Austrian Contemporary Music Festival

Saturday, Sept. 18, 1999, 3 pm at Clapp Recital Hall



Alef Robert R. HÖLDRICH

Christine Bellomy, clarinet
Miki Yuasa, violin
Laura Tiong, piano

Die sieben Boten Klaus LANG

Ann Cravero, alto
Antonio Guimaraes, flute
Jane Williams, saxophone
Brett Paschal, percussion I
Tim Shaw, percussion II
Jacqueline Schmidt, viola
Eric Coyne, violoncello

Kanon für Bläsersextett Peter LACKNER

Emily Helvering, oboe
Christine Bellomy, clarinet
Annette Machetta, bass clarinet
Catharine Jackson, horn I
Steve Schultz, horn II
David Bryant, bassoon

Nachtstück Joachim JUNG

Michelle Fox, clarinet
Brett Paschal, vibraphone
Stephen Shepherd, violin I
Miki Yuasa, violin II
Jacqueline Schmidt, viola
Cora Kuyvenhoven, violoncello

Harfenquintett Klaus JOHNS

Tamara Chadima, flute
Pam Weest-Carrasco, harp
Stephen Shepherd, violin
Kellie Popko, viola
Cora Kuyvenhoven, violoncello



Notes & Bios



Alef (1994-95) for violin, clarinet, and piano

In ALEF, I attempted to construct a new kind of harmony. The partly microtonal chords were so conceived that frequency differences between adjacent tones are practically identical. As a starting point, I used a chord consisting of the overtone series. Due to various amounts of frequency shifting, this chord is increasingly distorted.

Robert Rainer HÖLDRICH (b. 1962, Linz, Austria) began his studies in Graz in 1983 in Electronics and Audio Engineering at the Technical University in Graz. He studied composition and music theory with A. Dobrowolski, H. M. Pressl, Younghi Pagh-Paan, and Beat Furrer at the University of Music and Dramatic Arts in Graz as well as flute studies at the Konservatorium in Graz. Since 1986 he has done intensive work in the field of electronic music, computer music and algorithmic composition, and holds a PhD in Mathematics.

In 1989 Höldrich was appointed a research assistant and lecturer at the Institute of Electronic Music Graz. He is the producer of the CD series "Klangschnitte - Momente Neuer Musik". (Sound Cuts - Moments of New Music) and the editor of the periodical "Beiträge zur Elektronischen Musik" (Contributions to Electronic Music) at the Institute of Electronic Music Graz. He has served as a guest professor at the University Olomouc, Czech Republic, in the field of acoustics and computer music. In 1995 he served as the General Chair of the "1995 Graz Lectures on Computer Music" and in 1999 appointed Professor for Electronic Music at the University of Music and Dramatic Arts in Graz.


Die Sieben Boten (The Seven Messengers)

But the further I go the deeper gets my conviction that there is no border at all. It seems to me that there is no border, at least not in this particular sense we are used to think of it. There are no separating walls, no deep valleys, no mountains which bar the passage. Very likely I will pass the last line, without being aware of passing it, and I will not stop going on unknowing.

And you see mountains which you consider being firmly based, but they are moving like the drafting of clouds. (Koran, Sure 27/28)

Klaus Lang (b. 1971) studied composition with H.M.Pressl and theory of music and organ at the University of Music and Dramatic Arts in Graz. He earned his in 1996. He took additional studies in composition with Beat Furrer and Peter Michael Hamel in Graz and with Younghi Pagh-Paan in Bremen, as well as courses with Klaus Huber, James Tenney and LaMonte Young. He has done work on the theory of music, and has contributed an article for the New Grove Dictionary. Since 1996, he has been a lecturer in music theory at the University of Music and Dramatic Arts in Graz.

Lang has received several awards, prizes, and invitations as a composer in residence. He has been commissioned to write works for several festivals, including Musikprotokoll im Steirischen Herbst Graz, Metapher Stuttgart, Wien Modern, Eclat Stuttgart, Primavera en La Habana-Havanna/ Cuba, Wires-Frequency Fluctuations, Los Angeles. His music has been performed by Klangforum Wien, Ensemble die Reihe Wien, Südfunk Chor, Stuttgart, and Ensemble zwischentöne Berlin, and is currently working on pieces commissioned by Klangforum Wien.

Lang is very much interested in and influenced by music and theory of music of the 16th and 17th century and by American music of the 20th century. He has done much theoretical work on Palestrina and especially on the development of tuning systems between 10th and 18th century in Europe.


Kanon für bläsersextett

For Peter Lackner, the sense of balance is the central focus of my "thoughts, feelings and deeds" in connection with music. All processes involved in making music audible, from the so-called selection of musical material to the instrumentation and performance, are determined by this stirring for balance. I try to avoid, as far as possible, any other attempted "expression"). I feel that a symbolic representation of totality, rather than the utilization and expansion of a broad material spectrum, is the greater freedom.

Peter LACKNER (b. 1966 Graz, Austria) studied composition with Hermann Markus Pressl at the University of Music, Graz starting in 1988. In 1991 he received the Cultural Encouragement Prize from the City of Graz, and in 1994 the Composition Diploma with Distinction. From the Federal Ministry of Arts and Education he was awarded the Prize of Excellence. Since 1994 he has been a tutor for Music Theory and Aural Training at the University of Music, Graz.


Nachtstück (1998)

Joachim Jung's composition was intentionally written in the romantic nocturne tradition.

...a glance at night into the clear deep sky of a deeply frozen winter landscape...
...stars in the darkness - cold blue -...and which pitch could be colder than 'g'?

Joachim JUNG (b. 1963 Munich, Germany) studied composition with Gloria Coates in Munich. In 1984 he majored in composition at the Music Academy in Graz, Austria, and was a pupil of Prof. Hermann Markus Pressl. He received a diploma and the Masters degree in 1989. Since then, he has been teaching theory and composition in Graz, and has been a guest professor for the past two years.


Harfenquintett (1988)

What is it, that makes TIME interesting or tedious? What must happen in the music that allows the audience to continue to listen or stops them from actively listening and starts them dreaming? How much and what kind of music is necessary that people feel bored or interested?

These are the questions I asked myself when I was thinking about my Quintet. I tried to write music that offers nearly nothing - no material, no melodies, no themes to whistle. The border between something and nothing opens a kind of no-where-land.

Klaus Johns (b. 1950, Hamburg, Germany) began his first musical studies on the guitar and in 1965 set up a blues-band in Hamburg. His formal studies on the piano were with Prof. Hans-Georg Lotz at the Hamburg Conservatory, where he earned a teaching qualification. His formal studies in composition began at the University of Music and Dramatic Arts in Graz with Prof. A. Dobrowolski. During this time, he organized a latin-american band called Tangavan with a regular performance schedule until 1991. In 1985 he graduated with a composition diploma and began teaching music theory and aural skills at the University. In 1989 he founded the Cuarteto de Tango (expanded to Quinteto Tango), an performing ensemble that lasted until 1997.

Since 1980 he has had first performances of his works in Austria, Germany, France, the U.S., Russia, Italy, the Ukraine, the Czech Republic and Norway. He has worked in cooperation with different theaters as an arranger and composers from 1982-1989. In 1994 he took a concert tour to Latin America as a conductor, giving training courses on 'hearing' (Lange haben wir das Lauschen verlernt). In 1996 he founded the tango orchestra called Tanguango in Graz.