The Center for 21st Century Music was pleased to sponsor some terrific events by guests who were in residence while preparing for the September 7th performance of Prof. Tiffany Skidmore’s The William Blake Cycle (Also co-sponsored by the Center). The guests included saxophonist, Kyle Hutchins, who gave a workshop on composing for his instruments, and composer Ted Moore, who offered a masterclass for our PhD students in composition, as well as a composer talk open to the public. Percussionist Annie Stevens, also in town for The William Blake Cycle, gave an excellent workshop for composers, as well.
Duo Gelland Violin Duowill be in residence at the University at Buffalo from Monday, September 18 through Tuesday, September 19 for a composition workshop and concert. Additionally, Duo Gelland and UB composers will meet with the students of Buffalo String Works for a new project! Duo Gelland was founded in 1994 by the violinists Cecilia and Martin Gelland who met in the Danish Radio Symphony Orchestra and started exploring the duo repertoire together. Theeminent European ensemble turned an 18th century concept into the driving force of contemporary exploration. Their passionate, profound and playful interpretations earned them the Annual German Record Critics' Award 2008, Swedish Nutida Sound 2011, Fanfare Yearbook 2001. They revive forgotten gems with historically inspired insight, and in close collaboration with composers they bring new scores to life - so far nearly 200. Duo Gelland premiered and performed duos and double concerti in Berliner Philharmonie both halls, Konzertverein Wien, Grünewaldsalen Stockholm, Tonhalle Zürich.
Duo Gelland
... with scintillating virtuosity... the fantastic sound worlds of the remarkable Gelland Duo. The Strad Magazine, May 2008
In a new project, they are going to collaborate with UB composers and Buffalo String Works for the premiere of a new double concerto for Duo Gelland and the Buffalo String Works student string orchestra. A special aspect of the double concerto score is that it uses graphic notation, rather than conventional staff notation. A second work will be created for the Buffalo String Works student orchestra alone.
Duo Gelland will feature works byArnold Schönberg, Tiffany M Skidmore, Erika Förare, Mikael Forsman, Birgitte Alsted Zweigeigen, and Hans-Joachim Hespos in the concert on September 19. Among them, German composer Hans-Joachim Hespos's aglaja - dem engel "katastroph" zum angedenken (2019) will be world premiere!
The Center for 21st Century Music is pleased to announce our season-opening performance of Tiffany Skidmore’s William Blake Cycle. Tiffany is a Visiting Associate Professor in the UB Music Department, and we are very excited to hear these intriguing works, which blend instruments, above all Kyle Hutchins’ saxophones, and electronic sounds in a multimedia theatrical vision.
Since 2015, composer Tiffany M. Skidmore and saxophonist Kyle Hutchins have been collaborating on a cycle of electroacoustic instrumental chamber pieces centered around the saxophone that considers text and characters created by William Blake. Each movement explores relationships between mythological characters in the Blake universe, nonbinary gender identity, sexual politics, and gender stereotypes.
(Kyle Hutchins Website)
The Book of Ahania acts as a refrain throughout the cycle. Ahania, the female emanation of Urizen, is his soul. Urizen becomes jealous and ashamed of his own feminine emanation–he sees her as “sinful” and hides her away until she becomes an unembodied shadow that wanders the earth, becoming “the mother of Pestilence.”
The focus of Blake’s characterization of the first female, Enitharmon, represents “female domination and sexual restraints that limit the artistic imagination.” The Night of Enitharmon’s Joy reinterprets Blake’s poem, conceiving of it as a commentary on sexual oppression/suppression using restrictive pitch/rhythmic materials. Musically, the foundational vocal melody can never develop. Live instrumental lines begin to sprout from above and below the foundation, always forced to loop back due to musical constraints. Electronic snippets of a romantic underlying melody and poetic text emerge periodically from the textures, while a prolonged electronic whisper eventually envelops all other musical elements.
