprano
and qin (Chinese zither), text by Yang Lian
22min.
The Compass (2005-2006) for large
orchestra with solo flute and didgeridoo
25min.
Mother Tongue (2005) for Soprano and
15 instruments, text by Patricia Sykes
36min.
PHOTO: ASTRID ACKERMANN
Internationally acclaimed composer Liza Lim writes music marked by

visceral energy and vibrant colour. A recurring thread in her work is
the exploration of the themes of crossing cultural boundaries and of
ecstatic transformation. Her music brings together aspects of modernist abstraction with forms of ritual culture drawn from a variety of
sources. She counterpoints seemingly opposed pairs of terms such
as radiance and shadow, violence and meditation to describe her
musical language.
69
(*1956)
70
1956 Born in Madrid, Spain. Lives in Madrid, Spain and in
Paris, France
1990-1991 Composer in the Ircam-Centre Pompidou cursus
1996 Resident at the Villa Kujoyama in Tokyo
1997 Graduate of the Spanish Academy of Fine Arts in Rome
2007-2010 Director at the Auditorio Nacional de Musica in Madrid
Jos Man u el L pez L pez
DU RAN D SALABERT ESCHIG / CASA RICORDI
selected works
Concerto pour violon et orchestre (1995)
19min.
Viento de Otoo (1998) for ensemble
14min.
Movimientos (1998) for two pianos and
orchestra 10min.
A tempo (1998) for cello solo and eight
instruments 15min.
Vino Regalo Divino (2002) for clarinet,
choir and orchestra 30min.
Les Cordes (2002) for string orchestra
12min.
Le Parfum de la Lune (2003) for vl, fl, ob,
perc, 2vl, va, vc 13min.
Metro Vox (2010) for vocal ensemble
(8 voices) and live electronics 20min.
PHOTO: a. lazo
Jos Manuel Lpez Lpez is heir to the grand modernistic Spanish

tradition embodied by Manuel de Falla, Joan Guinjoan and Luis de
Pablo, and of which Durand, Salabert and Eschig collections is proud.
A composer who is committed to the spread of modern music, Lpez
Lpez grounds his work in the ongoing pursuit of new harmonic,
formal and sensory connections. He adds unique insight to the very
notions of contemporary musical grammar, notably so-called spectral music. His sensitivity is a model of balance between intuition
and knowledge and contributes a great deal to making his work
influential.
71
(*1952)
www.philippemanoury.com
72
Terra Ignota (2007) for solo piano and

ensemble 26min.
Synapse (2010) for solo violin and
orchestra 30min.
Stringendo (2010) string quartet
15min.
Tensio (2010) string quartet with live
electronics 35min.
Future project
La Nuit de Gutenberg, opera (2011)
* Full Evening
1952 Born in Tulle, France. Lives in San Diego, USA and Paris, France
1987-1991 World premiere of Jupiter, Pluton, Neptune. Years
of collaboration with Miller Puckette at the Ircam-Centre
Pompidou.
1995 Residency with the Orchestre de Paris
1998 World premiere of 60me Parallle at the Thtre du
Chtelet, Paris
Director of the European Academy of Music within the
Festival dAix-en-Provence
Publication of La Note et le Son: Ecrits et Entretiens,
LHarmattan, Paris
2001 World premiere of K at the Opra national de Paris
2001 Publication of Va-et-Vient, discussions with Daniela Langer,
Musica Falsa, Paris
2001-2003 Residency at the Scne nationale dOrlans
Since 2004 Professor of composition at the University of California,
San Diego, USA
PHILIPPE MANOU RY
selected works
Jupiter (1987-1992) for flute and live
electronics 26min.
Pluton (1988-1989) for piano and live
electronics 50min.
Neptune (1991) for 3 percussionists and
En cho (1993-1994) for soprano and live
electronics 32min.
Passacaille pour Tokyo (1994) for solo
piano and ensemble 8min.
60me Parallle (1995-1996) opera FE*
Fragments pour un Portrait (1997-1998)
for ensemble 34min.
Abgrund (1997-1999) for orchestra
20min.
Sound and Fury (1998-1999) for orchestra
30min.
K (2000) opera, after Franz Kafka FE*
Slova (2001-2002) for chamber choir
20min.
La Ville ( premire sonate) (2001-2002)
for piano 35min.
La Frontire (2003) chamber opera FE*
Strange Ritual (2005) for ensemble
20min.
On-Iron (2005) for vocal quartet, choir,
perc, electronic keyboard and live
electronics 70min.
Identits remarquables (2005) for
ensemble 20min.
Trakl Gedichte (2006) for chamber choir
20min.
Cruel Spirals (2007) for soprano and
ensemble 26min.
Philippe Manoury is bequeathing a particularly rich legacy to the

generations to come. But it is hard to say which of his many attributes will be the most enduring: his catalogue that has page after
page of important works (notably for ensemble, orchestra and
chamber choir), his historical contributions to the real-time interaction between performers and electronics, or the image of a man
who is completely dedicated to music, creating art through which he
transmits a vision that will continue to inspire musicians for years
to come.
73
(*1966)
www.yanmaresz.com
74
1966 Born in Monaco. Lives in Paris, France
1983-1989 Collaboration with John McLaughlin
1995 Composition of Metallics, a work composed as part of
the Ircam-Centre Pompidou cursus. It has become one
of the emblematic pieces of modern music
1995-1997 Resident at the Villa Medici, Rome
Since 2005 Professor at the Ircam-Centre Pompidou cursus
YAN MARESZ
selected works
Metallics (1995) for solo trumpet and live
electronics 11min.
Metal Extensions (2001) for solo trumpet
and ensemble 18min.
Entrelacs (1998) for fl, cl, vib, vc, db, pf
12min.
Zigzag tudes (1998) for orchestra
10min.
Festin (1999) for 12 percussionists
21min.
Eclipse (1999) for solo clarinet and
ensemble 21min.
Recto (2002) for orchestra 26min.
Tabula smaragdina (2004) for chamber
choir 10min.
Sul Segno (2004) hp, gtr, cymb, db and
For the past fifteen years Yan Maresz has been writing jewels of modern music. A musician whose talent is recognised beyond the circles
of Art Music, he learned his style directly as John McLaughlins only
student, combining rhythmic freedom with the precise perfectionism of current music. His sophisticated taste for tone combinations
has made him a ready explorer of harmony and progressive orchestrations. All of these qualities put together draw the portrait of an
incontrovertible figure in the world of contemporary music.
75
(*1958)
www.martinmatalon.com
76
1958 Born in Buenos Aires, Argentina. Lives in Paris, France
1986 Charles Ives Award from the American Academy and Institute
of Arts and Letters
1989 World premiere of Miracle secret at the Festival dAvignon
1995 Composed an original score for the film Metropolis (Fritz
Lang). Performances have continued regularly, a remarkable
feat in the history of modern music.
1996 Composed an original score for the film Un Chien andalou
(Luis Buuel)
1997 World premiere of the ballet Rugged Lines
2001 World premiere of Otras Ficciones, commissioned by the
Orchestre de Paris
2010 Professor of Composition at the Aubervilliers / La Courneuve
Conservatory (France)
MARTIN MATALON
selected works
Le Miracle secret (1989) chamber opera
after Borges 45min.
Metropolis (1994-2001) music for the
film by Fritz Lang for ensemble and
electronics 140min.
Las Siete Vidas de un Gato (1996) music
for the film by Luis Buuel Un Chien
andalou, for ensemble and electronics
18min.
Rugged Lines (1997) ballet for ensemble
Trame III (2000) for cello and orchestra
23min.
Otras Ficciones (2001) for orchestra
24min.
Metropolis (2010-2011) new version for
ensemble and live electronics 140min.
PHOTO: patricia alia
Martin Matalons music crosses frontiers both culturally, spanning

the continents of Europe and America, and artistically, notably in the
realm of cinema. The universal quality of his work may be the secret
miracle of contemporary music, to borrow a term from his fellowcountryman and source of inspiration, Jos Luis Borges. His work is
endowed with a material quality that makes his pieces immediately
accessible despite their syntactical intransigence (another miracle).
Martin Matalons pieces punctuate our reality in much the same way
as the great masterpieces, specifically in the world of film, which
they have often led us to rediscover.
77
(*1947)
www.marcmonnet.com
78
Mort puis n
Nez puis crochu
Chut!
MARC MONNET
selected works
La Scne (1982) for ensemble8min.
Patatras! (1984) for cl, bsn, vla, vc, db
10min.
Les Tnbres (1985) quartet 19min.
Sicle, pierre, tombeau (1985) for
ensemble 9min.
Les violons bleus (1987) for 6 violins
6 to 8min.
Chants tnus (1988-1992) for ensemble,
baroque or modern 20min.
Sans Mouvement, sans Monde (2010)
for solo cello and orchestra 32min.
En pices (2007-2010) books 1 & 2,
for piano 19min.
PHOTO: olivier roller
To create is to dare. This statement is an intrinsic part of Marc

Monnets aesthetic plan and is highly representative of its author.
He has constantly sought to innovate, and to find new and inventive
approaches, since he first began composing music. As the Great Bard
(who also knew how to dare) once wrote, The rest is silence, or
rather breaks in sound, fragile cracks in music, ridgelines between
nothing and everything. Marc Monnets music is a study in listening.
79
(*1968)
ww.olganeuwirth.com
80
Future projects
The Outcast opera for five soloists, boys
choir, mens choir and orchestra, texts by
Barry Gifford with Monologues for Old
Melville by Anna Mitgutsch. Arranged
and adapted by Olga Neuwirth and Helga
Utz (2010-2011) FE*
Lulu: Revisited music theater (2011-2012)
FE*
* Full Evening
1968 Born in Graz, Austria. Lives in New York, USA
1987-1993 Composition studies with Erich Urbanner at Vienna
Academy of Music and Performing Arts. During that period
she also studied at the Electroacoustic Institute
1985-1986 Studies with Elinor Armer (composition, theory) at
Conservatory of Music in San Francisco, as well as fine art and
film at the Art College
Meetings with Hlszky, Murail and Nono have been a
particular source of inspiration
1993-1994 Studies with Murail and takes part in the Stage
dInformatique Musicale at Ircam-Centre Pompidou, Paris
1996 Resident of the DAAD Berliner Knstlerprogramm in Berlin
1999 Frderpreis der Ernst von Siemens-Stiftung; Hindemith-Prize
1999 Ernst Krenek-Preis for Bhlamms Fest
2000-2001 Composer in Residence with the Koninklijk Philharmonic
Orchestra of Flanders in Antwerp
2002 Together with Pierre Boulez composer-in-residence at the
Lucerne Festival
2006 Elected a member of the Academy of the Arts, Berlin
2008 Awarded with the Heidelberg Artist Prize
2010 Austrian State Prize
OL GA NEUW IRTH
r i cordi municH
selected works
Aufenthalt (1992-1993) oratorio for four
vocalists, ensemble, electronics and
video 18min.
Lonicera caprifolium (1993) for ensemble
with tape 17min.
Sans soleil (1994) for two Ondes Martenot,
orchestra and live electronics 18min.
Akroate Hadal (1995) for string quartet
13min.
Vampyrotheone (1995) for three soloists
(bcl. egtr. sax.), three ensemble formations
14min.
Hooloomooloo (1996-1997) for ensemble
with tape 16min.
PHOTO:phorus (1997) for two electric
guitars and orchestra 15min.
Bhlamms Fest (1997-1998) music
theatre, libretto by Elfriede Jelinek
after Leonora Carrington for 10 soloists,
orchestra, live electronics and video FE*
Clinamen / Nodus (1999) for string
orchestra, celesta and five percussionists
15min.
anaptyxis (2000) for orchestra 14min.
Construction in space (2000-2001) for
four soloists (bcl (dbcl), bfl, sax, tba), four
ensemble groups and live electronics
45min.
Hommage Klaus Nomi (1998/2010)
five songs for Countertenor and chamber
orchestra assembled and arranged by
Olga Neuwirth 20min.
PHOTO: bienert
The worlds of sound in Olga Neuwirths compositions are like

