MAYORALTY OF CULTURE & SCIENCES of the CITY OF LARISSA

University of Music & Department of Music Studies

Dramatic Arts Aristotle University
Graz Thessaloniki

outHEAR New Music Week

Symposium & Master Class
in Composition

Ensemble Klangforum

Faculty
Clemens Gadenstätter Hannah Walter
Dimitri Papageorgiou Violin/Viola
O r e s t i s To u f e k t s i s

Robert Torche
Sound Design

12 - 16 December 2018 Municipal Conservatory of Larissa, Greece

 outHEAR New Music Week
Symposium and Master Class in Composition

First Edition

12 - 16 December 2018
Municipal Conservatory of Larissa
Greece

ARTISTS IN RESIDENCE
Ensemble Klangforum
Hannah Walter
Robert Torche

FACULTY
Clemens Gadenstätter, guest composer
Dimitri Papageorgiou
Orestis Toufektsis

Artistic and Scheduling Committee

Christos Lenoutsos - founder, Dimitri Papageorgiou,
Orestis Toufektsis, Dimitrios Polisoidis

Production
Marily Ventouri
Olympia Tsagianni, assistant
Our mission is to bring together promising composers from around
the world in an inspiring environment, provide them with master class-
es and with opportunities for the performance of their works, but also
allow them to exchange knowledge and expertise. We strive to de-
velop long-lasting personal relationships between lecturers, perform-
ers and participants and therefore let them profit from one another.
outHEAR New Music Week is committed to promoting gender and eth-
nic diversity and inclusivity across its activities.
the artistic committee,
Christos Lenoutsos, founder
Dimitri Papageorgiou, Aristotle University of Thessaloniki
Orestis Toufektsis, University of Music and Drama Graz
Dimitrios Polisoidis, Klangforum Wien
The outHEAR New Music Week 2018, an international symposium and
master class for composition, featuring the string quartet of the En-
semble Klangforum Vienna, is organized by the Mayoralty of Culture
and Sciences of the City of Larissa and is taking place from December
12th to 16th at the Municipal Conservatory of Larissa. It was initiated
by Christos Lenoutsos, pianist, and It is co-organized by the University
of Music and Dramatic Arts Graz, the Department of Music Studies of
the Aristotle University of Thessaloniki, and is under the auspices of the
Austrian Embassy.
The outHEAR Symposium and Master Class in composition is an inten-
sive curriculum in composition. Our Composer Fellows work closely
with the world-class performers of the Ensemble Klangforum Vienna
and distinguished faculty, Clemens Gadenstätter, Dimitri Papageor-
giou, and Orestis Toufektsis, in one-on-one lessons and mentoring,
master classes, coaching, rehearsals, discussions, and performances.

Dear members of Klangforum!

Dear faculty!
Dear participants!

Welcome to the outHEAR New Music

Week 2018. Your presence in the city
of Larissa fills us with joy and opti-
mism. Your presence here allows us to
enter a new music world. We feel that
through you we touch the future. It is
a great honor for us to have you here.

Thank you for being here and thank

you for this unforgettable musical
journey.

With best regards for a good stay,

Christos Lenoutsos, pianist - founder

 SYMPOSIUM Composing today:
Wednesday, 12 December 2018

10:30 Clemens Gadenstätter

Music as anthropological research
12:00 Coffee Break
12:30 Jorge Diego Vázquez Salvagno

SYMPOSIUM
Tara q’iwa: intercultural perspectives as a musical
discourse
13:15 Alejandro Mata
The connotation of musical figures in the string
quartet repertoire
14:00 Lunch Break
14:30 Javier Quislant
Sinuosity and stratification of sound.
Approximation to the concepts through the piece
“Echoing sinuosity”
15:15 Luís Neto da Costa
Exploring and composing “E é sempre melhor o
impreciso que embala do que o certo que basta”
16:00 Coffee Break
16:30 Dimitri Papageorgiou
The Interlocking Technique and the Reconstructive
Nature of Memory as a compositional model
18:00 Coffee Break
18:30 Dylan Lardelli
Memory and distance. Directions in recent works.
19:15 Amund Røe
...in someone else’s memory
20:00 End of Day I
 Challenges in a Changing Environment
Thursday, 13 December 2018

13:30 Orestis Toufektsis

Thinking of sounds vs. thinking with sounds -- Why the
imagination of musical form can only “compose” formal
structures.
MUISOPMYS