In Vala/Luvah, Vala and Luvah are feminine and masculine emanations of a single entity. Vala/Luvah loves and hates him/her/themself with a fiery, apocalyptic intensity.
Tharmas the father/Enion the mother explores Tharmas’s masculine persona at multiple simultaneous “ages” — he is both a bearded old man and a young man with wings. At the same time, the ecstatic, wailing music of Enion, this being’s feminine persona, gradually fades away, disappearing over the course of the piece.
The Spectre of Urthona depicts the erotic encounter that gives birth to a world full of lush flowers and poisonous fruit.
The Book of Urizen is focused on the character Urizen, who features prominently in Blake’s Europe: A Prophecy. In Blake’s universe, Urizen represents the first living entity. He is intensely destructive, yet simultaneously “the embodiment of conventional reason and law." This piece explores Urizen’s multifaceted character and story through a complex, wordless setting of passages from Blake’s poem.
Soloist Kyle Hutchins, saxophone with Dalia Chin, flute Rebeccah Parker Downs, cello Sheldon Johnson, saxophone Katherine Kennedy, soprano Jeffrey Siegfried, saxophone Derek Shapiro, conductor Justin Anthony Spenner, baritone Annie Stevens, percussion Shannon Wettstein, piano Tiffany M. Skidmore, video and electronics Ted Moore, Technical Director Amanda Nelson, Theatrical Director Artem Bank, Documentation
The Book of Ahania for bass flute and baritone saxophone The Night of Enitharmon's Joy for flute, tenor saxophone, and electronics Vala/Luvah for saxophone trio (AAT) and electronics Tharmas the father/Enion the mother for solo sopranino saxophone The Spectre of Urthona for two soprano saxophones, cello, piano, percussion, and electronics The Book of Ahania for bass flute and baritone saxophone The Book of Urizen for alto saxophone and piano
Text and Images by William Blake Adaptation by Tiffany M. Skidmore
Arditti Quartet Irvine Arditti and Ashot Sarkissjan, violin Ralf Ehlers, viola Lucas Fels, cello 4pm, Baird Recital Hall (Room 250, Baird Hall)
This workshop program will feature works for string quartet by
distinguished June in Buffalo student participants.
Saturday, June 10 Arditti Quartet Irvine Arditti and Ashot Sarkissjan, violin
Ralf Ehlers, viola
Lucas Fels, cello
7:30pm, Lippes Concert Hall in Slee Hall
June
in Buffalo is delighted to welcome back the fabulous Arditti Quartet in 2023. On Friday, June 9th, at 4:00
p.m., the Arditti Quartet will present a workshop program in the Baird Recital
Hall featuring works for string quartet by June in Buffalo participant composers.
On Saturday, June 10th, at 7:30 p. m. in Lippes Concert Hall, the
Quartet will performs music by senior composers, including Ann Cleare’s Moil and Robert
H.P. Platz’s Strings (Echo VII). The evening also features Artistic Director emeritusDavid Felder’s Netivot for
string quartet and electronics. The evening concludes with a performance
of Wolfgang Rihm’s Epilog, for which the Ardittis will be joined by
cellist and June in Buffalo Director Jonathan Golove.
Irvine
Arditti and the Arditti Quartet have long been closely connected to UB, the
Center for 21st Century Music and the June in Buffalo festival. The Center’s previous
artistic director, SUNY Distinguished Professor David Felder, wrote all three
of his string quartets for the group (the first one dates from 1987-88), who
went on to play them at prominent new music festivals worldwide. His latest
string quartet, Netivot, written for both the Arditti and JACK Quartets, was
premiered by the Ardittis at June in Buffalo 2016. Thanks to the Center’s
support, both Irvine Arditti and his quartet have been able to visit June in
Buffalo with greatly increased frequency—the quartet was resident ensemble in
2007, 2010, 2016, 2022 and now in 2023, while Irvine Arditti was guest soloist
in 2011, 2013, 2014, 2015, 2017, 2018, and 2019.