twisting labyrinths, and are not fully revealed at first listen. Points
of orientation are difficult to find; pitch, instrumental timbre and
formal processes in other words, all the factors that can give the
ear a certain support are either absorbed or wiped away by the
music. Behind the baffling wealth of sound patterns lies a systematic deconstruction of everyday acoustic experience. Revealing the
irrational: this is a goal that calls not only for arresting forcefulness,
but also for anger and dissent in the face of current convention. With
their wealth of references, their uncompromising character, and
their aggressive appropriation of materials, Olga Neuwirths compositions demand a reevaluation of everyday values, even when there
seems to be nothing to question.
81
(*1972)
82
Future project
Flgelschlagvariationen Act III: Dresden
collective music theater work in five acts
on the life of Robert Schumann (20102011) FE*
* Full Evening
1972 Born in Moscow, Russia. Lives in Berlin, Germany
After studies at Tchaikovsky State Conservatoire, specialising
in music theory, he studied composition with Jrg Herchet
in Dresden, and Friedrich Goldmann in Berlin. Masterclasses
with Globokar and Spahlinger, meetings with Lachenmann,
Furrer and Oehring, contacts with the free improvisation
scene in Berlin have all had a lasting influence on his
development
2006 1st Composition Prize Stuttgart
2008 Audience Prize of Pythian Games in St. Petersburg
He has gained various scholarships, e.g. those from Villa
Massimo/Casa Baldi, Villa Serpentara, Knstlerhof Schreyahn,
Cit Internationale des Arts Paris, Berlin Senate, Akademie
der Knste Berlin
SER GEJ NEW SKI
r i cordi municH
selected works
Canto quarto (1998) for five voices and
six instruments 8min.
Fotografie und Berhrung (2000) for string
quartet 10min.
Jtais daccord... (2000) for voice,
chamber ensemble and soundtrack
8min.
Figuren im Gras (2001) for seven
instruments 11min.
Was fliehen Hase und Igel... (2004)
for six voices 20min.
Fluss (2003-2005) for voice and
ensemble 12min.
Blick aus der Entfernung (2006) for voice
and ensemble 12min.
Alles (2008) for speaking voice and 8
instruments 8min.
Autland (2008-2009) for 6 solo singers
and mixed chamber choir 45min.
String Quartet No. 3 (2009) 14min.
Dolze mio drudo (2010) scenical
cantata for 5 voices, 3 brass groups
and noisemakers 22min.
Franziskus (2008-2011) chamber opera
in four scenes after Heiliger Franz
by Claudius Luenstedt
for two soloists, choir and chamber
orchestra 60min.
Channel Surfing (2010) for alto
saxophone, accordion, doublebass
15min.
Sergej Newski is a composer of intriguing vocal music who has also

succeeded in the field of chamber and ensemble music. Although
he is an historically informed composer, he often starts from
scratch, constructing with powerful eloquence from the margins of
music and society, as in his chamber opera Franziskus with a libretto
based on the life of Saint Francis of Assisi. The human voice is at the
centre of many of his pieces. His preference for this most immediate
method of sound production stems from his search for a subjective, archaic material as the starting point for an entirely civilised
access to the form of musical composition. The voice, Newski
recalls, was the ideal way of finding my own sonic language. Bit by
bit, Newski has expanded the vocal material he experiments with,
until it has formed a systematically organised stock of sounds and
noises, a vocabulary that serves as the basis of his fascinating compositional work.
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84
Der Bilderfresser (2008-2010) for piano,

accordion, percussions, 18 orchestral
groups and mixed choir 50min.
Lieder von der Liebe zur Erde (2009) for
Soprano and orchestra 10min.
tiri slovenske ljudske za prst palec (2009)
for piano 10min.
Der SCHUH auf dem WEG zum SATURNIO
(2010) for nine instruments 12min.
Ein abendliches Glockenspiel. Deutsches
Volkslied in Kanonform (2010) for piano
(with voice of the pianist ad libitum)
15min.
Future Projects
Piece for chamber choir (2011)
Piece for clarinet and string quartet
(2011)
1957 Born in Trieste, Italy. Lives in Aldersbach, Germany
1973-1981 Studies in composition and piano at Conservatory
of Music in Trieste where he graduated
1977 Specialized in composition with Witold Lutoslawski
1978-1981 Accompanies Elisabeth Schwarzkopf on the piano.
In the 90s he plays with Barbara Hannigan
1997 Meeting with Luciano Berio in Salzburg leads to an incredible
human and artistic relation which then grows into a deep and
sincere friendship
2001 Begins writing pieces which will become scenes of his opera
Timmel a big project about the life Vito Timmel, a painter
who died in 1958 in Trieste
2002 World premiere of Due Lumi for the inauguration of Parco
della Musica auditorium in Rome, Chorus and Orchestra of
Accademia Nazionale di Santa Cecilia conducted by Myung
Whun Chung
2005 Appointment as professor of composition at the Sweelinck
Conservatorium in Amsterdam
2009 World premiere of Lieder von der Liebe zur Erde commissioned
by RAI Orchestra and performed at Music Biennale with
Barbara Hannigan in Venice
2011 World premiere of Der Bilderfresser (2008-2010) in Cologne
WDR
2011 World premiere in Milan and Turin of a piece for tenor and
orchestra during the MITO Settembre Musica
FABIO NIE DER
CASA RICORDI
selected works
5 Pezzi per orchestra (1974-1995) for
piano and solo tom tom, orchestra
15min.
Diapente (1990-1992) for string quartet
10min.
Love songs on a white surface (1993)
for Soprano, Baritone and ensemble
40min.
Portrait von Ferruccio Busoni ber seine
Sonatina seconda (1995) for orchestra,
invisibile pf and organ 10min.
4 Lyrische Stykker di Edvard Grieg (1996)
for ensemble 9min.
6 Elegien (1996-1997) for main vln, acc,
vln II, vla, vc, db, perc 20min.
Landschaft in Kanonform (1998) for violin
and eight instruments 23min.
Baumszene (2000) for vocal ensemble
Objet flexible avec spirales suspendues
(2001) for tenor sax (also version for bass
cl) 9min.
Due Lumi (2002) for mixed choir and
orchestra 7min.
Sogno 10 lnedi gennaio 1892 (2005)
for pf, vln, vla, vc and DJ-percussionist
10min.
De Beeldenvreter (2006) for ensemble
including a few Asian instruments
40min.
Diatonische Halbton-Kollisionen / Frage
(2007) for three elec. guitars and
orchestra 9min.
PHOTO: ostrouska
At the crossroads between Italian, German and Slavic cultures, the

music of Fabio Nieder has an unmistakably Middle European flavour,
in which there are also melodic echoes of folk tradition. The sobriety of materials allows him to explore individual sounds, multiplied
and transfigured in a disquieting, opalesque stillness, interrupted
by sudden disruptive flashes. By virtue of meticulous construction,
canonical forms and mathematical structures that coexist with a
dimension of improvisation, he outlines a sparse, tenuous expressionism that balances on the inscrutable threshold between the
conscious and the unconcious, between wakefulness and sleep.
85
(*1960)
86
Future Projects
Work for 4 saxophones and 4 percussions
(2011)
Opera for voices, ensemble and 7 dancers
(2012)
1960 Born in Milan, Italy. Lives in Mysore, South India
1995 Begins living periodically in India where he studies
South Indian music with M.T. Raja Kesari
1998 Active in the field of hard core/avantgarde techno
2003 Co-founder of the instrumental groups Overclockd and
Articoolaction
2004 World premiere of the ballet Ma (his work Mas Sequences) in
Singapore with the young Asian/British coreographer Akram
Khan, since then Ma has had more than 150 performances in
the most important theatres
2005 Begins composing the Thirteen/13x8@terror generating deity
trilogy, which ends in a work for seven soloists, two Techno
Musicians and orchestra
2006 World premiere of Portopalo: nomi su tombe senza corpi,
accidental music for the theatrical Requiem dedicated to the
memory of the 276 victims of Portopalo tragedy
2007 Thirteen 13x8@terror generating deity-the ultimate reality is
selected at the International Rostrum of Composeres
2008 World premiere of Seventeen Mantras of Victory in Berlin
(Ultraschall festival) with Arditti Quartet and Neuevocalsolisten
Stuttgart
RICCAR D O NOVA
CASA RICORDI
selected works
Mas Sequences (2004) ballet for solo
vc, solo Indian perc, strings, voices, tape
40min.
Thirteen/13X8@terror generating deity
(2005) for bfl, bcl, vln, vc, keyb,
electronics 10min.
Thirteen Faces Formula (2006) for wind
band 8min.
Ka (2006) for large ensemble and
electronics 20min.
Koraippu (2006) for three percussionists
3min.
Seventeen Mantras of Victory (2007) for
vocal quartet and string quartet 14min.
Ipnos Sequences (2008) ballet for Indian
perc, vc and electronics 60min.
Primes (2010) for fl, el gtr, vln (also vla),
vc, keyb, 2 Indian perc, 1 Indian vln
70min.
PHOTO: melina mulas
Profoundly influenced by his encounter with the traditional music of

India, Riccardo Nova stands out for the audacity of his musical quest
that places the most experimental results of European classical music
alongside a re-elaboration of the virtuoso polyrhythms of Carnatic
music. Traditional orchestral combinations and large percussion sections, often supplemented by electronics, meet in a luxuriant sonic
environment. The juxtaposition of archetypal and sensual rhythmic
gestures converges with the complexity of Western sound in a vision
that restores to music its fundamental spiritual force.
87
(*1941)
88
Das Mrchen [Le Conte, dit le Serpent vert]

(2002-2007) opera in a prologue and two
acts after Goethe for 6 soloists, actors,
dancers, mixed choir, orchestra, live
electronics FE*
pures du serpent vert IV (2007) for large
ensemble 28min.
Lichtung III (2007) for ensemble and live
electronics 23min.
La Douce (2008-2009) music theatre after
Dostoyevsky for two actors, two singers,
ensemble and live electronics FE*
Future Projects
pures du serpent vert III for large
ensemble (2011)
New work for ensemble and live
electronics (2011)
* Full Evening
1941 Born in Lisbon, Portugal. Lives in Paris and Pedernec, France
Studies (harmony and counterpoint) at Lisbon Academy
of Music
1963-1965 Takes part in Darmstadt Summer Courses
1965-1967 Studies a.o. composition with Pousseur and
Stockhausen
1971 Premier Prix dsthtique Musicale at the Paris
Conservatoire
1980 Journe Emmanuel Nunes in Paris (Radio France)
Since 1981 Director of the composition seminar at the Gulbenkian
Foundation in Lisbon
1982 Lectures at Harvard University in Cambridge (Mass.), upon the
invitation of Ivan Tcherepnin
1986 Officer of the Ordre des Arts et des Lettres du Gouvernement
Franais
1986-1992 Lectureship in composition at Freiburg Musikhochschule
(Institut fr Neue Musik)
Since 1990 Teaches chamber music and composition at the
Romainville Conservatory (near Paris)
1991 Named Comendador da Ordem de Santiago da Espada
by the Portuguese president
Since 1992 Professor of Composition at the Paris Conservatoire
1996 Awarded Dr. h.c. by the Universit de Paris VIII
1999 Received the UNESCO CIM-Prize, and in 2000, the Pessoa Prize
2008 Debut performance of his opera Das Mrchen at the Opera
Nacional de S. Carlos in Lisbon
EMMANU EL NU NES
r i cordi munich
selected works
Minnesang (1975-1976) for twelve
solo voices 23min.
TifEreth (1978-1985) for 6 solo
instruments (vln, ob, tbn, hn, perc, db)
and 6 orchestral groups with two
conductors 80min.
Wandlungen (1986) for 25 instruments
and live electronics (ad lib.) 31min.
Musik der Frhe (1986) for ensemble
41 min,
Duktus (1987) for ensemble 25min.
Clivages I / II (1987-1988) for six
Lichtung I (1988-1991) for nine
instruments and live electronics 24min.
Quodlibet (1990-1991) for percussion
sextet, ensemble and orchestra with
seven soloists and two conductors
57min.
Machina Mundi (1991-1992) for four solo
instruments (fl, cl, tba, perc), mixed choir,
orchestra and tape 63min.
Chessed IV (1992-1994) for string quartet
Lichtung II (1995-1996) for ensemble and
Omnia mutantur nihil interit (1996) for
womens choir and ensemble 43min.
Nachtmusik II (1981-2000) for orchestra
24min.
Musivus (1998/2000-2001) for large
orchestra 40min.
Emmanuel Nunes is one of the most important composers of his generation, as well as one of the most inventive. He has succeeded in
creating a world of sound that is exclusively his own, and in which
the echo of the near and distant past remains audible. Early in his
career he achieved a synthesis between the most dominant movements in the music of the postwar era, represented by Boulez and
Stockhausen. From the former he learned strict observation of the
laws of harmony in composition, and from the latter, his visionary
feeling for large forms and acoustical phenomena in all their complexity. But his musical roots go even deeper, unveiling a unique
balance between the polyphonic tradition culminating in Bach and
the romanticism of composers like Schubert or Mahler. With Das
Mrchen adapted from Goethe (Lisbon, 1941), Nunes has accomplished one of the most challenging and fascinating operas in the
genres history. His work is hewn out of rock, monumental, stretched
between heaven and earth. The works of Emmanuel Nunes are veritable cathedrals. The light which they radiate and which touches us
comes from a great distance and is like no other.
89
(*1970)
90
Leila und Madschnun (2009-2010) music

