Impronta - Edition UG

16/01/2024

Insomnia problems? No problem! Thursday, January 18, 2024 at 00:05 switch on your radios to listen to Clemens Gadenstätter making of - intimacy (2022) for flute and orchestra.
https://www.deutschlandfunkkultur.de/programm?drsearch:date=2024-01-18

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Das Programm von Deutschlandfunk Kultur mit Links zu Beiträgen und Audios aus allen Sendungen. Zum Nachhören oder Nachlesen – mit Vorschau und Rückschau.

03/01/2024

The Ö1 Radio Play Audience Award 2023
Already voted?
My little tip! No. 21

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02/01/2024

Impronta-edition UG wishes you all a happy new year and much success and health for 2024!

13/12/2023

listen!!!
„Break Eden“, ein Hörspiel der Autorin Lisa Spalt und des Komponisten CClemens Gadenstätter"Break Eden", a radio play by author Lisa Spalt and composer CClemens Gadenstätter
https://www.vioworld.de/musikermarkt/list/welcome/1/

Suche nach dem Paradies in der Mähmaschinenausstellung
Search for paradise in the mowing machine exhibition
Ö1 Kunstsonntag: Radiokunst-Kunstradio

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Jobangebote für Orchester, Tanz, Gesang, Theater, Kulturmanagement, Hochschulen. Musikermarkt für Instrumente und Unterricht.

01/12/2023

Clemens Gadenstätter's "Break Eden" concert was on November 29. Congratulations to performers Anna Clare Hauf, Ernst Surberg and Lisa Spalt. You can listen to it again by clicking on the following link: https://www.youtube-nocookie.com/embed/gY4_kjwHct8

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28/11/2023

CLEMENS GADENSTÄTTER / LISA SPALT: BREAK EDEN
A not-to-be-missed concert on Wednesday, November 29, 2023 at 6pm.
Alte Schmiede, Schönlaterngasse 9, 1010 Wien
https://www.wienmodern.at/2023-clemens-gadenstaetter-lisa-spalt-break-eden-de-2557
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19/10/2023

We are delighted and proud to share with you the Review of the October 11, 2023 concert.

Solo flute: Karl-Heinz Schütz
ORF RSO Vienna under the direction of Marin Alsop
"making of - intimacy" by Clemens Gadenstätter.

Der zweite Programmpunkt „making of – intimacy“ stammt von Clemens Gadenstätter und ist für Soloflöte und Orchester verfasst. Karl-Heinz Schütz übernahm den anspruchsvollen Solistenpart und reizte dabei eine breite Klangpalette seines Instrumentes aus. Den Beginn macht das gesamte Orchester gleichzeitig in einem aufgeregten, raschen Duktus. Die Flöte, die kurz darauf hörbar wird, wird vom großen Klangapparat rasch genutzt, um auf sie zu reagieren. Dieses Spiel zwischen Vorgabe und Reaktion wird sich bald umgekehrt, nach einem wilden Zwischenspiel ohne Flöte, wiederholen.

So intensiv der Beginn war, so melancholisch setzt sich bald danach ein Flötensolo in den Raum, dessen Klageton abermals vom gesamten Instrumentarium aufgenommen wird. Das, was eben noch an Trauer hörbar war, verändert sich atmosphärisch in ein Aufbegehren. Schlagen und lautes Blech, ein Aufbrüllen und laute Trommeln prägen diesen Teil. Wie schon zuvor ändert sich das Geschehen komplett und zu Flüsterstimmen bleibt die leise Flöte lange auf einem Ton. Die lange, ruhige Passage ist auch durch ein zartes Solo gekennzeichnet, das vom Flötisten auch stimmlich während des Spiels begleitet wird. Währenddessen agiert das Orchester wie ein schlafendes Tier, das auf die Dynamik eines Flatterzungeneinsatzes von Schütz und dessen Läufe reagiert. Eine darauffolgende Klangverdichtung mit vollem Orchestereinsatz begibt sich aufwühlend in einen brüllenden Zustand, wie der eines waidwunden Tiers. Nun ist es an der Flöte, die an- und absteigenden Läufe des Orchesters zu übernehmen und ihm danach wieder die Bühne zu überlassen. Glocken, Becken, ein aufbrüllendes Blech, harte Schläge und Klopfen kennzeichnen die heftige Passage, die abermals von einer langen, leisen Passage mit Stimmhauchen abgelöst wird. Wie zuvor flammt das Geschehen abermals auf, um sich rasch wieder zu beruhigen. Zu hören sind nun Stimmen, dunkles Blech und eine flatternde Flöte – bis alles in eine lange ruhige Passage übergeht, die langsam verweht. Es ist ein Auf und Ab, ein emotionales Klagen und Brüllen genauso wie ein in sich gekehrtes, melancholisches Verweilen, das in Gadenstätters musikalische Sprache verwandelt wurde. An oberster Stelle stehen in diesem Werk hörbar gewordene Emotionen. Emotionen, welche vom Publikum ähnlich, aber nicht ident ausgelegt werden können und damit für jede und jeden genug eigenen interpretatorischen Spielraum bereithalten.