15:00 Manuela Guerra

In Stanze: secret rooms of unconscious in sound
15:45 Coffee Break
16:00 Alexandros Spyrou
Musical identity: from decomposition to liquidity
16:45 Maria Kaoutzani
Thoughts on my music
17:30 Coffee Break
17:45 Zhuosheng Jin
First Beam Last Light, a general compositional
analysis
18:30 Hannah Walter
Transdisciplinarity in Contemporary Music.
A violinists perspective*
20:00 End of Day II
SYMPOSIUM Abstracts
Clemens Gadenstätter, Music as anthropological research. The lec-
ture “music as an anthropological research” focuses the aesthetical
and technical groundings of my compositional work. Beginning with
a research and reflection of our perception i will develop strategies
to compose music as a transformational research in this artistic field.
Music is then no longer a product for human perception but a tool
to discover aspects and possibilities of our perceptive and cognitive
system. This reaches out to the relevance of music as part of an artis-
tic system: art will be shown as a social system to enhance, transform
and alter our way of perceiving the world and as a kind of serious
playground and starting-point for an alteration of our social live and
politic: if we perceive our world differently we will act differently and
thus this world might be able to be changed. The lecture will follow
a line from these groundings to the technical approach of structur-
ing sounds to material, will show techniques of projecting material
into time and thus create form and will end up in a discussion of
“meaning”, making “sense” and of the emotive aspect of this trans-
formative work on the material and hopefully also on our perception.

Jorge Diego Vázquez Salvagno, Tara q’iwa: intercultural perspec-

tives as a musical discourse. The Quechuan* terms «tara» and «q’iwa»
refer to different timber qualities. «Tara» is associated to a hoarse
sound, vibrant and full of energy, while «q’iwa» is a clear, thin and
relatively weak sound. These concepts carry within themselves a
particular perspective on how consonance and dissonance are so-
cially perceived and challenge our Western perceptions. The «tara»
is represented by strong multiphonic sounds that may sound harsh
to our Western ears, but, in the Andean aesthetics, this dense and
wide sound represents the main tone while the «q’iwa» being clear,
simple and well-tuned according to Western habits, carries a range of
highly ambivalent or even negative connotations. This dual concept,
along with the research and experimentation with the “Tarka”, has in-
fused my latest works. Tarka is an indigenous duct flute usually made
of Mahogany or Palisander wood. It is played in ensembles called
“Tarkeadas” of 12 to 50 performers with a percussion accompaniment.
*Quechua culture is rich and vibrant wide-spread across South Amer-
ica with roots that extend well beyond the rise of the Inca Empire.

Alejandro Mata, The string quartet is one of the oldest chamber for-
mations in music history. Writing for this formation confronts the
composer of today to all the legacy this four instruments have left
behind together, thus creating new works can be quite challeng-
ing. The purpose of this presentation is to show the outlines of this
legacy and motivate attendees to an exchange of different ideas,
approaches and propositions of writing new music for this formation.

Javier Quislant, Sinuosity and stratification of sound. Approxi-

mation to the concepts through the piece “Echoing sinuosity”

Sound as basis of an inclusive space.

Projection in form of transference.
Fragmentation / unicity.

Sinuosity and stratification are words that metaphorically reflect

inner qualities of sound as well as describe a path of the process
of transformation of sound. In my recent works, I have been mu-
sically and conceptually exploring an idea of nature of sound,
which describes the sound as a fragile entity with a prominent in-
ner instability. This distorted and sinuous nature projects itself into
other parameters and influences, ultimately, the plasticity form. In
the same way, the appearance of contrasting sound perspectives/
layers and sound categories/qualities (namely, minimal chang-
es in sound production, different types of noise) that were on the
background, come gradually to the foreground. So, different tim-
bre ideas with their harmonic and gestural features and which may
seem isolated or diametrically opposed, will interact and interrelate
among them, projecting themselves towards a common space.

Luís Neto da Costa, Exploring and composing “E é sempre melhor o

impreciso que embala do que o certo que basta”. This presentation is
about the compositional process of a piece for solo clarinet by Luís
Neto da Costa. The composer will show the results of his clarinet ex-
ploration and reflect about the role of the composer as a musician.
The presentation focus on explaining and reflecting about these
investigative roles: (i) cataloguing microtonal pitches/muffled sounds;
(ii) exploring relationships between muffled sounds and multiphonics;
(iii) choosing a series from twin primes – modular 12 and different
divisions for pitches; (iv) choosing a short rhythm serie (v) creating a
table in Microsoft Word with the serial use for rhythm, pitch content
and structure; (vi) programing in Max/MSP, using the BACH library,
seting different operations for rhythm. This process was not sequential
but simultaneous at different rates; (vii) choosing the best notation.

Dimitri Papageorgiou, The Interlocking Technique and the Recon-

structive Nature of Memory as a compositional model. Memory
and identity. Variance and invariance. Iteration and evolution. The
present lecture is an introduction to the exploration of the recon-
structive nature of memory, as a metaphor for the construction of
pitch complexes and their dynamic and evolving elaboration in
my music. For that purpose, I have invented an interlocking tech-
nique, which is a systematic transformation plan that takes some
raw material and creates structurally and aurally similar — and
less similar — pitch arrays by means of algorithmic manipulations.