for a theatrical narration by Willy Decker
for Countertenor, actors, chamber choir
and large ensemble FE*
Garten der Erkenntnis (2011) for vocal
ensemble and two trombones, text by
Al-Haladj 11min.
future projects
vocalists 20min. (2011)
* Full Evening
1970 Born in Jaljuliya (near Tel Aviv), Israel. Lives in Berlin, Germany.
For many years, Odeh-Tamimi played traditional Arab music
with various notable ensembles.
1992-1996 Studies musicology in Kiel (Germany), and then
composition with Younghi Pagh-Paan and music analysis
with Gnther Steinke at Hochschule fr Knste in Bremen.
1999-2000 Scholarship from the Arab Student Aid International
Foundation
2002 DAAD Scholarship for studies at the Academy for Arts, Bremen
2003 First Composition of the Elisabeth-Schneider-Stiftung, with
Ensemble Aventure Freiburg
2004 Invitation to Israel for a concert of the Israelian Chamber
Orchestra (cond. Noam Sheriff)
2006-2007 Scholarship from the German Academy Casa Baldi, Rome
2008 Scholarship from Berlin senate for a six-month-stay in Paris
SAMIR OD EH-TAMIMI
r i cordi munich
selected works
Ann (1999) for eight instruments 8min.
Hutf Al-Arwh (2001) for eleven
instruments 8min.
Ahinnu II (2002) for seven instruments
7min.
Bukk (2003) for string orchestra 7min.
Hlatt-Hissr (2003-2004) for speaker
Gdadrja (2004-2005) for three Sopranos
and 43 musicians 9min.
Lma pom... (2005-2006) for orchestra
with ud 11min.
shira shir (2006) for Baritone and
orchestra 7min.
Madih (2007) for four Arab musicians
and ensemble 11min.
Challomot [Dreams] (2007/2008) for
voice, recorder, piano and percussion
27min.
Aufbruch (2008) for string orchestra
11min.
Cihangir (2008) for large ensemble
12min.
Rituale (2008) for large orchestra
18min.
Philaki (2009) for seven instruments
12min.
Madjnun (2009) for solo recorder and
string orchestra (with percussion)
15min.
Hinter der Mauer (2009-2010) oratorio
for four soloists (S. T. 2 Bar.), mixed choir
and ensemble, text by Christian Lehnert
64min.
Samir Odeh-Tamimi is known for his rousing, extremely intense

music, which can be heard today in many European concert halls, as
well as in his native country. At the age of 22, having already played
in many notable Arabian ensembles as a percussionist and keyboard
player (equipped with a microtonal Hammond organ), he moved to
Germany. Here, for the first time, his own work was deeply affected
by the music of Giacinto Scelsi and Iannis Xenakis, as well as by his
teacher Younghi Pagh-Paan. In his work, one hears a successful synthesis of European instrumentation, the stylistic features of advanced
New Music, the traditions of the ritual music of his homeland, and the
contours of Koranic recitation, which has had particular significance
for him in recent years. During his first decade of composing, OdehTamimi seldom wrote pieces exceeding ten minutes. Most of these
were highly compact depictions of extreme psychological mental
states, such as grief and pain combined with an overwhelming will to
live. In recent years ensemble works such as Madih or Cihangir have
portrayed ever-increasing discursive qualities: musical individuals
enter into dialogue. Thus Odeh-Tamimi advances step by step, conquering the larger, epic and dramatic forms, including the musical
theater piece, Leila und Madschnun, as well as Hinter der Mauer, an
oratorio dealing with the repressive times of the Berlin Wall.
91
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www.pagh-paan.com
92
Future projects
HOHES UND TIEFES LICHT double
concerto for violin, viola and orchestra
(2011)
* Full Evening
1945 Born in Cheongju, South Korea. Lives in Bremen, Germany
and in Panicale, Italy
1965-1971 Studies at the Seoul National University, then moves
to Germany on a DAAD scholarship
1974-1979 Studies at Freiburg Musikhochschule, where her
teachers included Klaus Huber (composition) and Brian
Ferneyhough (analysis)
1978 1st Prize at the Composers Seminar in Boswil (Switzerland)
1979 1st Prize at the Rostrum of Composers (Unesco, Paris), as well
as Na-Pa Music Prize Korea
1980 1st Stuttgart Composition Prize
1980-1981 scholarship at the Sdwestfunks Heinrich-StrobelStiftung, 1985 Scholarship from the Kunststiftung of
Baden-Wrttemberg
1991-1993 guest professorships at the conservatories in Graz and
Karlsruhe, since 1994 appointed Professor of Composition at
Hochschule fr Knste Bremen
1995 Heidelberg Artists Prize, 2005 16th Lifetime Achievement
Award of Seoul National University, 2006 Order of Civil Merit
of the Republic of Korea, 2009 5th KSB Global Korean Award
(2009)
2009 Elected member of the Akademie der Knste Berlin
2011 Medal for Arts and Sciences of the City of Bremen Senate
Y OUN GHI PA GH - PAAN
RICORDI MUNICH
selected works
MAN-NAM I (1977) for clarinet, violin,
viola and cello 15min.
NUN (1979) for vocal ensemble and
ensemble 9min.
SORI (1979-1980) for large orchestra
16min.
NIM (1986-1987) for large orchestra
17min.
TA-RYONG II (1987-1988) for sixteen
instruments 14min.
HWANG-TO / Gelbe Erde (1988-1989)
for choir and 9 instruments 16min.
MA-UM (1990-1991) for Mezzo-soprano
and ensemble 15min.
U-MUL / Der Brunnen (1992) for ensemble
9min.
BIDAN-SIL / Seidener Faden (1992-1993)
for oboe and ensemble 17min.
SOWON (Wunsch) (1996) for Mezzosoprano and ensemble 17min.
GO-UN NIM (1997-1998) for chamber
orchestra 11min.
sowon...borira (1998) for Mezzo-soprano
Dorthin, wo der Himmel endet (20002001) for orchestra with Mezzo-soprano
and six male voices 15min.
Mondschatten (2002-2005) chamber
music theater after Sophocle for four
soloists, vocal ensemble and orchestra
FE*
Vide Domine, vide afflictionem nostram
(2007) for mixed choir 13min.
PHOTO: si-chan park
Younghi Pagh-Paan began composing at the age of twelve. Her most

lasting musical impressions came from the marketplace in the small
town of Cheongju, where she grew up. Here she heard the folk music
of Korea: songs, instrumental music, Shamanist daily rituals, but
above all, pansori, the popular form of song epic in which an actor
or actress, alternating between recitation and expressive singing and
accompanied only by a drummer, can hold the spectators entranced
for hours. In 1974 she moved to Germany and the distance acted
as a catalyst, releasing her creative powers. Her music opened itself
up to the world. Rhythms and melodies from Korean peasant music,
colourful harmony, exciting sonic processes, introverted silence, and
a spirit of rebellion are all major aspects of her work. In 1980 she
gained international recognition through the performance of her
orchestral work SORI at the Donaueschingen Festival. Since then
she has enriched the world of contemporary music with a host of
intense and expressive works in the domains of chamber, orchestral
and vocal genres.
93
(*1950)
www.petitgirard.com
94
* Full Evening
1950 Born and lives in Paris, France
1989-1996 Founder and conductor of the Orchestre Symphonique
Franais
Since 2000 Recording contract with the Naxos label
2001 Prix Musique of SACD
2002 World premiere of Joseph Merrick dit Elephant Man at the
Prague State Opera. The work has been performed in several
productions
2003-2005 President of the SACEM Board of Directors
Since 2005 Musical Director of the Orchestre Colonne, Paris
LAU RENT PETIT GIRARD
selected works
Le Lgendaire (1984) solo violin, mixed
choir and orchestra 21min.
Concerto pour violoncelle et orchestre
(1994) 24min.
Joseph Merrick dit Elephant Man
(1997-1999) opera FE*
Le Fou dElsa (2000) for Alto voice and
orchestra 18min.
Vocalise (2001) for Soprano and orchestra
3min.
Pome, pour grand orchestre cordes
(2002) 11min.
Dialogue pour alto et orchestre
(2002-2003) 23min.
Les douze Gardiens du Temple
Rflexions croises (2007) for cello
and percussion 11min.
PHOTO: pascal dhennequin
Thanks to his exceptional musical talent and an unrivalled level

of energy, Laurent Petitgirard has tackled a dual career both as a
composer in a wide range of genres (from opera, for which he has
composed one of the great works in recent years, to music for film
and animation) and as an enterprising orchestral conductor. Staunch
defender of dynamic modernity, he belongs to that group of composers who are committed to performing their own music and that
of their contemporaries on stage and in the studio.
95
(*1951)
www.RHPP.de
96
FUTURE PROJECTS
Branenwelten, complete version for
soloists (fl, pf), instrumental groups,
electronics 15min. (2009-2011)
1951 Born in Baden-Baden, Germany. Lives in Cologne, Germany
1971 Studies with Fortner, 1973 with Stockhausen
1977 Degree in conducting with F. Travis
1980 Begins his activity as a conductor
1982 Scholarship of the City of Cologne; Kranichstein Music Award;
1983 Award of Ensemblia Mnchengladbach
1985 Wins competition Young Generation in Europe
1987 Bernd Alois Zimmermann Award, Cologne
1990 Composer-in-residence at the Villa Serbelloni (Rockefeller
Foundation); professor for composition at the Maastricht
Conservatory
1992 Guest of the Japan Foundation in Japan
Since 2005 Member of the Bureau du Directeur of the Electronic
Music Studio Centre de Recherche et Formation Musicale de
Wallonie CRFMW, Lige
As a guest conductor he has worked, among others, with Ensemble
2e2m, Ensemble Modern, the Radio Symphony Orchestra Cologne,
the Orchestre Philharmonique du Luxembourg, at the Bayerische
Staatsoper Munich and at many festivals worldwide, such as Musik
der Zeit Cologne, Musica Strasbourg, Donaueschingen, Holland
Festival, Salzburger Festspiele, Helsinki Festival, Huddersfield,
Akiyoshidai a.o.
r obe rt hp pl atz
RICORDI MUNICH / CASA RICOR DI
selected works
Grenzgnge Steine (1989/1992-1993)
for soloists (sop. 2 pf) and orchestra
27min.
Echo II (1995) for violin, piano and
ensemble 8min.
nerv II (1995/96) for violin, piano and
wind ensemble 13min.
Turm / Weiter (1995-1996) for orchestra
10min.
up down strange charm (1996-1998) for
instrumental groups 15min.
main FLEUR (Echo III) (1998) for clarinet/
saxophone, ensemble and live electronics
11min.
Tau (1998-1999) for string quartet
32min.
Hlle 1 (2001) for five instrumental
groups distributed in space 15min.
Andere Rume (1994-2002) for four
percussionists and tape 30min.
Liebeslieder [Love Songs] (2004) for
Baritone, Mezzo-soprano and orchestra
22min.
Horizont Architektur Kern (2005-2006)
for solo violin and orchestra with tape
22min.
Unter Segel Boutaden Hlle 2 (2007) for
Countertenor and ensemble 19min.
Wunderblock (2007-2008) for six
instruments 8min.
strings (Echo VII) (2008) String Quartet
No. 3 15min.
bulk (2009) for solo alto flute and
orchestra 20min.
PHOTO: Susanne Diesner
The work of Cologne-based composer and conductor Robert HP