The
Arditti Quartet enjoys a worldwide reputation for their spirited and
technically refined interpretations of contemporary and earlier 20th century
music. Many hundreds of string quartets and other chamber works have been
written for the ensemble since its foundation by first violinist Irvine Arditti
in 1974. Many of these works have left a permanent mark on 20th century
repertoire and have given the Arditti Quartet a firm place in music history.
World premieres of quartets by composers such as Abrahamsen, Ades, Andriessen,
Aperghis, Birtwistle, Britten, Cage, Carter, Denisov, Dillon, Dufourt, Dusapin,
Fedele, Ferneyhough, Francesconi, Gubaidulina, Guerrero, Harvey, Hosokawa,
Kagel, Kurtag, Lachenmann, Ligeti, Maderna, Manoury, Nancarrow, Reynolds, Rihm,
Scelsi, Sciarrino, Stockhausen and Xenakis and hundreds more show the wide
range of music in the Arditti Quartet’s repertoire.
The
ensemble believes that close collaboration with composers is vital to the
process of interpreting modern music and therefore attempts to work with every
composer it plays.The players’ commitment to educational work is indicated by
their masterclasses and workshops for young performers and composers all over
the world.
Over
the past 30 years, the ensemble has received many prizes for its work. They
have won the Deutsche Schallplatten Preis several times and the Gramophone
Award for the best recording of contemporary music in 1999 (Elliott Carter) in
2002 (Harrison Birtwistle) and in 2018 (Pascal Dusapin). In 2004 they were
awarded the ‘Coup de Coeur’ prize by the Academie Charles Cros in France for
their exceptional contribution to the dissemination of contemporary music. The
prestigious Ernst von Siemens Music Prize was awarded to them in 1999 for
‘lifetime achievement’ in music. They remain to this day, the only ensemble
ever to receive it.
The complete archive of the Arditti quartet is housed in the Sacher Foundation
in Basle, Switzerland.(Source:
https://ardittiquartet.com/arditti-quartet)
Thursday, June 8 Talujon Percussion 7:30pm, Lippes Concert Hall in Slee Hall
Talujon Percussion performs works by senior composers and June in Buffalo faculty composer.
Jonathan Golove: Here and There with Tiffany DuMouchelle, soprano
Mathew Rosenblum: We Lived Happily During the War with Jamie Jordan, soprano
Saturday, June 10
Talujon Percussion
4pm, Baird Recital Hall (Room 250, Baird Hall)
Program will include percussion works by June in Buffalo participant composers.
The June in Buffalo festival is looking forward
to hosting repeat visitors of the Center for 21st Century Music, Talujon. On Thursday, June 8th, at 7:30 p.m., Talujon will present music
for percussion and voice in Lippes Concert Hall. The program features Mathew
Rosenblum’s We Lived Happily After The War with Jamie Jordan, soprano
and Jonathan Golove’s Here and There with Tiffany Du Mouchelle, soprano.
In addition, they will perform percussion works by June in Buffalo
participant composers on Saturday, June 10th, at 4:00 p.m. in Baird
Recital Hall.
Described by the New York Times as possessing an "edgy,
unflagging energy", Talujon has committed itself to the growth of
contemporary percussion music through diverse performance, commissioning,
educational, and outreach activities.
Highlights of Talujon’s recent engagements include
appearances at the Brooklyn Academy of Music’s Next Wave Festival, Bang on a
Can Marathon, Carnegie Hall, ISSUE Project Room, Miller Theatre, and New York
Historical Society. International performances include Taipei’s Lantern Festival
and Italy’s Sound Res Festival. In addition to its diverse performance
schedule, Talujon has conducted residencies, clinics, and master classes at
institutions across the US. Collaborators include Dewa Alit, Nick Brooke, Chien
Yin Chen, Alvin Lucier, Eric Moe, Steve Ricks, Ralph Shapey, Henry Threadgill,
Ushio Torikai, and Julia Wolfe.