Dylan Lardelli, Memory and distance, directions in recent works.

Retracing for Sho, Recorders, Koto, and Guitar. Between, Apart for
Piano, and Shells for Piano Trio, and Guzheng. An important aspect
of my music is an emphasis aspects of memory.  Given that it is a
temporal art form, we understand music through our memory. The
works I am presenting demonstrate use of recursive forms, with often
incomplete, or augmented repetitions of material. With these works I
attempt to capture the difficulty of memory: sudden flashes of inspi-
ration, embellishments, and long meandering trains of thought. Often
small glimpses or fragments of material appear, that can be almost
more defined by their absence of content, or an absence that feels
like a presence. Considering the functions of instrumental techniques
through subverting their natural tendencies is another important as-
pect of my music. Often these techniques, which interact with silence,
are produced with strong physical force but result in minimal sound.
Amund Røe, ...in someone else’s memory. In my presentation of ...i en
annens minne, I would like to look on the three different aspects and
from the composition process. First I will go into how the structure of
the piece was developed inspired by the method Luigi Nono used
in his piece, Fragmente-Stille, An Diotima. Second I will have look at
the use of distortion in the piece. The last years I have felt a need to
bring distortion into my work as a composer. This lead me to research
on how distortion can be created acoustically by the use of extended
techniques and spectral techniques, and how can I enrich my music
by creating distortion. ...i en annens minne is one of my more success-
ful integration of distortion. At last I will go through how the harmonic
language were developed and the connection to the structure and
the distortion.

Orestis Toufektsis, Thinking of sounds vs. thinking with sounds -- Why

the imagination of musical form can only “compose” formal structures.
On the basis of some general thoughts about music and the compo-
sitional process will be pursued the relationship/interactions/interde-
pendency between (sound-) material and formal structure. As next are
investigated the possibilities of generating formal structures offsides/
independently of the preconditions of shaping methods of the musi-
cal material. Finally, some compositional and specifically formal strat-
egies and theirs influence/consequences to the shaping methods of
the sound material are described by means of works.

Manuela Guerra, In Stanze: secret rooms of unconscious in sound. The

quartet was born as a result of the necessity of exploring places under
the surface of her comprehension’s ability, opening the doors of the
dark rooms of the soul. In the first room Fui Ora the time crystallizes it-
self in a hanging echo of the past and the memory of the present time.
The second room Emofollia is pervaded by the implacable violence
of the evil, which realizes itself destroying an almost null resistance
that contrasts with his strength. The third room Rorschach evokes the
will to search for the distinction in the ambiguity of what appears. It
changes as the tension grows and at last joins the vision of a thousand
faces in every single presence in the room. The four room Mitsein
describes the “being with” of conception of Sartre’s philosophy, and
here there is a meeting. The last room Iride is the eye of the void.
Alexandros Spyrou, Musical identity: from decomposition to li-
quidity. Material and form in contemporary music have reached
a threshold of disintegration on which they can no longer be de-
fined as solid. The decomposition of the fabric of identity sug-
gests the need for new conceptual tools which can address its
elusive condition. Moving towards a liquid identity brings about
a significant shift in the growth and perception of a composition.

Maria Kaoutzani, Thoughts on my music. Extra-musical elements

have always been central to my work. Whether it was a paint-
ing, a work of poetry, or recent events, the world around me has
been very influential to the ideas behind my music and to the ma-
terial it is built on. My presentation will focus on recent chamber
works, specifically my works Speak Mind, for woodwind quintet
and At Night I hear them, for piano trio. I will touch on my work
jaune doré for string quartet, the work that will be performed at
OutHear. I will be discussing the ideas behind the conception
of those works and how those influenced the musical material.

Zhuosheng Jin, First Beam Last Light, a general compositional analysis.

My presentation will focus on my newly composed piece “First Beam
Last Light” for fifteen musicians. In the presentation, I will talk about
the compositional background, the form, and the harmonic design
of the piece. Functions as the third work of my “Epicurus Project”, this
poetic piece expresses my personal melancholy towards all historical
loss and cultural ruins. When Epicurus wrote all his thoughts in his
cozy garden, he was living in one of the world’s most powerful cultural
centres. However, when we recall him today in 2018, his life and his
own physical and spiritual prosperities become no more than
just another speck of trivial dust in time. From those ancient civiliza-
tions to now, thousands of years have passed and thousands of civi-
lized nations rise and fallen. Powers shifted between entities and hu-
man lives were constantly lost from the endless warfare. One day our
planet will be swallowed by the enlarged red giant sun. This moment
will function as the last sound of a great piece, i.e. our history, to end
all these alternations of powers and the seemingly endless loss of hu-
man beings. After contemplating from Epicurus’ time to the time we
will all be ended, I imagine the moment we finally face the first beam
of the last light of our history. All other dangers will be gone and we
will all be equal in death. The first beam sent from the red giant will be
the last light for us to finally free us. We are free to die and we die in
light, and when this glorious moment comes, truly, “we are not”.