Platz combines spontaneous, intuitive sound forms with, in echo
of his serial work, calculated detail. He has followed a life-long
course of composing one super-composition, consisting of dozens of scores that, if extracted from a kind of formal polyphony,
can also be performed separately. The background to this novel
attempt at synthesizing macro- and micro-structure is his striving
for an integral work of art that would serve as the Summa of all
artistic and individual experiences. In other words, this integral
artwork can be understood as the sum of all previous artistic experience, depicting the world as it appears to the composing subject,
as fully as possible.
97
(*1969)
98
Future projects
New Work for orchestra (2011)
New Work for music theater FE* (2012)
Speicher II, III, V, VI Cycle of works for
ensemble FE* (2011-2013)
* Full Evening
1969 Born in Hemer (Sauerland), Germany. Lives in Berlin, Germany
He studied conducting and composition at Hochschule der
Knste Berlin, with Friedrich Goldmann and Gsta Neuwirth,
among others. Further studies of sound synthesis and algorithmic composition at the Technische Universitt Berlin and
at the ZKM Karlsruhe
1996 Studied at the Cit Internationale des Arts in Paris
Since 1998 Musical director of ensemble mosaik; that same year
Boris-Blacher-Preis
2001 Stuttgart Composition Prize and Frderpreis of the Ernst-vonSiemens-Musikstiftung, together with ensemble mosaik
2002 Busoni-Preis of Akademie der Knste Berlin
2002-2004 Gives lectures in composition at Hochschule fr Musik
Hanns Eisler in Berlin
2004 Frderpreis of the Ernst-von-Siemens-Musikstiftung
2005 Schneider-Schott-Music Prize
2006 Frderpreis Musik of the Akademie der Knste in Berlin
2009 Christoph-und Stephan-Kaske-Preis
Since 2008 Member of Akademie der Knste Berlin
2009 of Nordrhein-Westflische Akademie der Wissenschaften und
der Knste and 2010 of Bayerische Akademie der Knste.
e nn o pop pe
RICORDI MUNICH
selected works
Knabentrume (1995) for chamber
ensemble 22min.
Gelschte Lieder (1996-1999) for five
instruments (fl, cl, vln, vc, pf) 20min.
Holz (1999-2000) for solo clarinet and
small ensemble 10min.
Knochen (1999-2000) for ensemble
23min.
l (2001-2004) for large ensemble
35min.
Interzone (2003-2004) songs and images
for Baritone, five vocalists, video and
ensemble, after Marcel Beyer 78min.
Salz (2005) for chamber ensemble
15min.
Obst (2006) for orchestra 17min.
Keilschrift (2006) for orchestra 20min.
Arbeit Nahrung Wohnung (2006-2007)
music theater for 14 Gentlemen, libretto
by Marcel Beyer, for two solo voices, vocal
ensemble, four percussionists and four
keyboarders FE*
Altbau (2007-2008) for orchestra
15min.
Schrank (1989-2009) for nine musicians
24min.
Markt (2008/2009) for large orchestra
16min.
Speicher I & IV (2010) for large ensemble
16 & 14min.
Wald (2010) for four string quartets
24min.
PHOTO: mutsouvenir i bienert
With an extraordinarily fresh attitude, Enno Poppe successfully demonstrates to his ever-growing audiences just how approachable and
fascinating todays music can be, without catering to the well-established expectations of his listeners. In a highly original way, he builds
on the results of his thorough explorations in the fields of alternative tunings, time organization and form strategies. In his hands,
the material breeds, grows and proliferates like a living, dynamic
biological culture. In Interzone, his musical theatre piece based on
texts by Marcel Beyer (inspired in turn by William S. Burroughs), he
evokes the futuristic sound of science fiction scenarios, delineating
the insectoid existence central to the narration through whirring
groups of notes. Along with these types of poetic ideas, and models
derived from natural science, Poppes work is also marked by critical
historical awareness. For all this, Poppe has never renounced dramatic, even magical moments.
99
(*1937)
www.rolf-riehm.de
100
Die schrecklich-gewaltigen Kinder

(2003) for Coloratura Soprano and large
ensemble 63min.
Fremdling, rede (2003) for Mezzosoprano, speaker and large orchestra
65min.
Hamamuth Stadt der Engel (2005) for
piano 27min.
Au bord dune source (2007) for solo
tenor recorder, orchestra and soundtrack
24min.
Wer sind diese Kinder (2008-2009) for
solo piano, large orchestra and soundtrack 25min.
Future projects
Lenz in Moskau for seven instruments
and soundtrack (2011)
vocalists (2011) 20min.
New Opera (2010-2013) FE*
* Full Evening
1937 Born in Saarbrcken, Germany. Lives in Frankfurt am Main,
Germany
Initially he studied music education in Frankfurt, and from
1958 composition with Wolfgang Fortner in Freiburg. Subsequently active as a solo oboist (e.g. with Ungebruchliches at
the Darmstadt International Summer Courses in 1966)
Riehm is a co-founder of the Frankfurt Music Society, which existed
from 1964 to 1970. After teaching briefly in schools, from 1968
he taught at the Rheinische Musikschule in Cologne, where he was
also a member of Gruppe 8, a Cologne composers collective,
until 1972
1968 Awarded the Premio Marzotto per la Musica and a Villa
Massimo scholarship that enabled him to spend some time
in Rome
1974 to 2000 Professor of Composition und Harmony at the
Frankfurt Musikhochschule
1976-1981 Member of the legendary So-Called Radical Leftist
Wind Orchestra in Frankfurt. Concert tours, lectures and
workshops took him to Sweden, mid- and South America,
Japan and elsewhere
1992 Saarland Art Prize
2002 The town of Hanaus Hindemith Prize
2010 Elected as a member of the Berliner Akademie der Knste
ROLF RIEHM
r i cordi munich
selected works
He, trs doulz roussignol joly (1978)
after ancient French ballads/virelais for
orchestra 17min.
Tempo strozzato (1978) for string quartet
21min.
Tnze aus Frankfurt (1980) for orchestra
in four groups 35min.
O Daddy (1984) for orchestra and tape
17min.
Berceuse (1984/85) for large orchestra
20min.
Das Schweigen der Sirenen (1994) music
theatre, after Kafka, for 7 soloists and
orchestra FE*
Double Distant Counterpoint (1994) for
Shifting (1994) for violin and orchestra
20min.
Die Erde ist eine Schale von dunkelm Gold
(1966/99) two paraphrases on Bach for
Soprano, Tenor, Baritone and orchestra
30min.
Les Chants de la Rvolution sont des
Chants de lAmour (1989-1998) for
Soprano, orchestra and soundtrack
45min.
Die Trnen des Gletschers (1997-1998) for
orchestra with sampler 20min.
HAWKING (1998) for chamber ensemble
35min.
Archipel Remix (1999) for large orchestra
47min.
Nuages immortels oder Focusing on Solos
(Medea in Avignon) (2001) for orchestra
22min.
PHOTO: Stefan forster
Rolf Riehm is one of the most respected German composers today.

He is an unconventional musician, in large part because he sees
himself as a political being, and he uses bizarre combinations of
techniques or cultural references. He is the first to musically represent such a complex cosmos, encompassing philosophical reflection,
historical fact, myth, fairytale, memories, scientific argument, the
elevated and the trivial, current social and political findings, in addition to his own very personal viewpoints and ingredients. Without
positioning himself in either historical or more recent compositional traditions, he has made use of the entire palette of expressive
possibilities, and when necessary, has shaped them more radically
than at times has seemed proper to the adherents of sophisticated
musical culture.
101
(*1940)
www.sary.hu
102
1940 Born in Gyr, Hungary. Lives in Nagykovcsi, Hungary
1961-1966 Studied composition with Endre Szervnszky at the
Ferenc Liszt Academy of Music, Budapest
1970 Foundation of the New Music Studio in Budapest, with Zoltn
Jeney, Pter Etvs, Albert Simon and Lszl Vidovszky
mid-1970s Began formulating a special pedagogical and improvisation method called Creative Music Practice. Gave many
courses for music teachers in Japan, France, Italy, Belgium
and Estonia
Since 1990 Musical Director at the Jzsef Katona Theatre. Professor
of Music Performing Practice at the University of Drama and
Film in Budapest
1993 Bartk-Psztory Award
1996 Spent three months in Tokyo with a grant from the Japan
Foundation, where he studied traditional Japanese theatre,
music and dance
1998 Studies for Steam Engines won 3rd prize in the 7th International
Rostrum of Electroacoustic Music. Member of the Szchenyi
Academy of Letters and Arts
2008 Artist of Merit Award from the Hungarian government
* Full Evening
L SZL S RY
EMB
selected works
Catacoustics (1967) for two pianos
12min.
Immaginario No. 1 (1971) for orchestra
12min.
Flowers of Heaven (1973) for one to four
pianos 24min.
Dianas Farewell (1976) for 8 violins and
8 violas 8min.
Pebble Playing in a Pot (1978-1979) for
one to four equal optional instruments
9min.
Hyperions Song of Destiny Hommage
Hlderlin (19851986) for 24 strings
25min.
Dance Music (1987-2000) a collection
of solo and chamber music for different
small ensembles (13 movements)
40min.
In Sol (1991) mystery play in twelve
scenes to Siberian folk texts, for 6
singers, 6 wind players (ob, 2cl, bsn, tpt,
tbn), 6 string players and a percussionist
30min.
Living Pictures (19921993) chamber
opera in one act after Jnos Pilinszky,
for 5 singers and chamber ensemble
70min.
Imago Mundi (1996) for 4 percussionists
and 3 dancers 40min.
The Blacks (2004) opera, after Jean Genet
for 5 voices and percussions FE*
Tropus and sequence (2006) for piano
and accordion 15min.
Cherubs and seraphs (2010) to bezant
liturgical texts, for male choir 13min.
Lszl Sry began his career as one of the most important creators
of the experimental art movement in Hungary. In his compositions
he sought new kinds of order capable of being developed in music
and to this day he likes to make use of controlled randomness, often
employing non-musical interconnections, as well as mathematical
and logical systems, to organize sounds and rhythms. The majority
of his works are written for classical instruments and ensembles, but
some feature special sound sources such as a prepared piano, clay
bells or steam engines. He believes that deliberately created noise
organized into rhythmic form is the same kind of musical element
as a specific note, and he therefore likes to make use of percussion
instruments in his work. For him there are countless ways of working
out every musical idea, and a composer may choose to write a work
in such a form as to leave the realization of the processes up to the
performer, who will precisely determine its every moment. In this
case however, the work written down is only one possible form of
the musical idea. It is therefore a regularly recurring phenomenon
in Srys uvre up to now that several musical ideas reappear in a
number of different compositions.
103
(*1964)
104
Future projects
Flgelschlagvariationen Act I: Zwickau
collective music theater work in five acts
on the life of Robert Schumann, libretto
by Klaus Angermann; concept: AnjaChristin Winkler (2010-2011) FE*
Spuren)(Suchefor orchestra 10min.
(2011)
Copeaux, clisses for oboe, (bass) clarinet,
trumpet, cello and electronics 10min.
(2011)
New Work for orchestra 6min. (2011)
1964 Born in Dessau, Germany. Lives near Kehl am Rhein/
Strasbourg
1976 Beginning her education in the Childrens Composition Course
at Halle
1983-1987 Composition studies with Udo Zimmermann at Dresden
Musikhochschule, works in the Dresden electronic studio
1988-1991 in Paul-Heinz Dittrichs composition master class at the
Akademie der Knste Berlin
1990 Hanns Eisler Prize, from Deutschlandsender Berlin
1995 Composition teacher at the Brandenburg New Music
Colloquium
1998 Heidelberg Artists Prize, 1999 Scholarship at the Deutsche
Akademies Villa Massimo in Rome
2000 Scholarship at the Akademie Schlo Solitude, Stuttgart
Since 2007 Composition teacher at the Festivalmusicalta Rouffach/
France
2010 Elected regular member of the Saxonian Academy of the Arts
ANNETTE SCHL NZ
r i cordi munich
selected works
Bei Spuren von Wasser und Salz (1987) for
high Mezzo-soprano and 11 instruments
12min.
Ornithopoesie (1989) for twelve solo
voices 13min.
Un jour dt (1996) music theater for
children, libretto by Pierre Garnier, for
actor, seven child actors, childrens choir
and ensemble 60min.
das-das-das andere ufer (2001) for two
voices and seven musicians 40min.
doch dir darin (2001-2002) for bass
clarinet/doublebass clarinet, tuba and
orchestra 17min.
Lichtpause (2005) for soprano, six
instruments and two videos (Thierry
Au) 40min.
high tide (2005) for clarinet, accordion,
double bass and live electronics 12min.
Raum Wirbel (2006) for accordion and
blaulaub (2007/2008) for recorder,
bass-koto, orchestra and live electronics
22min.
the snow has no voice (2008) for seven
instruments 7min.
weithin (in mgliche mitten) (2009)
for orchestra 4min.
PHOTO: matthia creutziger
Annette Schlnz has proved to be a constant creator of poetically inspired and wonderfully sensitive work. Her music is full of
delicate textures and careful effects in space and time, such as her
piece blaulaub for recorder, koto, orchestra and live electronics. As
Schlnz herself says, sometimes she feels like a spider, constantly
spinning her web. Her output is, in the best sense, a web, and a widestretched one at that, with many connecting threads. She believes
that every day, every experience, every moment becomes an aural
glimpse. And for this composer, now living near Strasbourg, these
aural glimpses are to be found everywhere: in nature, in earlier
music, in the visual arts, and above all in literature. Schlnz, ever
sensitive to sound and concerned with perceptibility, rejects typical
orchestral collective effects such as rousing crescendi and forceful
tutti blocks. Her works are aurally transparent, creating finely spun
sonic worlds.
105
(*1957)
106
1957 Born and lives in Paris, France
1984 Prize-Winner of the Antidogma International Composition
Competition
1990 Prize-Winner of the first Henri Dutilleux Competition in Tours
1992 World premiere of Feuillages by the Ensemble Intercontemporain in Paris. Further concerts in numerous European capitals
1993 Prize-Winner of the Fondation Natixis/Banque Populaire/
Crdit National
2000-2001 Residency with the Orchester der Beethovenhalle in
Bonn, Germany
2008-2010 Residency with the Orchestra national de Montpellier,
France
2011-2012 Residency with the Orchestre Lyrique dAvignon, France
PHILIPPE SCHOELLER
selected works
Tree to Soul (2006-2009) string quartet
22min.
Galax (2010) for childrens choir and
ensemble 20min.
Songs from Esstal (2010) for soprano
and large orchestra 18-20min.
PHOTO: philippe gontier
From extremely sparse solo works to overflowing pieces for large