Talujon partners with New York City Public Schools and the
Midori and Friends organization to produce educational programming across New
York City’s five boroughs. The ensemble’s playing can be heard on the
Cantaloupe, Tzadik, Unseen Worlds, New World, Bridge, Albany, and Capstone
record labels. (Source: https://www.talujon.org/about)
The
Slee Sinfonietta is the professional chamber orchestra in residence at the
University at Buffalo and the flagship ensemble of the Robert and Carol Morris
Center for 21st Century Music. The Sinfonietta presents a series of concerts
each year that feature performances of challenging new works by contemporary
composers and lesser-known works from the chamber orchestra repertoire. Founded
in 1997 by composer David Felder and comprised of a core group including UB
faculty performance artists, visiting artists, national and regional
professionals and advanced performance students, the group is conducted by
leading conductors and composers. This ensemble has produced world-class
performances of important repertoire for over 25 years, and its activities
include touring, professionally produced recordings, and unique concert
experiences for listeners of all levels of experience.
The
Slee Sinfonietta is an ensemble of flexible size. For June in Buffalo 2023, the
Slee Sinfonietta presents four programs mixing solo works, chamber music, and larger
groupings, led by guest conductor Daniel Brottman.
Music by June in Buffalo
participant composers, as well as selected piano works by Péter Eötvös, György
Kurtág, Béla Bartók and Tomasz Sikorski, with pianists Nicholas Emmanuel and Haeyeun Jeun.
Wednesday,
June 7
Slee Sinfonietta, with members
of the Arditti Quartet
Daniel Brottman, conductor
7:30pm, Lippes Concert Hall in Slee Hall
Larger ensemble works by several June in Buffalo participant composers, in an evening
combining works by senior composers and featuring members of the Arditti
Quartet. The program includes the world premiere of vl2 for violin duo by Robert HP Platz, as well as his Maro for solo violin, played by Irvine Arditti and Ashot Sarkissjan.
Thursday,
June 8
Chamber musicians of Slee
Sinfonietta
Daniel Brottman, conductor
4pm, Baird Recital Hall (Room
250, Baird Hall)
Chamber music by June in
Buffalo participant composers.
Sunday,
June 11 Closing Concert: Slee
Sinfonietta
Daniel Brottman, conductor Tiffany Du Mouchelle, soprano
2pm, Lippes Concert Hall in
Slee Hall
Slee Sinfonietta performs works by June in Buffalo senior
composers.
·Jonathan
Golove: Imaginary Songs
for
soprano, alto flute and cello
·Robert
H.P. Platz: Wunderblock
for alto
flute (solo), bass clarinet and percussion (duo), and violin, viola, cello (trio),
performed individually and as a sextet
·Melinda
Wagner: Four Settings
for
soprano, flute, clarinet, violin, cello and piano
[Switch~ Ensemble] with special
guest Jamie Jordan and Wooden
Cities 7:30pm, Lippes Concert Hall in Slee Hall
Alexander “Sasha” Ishov, flutes Madison Greenstone, clarinets Dannel Espinoza, saxophones Lilit Hartunian, violin Cori Trenczer, cello Amy Garapic, percussion Andrew Zhou, piano Jason Thorpe Buchanan, electronics Jeff Means, conductor with Jamie Jordan, soprano and members of Wooden Cities
The June in Buffalo festival is thrilled to welcome back the [Switch~ Ensemble], who have been regular performers in the Festival and at the Center. They last visited the Center for 21st Century Music for a terrific residency from February 27to March 2, 2023. For June in Buffalo 2023, they will be performing senior composer Melinda Wagner’s unsung cordata,Ann Cleare’s luna (the eye that opens the other eye), and 93 million miles away, and, with soprano Jamie Jordan, Mathew Rosenblum’s Falling. They will be joined by members of Wooden Cities in a tribute performance of Robert Phillips’O Haupt Voller Blut und Wunden.
