Programme Note by Liza LIM 

„The solo work explores the sonic worlds of the two bells of the Instrument: a bell is used to filter fragments of a carnival of sound that are played through the open bell. The muted echoes represent the level of our conscious knowledge that barely catches hold of a riot of activity arising and falling away at the pre conscious level. Every now and then a more intense communication between the two sides occurs as the bells flutter open and closed.” 

Live performance: 22.10.2022, Basel 

Antonio Jimenez Marin, double-bell trombone 

Recoding: Johan Olsson

Digital illustration by Antonio Jimenez Marin

Liza Lim: The Green Lion Eats The Sun (2014) Live Recording

Oriki a Oggún (2019/rev.2023) by Louis Franz Aguirre
I - Oriki: Preludio de la Adoración
II - Toque para la presencia Divina
Trombone: Antonio Jiménez Marín.
Live recording at the OpenDays Festival, Denmark.

ORIKI A OGGUN (2019/rev.2023)

Beat Furrer was born in Schaffhausen (Switzerland) in 1954 and received his first musical training on piano at the Music School there. After moving to Vienna in 1975, he studied conducting with Otmar Suitner and composition with Roman Haubenstock Ramati at the Hochschule für Musik und Darstellende Kunst. In 1985 he founded the Klangforum Wien, which he directed until 1992, and with which he is still associated as conductor. Commissioned by the Vienna State Opera, he composed his first opera Die Blinden. His second opera Narcissus was premiered in 1994 as part of the Festival “steirischer herbst” at the Graz Opera. In 1996 he was composer-in-residence at the Lucerne Festival. His music theatre work Begehren was premiered in Graz in 2001, the opera invocation in Zürich in 2003 and the sound theatre piece FAMA in Donaueschingen in 2005. In autumn 1991 Furrer became a full professor of composition at the Hochschule für Musik und Darstellende Kunst in Graz. He has been guest professor in composition at the Hochschule für Musik und Darstellende Kunst in Frankfurt 2006–2009. Together with violinist Ernst Kovacic he founded "impuls", a International Ensemble and Composers Academy for Contemporary Music. In 2004 he was awarded the Music Prize of the City of Vienna, and in 2005 became a member of the Academy of Arts in Berlin. He was awarded the Golden Lion at the Venice Biennale in 2006 for his work FAMA. In 2010 his music theatre Wüstenbuch was premiered in Basel. In 2014 he was awarded with Great Austrian State Prize. His latest opera La Bianca Notte based on texts by Dino Campana, was premiered in Hamburg in spring 2015. He is currently working on his new opera Violetter Schnee (Violet Snow) based on a Libretto by Vladimir Sorokin. Since the 1980s Beat Furrer has composed a wide range of works, from solo and ensemble music to orchestral and choral works and opera. He is well know for his nuanced exploration of the human voice and its relationship to instrumental sound.

Beat Furrer Spazio Immergente (extrait) - Viviane Hasler Et Antonio Jimenez

Georges Aperghis was born in Athens in 1945. He lives and writes in Paris since 1963. His work is notably characterized by a questioning about languages and the meaning. His compositions, wether instrumental, vocal or for stage, explore the borders of the intelligible, he likes to create twisted tracks which allow him to keep active the listener (stories emerge but are suddenly refuted).
Aperghis’ music is not strictly linked to any dominant musical aesthetics of the contemporary musical creation but follows on his century by a dialogue with other forms of art and an extreme open-mindedness to intellectual, scientific and social fields.
This otherness is combined with innovation when he includes electronics, video, machines, automatons or robots to his performances. Aperghis works closely with group of interpreters who are entirely part of the creative process. They are comedians (Edith Scob, Michael Lonsdale, Valérie Dréville, Jos Houben), instrumentalists (Jean-Pierre Drouet, Richard Dubelski, Geneviève Strosser, Nicolas Hodges, Uli Fussenegger) or vocalists (Martine Viard, Donatienne Michel-Dansac, Lionel Peintre). From the 90’s he shared new artistic collaborations with danse (Johanne Saunier, Anne Teresa De Keersmaeker) and visual arts (Daniel Lévy, Kurt D’Haeseleer, Hans Op de Beeck). The main european contemporary music ensembles have developed a working relationship with Aperghis through settled commissions that are now part of their repertory (Ictus, Klangforum Wien, Remix,  Musikfabrik, Ensemble Modern, Intercontemporain, Vocalsolisten, the SWR choir).

Recently Georges Aperghis received the Mauricio Kagel Prize in 2011 and the Golden Lion for Lifetime Achievement - Venise Biennale Musica 2015. The BBVA Foundation Award « Frontiers of Knowledge » goes to Georges Aperghis in 2016  (category contemporary music).

Georges Aperghis: RUINEN (1994) Für Posaune Solo

Born in 1957 in Birmingham, John Kenny is a multi-faceted performer. As a trombonist his interests include contemporary solo repertoire, modern jazz and early music. He also works as an actor and is active as a composer, having received commissions from the London Contemporary Dance Theatre, Huddersfield Contemporary Music Festival, and in 1989 was Strathclyde Composer in Residence to the Scottish Chamber Orchestra.