orchestras, Philippe Schoellers compositions demonstrate both his
extreme taste for the details of instrumental movements in the most
intimate parts of his life, and his own dizzying quest for passion that
drives him to the perception of natural phenomena. This quest for
perfection and sensitive generosity paves the way for a vast catalogue explored by the greatest contemporary interpreters.
107
(*1959)
www.marcostroppa.eu
108
Let Me Sing into Your Ear (2010) for basset

horn and orchestra 26min.
FUTURE PROJECTS
Re Orso , theatrical work, based on a text
by Arrigo Boito to be premiered at the
Opra Comique Paris (2012)
1959 Born in Verona, Italy. Lives in Paris, France
1980-1984 Researcher and composer at the University of Padua
Centre for Computational Sonology (CSC), where he writes
his first mixed composition (Traiettoria, for piano and
computer-generated sounds)
1984-1986 Studies at the Massachusetts Institute of Technology
Media Laboratory (USA) thanks to a scholarship from
Fulbright Foundation
1987-1990 Director of Education department at the IrcamCentre Pompidou
1991 World premiere of Miniature Estrose in Paris performed by
Pierre-Laurent Aimard at Amphithtre de lOpra Bastille
1995 Begins the cycle of compositions for solo instrument
and chamber electronics (a term that the composer
himself coined)
1999 Professor of composition at the Musikhochschule in Stuttgart,
after having taught in Conservatoire National Suprieur in
Paris and Lyon
2007 World premiere of Ritratti senza volto in Paris by Orchestre
de Paris, Salle Pleyel
2010 World premiere of Let me Sing into Your Ear for horn basset
and orchestra at the Donaueschinger Musiktage by Radio
Kammerphilharmonie Hilversum. Conductor Peter Etvs
MARCO STROPPA
CASA RICORDI
selected works
Traiettoria (1982-1988) for piano and
electronics 46min.
Metabolai (1982) for orchestra 10min.
Spirali (1987-1988) for string quartet
projected into space 22min.
Miniature estrose, first book (1991-2005)
for piano 60min.
Un segno nello spazio (1992) string
quartet 15min.
Hiranyaloka (1994) for orchestra
27min.
Upon a Blade of Grass (1995-1996) for
piano and orchestra 35min.
Auras (1995) for percussion and chamber
electronics 15min.
little i (1996) for flute and chamber
electronics 23min.
Come Natura di Foglia (1997-2002) for
vocal octet and electronics 30min.
Hommage Gy. K. (1997-2003) for pf, vla,
cl 8min.
Cantilena (2001-2003) for mixed choir
divided in 3 groups 27min.
Ay, theres the rub (2001-2009) for cello
10min.
Ritratti senza volto (2007) for orchestra
17min.
From Needles Eye (1996-2007) for solo
trombone, double quintet and percussion
26min.
Perch non riusciamo a vederla? (2008)
for mixed chamber choir and viola
18min.
hist whist (2009) for violin and
electronics 18min.
PHOTO: MAURO fermariello
For Marco Stroppa, a bilingual composer in osmosis with tradition

and electronics, musical creation is inseparable from an exploration
of the expressive potentialities offered by the dialectical intervention
of computer-assisted instruments. Enriched with a new dimension,
the acoustic instruments are thus assembled in harmonic refractions,
reverberating motifs and blends of resonances in a dialogue, finely
chiselled with the finesse of a goldsmith. A careful placement and
projection of the instruments in space, moreover, creates a sensorial
dramaturgy that introduces the listener directly into the heart of the
generation of sound.
109
(1921 2007)
110
1921 Born in Szszvros (Ortie), Romania
1939-1948 Studied at the Budapest Academy of Music with Zoltn
Kodly and Jnos Viski, then with Goffredo Petrassi at the
Accademia Santa Cecilia in Rome
1950-1989 Professor of Music History and Theory at the Ferenc
Liszt Academy of Music in Budapest
1953-1970 Activity in musicology: published the first Kodly
catalogue (1953), the first complete Bartk catalogue (1956),
and Collected writings by Bartk (1967)
1970 Concerto No. 3 won the title Distinguished Composition of
the Year at UNESCOs International Rostrum of Composers
in Paris
1986 World premiere of Canto dAutunno, commissioned by
the BBC
1987 Honoured with the title Commandeur de lOrdre des Arts
et des Lettres by the French Government
1988 World premiere of String Quartet commissioned by the
Orlando Festival, Holland
2007 Awarded the Szchenyi Prize by the Hungarian state
Died in Budapest, Hungary
AN DR S SZL L S Y
EMB
selected works
Concerto No. 3 (1968) for 16 strings
13min.
Musica per orchestra In memoriam
Zoltn Kodly (1972) 20min.
Trasfigurazioni (1972) for orchestra
18min.
Sonorit (1974) for orchestra 10min.
Concerto per clavicembalo ed 16 archi
(1978) for cembalo and 16 strings
16min.
Fabula Phdri (1982) from Phdri
Augusti Liberti Fabul Aesopi, for vocal
sextet 7min.
In Pharisos (1982) for mixed chorus and
trumpet in B flat 10min.
Planctus Mari (1982) to sections of the
Stabat Mater by Jacopone da Todi and a
Hungarian popular Passion from the 18th
century, for female chorus 9min.
Tristia (Maros Lament) (1983) for 16
strings 10min.
Canto dautunno (1986) for orchestra
20min.
Paesaggio con morti (1987) for solo piano
12min.
String Quartet (1988) 27min.
Elegia (1993) for wind quintet and string
quintet or string orchestra 13min.
Passacaglia Achatio Mth in memoriam
(1997) for violoncello solo and string
quartet 10min.
Addio Georgii Kro in memoriam (2002)
for violin solo and 9 strings 11min.
One of the most important composers of post-Bartk Hungarian

music, Andrs Szllsy is the oldest member of the generation represented by Gyrgy Ligeti and Gyrgy Kurtg. In his works, classical
symphonic and chamber music traditions are forged together with
the construction principles of serialism in a highly individual manner.
His music is characterized by a balance of extremes: dodecaphony
is combined with expansive melodies, varied tone colours combine
into uniform surfaces, and extreme emotions are counterbalanced
by the presence of classical proportions. His art features a recurring
quality that has become his calling card: bell-effects created from
the different orchestral tone colours and quotations from liturgical
melodies, which often convey grief or sadness.
111
(*1942)
www.tabachnik.org
112
* Full Evening
1942 Born in Geneva, Switzerland. Lives in Paris, France and in
Montreux, Switzerland
Since 1970 Guest conductor for the most prestigious orchestras
1976-1979 Musical Director of the Ensemble Intercontemporain,
Paris
1984 Founder of the Mediterranean Youth Orchestra
1989 World premiere of La Lgende de Hash for the bicentennial
celebration of the French Revolution
1991 World premiere of Le cri de Mohim for the 700th anniversary
celebrations in Switzerland
Since 2
005 Musical Director of the Noord Nederlands Orkest
Since 2008 Musical Director of the Brussels Philharmonic
2008 Published De la musique avant toute chose with BuchetChastel, Paris
m ic he l ta bac h nik
selected works
Cosmogonie (1979-1981) for orchestra
26-30min.
LArche (1982; rev. 2009) for solo soprano
and small orchestra 15min.
Les Sept Rituels Atlantes (1985) for mixed
choir and ad lib. orchestra 14min.
Cycle de Hash (1989-2007) oratorio
for 2 solo voices, 4 actors, spoken choir,
magnetic recording and orchestra) in 4
parts which could be performed separately: Prlude la Lgende, Le Cri
de Mohim, Evocation, La Lgende de Hash
15 & 20 & 15 & 30min.
Le Pacte des Onze (1984-2002) four solo
voices, choir, ad lib. tape and orchestra
FE*
Concerto pour piano et orchestre de
chambre (2005) 17min.
Nord (2006) for orchestra 16min.
Dyptique/Echo (2008) for solo violin and
orchestra 22min.
Gense, Concerto no. 2 pour violon et
orchestre (2010) plus soprano voice
25 min
From his start as a prodigy conductor (mentored notably by Herbert

von Karajan and Pierre Boulez), Michel Tabachniks brilliant carreer
with the baton has been complemented by his exacting and seductive work as a composer. Pursuing all of his artistic work with the
refined humanism demonstrated in his aesthetic and personal loyalties, he fervently embodies the current relevance of Art music in
todays society.
113
(*1968)
www.eric-tanguy.com
114
Future project
La PHOTO: dun enfant avec une trompette, opera, libretto by Michel Blanc
FE* for the Thtre des Bouffes du Nord,
Paris (2012)
* Full Evening
1968 Born in Caen, France. Lives in Paris, France
1993-1994 Resident in the Villa Medici in Rome
1997 Herv Dugardin Award from SACEM
2001 World premiere of the Concerto pour violoncelle et orchestre
no. 2 by Mstislay Rostropovitch at the Flneries de Reims
Festival. Following performance at Carnegie Hall in New York
by the Boston Symphony Orchestra, conducted by Seiji Ozawa
2001-2003 Resident composer at the Orchestre de Bretagne
2004 and 2008 Composer of the year at Victoires de la musique
in France
2004 World premiere of Snque, dernier jour with Michel Blanc,
as soloist, and the Orchestre de Bretagne conducted by
Franois-Xavier Roth
2007 World premiere of In Terra Pace by Anne Gastinel with
the Radio France Philharmonic Orchestra conducted by
Michel Plasson
ERIC TANGU Y
selected works
Concerto pour violon et orchestre no. 2
(1996- rev.2003) 28min.
Concertos pour violoncelle no. 1 and no. 2
(1994-1995 and 2000) 32 & 28min.
Concerto pour flte et orchestre no. 2
(1994) 15min.
Intrada (1998) for orchestra 17min.
Incanto (2001) for orchestra 6min.
Adagio (2002) for string orchestra
9min.
Sinfonietta (2002-2003) for orchestra
16min.
Concertino pour hautbois (2003) for solo
oboe and ensemble 15min.
Snque, dernier jour / Seneca, Last
Day (2004) concerto for speaker and
orchestra 20min.
In Terra Pace (2007) for solo cello and
orchestra 25min.
In excelsis (2008) for orchestra 20min.
vocation (2010) for cello and piano
8min.
Trio (2010) for vl, vc, pf 12min.
PHOTO: michel blanc
Eric Tanguy is a master of kinetic art and orchestral colour. For the
last two decades, his music has been captivating the worlds greatest musicians (including Mstislav Rostropovitch, Seiji Ozawa, Renaud
Capuon and Emmanuel Pahud, among others) and the most perceptive audiences. He is at the centre of a constellation of close
international artistic collaborators, and his body of work, filled with
more than 70 titles ranging from solo pieces to symphonic frescoes,
demonstrates the influence of the French school.
115
(*1956)
info.bmc.hu
116
Future projects
Neptune (in progress) for orchestra
commissioned by the Hungarian National
Cultural Fund (2011)
Eight Invocations to the Lunar Phasis for
viola and piano for Kim Kashkashian and
Peter Nagy, a commission from International Bartk Seminar and Festival,
Szombathely (2011)
Imaginary Dialogues for chamber
ensemble commissioned by the New
Music Studio Moscow (2011)
* Full Evening
1956 Born and lives in Budapest, Hungary
1974-1982 Studied at the Ferenc Liszt Academy of Music in
Budapest: composition with Rezs Sugr and conducting
with Andrs Krodi
Since 1979 Professor at the Ferenc Liszt Academy of Music in
Budapest
1985 Founded his own instrumental ensemble, Intermodulation,
dedicated to 20th and 21st century music, and has been its
artistic director since
1991 As conductor participated in the production of Madernas
Hyperion at the Paris Festival dAutomne and in the
subsequent European tour
1999 World premiere of Atte in Berlin by the UMZE Ensemble
2000-2004 Deputy Rector of the Ferenc Liszt Academy of Music
in Budapest
2001 Bartk-Psztory Award
2002 Assisted Peter Etvs as conductor of the second orchestra
in Etvss opera Three Sisters in the Wiener Festwochen.
World premiere of Kosmos, commissioned and performed
by MusikFabrik
2007 World premiere of his opera Genitrix, commissioned by the
Opra de Bordeaux and the French State
Since 2
2010 World premiere of Passacaglie performed by Kim Kashkashian
and Concerto Budapest Orchestra in Budapest
LSZL ti ha ny i
EMB
selected works
Silence of the Winds (1984) for chamber
ensemble 15min.
Krios (1984-1985) for chamber orchestra
16min.
Enodios (1986) for orchestra 18min.
Irrlichtspiel (1991) for violin solo and
large ensemble 12min.
Summer Music (1992) for six instruments:
fl (picc and afl), cl (bcl), vln, vc, vib, pf
11min.
Lpitaphe du soldat (1994) for seven
instruments: cl, bn, tpt, tbn, perc, vln, db
9min.
Triton (1995) for bassoon and ensemble
18min.
Schattenspiel (1997) for clarinet, cello
and piano 46min.
Linos (2001-2002) for harp 15min.
Nchtliche Klauseln (2001) for organ
13min.
20 Night Meditations (2002) for 8 solo
instruments and orchestra 13min.
Genitrix (2001-2007) opera in two acts
after Franois Mauriac for 8 voices, mixed
choir, childrens choir and orchestra FE*
Epilegomena (2009) for flute solo and
orchestra 11min.
Passacaglie (2009) for viola solo and
orchestra 21min.
Although his music is basically of abstract origin, Lszl Tihanyis