A new music ensemble for the 21st
Century, the [Switch~ Ensemble] is dedicated to the creation of new works for
chamber ensemble: they bring bold new acoustic, electroacoustic, and multimedia
projects to life. At the core of each performance is their commitment to the
total integration of technology and live musicians. They strive for compelling
artistry achieved through the seamless creation, production, and execution of
new music, and believe that working directly with composers—in a medium where
the score is a point of departure rather than a finish line—allows for new and
thrilling musical possibilities.
[Switch~] contributes to the future
of the genre by strongly advocating for and commissioning the music of a new
generation of emerging young composers. They have enjoyed fruitful
collaborations with both emerging and established composers, with commissions
and premieres of works by composers including Anna-Louise Walton, Alican Çamci,
Igor Santos, Katherine Young, Stefano Gervasoni, Stefan Prins, Wojtek Blecharz,
Anthony Vine, Rand Steiger, Philippe Leroux, Timothy McCormack, Tonia Ko, James
Bean, Matt Sargent, Marianthi Papalexandri-Alexandri, Esaias Järnegard, Sivan
Eldar, Julio Zúñiga, Zeynep Toraman, Alexander Schubert, Adrien Trybucki,
Elvira Garifzyanova, Santiago Diez-Fischer, Lisa Streich, Anthony Pateras, and
many others.
Founded in 2012 at the Eastman School
of Music, the [Switch~ Ensemble] looks toward the future of contemporary music.
They are dedicated to performing high-level chamber music integrated with
cutting-edge technology and supporting emerging and early career composers.
They are passionate about helping to build a diverse canon of 21st century
works that leaves space for all voices—especially those that have historically
been excluded from our field.”
[Switch~]
plays Up Close (2019) by Katharina Rosenberger
June in Buffalo welcomes back the
Buffalo Philharmonic Orchestra, who will perform the first evening concert of
the 2023 Festival with an exciting program of works by the JiB’s senior composers
and its long-time Artistic Director, David Felder. The program includes Mathew Rosenblum’s Eliza Furnace and
Melinda Wagner’s Proceed, Moon, along
with David Felder’s Die
Dämmerungen: movements 1-3. The BPO will
be led by Maestra Fernanda Lastra. Ms. Lastra is the BPO’s Conductor Diversity
Fellow, a post she assumed in September 2022.
Fernanda Lastra was born in Mar del Plata, Argentina. As a passionate
and creative conductor, she is interested in a wide variety of repertoire,
including symphonic, contemporary, and operatic works. In 2022, Fernanda is
appointed Conductor
Diversity Fellow at the Buffalo Philharmonic
under the mentorship of JoAnn Falletta. In this role Fernanda serves as
assistant conductor, cover conductor, and main conductor for the BPO Family
Kids series and Music for Youth concerts. Fernanda also serves as a member of
the BPO’s artistic team, the BPO's music education committee and the BPO’s
Diversity Council, among other responsibilities.
As guest conductor Fernanda has led professional and
youth orchestras in the United States, Argentina, and Brazil. Some of her
previous engagements include conducting the National Orchestra of Argentine
Music "Juan de Dios Filiberto" at the CCK National Auditorium in
Buenos Aires, and the production of Missy Mazzoli's opera Song from the Uproar
in collaboration with Demaskus Theatre and Kassia Ensemble in Pittsburgh.
Fernanda Lastra is a passionate advocate for Latin
American composers, especially those from Argentina. In 2020, Fernanda created
Compositores.AR, a cycle of interviews of Argentinian composers in
collaboration with MúsicaClasicaBA in Buenos Aires.
From 2021-2022 Fernanda Lastra served as Director of
Orchestras at Augustana College in Rock Island, IL, where she led the Symphony
and Chamber orchestras. She also served as Assistant conductor for the
University of Iowa Symphony Orchestra from 2018-2022.