read the full review:
https://european-cultural-news.com/rso-beim-orf-musikprotokoll-im-steirischen-herbst/50610/?fbclid=IwAR2ptfSqDHcCbVTBtPDQluAY6sDkqDh6RR4ougInNt2ivPBrxzfYKmLm6Fs

26/07/2023

Happy Birthday Clemens Gadenstätter!
https://edition-impronta.com
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24/07/2023

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07/07/2023

https://fb.watch/lDJPTipnf-/

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05/07/2023

Save the date! A great concert not to be missed in Hannover with Trio d'Iroise

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Hallo Hannover!
Big news for you. We have next week a concert in Hannover. We are really happy to play for the first time in UJZ Korn. If you don't know this place you must discover it.
Many many thanks an Jan Kermes https://herr-k.online/ for the really nice poster.
11.07.2023 at 20:00
Infos : https://www.triodiroise.de/konzert-anklang-11-07-23/
See you!
Máté Balogh Support fürs UJZ Korn Hanovre Mårten Josjö Jug K. Marković

13/06/2023

SAVE THE DATE!
Samuel Andreyev Piano Pieces V-VII
with Dina Pysarenko
June 13th, 21:00
Sala Stella Maris - Savona
Piazza Pippo Rebagliati, 2, 17100 Savona SV, Italien
https://edition-impronta.com
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07/06/2023

Impronta welcomes a new composer in our catalogue!
Clemens Gadenstätter

Clemens Gadenstätter, born 1966 in Zell am See (Austria), studied composition with Erich Urbanner and Helmut Lachenmann. He is a composer who goes to the substance of music like hardly any other of his generation. Not the material itself or a "critical examination", as one so often reads, is the core of his interest, but a philosophy of listening, understanding and feeling, based on semantic analysis and an in-depth study of perceptual phenomena. A philosophy that has two sides, on the one hand one that describes the sound and its perception, as well as its structuring, on the other hand the sounding piece itself. In his essays Gadenstätter designs models of our own sensory apparatus, which inspire and can be applied also apart from his pieces. In the course of his research he felt his way further and further and refined his approaches, but the two sides are never separated. The pieces are not simply the application of what was previously formulated textually, they are part of his thinking and reflect it artistically. They make his philosophy audibly comprehensible and experienceable. The starting point is often the simplest material, sounding or not sounding, from banal everyday noises to sensations or semantic complexes. Categorized and analyzed, this material experiences the most diverse forms of transformation and musicalization and is then brought into new contexts. As we listen to this process, new meanings and new perspectives emerge on what seems so familiar. On the way to understanding, listening becomes a conscious process that involves semantic grasping as well as the sensual and physical.

In Semantical Investigations he explores banal everyday sounds and their universe of meaning. The series of works E.P.O.S.: les premiers cris, les cris des lumieres, les derniers cris for different ensembles deals with the transformation of acoustically triggered, preformed sensations. Likewise SAD SONGS deals with human sensations. In ICONOSONICS, Gadenstätter compositionally analyzes iconographic contexts. However, work on meaning and perception also runs through countless other works in the composer's broad oeuvre, as does his critical view of our increasingly isolating society. Currently, an increased dialogue with other media is also evident, as in les cris des lumières for ensemble and light or daily transformations for voices, instruments, electronics, video, space and light.

