CIEL ACADEMY
WORKSHOPS
16 > 23 july 2023 | Cordes-sur-Ciel
PRÉSENTATION
Le GMEA - Centre national de création musicale d'Albi-Tarn et l'Ensemble LINEA organisent ensemble CIEL 2023, des ateliers de composition, d'interprétation et de recherche musicale entre le 16 et le 23 juillet 2023 à Cordes-sur-Ciel.
A l'été 2022, à quelques semaines et kilomètres d'intervalle, LINEA et le GMEA imaginent chacun un nouveau format dédié à la formation des jeunes musiciens. CIEL Academy (LINEA) et Expériences (GMEA) avaient en commun l'envie de partage et d'échanges autour de la création de nouvelles œuvres tout en croisant les expériences de musiciens de différentes générations.
En 2023, LINEA et le GMEA décident d'unir leurs forces pour repenser et développer leurs projets et mettre en œuvre un nouveau temps dédié à la formation et à la création, axé sur la composition et donnant toute sa place aux démarches expérimentales et à l'interprétation.
Un ensemble de musique contemporaine et un centre de création musicale dédié à l'expérimentation (improvisation, électronique, art sonore) s'associent pour proposer une nouvelle approche de transmission basée sur le partage d'expériences, la curiosité et le croisement des esthétiques.
CIEL est un temps de collaboration et de création partagée ouvert aux compositeurs et aux interprètes instrumentaux.
Les compositeurs doivent écrire une nouvelle œuvre qui sera interprétée par les musiciens de l'ensemble LINEA et les interprètes participants lors d'un concert inscrit au programme du Festival de Cordes-sur-Ciel. Ils seront conseillés dans l'écriture de cette pièce par les compositeurs Zeynep Toraman et Jürg Frey ainsi que par les musiciens de l'ensemble LINEA.
Les instrumentistes sélectionnés se produiront aux côtés des musiciens de l'ensemble LINEA. Ils peuvent également présenter un répertoire de leur choix et l'approfondir avec les tuteurs.
Un travail de recherche et de création encouragera également la collaboration entre les jeunes compositeurs et les jeunes interprètes.
En plus des ateliers et des répétitions, les participants présenteront et discuteront de leurs parcours artistiques afin d'enrichir le programme de cette semaine intense.
Comme en 2022, les instruments d'époque seront à l'honneur et les participants découvriront leurs qualités sonores spécifiques et leur utilisation dans un processus créatif. Les musiciens de LINEA se produiront sur des instruments historiques et modernes : flûtes, bassons, cors, violon, violoncelle et guitare/théorbe/oud.
En outre, cette année, la possibilité de travailler avec l'électronique et le son sera offerte aux participants.
Les œuvres peuvent être écrites pour un instrument solo, de la musique de chambre ou un ensemble, acoustique amplifié ou mixte.
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DÉROULEMENT
Une place importante est laissée à la dimension de recherche. Chaque instrument historique sera longuement présenté, de manière anticipée et en vidéoconférence, puis sur place. Les interprètes seront disponibles, dès la sélection, pour expérimenter avec les compositeurs.
Chaque compositeur écrira une nouvelle œuvre. Cette œuvre sera donnée en concert, à l’ouverture du Festival de Cordes, et enregistrée. Le travail de composition sera suivi, sur place, par les professeurs, qui interviendront aussi en amont, en cours individuels. Les professeurs et étudiants donneront aussi des présentations de leurs propres travaux.
• Cours individuels
• Cours collectifs
• Séances de travail musiciens / compositeurs en amont
• Présentation par professeur et chaque étudiant de sa démarche artistique et d’une sélection d’œuvres
• Tous les instruments anciens seront présentés en amont, en vidéoconférence, avec leurs possibilités, techniques et limites particulières ;
• Répétitions sous formes de workshops ;
• Concerts publics présentant les travaux finaux, avec captation audio.