More about the history of Buffalo’s remarkable and
innovative BPO, including its various connections to the Music Department at
the University at Buffalo. http://edgeofthecenter.blogspot.com/2017/06/
We are honored to that Melinda
Wagner will join us at June
in Buffalo this year as a senior composer, and we’re quite excited to hear the Buffalo
Philharmonic Orchestra perform her
magnificent Proceed, Moon: Fantasy for Orchestra on the first evening
concert of the Festival.
Celebrated as an “...eloquent, poetic
voice in contemporary music...” [American Record Guide], Melinda Wagner’s
esteemed catalog of works embodies music of exceptional beauty, power, and
intelligence. Wagner received widespread attention when her colorful Concerto
for Flute, Strings and Percussion earned her the Pulitzer Prize in 1999. Since
then, major works have included Concerto for Trombone, for Joseph Alessi and
the New York Philharmonic, a piano concerto, Extremity of Sky, commissioned by
the Chicago Symphony for Emanuel Ax, and Little Moonhead, composed for the
Orpheus Chamber Orchestra, as part of its popular “New Brandenburgs” project.
Noted for its “...prismatic colors
and...lithe sense of mystery...” [Washington Post], Extremity of Sky has been
performed by Emanuel Ax with the National Symphony (on tour), the Toronto and
Kansas City Symphonies, and the Staatskapelle Berlin.
Championed early on by Daniel Barenboim,
Wagner has received three commissions from the Chicago Symphony; the most
recent of these, Proceed, Moon, was premiered under the baton of Susanna Mälkki
in 2017. Other recent performances have come from the Philadelphia Orchestra,
the American Composers Orchestra, the United States Marine Band, BMOP, the
American Brass Quintet, the Empyrean Ensemble, and the Philadelphia Chamber
Music Society.
Among honors Wagner has received is a
Guggenheim Foundation Fellowship, and awards from the American Academy of Arts
and Letters and ASCAP. Wagner was given an honorary doctorate from Hamilton
College, and a Distinguished Alumni Award from the University of Pennsylvania
in 2003. Melinda Wagner was elected to the American Academy of Arts and Letters
in 2017.
A passionate and inspiring teacher,
Melinda Wagner has given master classes at many fine institutions across the
United States, including Harvard, Yale, Eastman, Juilliard, and UC Davis. She
has held faculty positions at Brandeis University and Smith College and has
served as a mentor at the Atlantic Center for the Arts, the Atlantic Music
Festival, and Yellow Barn. Ms. Wagner currently serves on the faculty of the
Juilliard School of Music. (Source: https://www.melindawagnermusic.com/ )
The complete Four Settings will be performed by the
Slee Sinfonietta and soprano Tiffany DuMouchelle on Sunday, June 11th
2:00 p.m. in Lippes Concert Hall.
This year marks the first “in person”
visit by composer and conductor Robert HP
Platz to June in Buffalo as a
JiB senior composer. Robert was a virtual member of our faculty of senior
composers in 2020, and it’s a great pleasure to be able to welcome him to
campus and to Buffalo.
Born in Baden-Baden in 1951, Robert HP
Platz studied music theory, piano, and conducting in Freiburg im Breisgau with
Wolfgang Fortner, musicology with Elmar Budde, and for some time,
parapsychology with Hans Bender. He then moved to Cologne to study with Karlheinz
Stockhausen and completed training in conducting with Francis Travis in 1977 in
Freiburg. He lives and works in Cologne.
Since 1989, Platz’s compositions have
formed parts of a diary-like collection that consists of associative leaps in
which individual works stand for themselves but are closely connected
structurally and can be to some extent played simultaneously. For this
“polyphony of forms,” performers are spread around the room in such a way as to
allow the individual works to polyphonically percolate and overarch one
another.
Robert HP Platz has received commissions
from SWR, WDR, Saarländischer Rundfunk, the Sinfonieorchester Aachen,
Staatstheater Cottbus, Klangforum Wien, the E-MEX-Ensemble, the Adritti
Quartet, Ensemble Alternance, and many others as well as festivals including
the Donaueschingen Festival, ECLAT, Wien Modern, the Beethovenfest Bonn, and
ACHT BRÜCKEN.