After studying with Harold Nash at the Royal Academy of Music, John Kenny worked as an actor/musician with the Bubble Theatre in London in 1981 then made his debut as soloist in the Purcell Room in 1982. In 1983 he was a prize winner at the Gaudeamus International Competition in Holland, and has since given recitals and broadcasts worldwide, both as a soloist and with ensembles including Ensemble Moderne of Frankfurt and Ensemble Alternance of Paris. In 1993 he became the first person in modern times to play the Carnyx, Scotland's 2,000 year old Celtic Boar-headed horn. He now performs and lectures regularly with the instrument.

In 1984 he was a founder member of the TNT music theatre, collaborating with playwright Paul Stebbings to produce shows which have toured over a hundred venues in the UK, Scandinavia, Germany, Russia and Japan. He is a professor at the Guildhall School of Music and Drama in London, lecturer at Akademie Schloss Solitude, Stuttgart, and in 1993 was elected Associate of the Royal Academy of Music. He lives in Edinburgh with his wife and two children.

 

John Kenny performs exclusively on Conn trombones.


John Kenny Sonata for Unaccompanied Tenor Trombone

Mike Svoboda
Apples, Bees, and Ordnance (2017) 
for alto saxophone, violoncello and accordion
written for the Trio SÆITENWIND with Jonas Tschanz, Karolina Öhman, and Olivia Steimel.
A live recording from Zürich, Switzerland, March 2018.

Mike Svoboda : Apples, Bees, and Ordnance (2017)

Viviane Hasler, Sopran
Antonio Jimenez Marin, Posaune

Spazio Immergente I von Beat Furrer (*1954) war eine Auftragskomposition des Mozarteum Festivals „Dialogues“ in Salzburg, wo Beat Furrer 2015 composer in residence war. Die Première des Stücks war für November 2015 angesetzt, die Sopranistin musste jedoch wenige Tage davor absagen. Glücklicherweise konnte Mojca Erdmann in letzter Minute einspringen und zusammen mit dem Posaunisten Mike Svoboda Ausschnitte dieses phantasievollen akusti-schen Dialogs zwischen Posaune und Sopran aufführen. Das Duo basiert auf den erstaunli-chen Reﬂexionen von Lucretius über das Phänomen und die Natur des Lebens, welche er in raffniertem Versmaß in seiner Abhandlung De rerum natura (Über die Natur der Dinge) im ersten Jahrhundert vor Christus schrieb. Die acht Verse enthalten nicht weniger als eine Vision der Auﬂösung und Apokalypse, und bilden den Startpunkt einer tonalen Entfaltung in verschiedene Richtungen. Die Première des 17 minütigen Stücks in voller Länge fand im April 2016 durch Tim Albright und Tony Arnold in New York statt.

Beat Furrer: Spazio Immergente(2015)für Sopran und Posaune

Yolanda Fernandez, Clarinet
Cristina Orts, Tenor Saxophone
Adrián Albaladejo, Trombone

Elena Mendoza - Geografías soñadas(2011)Clarinet in b, Tenor Saxophone, Trombone. Excerpt

Beat Furrer (*1953)
Spazio Immergente III (2019)
for soprano, trombone, and string orchestra
recorded live in the Elbphilharmonie, May 2019
with Rinnat Moriah, Mike Svoboda, Ensemble Resonanz under the direction of Peter Rundel

Beat Furrer "Spazio Immergente III"

Manfred Stahnke (*1951) Beating für drei Posaunen 
Live Recording in Basel, Switzerland. June 2017

Manfred Stahnkes Beating für ein Posaunen-Trio basiert auf einem dualen System der beiden „reinen Intervalle“ der Obertonreihe (Intervalle, die aus Ganzzahlverhältnissen erzeugt wurden)in Kombination zu Referenz-Tonhöhen von gleichem Temperament. Das resultierende gemischte System dieser Abstimmungskomplexität bezieht sich auf den Titel des Stückes.

Die Schwebungen sind während dieser Arbeit entscheidend. Sie nuancieren die einzelnen Abschnitte. In Manfreds eigenen Worten ausgedrückt: „Sie sind die Hauptsubstanz des Stückes.“ Von der Figur J bis zum Ende des Stücks kann der Zuhörer den theoretischen Aufbau von Untertonakkorden oder eine gespiegelte Version von Obertonakkorden hören.

Obwohl Beating ursprünglich 1999 geschrieben wurde, kam es erst im Jahr 2013 nach der Zusammenarbeit mit dem Posaunisten Mike Svoboda zur Veröffentlichung.

Adrián Albaladejo, Posaune
Antonio Jiménez Marín, Posaune
Maria Cofan, Posaune

Manfred Stahnke: Beating (1999/2003) für drei Posaunen

Spanish trombonist Antonio Jiménez Marín is engaged in exploring and extending the boundaries of his instrument. Antonio artistic interests lie in innovative collaborations with composers, performers and other artists in the creation of new compositions and artworks.

Beat Furrer: Spazio Immergente(2015)für Sopran und Posaune

Antonio Jimenez Marin

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