ENCADREMENT
Professeurs : Zeynep Toraman & Jürg Frey
Encadrement artistique : Didier Aschour & Jean-Philippe Wurtz
Ensemble Linea :
Keiko Murakami : Flûtes modernes : flûte contrebasse, flûte basse, flûte alto, flûte en ut, piccolo | Flûtes renaissance : flûte en ré (440 et 415), flûte en sol (440), flûte en la (440) | Flûte baroque : traverso en 415
Deepa Goonetilleke : cor
Antoine Pecqueur : basson moderne, basson classique, basson baroque, contrebasson
Ernst Spyckerelle : violon
Caroline Delume : Guitares modernes (6 cordes, 10 cordes, guitare en quarts de ton), Théorbe, Guitare baroque, oud
Johannes Burghoff : violoncelle
Jean-Philippe Wurtz : direction
PRESENTATION
The GMEA – National Centre for Music Creation of Albi-Tarn and LINEA Ensemble organize together CIEL 2023, composition, interpretation and musical research workshops between 16th and 23rd July, 2023 in Cordes-sur-Ciel.
In the summer of 2022, a few weeks and kilometers apart, LINEA and the GMEA each imagined a new format dedicated to the training of young musicians. CIEL Academy (LINEA) and Experiences (GMEA) had in common the desire to share and exchange around the creation of new works by crossing the experiences of musicians from different generations.
In 2023, LINEA and the GMEA decide to join forces to rethink and develop their projects and implement a new time dedicated to training and creation, focused on composition and giving full place to experimental approaches and to interpretation.
A contemporary music ensemble and a musical creation center dedicated to all-out experimentation (improvisation, electronics, sound art) join forces to offer a new approach to transmission based on the sharing of experiences, curiosity and crossing aesthetics.
CIEL is a collaborative time for shared creation open to both composers and instrumental performers.
Composers are to write a new work which will be premiered by the musicians of LINEA ensemble and the participating performers during a concert part of the programme of the Cordes-sur-Ciel Festival. They will be advised in the writing of this piece by composers Zeynep Toraman and Jürg Frey as well as the musicians of LINEA ensemble.
The selected instrumentalists will perform alongside LINEA musicians. They are also free to present a repertoire of their choice to deepen it with the tutors.
Collaboration between young composers and young performers is also encouraged in the development of research and creation work.
In addition to the workshops and rehearsals, participants will present and discuss their artistic paths to enrich the program of this intense week.
Just like in 2022 period instruments will be on the front line in a process of discovering their specific sound qualities and their use in a creative process. LINEA musicians will perform on both historical and modern instruments: flutes, bassoons, horns, violin, cello and guitar/theorbo/oud.
In addition this year the possibility of working with electronics and sound will be offered to participants.
Works may be written for solo instrument, chamber music or ensemble, acoustic or amplified, or mixed.
DÉROULEMENT
An important place is given to the research dimension. Each historic instrument will be presented in details in advance by videoconference and then on place. Upon selection, performers will be available to experiment with composers.
Each composer will write a new work for a distribution previously defined. This work will be played and recorded during the Festival opening concert. This composition work will be supervised by teachers both during the Academy and the months before during streamed individual lessons. Professors and students will also give presentations of their own work.
• Individual lessons
• Group lessons
• Musicians / composers working sessions beforehand of the Academy
• Presentation by professor and each student of his artistic approach and a selection of works
• All the old instruments will be presented ahead of time, by videoconference, with their particular possibilities, techniques and limits ;
• Workshop rehearsals ;
• Public concerts presenting the final works, with audio recording.
TEACHING STAFF
Teachers : Zeynep Toraman & Jürg Frey
Artistic management : Didier Aschour & Jean-Philippe Wurtz
Ensemble Linea :
Keiko Murakami : Modern Flutes : double base flute, bass flute, alto flute, flute in C, piccolo | Renaissance flutes : flute in D (440 et 415), flute in G (440), flute in A (440) | Baroque flute : traverso en 415
Deepa Goonetilleke: horn
Antoine Pecqueur: modern bassoon, classical bassoon, baroque bassoon, contrabassoon
Ernst Spyckerelle: violin
Caroline Delume: modern guitars (6-string, 10-string, quarter-tone guitar), theorbo, baroque guitar, oud
Johannes Burghoff: cello
Jean-Philippe Wurtz: conductor
2023 Selected composers & instrumentalists
Joe Bates (United Kingdom)
Joe Bates is a composer and curator whose work has been programmed in established festivals (MATA, Occupy the Pianos, Sound Unbound) and by independent music nights. He has been accepted onto major composition schemes (LSO Panufnik, National Youth Choir Young Composers, Psappha “Composing For”, Riot Ensemble Zeitgeist). Joe’s work explores microtonality, the boundaries between genres, and the collision of the acoustic and the digital, combining classical and electronic performance conventions. It has been described as ‘made with brilliant material, [whose] result was utterly uncanny.’ (New York Classical Review) His work has been published by Stainer & Bell and released on NMC Records. Joe founded Filthy Lucre, a cross genre music night whose events move from concert to gig to club night.