In 1978 and 1979 he received a scholarship
from Südwestfunk’s Heinrich-Strobel-Stiftung and lived for a long time
afterwards in the USA and Paris, where he worked at IRCAM. Platz lived at the
Künstlerhof Schreyahn in 1989-1990 and was composer in residence at Villa
Serbelloni in 1990 on invitation from the Rockefeller Foundation. Two years
later he had a long and formative stay in Japan.
From 1980-2001 Platz directed the Ensemble
Köln, commissioning compositions from many renowned colleagues. Platz has
worked with a number of ensembles and orchestras as a guest conductor,
including Ensemble Modern, Klangforum Wien, Ensemble Musikfabrik, the Deutsches
Symphonie-Orchester Berlin, the orchestras of SWR, SR, and NDR, Orchestre
Philharmonique du Luxembourg, the Bamberg Symphony, and Bayerische Staatsoper,
as well as at international festivals in Salzburg, Helsinki, Donaueschingen, and
Strasbourg. Platz’s conducting has been documented on numerous CDs. His
portrait CD on Mauro Lanza with the Ensemble Alternance received an award from
the Académie Charles Cros, and his first Hosokawa CD on NEOS received a Clef
d’Or as the “CD of the Year 2009.”
Lecturing and teaching has brought Platz
to many European countries, as well as the USA, Mexico, Israel, Indonesia,
South Korea, and Japan; he has also been a lecturer at the Darmstadt Summer
Course on a number of occasions. Between 2000 and 2007, Platz was artistic
director of the Schreyahner Herbst festival. Pfau Verlag published the volumes “TOP:Skizzentagebuch” and “…weil die Welt und wir mit ihr so sind“
(Texte zur Musik 1972–2014). In 2013 Bärenreiter Verlag published “Technik
des Violinspiels” (with Irvine Arditti). Another publication about Robert
HP Platz is in the works for 2021 (Pfau Verlag, ed. Gordon Kampe). Since 2016,
piano maker Steingraeber has been building the first ever MIDI grand with permanently
installed transducers according to the composer’s specifications.
Platz has been a member of the Bureau du
Directeur of the Henri Pousseur Electronic Studios, Liège, since 2005, and has
been Professor of Composition and Ensemble Direction for New Music at the
Musikhochschule Würzburg since 2018.
Platz was working on the ensemble cycle 6
Welten: Container, that premiered at the Kölner Philharmonie in 2022, as
well as on the (chamber) musical theatre piece Anderswo, and a work for
solo violin and chamber orchestra. (Source: https://www.ricordi.com/en-US/Composers/P/Platz-Robert-HP.aspx )
Robert HP Platz - Anderswo: Wand für
Kammerorchester
Broken Book Skizze (1999) for flute, violin, viola and Violoncello by Robert HP Platz
June in Buffalo is pleased to present the world premiere of vl2 for
violin duo performed by Irvine Arditti and Ashot Sarkissjan of the Arditti
Quartet on the Wednesday, June 7th, 7:30 p.m. in Lippes Concert
Hall. Also featured on this program Platz’s Maro for solo violin played
by Irvine Arditti.
For fifty years, the Music Department at the University at Buffalo has maintained and nurtured a commitment to creative and performing artists at the forefront of contemporary music. The Robert and Carol Morris Center for 21st Century Music, founded and directed by composer David Felder in 2006, is built on this legacy, featuring the internationally renowned “June in Buffalo” festival, the Slee Sinfonietta Chamber Orchestra concert series, and the Guest Artist Series of performances, lecture presentations, and workshops. The Center for 21st Century Music is dedicated to the creation and production of new work upholding the highest artistic standards of excellence while simultaneously fostering a complementary atmosphere of creative investigation.
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