Hannah Walter, Transdisciplinarity in Contemporary Music. A violinists

perspective* Or a Cabinet of Curiosities

Fantastic Travels into Remote Disciplines in X Parts.

- from the Individual to the Collective (Identity)

- through the mycelium
- from interpreter to author
- to sampler to searcher to inventor
- cyborgs in ulysses realities

- about concerts in the 21 century

- about experts and experiments
- about historians, users and curators
- and managers
- about transformation and evolution.

*inviting you to a potentially non-linear speech and space of ex-

change in the realm of the in-between of medium and message.
 Hannah Walter
Violin / Viola

Fraktum
Concert I

Orestis TOUFEKTSIS (* 1966)

Kaj DUNCAN DAVID (* 1988)

Dimitri PAPAGEORGIOU (* 1965)

Clemens GADENSTÄTTER (* 1966)

Simon STEEN ANDERSEN (* 1967)

Concert Hall, Municipal C

FRIDAY, 14 Decembe
 Robert Torche
Sound Designer

Concert I
Fraktum/Mikro 2
for violin and electronics

SOME PIECES (2017)

Loops and atmospheres for two musicians

“...anD...” (2012) for viola

moved by, A (2012) for solo violin

Next To Beside Besides (2003/2007)

#10 for miniature video camera solo
#6 for violin solo

Conservatory of Larissa
er, 2018 Time: 20:30
 Hannah
Walter
Violin / Viola

HannaH Walter (born

1989 in Kleve, Germany)
is a violinist and violist
specialized in contem-
porary music and exper-
imenting with hybrid art
forms. She explores ways
of presenting and show-
ing music through trans-
disciplinary projects.
HannaH studied in Düsseldorf, Berlin, Paris, Basel and Zürich.
2017 she won the second prize of the most prestigious Swiss
competition for Contemporary Music: Nicati.
She performs with numerous ensembles in Germany and
Switzerland such as Musikfabrik, Ensemble Modern and
Solistenensemble Kaleidoskop and she is member of En-
semble of Nomads and Opera Lab. 2017 she founded the
transdisciplinary collective MYCELIUM and creates projects
which operate between disciplines of art, music, science and
society.
Since 2016 she is Assistent of the Specialized Master for
Contemporary Music at the Musikakademie Basel.
Robert Torche (born 1989 in Bern, Switzerland) is a
sound designer, developer and performer of Electronic
Music. He specializes in the making and performing of
hardware and software electronic musical instruments.
Robert is enjoys to work together with specialists of
various disciplines. In this regard, he lately collaborat-
ed with physicists, biologists, a clock engineer or a so-
ciologist in order to create transdisciplinary projects of
a new kind, breaking the boundaries of artistic perfor-
mances.Robert is member of collective Mycelium, We
Spoke, ensemble Inverspace and of the free improvisa-
tion band UFO.
He obtained a Masters’ degree in Free Improvisation
with Fred Frith and Alfred Zimmerlin at the Musik Akad-
emie of Basel, where he previously also achieved a
Master in Audio design. 