Carlos Brito Dias (Portugal)
Carlos Brito Dias (1991) is currently developing his PhD in the Arts, at the University of Antwerp and the Royal Conservatoire of Antwerp, and he is attending the Master in Orchestral Conducting at the same institution. He worked with several ensembles and orchestras including Remix Ensemble, Orquestra Sinfónica do Porto, Antwerp Symphony Orchestra, Symphony Orchestra of Ruse, ensemble recherche and HERMESensemble. He has written music for short movies, theatre, robots-orchestra and collaborations with dancers and visual artists. Currently, he is Composer in Residence of Antwerpen Camerata.
Kenrick Ho (United Kingdom)
Kenrick Ho (b.1997) is a Toronto-born, Hong Kong-raised, and now UK-based composer-researcher currently completing a PhD in composition at the University of Leeds. His practice-led thesis, supervised by Martin Iddon and Freya Bailes, explores creative opportunities that emerge within various kinds/levels of human agencies in AI embodiment through experimental composition. More specifically, his research/music engages with questions about the physicality of performance, embodied cognition, and more broadly, the manifold interrelationship between the performer, composer, and the machine as artistic decision makers. He is expected to complete his doctoral degree by September 2023.
Samuel Hvozdík (Slovakia)
Samuel Hvozdík (*1993) is a composer based in Bratislava, Slovakia. He gained his education in composition at the Academy of Performing Arts in Bratislava in the class of Lucia Papanetzová.
Samuel has been a recepient of research stipends from Slovak Arts Council and Slovak Music Fund to continue his research on the topic of mental health in arts. He was also one of the laureates of the GENERACE international composition competition with his ensemble piece In Finitum.
His music has been selected for performances within festivals and concert events around Europe, such as ISCM World Music Days, Melos Ethos or Protonwerk, most notably by Ensemble Proton Bern, mdi Ensemble, International Ensemble Modern Academy, Quasars Ensemble and others.
Maria Iaiza (Italy)
passionate about contemporary music, she often performs this repertoire as soloist,
chamber music or in ensemble, for festivals such as DEstate in Milan, Veneto Contemporanea, Musica Insieme in Bologna,Trieste Prima, Mittelfest, Pordenone Piano City and others, cooperating with Claudio Ambrosini, Federico Gardella, Ivan Fedele, Marco Stroppa and others.
She studies with Maria Grazia Bellocchio in Milano and she could collaborate with composers as Stefano Gervasoni, Salvatore Sciarrino and Alessandro Solbiati.
She plays in piano duo together with Luca Chiandotto, with whom she performed Mantra by K. Stockhausen and other repertoire.
She graduated in Piano and Chamber Music in Conservatorio “G. Tartini” in Trieste and she continues her studies of Chamber Music in the Kunstuniversität in Graz
Kevin Kay (United States)
Kevin Kay (b. 1995) is a composer who is inspired by how sound behaves physically in our world. His music utilizes physically and mathematically oriented harmonic languages centered on just intonation. Festivals that have performed Kevin’s music include the Cortona Sessions for New Music (2020 Prize Winner), the International Workshop for Young Composers, IRCAM’s ManiFeste Academy, and Les Ecoles d’Art Américaines de Fontainebleau. Kevin’s music has been performed by ensembles such as Divertimento Ensemble, Spektral Quartet, Imani Winds, and PinkNoise Ensemble, among others. Kevin is currently a PhD candidate at Stony Brook University. He holds an M.A. in the Humanities from the University of Chicago and a B.S. in Physics and Music from the College of William and Mary.
Eden Lonsdale (Germany)
Eden Lonsdale is a composer from Berlin.