The essays mentioned (HÖREN VERSTEHEN KOMPONIEREN and Was heißt hier banal?) as well as a detailed biography and list of works by the composer have been published and can also be read on the composer's website.

Impronta interview
A few words by Clemens himself

Dear Clemens, we are very happy to welcome you among us. We started our collaboration with a huge project - your flute concerto making of - intimacy from which we see a small excerpt from your manuscript above. Can you tell us something about this project and about the meaning of this wonderfully evocative title?

Clemens Gadenstätter (G): "making of – intimacy" has a double meaning: on one hand side it evokes that all the sounds and structures of this music are building something intimate. in my eyes our perception is on one hand side intimate, a very intimate communication with our surrounding. but as we know, neither our perception nor our intimacy are naturally given – they are constructions made by the culture we grow up and life in. These constructions are settings that are implemented into us by normative structures in our societies, over and over repeated powerful standardisations. We are brought to perceive and feel in a specific way, a kind of well-behaviour that we are trained to fulfil.
and the 2nd meaning thus means: to shows this making of our intimacy: how are we made to feel all the same and to show all the same reactions (more or less inside a spectrum of possibilities). How does it come, that we all express our intimate experiences in a standardised way – and also in arts we can see this standardisation. The piece works on the paradox that we have very intimate sensations (and we think that they are absolutely individually) that are totally culturally pre-fixed. And it works on the possibility to gain something as a „real“ intimacy – freed from the normative restrictions and from all the labels that are implied – constructed out of the normations of perception and intimacy. So the two aspects are to be perceived at the same time: a realistic and sceptical aspect that researches the subject of intimacy and it’s making thru normative processes; and a „utopian“ aspect that searches for the a perception of sensations in the concrete here and now far from standardisations and with a meaning for us, that we have no words, no labels for – maybe a form of intimacy that allows us to get closer to what this way of inseparable contact of us and something other. This is then a different way of seeing us as individuals or subjects as well: seeing us as preformed also in the way of perceiving with the necessity of the effort to find a way of non-standardised perception within our setting given: our possibilities and our imprisonments.

The focus of your work is "understanding in listening" - you also said in an interview about your flute concerto that our perception is a product of what we learn. What has influenced you most in your compositional development and how would you describe what composing is for you?

(G): The biggest influence is my research in my own perception, so listening myself while listening, questioning the obvious and staying in the mode of a „cheerful skepticism“. Certainly i am not alone in this world, and there are many books, films, music, humans that influenced me in this thinking and acting in the artistic world of composing music. Seeing the perception as a product of normative structures of the society that we live in means a radically different view on myself as a human: i am not simply me, but i am made and i mirror willingly or unwillingly these powerful standardisations. And this awakes my opposition: unwillingly supporting something that i might not be conform with is not what i imagine that should have a big part in my life. So i do what i can – and this will always be too little to really make the difference (or not, depends on the point of view) – to get an access to all these setting that i am made of. Some i can change, some not, and some i do not want to change because they give me strong possibilities in this world to act.The „understanding in the listening“ is part of these efforts and are part of my compositional strategies to overcome the preformed setting we all live in.

How was it for you to work with the flutist Karl-Heinz Schütz and the orchestra of the Zagreb Music Biennale? What was it like for you to hear your work live for the first time - outside your idea of it in your head? Is the result always planned and predictable for you, or are there also elements of surprise?

(G): Karl-Heinz Schütz represents for me (as an trained flutist myself) the ideal of flute-playing: he has a sound, incredibly rich and changeable, he has a musicality that is stunning – everything he did in this rather hard concerto felt totally natural, as if in the moment invented. As i knew him and his playing before the result was at the same time planned and stunning. And i was always surprised how a third sense, in addition to what i wrote and the internal sense of the music that is a second layer, could arise by his playing: the way he understand the music and what he does – also then in combination with the orchestra – was always something more then written, his understanding was a surplus that filled me with great-fullness. This is as well a wonderful ideal of musical interpretation, this is why composed music always leaves space for this gift donated by it’s true interpreters.