Robert Torche
sound designer
 CLEMENS GADENSTAETTER, guest
composer
Clemens Gadenstätter, born in 1966, studied composition in Vienna
and then Stuttgart under Helmut Lachenmann. Gadenstätter’s musi-
cal undertaking explores the compositional resynthesis of percep-
tion, sensation and feeling. For him, this should bring together the
trinity of listening, comprehension, and composition.
His recent work concerns: the transformation of acoustically trig-
gered, pre-formed feelings (in the series E.P.O.S.: les premiers cris,
les cris des lumières, les derniers cris for different ensemble arrange-
ments); the notion of the banal (in the pieces Semantical Investiga-
tions 1&2, as well as the essay „Was heißt hier banal“ [What do we
mean banal?]); the poly-modality of listening (in häuten, schlitzen for
string quartet 1&2, ES for voice and ensemble); as well as musical ico-
nography (in the series ICONOSONICS 1 – 3).
His larger works thematize these ideas in multimedia form, such as
daily transformations for voice, ensemble, electronics, text, and film,
with Lisa Spalt (text) and Anna Henckel-Donnersmark (film). Since
2003/04, Professor at the University of Music Graz for Music Theory
and Analysis, as well as lecturer for Composition. In the summer se-
mester of 2013, a guest professor for Composition at the University of
Music and performing arts Carl-Maria von Weber, Dresden.
2017/18 guest professor for Composition at the Nordic Music High
school, Oslo. In 2014, Clemens Gadenstätter was a lecturer at the
Darmstadt holiday course for new music; in 2013 and 2015, a lecturer
at Impulse Academy Graz; as well as a lecturer at COURSE – Master
class for Composition Kiew/Lviv in 2015 and 2017.From 1995 to 2000,
Gadenstätter published „ton“, the music journal of the IGNM-Sektion
Österreich. Until 2002, he organized many events (most recently: SA-
LON13: Six Evenings of Music, Literature, Film, Art, and Science in
Echoraum, Vienna)
 DIMITRI PAPAGEORGIOU, composer
Papageorgiou’s music has always had a certain predilection towards
various forms of similarity and structural reiteration. In such a con-
text, structural redundancy and parsimony stand at the epicenter of
his work, as recurrences of patterns that share the same underlying
structure unfold in time, elaborating centripetally on the same struc-
tural complex or similar structural features again and again, creating,
maintaining and exalting one or various states from a single or from a
variety of perspectives.
He majored in composition with Hermann Markus Pressl and Andreij
Dobrowolski at the University of Music and Dramatic Arts at Graz in
Austria. From 1998-2002 he held a Presidential Fellowship of the Uni-
versity of Iowa, U.S.A., for a Ph.D. in Composition with Donald Martin
Jenni, Jeremy Dale Roberts, and David Karl Gompper. Since 2007, he
teaches composition at the Department of Music Studies of the Aris-
totle University of Thessaloniki.
He served as guest composer at the University of Iowa School of Mu-
sic, the University of Nevada at Reno, the University of Music, Drama
and Media at Hanover, the Yarava Music Group and the Department
of Music at the University of Tehran. In 2017 and 2018 served as a fac-
ulty member at the Delian Academy for New Music, an international
summer academy for composers and sound artists, which is curated
under the auspices of Georges Aperghis and is located on the island
of Mykonos, Greece.
He has appeared in festivals, conferences, and concerts in Austria,
Germany, Netherlands, Switzerland, Italy, France, Spain, Russia,
Greece, Cyprus, Finland, Croatia, Iran, Turkey and several States of the
U.S.A. (NY, CA, FL, MI, IL, IA, OH, GA, etc). He is among the co-found-
ers of the dissonart ensemble, which he served from 2005 to 2014,
artistic co-director of the outHEAR New Music Week in Larissa and
the OFF BORDERS Festival for electroacoustic music and performing
arts in Thessaloniki. He is also a member of the board of advisors and
the scheduling committee of the Tehran International Electronic Mu-
sic Festival.
 ORESTIS TOUFEKTSIS, composer

Orestis Toufektsis (Austria/Greece) was born in Tashkent, Uzbekistan.

From 1986 he was studying piano, harmony and counterpoint at the
conservatory, and at the same time geodesy at the Technical Universi-
ty in Thessaloniki. From 1993 he was studying composition with Gerd
Kühr at the University for Music and Performing Arts in Graz.
He is the winner of many awards and acknowledgments (for instance,
the City of Klagenfurt Prize for Composition in 1995 and the Advance-
ment Award for Music from the City of Graz in 2007). He is one of the
founders of the artresonanz ensemble. Since 2007 he has been the
president of the composers’ association die andere saite.
He has received commissions by ORF-Musikprotokoll 2012, the State
of Styria, Cultural Centre of Minoriten (Kulturzentrum bei den Minorit-
en, Graz), as well as by ensembles such as artresonanz, zeitfluss and
the City of Thessaloniki Symphony Orchestra.
His compositions have been performed in Vienna, Graz, Klagenfurt,
Linz, London, Bremen, Zagreb, Athens and Thessaloniki, and have
been aired by Austrian, German and Greek radio stations.
In the season 2007/2008 Toufektsis was a guest-composer at the In-
stitute for Electronic Music of the University of Music and Perform-
ing Arts in Graz („Compositional aspects of self-similar structures“),
in 2010 he took part in the project „Algorithmic composition in the
context of New Music“, and 2011-2014 an international research proj-
ect Point/Patterns of Intuition (IEM of the University of Music and Per-
forming Arts in Graz).