work frequently features poetic elements, witty motif jokes and characters constructed through madrigalism, which are dramatic in their
effect and evoke symbols of nature or ironic situations. Although he
enjoys making use of various techniques in polyphonic construction, he often gathers the melodic lines into surfaces that create a
grandiose homophonic effect. With the help of instrumentation, he
uses tone colours and stereophony, created by separating groups of
instruments or solo instruments, as melodic elements. It is of great
importance to him that his melodies mirror the gestures, movements
and motions of human communication.
117
118
selected works
Lusgnol in vatta a un fil (1985) for
ensemble 10min.
Prima dellalba (1992) for orchestra
25min.
La station thermal (1993) opera, after
Carlo Goldoni FE*
Notturno concertante (1994) for guitar
Dai calanchi di sabbiuno (1995) for fl, bcl,
tub bells, vln, vc 5min.
Dyonisos (1996) ballet 35min.
Les oiseaux de passage (1998) opera FE*
Tre Veglie (2000) for Mezzo-soprano, cello
and large orchestra 40min.
Diario dello sdegno (2002) for large
orchestra 17min.
Irini, Esselam, Shalom (2004) for actor,
violin and orchestra 20min.
Voci di notte (2006) for orchestra
10min.
Teneke (2007) opera, after Yashar Kemals
tale FE*
Prospero o dellArmonia (2008) for actor
The Same See (2010) opera, after Amoz
Oz FE*
Tagebuch der Emprung (2010) for large
orchestra 18min.
CASA RICORDI
* Full Evening
1949 Born in Bologna, Italy. Lives in Milan, Italy
1974 Attends courses of the Berkshire Music Center at Tanglewood
(USA), where he wins the Koussewitzky Prize in Composition
1976 Winner of the First Prize at the Gaudeamus Competition in
Holland, with Les soupirs de Genevive for 11 solo strings
1992 World premiere of the integral version of Luoghi Immaginari
(1987-1992), a cycle of chamber pieces that has been given
innumerable performances worldwide
1993 World premiere of La station thermal at Opra de Lyon
(commissioner); further performances in 1994 and 1995
in Paris (Opra Comique) and Milan (Teatro Lirico as part
of La Scalas season)
1995 World premiere of Dai calanchi di sabbiuno (piece composed
to commemorate the 50th anniversary of the Resistance).
On invitation of Claudio Abbado he made the orchestral
transcription of the same piece for the European tour of the
Gustav Mahler Jugendorchester (in its various versions the
piece has been played over a hundred times)
2000 World premiere of Tre Veglie at Salzburger Festspiele
(commissioner) with Orchestre national de France
conducted by Ivn Fischer
2002-2005 Collaboration with the film-makers Ermanno Olmi,
Patrice Chreau who used his music in a few of their films
2007 World premiere of Teneke at Teatro La Scala; stage direction
Ermanno Olmi, conductor Roberto Abbado
2011 World premiere of the opera The Same See after Amoz Ozs
novel, at Teatro Petruzzelli, Bari (Italy)
2011 World premiere in Leipzig of Tagebuch der Emprung (first
version of Dario dello sdegno) with Gewandhaus Orchestra
conducted by Riccardo Chailly and tour in European capitals
FABIO VACCHI
Fabio Vacchis contemporary music is easily reconciled with the

public and is perfectly capable of cohabiting in the same concert
hall with the classical repertoire. His rigorous compositional craftsmanship is clearly related to the avante-garde but constantly shows
itself to be attuned to the listeners perception. He creates a careful interaction between harmonic, timbric, dynamic and structural
choices that blend together in an idiom that is easily recognisable,
constantly evolving and three-dimensional. The continuity of this
formal process coexists with a refined lyricism, in keeping with an
undeniably humanistic aesthetic.
PHOTO: ALL rights reserved
(*1949)
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(*1944)
info.bmc.hu
120
Future projects
Reverb, new composition for piano and
string quartet commissioned by Kunstfest
Weimar (2011)
1944 Born in Bkscsaba, Hungary. Lives in Pcs, Hungary
1962-1967 Composition studies with Ferenc Farkas at the Ferenc
Liszt Academy of Music in Budapest
1970 Studied in Paris with UNESCO scholarship in the Groupe de
Recherches Musicales of French Radio and in the composition
classes of Olivier Messiaen at the Conservatoire. Foundation
of the New Music Studio in Budapest, with Zoltn Jeney, Pter
Etvs, Lszl Sry and Albert Simon
Since 1984 Professor at the University of Pcs
1992 Bartk-Psztory Prize
1997 Member of the Szchenyi Academy of Letters and Arts
Since 1999 Professor at the Ferenc Liszt Academy of Music in
Budapest
LSZL VI DOVSZK Y
EMB
selected works
Autokoncert (1972) for suspended
instruments 8-9min.
Schroeders Death (1974-75) for piano
and 2-3 assistants 20-40min.
Double (1972) for two prepared pianos
11min.
Narcissus and Echo (19801981) opera
in one act, in 21 short scenes, based on
Lszl Ungvrnmeti Tths Narcissus,
for 4 soloists, female choir and chamber
ensemble 24min.
Romantic Readings No. 2 (1985) for
orchestra 9min.
Twelve Duos (1987-89) for violin and
viola 18-20min.
German Dances (1989) for string quartet
12-14min.
Soft errors (1989) for chamber ensemble:
fl (afl), cl, hn, cel, vla, cb 10min.
Studies for MIDI-Piano (in 5 volumes)
(1990- ) (4-5th volumes in progress)
Ady: The Black Piano (1995) for midipiano and orchestra 5min.
Nine Little Greeting Chorales to Kurtg
(1996) for piano or two pianos 15min.
The Death in my Viola (1996-2005) for
viola and chamber ensemble 14-16min.
Machauts Imitation I-III. (1998) for voice
and 3 instruments (ad. lib)
Zwlf Streichquartette (2000) for string
quartet 45-50min.
ASCH (2006-2007) for string sextet
25min.
Like his colleagues Zoltn Jeney and Lszl Sry, the first twenty
years of Lszl Vidovszkys career were connected with the most
important composers workshop and ensemble involved in experimental music in Hungary, the Budapest New Music Studio. His solo
and chamber music work often features audiovisual elements and
constructions associated with various stage actions. In the 1990s
his attention centred on the player piano, which he used in solo
pieces, and as a solo instrument in chamber music and orchestral
compositions. His works, even the shorter ones, are dense, largescale creations, which spectacularly avoid any vestige of narrativity
and which only make use of the elements of traditional musical rhetoric with individual re-tuning. The structural severity of his music
is softened by the varied nature of the tone colours and a wealth of
internal happenings. It is perhaps exactly this complexity that makes
these works the embodiment of artistic discipline.
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www.ianwilson.org.uk
122
Eyeless upon a dark river (2008) for oboe/

oboe damore and string septet 14min.
1927 (2009) for violin trio 18min.
Shoreles (2009) for piano four hands
11min.
Sare in Kassel (2009) for alto saxophone
and large ensemble 13min.
Future projects
The stars, the seas, orchestral work
commemorating the Titanic and the year
of the Olympics in 2012, commissioned
by the Ulster Orchestra (2012)
1964 Born in Belfast, Northern Ireland. Lives in Co Leitrim, Ireland
1990 First D.Phil in composition to be awarded by the University of
Ulster
1991 Composition prize at the Ultima Festival in Oslo
1992 Awarded the Macaulay Fellowship administered by the Arts
Council of Ireland
1998 Elected to Aosdna, Irelands State-sponsored body of
creative artists
2000-2003 AHRB Research Fellow in Creative and Performing Arts
at the University of Ulster
2006-2009 Composer-in-association with Californias Camerata
Pacifica ensemble
2010-2012 Associate composer with the Ulster Orchestra
IAN W ILSON
RICORDI LONDON
selected works
Messenger (1999/2006) concerto for
violin and 13 instruments 31min.
Pianura (2004) for double bass 7min.
Red over black (2004-2005) for cl, vla, pf
13min.
Winter finding (2004-2005) for orchestra
23min.
Apparitions (2005) for vla (or alt fl) and
percussion ensemble 22min.
Minsk (2005-2006) chamber opera in
7 scenes, libretto by Lavinia Greenlaw
75min.
Ondes ombrages (2005) for alto saxophone and live DAT recording 19min.
Pieces of Elsewhere (2005) for Soprano
and percussion ensemble 22min.
Seascape with high cliffs (2005) for brass
band 13min.
Sullen earth (2005) for violin and string
orchestra 14min.
Ghosts (2006) for saxophone quartet
25min.
Little red fish (2006) for mixed choir and
saxophone quartet, text by Oskar Kokoschka 13min.
Miranda, Ariel, Umbriel (2006) for symphonic wind ensemble 12min.
Stations (2006-2007) for solo piano
65min.
Cassini Void (2007) for clarinet and 10
instruments 20min.
Sternlos (2007) for guitar 12min.
sKiPpY (2008) for alto saxophone and
piano 5min.
PHOTO: Steve Rogers
Wilsons music speaks to both listeners and performers in direct

terms with a lyricism tempered by a dark harmonic piquancy. The
music also possesses a dramatic sense of space and broad sense
of line that traces a path for the listener in an uncluttered manner,
despite its sophistication and occasional complexity. Technical
compositional procedures are always subservient to expression and
are used to achieve the aim of expressing whatever mood, emotion
or idea Im interested in.
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(*1967)
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CASA RICORDI
* Full Evening
1967 Born and lives in Belgrade, Serbia
1989-1995Orchestration of Goran Bregovis music for the films
The Time of the Gypsies, Arizona Dream, Underground
2002 Professor of Composition at the Belgrade Music Academy
2003 World premiere in Amsterdam of Zora D., chamber opera
commissioned by the Genesis Foundation; further performance at Vienna Chamber Opera, a few months later. This
opera brought her international acclaim
2004 World premiere of The Horses of Saint Mark. An illumination
for orchestra commissioned by Music Biennale in Venice
2006 Elected member of the Serbian Academy of Sciences and Arts
2008 World premiere of the opera Eine Marathon Familie, at the
Bregenz Festival (commissioner); further performances the
same year in Vienna and Belgrade
2009 World premiere of Polomka Quartet by Brodsky Quartet; the
chamber opera Simon der Erwhlte is premiered at Theater
im Revier in Gelsenkirchen (Germany)
2009 The artistic committee of ISCM World New Music Days selects
The Horses of Saint Mark in the official programme
Isid ora eb elj an
selected works
Selite (Deserted village) (1987) for string
orchestra 8min.
Escenas picaras (1991-1992) for
orchestra 25min.
Rukoveti (1999-2000) for Soprano and
orchestra 15min.
Zora D. (2003) chamber opera 65min.
Song of a Traveller in the Night (2003) for
clarinet and string quartet 8min.
The Horses of Saint Mark. An Illumination
(2004) for orchestra 10min.
The Minstrels Dance (2005) for ensemble
15min.
The Ghost from the Pumpkin (2005) for
brass quintet 8min.
Eine Marathon Familie (2008) chamber
opera FE*
Dance of Wooden Sticks (2008) for horn
Latum Lalo (2009) for chamber choir
17min.
Simon der Erwhlte (2009) chamber opera
60min.
Isidora ebeljan shows a supreme mastery of contemporary composition techniques, enriched by luxuriant melodic invention and
an unfaltering rhythmic daring. Listening to her music is a synaesthetic experience, psychologically and emotionally overwhelming
in its impact. Resurgent glimpses of the musical folklore of the
Balkans proudly furnish a pulsating force to the incandescent dance
sequences and anguished elegies that alternate with each other in
unpredictable, unimaginable, and at times cinematographic, formal
progression.
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U n i ver sal Mus ic Pub lis hing Cl a s s i ca l a l s o p u b l i s he s w o rk s b y

