Festival

Presentation of results of the Special Program

Team Composition

coached by Matthew Shlomowitz and Dimitrios Polisoidis

 

with

PPCM-Ensemble

Jun Nakamura flute | Sara Valle flute | Pablo Marin-Reyes trombone | Mario Porcar Rueda percussion | Maria Iaiza piano | Maurizio De Luca accordion | Szymon Kałużny violin | Aleksandra Kornowicz violin | Mina Zakić cello | Irati Goñi Leoz cello

+

further selected performers

Anika Ariana Hernández Vera piano | Nina Casati violin | Christoven Tan viola

+

selected composers

Simon Bahr | José del Avellanal Carreño | Roni Glaser | Athanasia Kontou | Arianna Pittino | Bernat Pont Anglada

 

 

 

16.30

Roni Glaser | Christoven Tan From one ear to another (2025, world premiere)

Christoven Tan viola

Sara Valle flute 

Maurizio De Luca accordion
Mina Zakić cello

Arianna Pittino | Athanasia Kontou Stories of vulnerability: a ritual (2025, world premiere)
Irati Goñi Leoz cello
Aleksandra Kornowicz violin
Pablo Marin-Reyes trombone
Anika Ariani Hernández Vera piano
Nina Casati violin

 

Bernat Pont Anglada | José del Avellanal Carreño Krizo Asembleo de la Civitano Konsilio de la Libera Reglando de la Roko (2025, world premiere)

Maria Iaiza piano
Jun Nakamura flute
Mario Porcar Rueda percussion
Szymon Kałużny violin
 

 

 

19.00

Carolyn Chen Agadio (2009)

Matthew Shlomowitz Letter Piece 1 (2008)

Simon Bahr Lead Sheet pieces (2025, world premiere)

Jennifer Walshe Zusammen i (2014)

 

Simon Bahr | Nina Casati | Maurizio De Luca | Irati Goñi Leoz | Anika Arianna Hernández Vera Maria Iaiza | Athanasia Kontou | Aleksandra Kornowicz | Pablo Marin-Reyes | Jun Nakamura Arianna Pittino | Bernat Pont Anglada | Mario Porcar Rueda | Christoven Tan | Sara Valle
Mina Zakić

As one of the various Special Programs at the impuls Academy 2025, composer as well as performer participants were invited to sign up for "Team Composition". Works created for this project could either be co-authored (such as score-based work between multiple composers, or between a composer and performers e.g. creating their own parts) or "open works", that leave room for performers to make creative contributions beyond the remit usually ascribed to "interpretation" (examples for „open works“ include e.g. instruction scores, graphic scores, pieces with modified stave/staff notation, and pieces involving improvisation).

This project draws on Matthew Shlomowitz’s experience as a composer of open scored work such as his "Letter Piece"-series, where players create their own content within guidelines. He has recently co-composed two works with composers/performers Jennifer Walshe and Mariam Rezaei respectively. In "It’s Not About You: do we still need to have an 'artistic voice'", a talk he wrote that has now been published in Tempo journal, he argues that the emphasis classical music and new music places on composers developing an "artistic voice" (which in turn gives precedence to sole-authored composition), has made us slow to see the benefits of composing in other ways.

The PPCM ensemble, formed by students of the class for "Performance Practice in Contemporary Music" of Klangforum Wien at KUG, are an integrale part, performing, but also codeveloping projects at this Special Program. Dimitrios Polisoidis, coordinator of the PPCM course, in turn, assists in the realization of the "Team Composition"-project with his experience in conceptual music and improvisation projects with artists such as Peter Ablinger, Bernhard Lang and others. In addition to the PPCM ensemble, some more individual instrumental participants of the Academy joined the project.