Since October 1999 he teaches Music Theory at the University of Mu-

sic and Dramatic Arts of Graz.
 Klangforum
Vienna
Concert II

Javier QUISLANT

Dylan LARDELLI

Zhuosheng JIN

Jorge Diego Vazquez SALVAGNO

Alejandro MATA

Alexandros SPYROU

Concert Hall, Municipal

SUNDAY, 16 Decem
 String Quartet

ANNETE Bik - violin,

GUNDE Jäch-Micko - violin
DIMITRIOS Polisoidis - viola,
Andreas Lindenbaum - violoncello

Concert II
“erinnerungs.vermögen” (2014) 6΄40’’

“Mapping, an Inlay” (2015) 15’22’’

“Immobilized Motions” (2017-18) 10΄25’’

“De noche la abierta” (2015) (based on

G. Leguizamón’s zambas-folk songs)
world premiere 10’00’’
“Transitions” (2016) 11’00’’

“(sic)” (2018) 5’30’’

world premiere

Conservatory of Larissa
mber, 2018 Time: 20:30
ANNETE  Bik  studied at the Mozarteum Salzburg
with Prof. Helmut Zehetmair, graduat-
ing with honours in 1968. From 1982 to 1987 she was a member of
the Hagen Quartett. Further studies took her to Vienna, where she
joined the class of Prof.
Ernst Kovacic.

For a number of years

she was a member of the
Chamber Orchestra of
Europe; she appeared
as regular guest at the
Lockenhaus chamber
music festival and went
on extended tours with
Gidon Kremer, Boris
Pergamenschikov, Cle-
mens Hagen and other
renowned artists.

 
In 2003, Annette Bik
founded the Schram-
mel-Quartett Attens-
am. In 2006 she be-
came assistant lecturer
of Prof. Ernst Kovac-
ic at the University of
Music in Vienna, where she also holds a teaching post in “Playing
Techniques in Contemporary Music”. In addition, she is lecturer for
Contemporary Music at the Impuls Academy in Graz and frequently
performs as a substitute member of the Concentus Musicus Wien,
formerly conducted by Nikolaus Harnoncourt.

She became a member of Klangforum Wien in 1989.

GUNDE Jäch-Micko  was born
in Vienna,
where she grew up with her six siblings. Her interest in music de-
veloped very early on; she studied the violin, folk-harp and piano,
focussing on folk music in particular.

From 1978 to 1991 she trained at the University of Music in Vienna

with Michael Frischenschlager, Ernst Kovacic and Gerhard Schulz. In
particular she is inter-
ested in chamber music,
playing in various small
ensembles up to cham-
ber orchestra size.

For several years she

studied the baroque vi-
olin as well as baroque
playing techniques. She
was awarded several
prizes at the Austrian
National Competition
„Jugend musiziert” as
well as at various inter-
national violin competi-
tions.

Gunde Jäch-Micko has

performed as a soloist
as well as with chamber
music ensembles both
within Austria and internationally and has recorded variously for the
radio and on CD throughout the last 25 years.
She became a member of Klangforum Wien in 1990.
DIMITRIOS Polisoidis  was born in
Th e s s a l o n i k i ,
Greece, in 1961. He studied the violin with Dany Dossiou in his home
town and later attended the University of Music, Graz, where he was
taught by Christos Poyzoi-
des and also studied the vi-
ola with Herbert Blendinger.
From 1990 to 1993 he was
principal viola player of the
Philharmonic Orchestra,
Graz, and in 1993 became
a member of Klangforum
Wien.
Dimitrios Polisoidis is de-
voting himself mainly to
new music and to perform-
ing with experimental im-
provisation groups. He was
artistic collaborator in sev-
eral live electronic projects
at the Electronic Institute
of the University of Music,
Graz, (IEM Graz). He has
performed internationally
and worked with many re-
nowned composers such
as Peter Ablinger, Georg Friedrich Haas, Bernhard Lang, Klaus Lang,
Gösta Neuwirth, Olga Neuwirth and George Lopez, who wrote works
especially for him. In 2012, the federal state of Styria awarded him the
“Karl Böhm Interpreter’s Prize”. He teaches at the University of Music,
Graz and at the Impuls Academy as well as at the International Holiday
Courses in Darmstadt. His CD recordings have been released by the
labels hatART (Basle), Kairos (Vienna), Klangschnitte (Graz), mode rec
(NY), and Lyra (Athens).
ANDREAS Lindenbaum 
was born in Detmold, Germany, in 1963.
He studied the cello and composition at the Detmold Academy
of Music. In 1986 he received a scholarship from the “Inter-
national Rotary-Foundation” which allowed him to pursue his
studies at the School of Music in Bloomington, USA, where he
was a pupil of Janos Starker.

He also trained as
an actor and worked
with an independent
theatre group in Ger-
many for a year.

From 1990 to 1999

he held a position
as professor at the
Conservatory of
the City of Vienna.
He appeared as so-
loist and with cham-
ber music ensem-
bles at the Salzburg
Festival, the Bregenz
Festival, the Warsaw
Autumn and the Aki-
yoshidai Festival and
has recorded for the
radio as well as on

CD both as soloist and as a member of the Tetras-Quartett.