Alexandre Gretchaninoff
Andr Modeste Gretry
Ahmed Essyad
Mario Garuti
Edvard Grieg
Michael Denhoff
Julio Estrada
Ulrich Gasser
Grard Grisey
Grard Cond
Didier Denis
Jose Evangelista
Philippe Gaubert
Erhard Grosskopf
Guillaume Connesson
Edison Denisov
Allain Gaussin
Gabriel Grovlez
Carmelo Caruso
Marius Constant
Alfred Desenclos
Manuel de Falla
JohnGavall
Jean-Jacques Grunenwald
Rodolfo Bramucci
Francis Casadesus
Sidney Corbett
Roger Desormire
Fabrizio Fanticini
Giuseppe Gavazza
Adriano Guarnieri
Giulio Cesare Brero
Henri Casadesus
Ernesto Cordero
Jean-Baptiste Devillers
Ferenc Farkas
Gianandrea Gavazzeni
Sofia Gubaidulina
Riccardo Bianchini
Pierre-Onfroy de Brville
Robert Casadesus
Arcangelo Corelli
Anton Diabelli
Gabriel Faur
Andr Gedalge
Jean-Pierre Guzec
Alfred Bachelet
Manuel Blancafort
Antonio Brioschi
Andr Casanova
Luca Cori
Violeta Dinescu
Georges Favre
Ada Gentile
Jean Guillou
Rocco Abate
Guido Baggiani
Thierry Blondeau
Aldo Brizzi
Franco Casavola
Nicos Cornilios
Renato Dionisi
Reinhard Febel
Armando Gentilucci
Joan Guinjoan
Marcello Abbado
Sndor Balassa
Volker Blumenthaler
Grard Brophy
Alfredo Casella
Enrico Correggia
Andrzej Dobrowolski
Jindich Feld
Stefano Gervasoni
Manfred Gurlitt
Luigi Abbate
rpd Balzs
Sonia Bo
Leo Brouwer
Giulio Castagnoli
Luigi Cortese
Stephen Dodgson
Brian Ferneyhough
Thomas Gerwin
Alain Abbott
Manuel Balboa
Luigi Boccherini
Michel Brusselmans
Paolo Castaldi
ColinCowles
Friedhelm Dhl
Alain Fron
Giorgio Federico Ghedini
Reynaldo Hahn
Theodor W. Adorno
Claude Ballif
Patrice Bocquillon
Thomas Bruttger
Mario Castelnuovo-Tedesco
Jean Cras
Ern Dohnnyi
Luc Ferrari
Giuliano Ghirardi
Cristbal Halffter
Robert Aitken
Alain Bancquart
Lon Bollmann
Valentino Bucchi
Jacques Castrde
Carlo Crivelli
Franco Donatoni
Maurizio Ferrari
Antonio Giacometti
Ernesto Halffter
Edgar Alandia
Raffaello de Banfield
Franois-Adrien Boieldieu
Ferruccio Busoni
Niccol Castiglioni
Mikls Csemiczky
Gaetano Donizetti
Luigi Ferrari Trecate
Gaetano Giani-Luporini
Andrs Hamary
Isaac Albniz
Ramn Barce
Jacques Boisgallais
Henri Bsser
Alfredo Catalani
Laurent Cuniot
Bogdan Dowlasz
Lorenzo Ferrero
Remo Giazotto
CharlesHambourg
Luna Alcalay
Lajos Brdos
Arrigo Boito
Sylvano Bussotti
Umberto Cattini
Curtis Curtis-Smith
JohnDuarte
Pierre-Octave Ferroud
Alberto E. Ginastera
PaulHarris
Diran Alexanian
Marco Di Bari
Philippe Boivin
Alejandro Garca Caturla
Karl Czerny
Lszl Dubrovay
Joshua Fineberg
Bruno Giner
Tibor Harsnyi
Franco Alfano
Henry Barraud
Umberto Bombardelli
Oscar Caceres
Bernard Cavanna
Bruno Ducol
Michael Finnissy
Umberto Giordano
PaulHarvey
Miguel Alonso
Gisle Barreau
Andr Bon
Sergio Cafaro
Costin Cazaban
Matteo Damico
Hughes Dufourt
Graciane Finzi
Suzanne Giraud
Alphonse Hasselmans
William Alwyn
Pierre Bartholome
Jacques Bondon
Giuseppe Cal
Bruno Cerchio
Gaspare DAngelo
Antoine Duhamel
Valentino Fioravanti
Paolo Giri
Walter Haupt
Claudio Ambrosini
Bla Bartk
Mauro Bonifacio
Grard Calvi
Friedrich Cerha
Michele DallOngaro
Paul Dukas
Jean-Louis Florentz
Barbara Giuranna
Werner Heider
Gilbert Amy
Paul Bastide
Joseph Ermend Bonnal
Giorgio Cambissa
FrancisChagrin
Jean-Michel Damase
Iancu Dumitrescu
Malcolm Forsyth
Norbert Glanzberg
Volker Heyn
Pierre Ancelin
Stanley Bate
Antoine Bonnet
CharlesCamilleri
Jacques Chailley
Irlando Danieli
Henri Duparc
Lukas Foss
Mikhal Glinka
Frigyes Hidas
Mark Andre
Franco Battiato
Charles Boone
Jos-Luis Campana
Luciano Chailly
Daniel-Lesur
Marcel Dupr
Patrice Fouillaud
Vittorio Gnecchi
Noriko Hisada
Roberto Andreoni
Francis Bayer
Charles Bordes
Nicola Campogrande
Ren Challan
Nguyen Thien Dao
Albert Dupuis
Jean Franaix
Benjamin Godard
Alun Hoddinott
Alfredo Aracil
Vincenzo Bellini
Daniel Borenstein
Andr Campra
Ccile Chaminade
Xavier Darasse
Jol-Franois Durand
Alberto Franchetti
Franz Godebski
Mt Holls
Paolo Aralla
Angelo Bellisario
Fabio Borgazzi
Edith Canat de Chizy
Pierre Charvet
Jean-Luc Darbellay
Louis Durey
Roger de Francmesnil
Lopold Godowsky
Jean-Paul Holstein
Paolo Arata
Stefano Bellon
Pietro Borradori
Bruno Canino
Olivier Chteau
ChristianDarnton
Zsolt Durk
Renaud Franois
Karel Goeyvaerts
Arthur Honegger
Pierre Arbeau
Umberto Benedetti
Mauro Bortolotti
Francisco Cano
Ernest Chausson
Tams Darci Brdos
Maurice Durufl
Sandro Fuga
Stan Golestan
John Hopkins
Paolo Arc
Xavier Benguerel
Gilberto Bosco
Joseph Canteloube
Charles Chaynes
James Dashow
Henri Dutilleux
Takashi Fujii
Antonio Carlos Gomes
Balzs Horvth
Nick Ariondo
Gerald Bennett
Hans-Jrgen von Bose
Philippe Capdenat
Qigang Chen
Claude Debussy
Alphonse Duvernoy
James Fulkerson
Adam Gorb
Alexandre Hrisanide
Sir Malcolm Arnold
Adolfo Berio
Jean-Yves Bosseur
Lucien Capet
Luigi Cherubini
Michel Decoust
Paolo Furlani
Jerold JamesGordon
Jen Hubay
Claude Arrieu
Luciano Berio
Andr Boucourechliev
Andr Caplet
Francesco Cilea
Jnos Decsnyi
Harold East
Franz Furrer-Mnch
Sandro Gorli
Georges Hugon
Girolamo Arrigo
Charles de Beriot
Lili Boulanger
Gilberto Cappelli
Domenico Cimarosa
Filippo Del Corno
Ludovico Einaudi
Ida Gotkovsky
Rogelio Huguet Y Tagell
Ali N. Askin
Hector Berlioz
Frdric Boulard
Ezio Carabella
Paolo Di Cioccio
Maurice Delage
Maurice Emmanuel
Jean Gabriel-Marie
Arduino Gottardo
Engelbert Humperdinck
Rodrigo Asturias
mile Bernard
Pierre Boulez
Mauro Cardi
James Clarke
Maurice Delaistier
Georges Enesco
Renaud Gagneux
Enrique Granados
Jean Hur
Chantal Auber
Marco Betta
Franois Bousch
Francesco Carluccio
Laura Clayton
Marcel Delannoy
Manuel Enriquez
Baldassarre Galuppi
Marcel Grandjany
Walter Hus
Louis Aubert
Bruno Bettinelli
Roger Boutry
Carmen-Maria Crneci
Aldo Clementi
Stphane Delplace
Hans-Ola Ericsson
AndrewGant
Eugne-Cinda Grassi
Lajos Huszr
Pietro Auletta
Louis Beydts
Timothy Bowers
Gary Carpenter
Alberto Colla
Claude Delvincourt
Camille Erlanger
Lucio Garau
Claudio Gregorat
Georges Auric
Silvia Bianchera
Attila Bozay
EdwinCarr
Henri Collet
Chris Dench
Oscar Espla
Grard Garcin
Olivier Greif
I
Jacques Ibert
AI
Gabriele Bianchi
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Zoltn Grdonyi
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Alejandro Iglesias-Rossi
Federico Incardona
Ren Koering
Carlo De Incontrera
Vladimir Kojoukharov
Claude Lenners
Vincent d Indy
dm Kondor
Jacques Lenot
Tigran Mansurian
Manuel Infante
Petros Korelis
Ruggero Leoncavallo
Giacomo Manzoni
Alain Mone
Dsir-mile Inghelbrecht
Nikolai Korndorf
BryanLester
Toms Marco
Albert Moeschinger
Atli Ingolfsson
Gbor Ksa
Denis Levaillant
Franco Margola
Andrea Molino
Franco Oppo
Maki Ishii
Gyrgy Ksa
Sergio Liberovici
Wilfried Maria Danner
Pippo Molino
Gyrgy Orbn
Michel Philippot
Hiroyuki Itoh
Wlodzimierz Kotonski
Rolf Liebermann
Jean-tienne Marie
Frederic Mompou
Ritz Ortolani
Niccol Piccinni
Alexander Raskatov
Zygmunt Krauze
Dinu Lipatti
Gino Marinuzzi
Italo Montemezzi
Alexandre Ouzounoff
Riccardo Pick-Mangiagalli
Horia Ratiu
Franois Ross
Carlo Jachino
Franck Krawczyk
Ferenc Liszt
Rudolf Maros
Xavier Montsalvatge
Gabriel Piern
Maurice Ravel
Renzo Rossellini
Friedrich Schenker
MichaelJacques
Georg Krll
Paola Livorsi
Istvn Mrta
Claudio Morbo
Luis de Pablo
WillemPijper
Irma Ravinale
Gioachino Rossini
Tona Scherchen-Hsiao
Pierre Jansen
Dennis Kuhn
Anestis Logothetis
Jean-Louis Martinet
Ennio Morricone
Jos Padilla
Mario Pilati
Olga Rayeva
Nino Rota
Giancarlo Schiaffini
Pl Jrdnyi
Gerd Khr
Ruggero Lolini
Manuel Martinez-Sobral
Virgilio Mortari
Andrea Padova
Maurizio Pisati
Licinio Refice
Michel Roth
Christfried Schmidt
Maurice Jarre
Ladislav Kupkovi
Luca Lombardi
Vladimir Martinov
Juan-Jose Mosalini
Mario Pagliarini
Piera Pistono
Guy Reibel
Umberto Rotondi
Mia Schmidt
Christophe Looten
Bohuslav Martinu
Luca Mosca
Giovanni Paisiello
Ildebrando Pizzetti
Karel Reiner
Albert Roussel
Florent Schmitt
Paul Jeanjean
Francesco La Licata
Jorge . Lpez
Giuseppe Martucci
Piotr Moss
Guido Pannain
Stefan Pohlit
FranzReizenstein
Poul Rovsing Olsen
Urs Peter Schneider
Hanns Jelinek
Helmut Laberer
Raymond Loucheur
Pietro Mascagni
Knut Mller
Marcello Panni
Emilio Pomarico
Davide Remigio
AlecRowley
Brian Schober
Jan Jirsek
Marcel Labey
Arthur Lourie
Yoritsun Matsudara
Angelo Musco
Lajos Papp
Amilcare Ponchielli
Sergio Rendine
Gysbrecht Roy
Avi Schnfeld
MauriceJohnstone
Marguerite Labori
Alain Louvier
Andrs Maupoint
Franois Paris
Trajan Popesco
Enrico Renna
Joshua Ruan
Francis Schwartz
Betsy Jolas
Helmut Lachenmann
Pierre Lous
Andr Mauprey
Nikolaus Nabokov
Renato Parodi
Francis Pott
Paolo Renosto
EdmundRubbra
Kurt Schwertsik
Andr Jolivet
Steve Lacy
Adriano Lualdi
Giovanni Simone Mayr
Carlo Napoli
Hector Parra
Francis Poulenc
Ottorino Respighi
Madeleine Ruggli
Salvatore Sciarrino
Niccol Jommelli
Paul Ladmirault
Alessandro Lucchetti
Jacques-Frol Mazas
Jacopo Napoli
IanParrott
Denis Pousseur
Michael Reudenbach
Antonio Ruiz-Pipo
Vladislav Sciut
Joseph Jongen
Lszl Lajtha
Witold Lutoslawski
Ian McQueen
Kazuko Narita-Yoshida
Andr Pascal
Walter Prati
Pierre Revel
Axel D. Ruoff
Flavio Emilio Scogna
Jrg Herchet
Edouard Lalo
Tilo Medek
Christoph Neidhfer
Claude Pascal
Jacques de la Presle
Michle Reverdy
Helge Jrns
Thierry Lancino
MalcolmMacDonald
Paul Mfano
Emile Nrini
Corrado Pasquotti
Claude Prey
Sugr Rezs
Victor De Sabata
Aurelio Scotto
Marcel Landowski
Franois-Bernard Mche
Mela Meierhans
GeorgeNewson
Bernhard Paumgartner
Yves Prin
Rhen-Baton
Guy Sacre
HumphreySearle
Pl Kadosa
Istvn Lng
Dame Elizabeth Machonchy
Alessandro Melchiorre
Serban Nichifor
Thierry Pcou
CharlesProctor
Paolo Ricci
PhilipSainton
Gyrgy Selmeczi
Emmerich Kalman
Sergio Lanza
Tod Machover
Fernando Mencherini
Luigi Nicolini
Carlo Pedini
Carlo Prosperi
HughCollins Rice
Camille Saint-Sans
Dov Seltzer
Lszl Kalmr
Ana Lara
Ivn Madarsz
Gian Carlo Menotti
Stefan Niculescu
Jorge Peixinho
Bernfried E.G. Prve
Andr Richard
Luca Salvadori
Carlo Florindo Semini
Alexandros Kalogeras
Thomas Lauck
Bruno Maderna
Benot Mernier
Riccardo Nielsen
Francesco Pennisi
Cergio Prudencio
Nicolaus Richter de Vroe
Gustave Samazeuilh
RonaldSenator
Giya Kancheli
Sylvio Lazzari
Katsuji Maeda
Andr Messager
Joaqun Nin-Culmell
Mario Peragallo
Giacomo Puccini
Jean-Claude Risset
Aurelio Samor
Zsolt Serei
Sukhi Kang
Paul Le Flem
Fabio Maestri
Olivier Messiaen
Piero Niro
Paolo Perezzani
David del Puerto
Jean Rivier
Luciano Sampaoli
Dodat de Sverac
Jzsef Karai
Claude Lefebvre
Dario Maggi
Patrice Mestral
Herbert Nobis
Giovan Battista Pergolesi
Damiano Puliti
Paul Roberts
Pierre Sancan
Makoto Shinohara
Noriko Kawakami
Philippe Legrandgrard
Giorgio Magnanensi
Giacomo Meyerbeer
HaroldNoble
Don Lorenzo Perosi
Ludovico Rocca
Raffaele Sargenti
Gil Shohat
Roland Kayn
Jacques Leguerney
Albric Magnard
Serra Michele
Luigi Nono
Sandro Perotti
Mestres Quadreny
Jean-Jules Roger-Ducasse
Jzsef Sri
Manuel De Sica
David Keberle
Ferenc Lehr
Mesias Maiguashca
Costin Miereanu
Mario Persico
Felice Quaranta
Uro Rojko
Erik Satie
Roberto Sierra
Rudolf Kelterborn
Franz Lehar
Ivo Malec
Marcel Mihalovici
Maurice Ohana
Maurice Pesse
Jean Rollin
Henri Sauguet
Constantin Silvestri
Heera Kim
Kenneth Leighton
Paul de Maleingreau
Andrs Mihly
Tiberiu Olah
Grard Pesson
Henri Rabaud
Bernhard Romberg
Carlo Savina
Roberta Silvestrini
Lszl Kirly
dith Lejet
Gian Francesco Malipiero
Sugr Mikls
Gonzalo Olavide
Jean-Claude Petit
Horatiu Radulescu
Fausto Romitelli
Virginio Savona
Jean Simon
Mikls Kocsr
Guillaume Lekeu
Nikos Mamangakis
Darius Milhaud
Krzysztof Olczak
Jean-Louis Petit
Joo Rafael
Lucia Ronchetti
Alessandro Sbordoni
Roberto De Simone
Zoltn Kocsis
Dominique Lematre
Gabriele Manca
Rosario Mirigliano
Arthur Oldham
Goffredo Petrassi
Gyrgy Rnki
Peter Ronnefeld
Domenico Scarlatti
RobertSimpson
Zoltn Kodly
Aubert Lemeland
Paolo Manfrin
Francis Miroglio
Betty Olivero
Ionel Petro
Andreas Raseghi
Joseph-Guy Ropartz
Giacinto Scelsi
Jean-Marc Singier
Charles Koechlin
Kamill Lendvay
Franco Mannino
Miha Mitrea-Celarianu
Max d Ollone
Emil Petrovics
Victor Rasgado
Lon Roques
Boguslaw Schaeffer
Giuseppe Sinopoli
Maurice Jaubert
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Giuseppe Scotese
I S
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LIST OF ABBREVIATIONS
vib Vibraphone
fl Flute
b sa x Baritone Saxophone
hp Harp
Carl-Maria von Weber
picc Piccolo
bsn Bassoon
cel Celeste
Reinhold Urmetzer
Alain Weber
afl Alto Flute
cbsn Contrabassoon
hpsd Harpsichord
Vladislav Uspensky
Le Weiner
Eugen Wendel
bfl Bass Flute
hn Horn
gtr
rec Recorder
tpt Trumpet
egtr Electric Guitar
Guitar
Bettina Skrzypczak
Toru Takemitsu
Giuseppe Soccio
Alexandre Tansman
Nicola Vaccaj
Jean Wiener
Michel Sogny
Cornel Taranu
Horacio Vaggione
Jacques Wildberger
Martial Solal
Vladimir Tarnopolski
Jnos Vajda
Caroline Wilkins
ob Oboe
pictpt Piccolo Trumpet
Bgtr Bass Guitar
Alessandro Solbiati
TimothyTaylor
Ivan Vandor
Adrian Williams
ca Cor Anglais
btpt Bass Trumpet
acc Accordion
Jzsef Soproni
Alexandre Tchrepnine
Edgar Varse
Dominique de Williencourt
Bojidar Spassov
Nichola Tchrepnine
Peteris Vasks
Pierre Wissmer
obda Oboe damore
tbn Trombone
zith Zither
CharlesSpinks
Claude Terrasse
JohnVeale
Georges-Martin Witkowski
cl Clarinet
atbn Alto Trombone
org Organ
Gaspare Spontini
Alicia Terzian
Cristiano Vecchi
Rbert Wittinger
Gerhard Stbler
Tonino Tesei
Pierre Vellones
Ermanno Wolf-Ferrari
Ebcl E Flat Clarinet
btbn Bass Trombone
vln Violin
Jeffrey Stadelman
Roger Tessier
Franois Vercken
Lucien Wurmser
acl Alto Clarinet
euph Euphonium
vla Viola
Marco Stassi
Flavio Testi
Giuseppe Verdi
Hans Wthrich
Victor Staub
Giampaolo Testoni
Sndor Veress
Jrg Wyttenbach
bcl Bass Clarinet
tba Tuba
vc Violoncello
Christoph Staude
Maurice Thiriet
Antonio Veretti
cb cl Contrabass Clarinet
timp Timpani
db
Daniel Stefani
Leilei Tian
Louis Vierne
BernardStevens
Ton-That Tit
Anatole Vieru
ssa x Soprano Saxophone
perc Percussion
strb String Bass
Ernstalbrecht Stiebler
Antoine Tisne
Henri Vieuxtemps
Gyu-Bong Yi
asax Alto Saxophone
mar Marimba
RobertStill
Kasper Toeplitz
Heitor Villa-Lobos
Susumu Yoshida
Aurel Stroe
Camillo Togni
Jess Villa-Rojos
Douglas Young
Hubert Stuppner
Henri Tomasi
Pierre Villette
Maurice Yvain
Yoichi Sugiyama
Luigi Torrebruno
Antonio Viozzi
Horia Suriano
Paul Tortelier
Demis Visvikis
Frank Zabel
Carlos Surinach
Vieri Tosatti
Franco Vittadini
Mario Zafred
Robert Suter
Daniel Tosi
Roman Vlad
Vittorio Zago
Witold Szalonek
Giorgio Tosi
Wladimir Vogel
Riccardo Zandonai
Zsigmond Szathmry
Pter Tth
Toni Vlker
Amilcare Zanella
Istvn Szelnyi
Charles Tournemire
Andr Volkonsky
Michel Zbar
Endre Szervnszky
Olivier Trachier
Emile Vuillermoz
Istvan Zelenka
Sndor Szokolay
Gilles Tremblay
Alexander Vustin
Alexander Zemlinsky
Erzsbet Sznyi
Armando Trovaioli
Karol Szymanowski
Guido Turchi
Emile Waldteufel
Walter Zimmermann
Joaqun Turina
John Wallace
Niccol Antonio Zingarelli
NewellWallbank
Grard Zinsstag
T
Gabrio Taglietti
Germaine Tailleferre
130
pf Piano
U
Gianluca Ulivelli
StephenWatson
X
Iannis Xenakis
Bernd Alois Zimmermann
Double Bass
S Z / abbr ev iation s
Yoshihisa Tara
tsax Tenor Saxophone
131
2011 Universal Music Publishing Classical
Printed in France by Prodmachine / Galaxy Imprimeurs (Imprimvert) in March 2011 on Chromomat, an FSC certified paper
Design: Anna Tunick / www.atunick.com
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Antonioni Aperghis Bacri Battistelli Bianchi: Usic Publis Hing Classic Al Collectio Ns