He has studied composition at the Guildhall School of Music (London) with Cassandra Miller and Julian Anderson and at the Kunstuniversität Graz with Klaus Lang. He has also studied Just Intonation at the UdK Berlin with Marc Sabat.
Eden’s music focuses mainly on exploring the inter-connectedness of harmony and timbre. His dense and immersive sound-worlds attempt to draw the ear into the smallest details and hope to inspire the listener’s selfguided exploration into the music’s manifold layers.
He has written concert music for soloists such as Satoko Inoue, Anton Lukoszevieze and Heather Roche as well as ensembles EXAUDI, Apartment House, Plus-Minus Ensemble, Rundfunk- Sinfonieorchester Berlin, Ensemble Intercontemporain, RIOT Ensemble, and ICTUS.
Forrest Moody (Austria)
American composer and pianist Forrest Moody was raised in rural Alabama. First trained as a pianist, he studied at the Eastman School of Music under Barry Snyder. As a pianist, he has performed throughout the Eastern United States and Western Europe. After moving to Berlin in 2016, he began his work as a composer. Since then, his compositions have been performed in various venues and settings in Germany, Austria, Switzerland and France. He now resides in Graz, Austria, where he studies composition with Klaus Lang and piano with Han-Gyeol Lie at the Kunstuniversität Graz.
José Mora-González (Spain)
José Mora-González is a composer currently living in Barcelona. Collaborating with ensembles like CrossingLines or Curious Chamber Players, or performers like Christopher Redgate or Émilie Girard-Charest, his work explores subjects such as cultural and political heritage, time or anguish through the framework of concert music and experimental performance.
His studies include a degree in Composition in Catalonia's ESMUC (Christophe Havel, José Río Pareja) and an MAR in the University of Huddersfield (Aaron Cassidy). He has been given personal advise from composers such as Pierluigi Billone, Carola Bauckholt or Alberto Posadas, has taken part in festivals such as Mixtur or hcmf//, and received commissions from institutions like l'Auditori de Barcelona or the Spanish Ministry of Culture.
Salomé Saurel (France)
Salomé Saurel began playing the violin at the age of 6. In 2008 she entered the Strasbourg Conservatoire in the class of Ana Reverdito-Haas. She has taken part in several master classes, including those with international soloists such as Marina Chiche, Didier Lockwood, Alexis Galperine and Amiram Ganz. In 2016, she obtained her diploma from the Conservatoire before joining the Haute Ecole des Arts du Rhin (HEAR) in September 2017.
During her studies she had the opportunity to take part in numerous orchestral and chamber music projects. She developed a real interest in the string quartet, which she had the opportunity to study with teachers from the Académie Supérieure, including Denis Dercourt, Thomas Gauthier, Samika Hounda and Benjamin Boura.
Thanakarn Schofield (Thailand)
Thanakarn Schofield’s works explore the sonic behaviour of multiculturality, contemporary and traditional practices, and geographical sonic elements from the Far East/Southeast Asia. His compositions have been performed in more than 10 countries and commissioned by different orchestras and ensembles including Avanti Orchestra, Residentie Orkest, Harmonieorkest De Phoenix, Orkest De Ereprijs, Harp Sirens, Hezarfen Ensemble, Klangforum Wien, Kluster 5 Ensemble, Mivos Quartet, New European Ensemble, Tacet(i) Ensemble, and more.
Jenna Vergeynst (Belgium)
Jenna Vergeynst (1992) is a Belgian harpist. She is currently finishing her master’s at the Royal Conservatoire of Antwerp with Miriam Overlach and holds a PhD in bioengineering. She has performed as a soloist with orchestras such as the Covestro Symphoniker, Cordae Lysis and the Symphonic Orchestra of the Royal Conservatory of Antwerp. Her main focus is contemporary music, playing solo repertoire by Aperghis, Berio, Maierhof, Schafer... She played in contemporary music ensembles such as Oh ton-ensemble and Ensemble XXI of the Royal Conservatory of Antwerp, is a member of Trio Escalda and harpduo Vireo, and engages in free improvisation in different settings. Currently, she is working on the performance Ear to Sea, a cocreation and music theater about underwater acoustic pollution.