In 1989 he moved to Vienna and became a member of Klangforum
Wien.
 Zhuoseng Jin (China)
With his music which has been de-
scribed as “powerful” and “haunt-
ing” (The New York Times), His
music spans a variety of instrumen-
tations and mediums. Throughout
his works, Jin has been interested
in relationships between musical
gesture and sound. 
Jin’s pieces have been performed worldwide in Europe, North and South
America, and Asia. He is currently a DMus. fellow at McGill University with
Philippe Leroux, and also holds degrees from Oberlin College (BA ‘15)
and Boston University (MM ‘17).

Dylan Lardelli (New Zealand)

Studied in Wellington, with Dieter Mack in
Lübeck, and Guitar with Jürgen Ruck in Würz-
burg. In 2016 Dylan held an artistic research
residency at Tokyo Wonder Site, to work with
Japanese instruments in contemporary mu-
sic. Dylan’s music has been commissioned and
performed throughout the world by musicians
such as Lucas Vis, the Hong Kong New Music
Ensemble, Tosiya Suzuki, Ensemble Vortex Ge-
neva, Musikfabrik, and members of Ensemble
Modern.
His works have been programmed in Gaudeamus music week, Darm-
stadt New Music Festival, New Zealand Festival, Metropolis New Music
Festival, Takefu Music Festival, and Bendigo International Festival of Ex-
ploratory Music. He has participated in Acanthes with Eotvos, Royaumont
with Ferneyhough, and the Impuls course with K. Lang and P. Billone.
 Alejandro Mata (Mexico)
Born in Mexico (1990), where he
started his musical training to then
move to France in 2012 (Paris, Re-
ims, Strasbourg) where he resides
up to this day studying with argen-
tinian composer Daniel D'Adamo
at the Haute École des Arts du Rhin
(HEAR/Conservatoire de Strasbourg). His music focuses primarily in the
relationship between timbre, harmony and permanent sound mouve-
ment.

Javier Quislant (Spain)

He attained the Master of Arts
(MA) in Music Composition
and in Music theater under the
guidance of Beat Furrer. He
has closely worked with musi-
cians of the Klangforum Wien,
Ensemble Intercontemporain,
Ensemble Recherche, Internationale Ensemble Modern Akademie, Ar-
ditti String quartet, Orchestre philharmonique de Radio France, Ulysses
Ensemble, at the festivals such as Gaudeamus Muziekweek, Bridges Fes-
tival - Wiener Konzerthaus, Wien Modern, IRCAM ManiFeste, Wittener
Tage für neue Kammermusik 2016, International Ferienkurse für Neue
Musik Darmstadt 2012, Festival Mixtur, etc. Major current activities in-
clude the premiere the past May of “Mirada antgua”, his first chamber
opera and the premiere of “A su sinuoso paso”, a piece for grand en-
semble commissioned by the IEMA and the Gaudemaus Muziekweek.
He was awarded with the Musikförderungspreis der Stadt Graz 2017,
nominated as Newcomer at the Wittener Tage für neue Kammermusik
2016 and 1st Prize at the Joan Guinjoan International Composition Com-
petition 2014.
 Alexandros Spyrou (Greece)
Alexandros Spyrou is Greek com-
poser, founder and artistic director
of the Delian Academy for New Mu-
sic. His music has been performed
in Greece, Italy, Germany, Austria,
Switzerland, the United Kingdom
and the United States by such en-
sembles as London Sinfonietta,
JACK Quartet, Neue Vocalsolisten Stuttgart, MDI Ensemble Milano, En-
semble SurPlus, Musica Nova Ensemble, the Contemporary Directions
Ensemble, Ensemble DissonArt, and many acclaimed soloists. After un-
dergraduate studies in Greece, Alexandros studied composition with
Michael Finnissy in England, with Beat Furrer in Austria, and with David
Gompper and Josh Levine in the United States.

Jorge Diego Vázquez (Argentina)