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Antonioni Aperghis Bacri Battistelli Bianchi: Usic Publis Hing Classic Al Collectio Ns

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ANTONIONI

The Universal Music Publishing Classical Group includes the world-renowned

JOS MANUEL LPEZ LPEZ 7 0

OLGA NEU W IRTH

SAMIR ODEH - TAMIMI

YOUNGHI PAGH - PAAN

PHOTO: Gianluca Moro

Of Francesco Antonionis many qualities, it is his delicacy that is

Wlfli Kantata (2005) after Adolf Wlfli,

Ge or Ges Aper GHI s

D URAND SALABERT ESCHI G

PHOTO: patricia dietzi

A highly prolific composer, Georges Aperghis has shown tireless

dur a nd salabert E schi g

PHOTO: patricia dietzi

At one time anchored in a post-Webern aesthetic, Nicolas Bacri has

Divorzio allitaliana (2008) opera, freely

gior gio battis tell i

PHOTO: roberto masotti

D URAND SALABERT ESCHI G

PHOTO: patricia alia

Early in his career Oscar Bianchi was recognised by musicians and

PHOTO: all rights reserved

An astute pupil of post-modern thought and an insatiable seeker of

PHOTO: all rights reserved

PHOTO: stefan forster

The title of one of Nikolaus Brass compositions translates into Of

PHOTO: Alfonso Marini

Emanuele Casales start as a self-taught musician has led him to

PHOTO: all rights reserved

If cut into cross-sections, like a mineral, Silvia Colasantis music

jon ath an c ole

PHOTO: ERIC RICHMOND

Jopliszt (2010) for string trio 10min.

PHOTO: Mauro fermariello

Animated by a profound desire to communicate and by unfailing

Tundragobelin Finnegans Dreams to the

PHOTO: andrea Felvgi

pas c al dus apin

dur a nd salabert E schi g

PHOTO: collge de france

Pascal Dusapin is the creator of one of the most successful catalogues

D URAND SALABERT ESCHI G / RICOR DI M UNICH / EMB

PHOTO: andrea Felvgi

BECHARA EL- KHOU RY

D URAND SALABERT ESCHI G

PHOTO: patricia dietzi

DU RAN D SALABERT ESCHIG

PHOTO: all rights reserved

Twenty-Six Days (2010) for ensemble

PHOTO: Steve Tanner

Fitkin works with acoustic and electronic instruments, collaborates

PHOTO: bacciardi turriani

Notwithstanding his youth, Matteo Franceschini already boasts a

Sirne (2009) for SATB choir, orchestra

PHOTO: roberto masotti

Fascinated by the instruments and sounds forged over the centuries

Mirrors (2009) for six violoncellos

RICORDI LONDON / RICOR DI M UNICH

Fujikuras music is bold, daring, energetic, colourful and thrilling to

Les chemins de la libert (2003-2005)

DU RAN D SALABERT ESCHIG / RICORDI M UNICH

PHOTO: stefan forster