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04/05/2023

PRE-ORDER HERE: https://edition-impronta.com/stage/en/katalog/hamburgisches-konzert-by-gyorgy-ligeti-alessio-elia/?utm_source=newsletter&utm_medium=email&utm_campaign=edition_news_by_impronta_05_2023&utm_term=2023-05-04

The "Hamburgisches Konzert" by György Ligeti - a wonderful work by Alessio Elia!

Among the leading scholars of Ligetian music, Elia takes us inside this composition by integrating different analytical approaches, from structural to spectral analysis, from aural analysis to the meticulous study of the manuscript and the notes kept at the Sacher Foundation in Basel among which Elia found two unpublished movements of the Concerto, not included in the final score, and published for the first time in this book together with all the preparatory sketches.

A substantial chapter is dedicated to the numerous errors (over 300) present in the printed score (including the instrumental parts) and in the manuscript, which have irreparably compromised all the performances and recordings of the Concerto to date.

The complete revision of the score done by Alessio Elia, present in the book together with the presentation of possible solutions to the problematic points of the manuscript, resolved through the understanding of the compositional logic that underlies it, converged in the first revised performance of the Hamburgisches Konzert which took place at the Budapest Music Center on May 28, 2023, Ligeti’s birthday, with the Concerto Budapest Ligeti Ensemble conducted by the renowned conductor and composer Peter Eötvös.

09/04/2023

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06/04/2023

We are looking forward to our next cooperation with the composer Clemens Gadenstätter.
Save the date!
You can hear his music on April 13, 2023 at the music biennale Zagreb
FESTIVAL OPENING: The Master Series & MBZ
Croatian Radiotelevision Symphony Orchestra
Pascal Rophé, conductor

More info here:
https://www.mbz.hr/en/program-2023/13-04?fbclid=IwAR3k6AABP3YUUfFnr_iqPekWad90YNPWpN6NFrxeidPm183w3mHJx5nfS9E

https://edition-impronta.com
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03/04/2023

First order of my cat Simsala, I am impressed by his musical taste!

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13/01/2023

SAVE THE DATE!!
Alireza Farhang Anagrān
20 Jan 2023, 18:30
Conservatoire à Rayonnement Régional : Auditorium Joseph Kosma
127 Av. de Brancolar, 06100 Nice, France
Ensemble Inicia
https://www.conservatoire-nice.org/index.php?rubrique=agenda&page=actualites
https://edition-impronta.com/katalog/anagran-alireza-farhang/
https://www.alirezafarhang.com/works-anagran
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01/01/2023

Happy New Year!
Check out our new website here 🥳👇
https://edition-impronta.com
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25/12/2022

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24/12/2022

Light will overcome darkness. Every day of every Ukrainian begins and ends with these words. But the approaching holidays allow us to be filled with hope and dream of great things. This is an unusual year, so the gifts should be extraordinary. Christmas is a time for miracles, and we invite everyone to become real wizards.

Parimatch, jointly with the National Ukrainian fundraising platform UNITED24, supported by President Volodymyr Zelensky, has launched the Light up Christmas for Ukrainians campaign and is appealing to donors from all over the world to help raise funds for generators for Ukrainian hospitals.

The goal is to raise 500,000 euros, which is enough to purchase generators for 50 hospitals, and thus save thousands of lives.

Support the campaign and make your contribution on the official DonorBox platform https://donorbox.org/parimatch. We made our donation this morning. Join us in supporting this important fundraising.

We think of our friends from Kyiv Symphony Orchestra and Ukho Ensemble Kyiv, both led by a wonderful person and advocate of freedom and cultural dialogue: Luigi Gaggero.

Merry Christmas and a Happy New Year to you all!

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04/10/2022

https://mediavod-lvlt.rtve.es/resources/TE_SMUSVI/mp3/1/3/1652361064131.mp3
Broadcast on RTVE.ES on the sublime CD of Alireza Farhang!

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20/09/2022

wonderful concert with music by our composer KYUNGJIN LIM in Seoul (SOUTH COREA)

29 September 2022 / 19:30 / Ilshin Hall

ENSEMBLE SONOR XXI

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05/08/2022

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