He studied Composition, Conducting at
Universidad Nacional del Litoral and got a
Posgraduate Diplom in Composition at Uni-
versität für Musik und darstellende Kunst
with Prof. Beat Furrer, Graz (Austria). He also
studied Composition with Martin Matalon at
Conservatoire d’Aubervilliers Paris (France).
He was awarded several prizes and fellow-
ships such as: The Styria-Artist in residence-Scholarship (Graz- Austria),
UNESCO (Paris-France), VCCA (Virginia-USA), Atlantic Center of the
Arts (Florida-USA), Fondo Nacional de las Artes (Argentina), Capaci-
tar del Noa Foundation (Salta- Argentina), Composition contest Cuarto
Premio Iberoamericano Rodolfo Halffter (Mexico), Composition Con-
test Juan Carlos Paz Award (Argentina), between others. Currently he
teaches Composition and Harmony at National Catholic University of
Salta (Argentina), conduct the Academic Orchestra “José Lo Giudice”,
the Ensemble de Solistas of contemporary music, and Qhirqhiña en-
semble of Tarkas (Traditional instruments from South-America).
 Manuela Guerra (Italy)
Studies in composition at the Conservatory
“U. Giordano” of Foggia with Daniele Bravi.
She attended Masterclass of Daniele Bravi,
Gervasoni, Hämeenniemi, Lanza, Bermel, Got-
tardi, Boccadoro, Fedele, Michael Jarell, Keiko
Murakami. Philosophical and psychological
elements are the constant source of motiva-
tion behind the character of her works and
also the main centre of interest of her poet-
ry. Her music has been perfomed by prominent instrumentalists such as
Quartetto Sincronie, Asasello Quartet, Furano Saxophone Quartet, Keiko
Murakami, Arrigoni Orchestra, etc. Her music was performed during the
International Festival of Chambered Music (Norcia), Internatonal Festi-
val of Musical Interpretation (Chianciano Terme), festival Campli-Borgo
Music, Saint Vito Contemporary Music, festival Rumore Bianco (Foggia),
San Marino International summer courses, Cluster Music Festival (Lucca),
festival Archipel in Geneva. She founded, with other young composers,
the cultural association “Harmonic Field”.

Lefteris Papadimitriou (Greece)

Lefteris Papadimitriou is a Greek compos-
er for electronic media and acoustic in-
struments.  Many of his works have been
performed in festivals around the world by
groups and musicians such as London Sin-
fonietta, Asko Εnsemble, Elision Εnsemble,
Sarah Nicolls u.a. In 2006 he was awarded
the international »Gaudeamus Prize» for his
composition “Black & White” for piano
and orchestra. He has been awarded the
composition scholarship of Huddersfield contemporary music festival in
2009 and holds a PhD in composition from the University of Hudders-
field. Compositional interests among others include the psychological
mapping of aural signals and gestures on conceptual and physical musi-
cal spaces, hybridization of electronic and acoustic sound, collage/mon-
tage and sound cognition. He also performs live electronic music with
the electronic duo »Unsample».
 Maria Kaoutzani (Cyprus)
Maria Kaoutzani is a composer from Limassol,
Cyprus, currently based in Chicago, IL, where
she is a PhD candidate and a Lindsay Graduate
Fellow in Music Composition at the University
of Chicago. Her works have been performed in
Europe, the US, Canada and Latin America, by
ensembles such as the JACK Quartet, Spektral
Quartet, Longleash Trio and Imani Winds, and
at festivals such as New Music On The Point, Va-
lencia International Performance Academy, In-
ternational Symposium for New Music, among
others. Maria holds a Master’s in Music Theory and Composition from
New York University and an undergraduate degree in music from the
University of York. She has received lessons from composers Augusta
Read Thomas, Anthony Cheung, George Lewis, Lei Liang, Eve Beglarian,
Ted Hearne, Kate Soper and Justin Dello Joio, among others. Maria is a
member of the composers collective Kinds of Kings.

Luis Neto Da Costa (Portugal)

Luís Neto da Costa is a portuguese com-
poser. He studied Composition at ES-
MAE, Porto. In 2017, Luís was the Young
Composer in Residence at Casa da
Música, for whom he composed three
pieces. He is currently teaching Analy-
sis and Composition Techniques and he
is also interested in conducting, focus-
ing on music by young composers. He
attends lectures and composition sem-
inars regularly, having participated in
2018 at the International ilSUONO Con-
temporary Music Week in Italy where he
took classes with Franck Bredossian and
Nicolas Tzortis. 
 Amund Røe (Norway)
Amund J. Røe was born into a Norwe-
gian-Dutch family in 1985. He finished
a bachelor in piano at the University
of Agder in Kristiansand, before fur-
ther studies in composition, church
organ and pedagogy at the Academy
of Music in Oslo. Since 2012 Amund
has been a studying composition at
Codarts, University for Arts, in Rotter-
dam, under the guidance of Jan-Bas
Bollen, René Uijlenhoet, Peter-Jan
Wagemans and Friso van Wijk. Works by Amund has been performed in
Norway, The Netherlands, Germany, Denmark and Slovakia.

Valentin Schaff (Germany)

Valentin Schaff (b. Halle/ S., Ger-
many, 1991) composes music in-
fuenced by a variety of sources,
ranging from techno to the sound
of wind in the trees. Strong rhyth-
mic layers and the direct expe-
rience of beauty in sound, noise
and harmony are both equally
necessary for the expression of time in music, while counterpoint is the way
of interweaving them. Sonic Meditations are just as important in Valentin’s
musical background and understanding as the unforgiving and relentless
qualities of electronic dance music. His works have been performed all
over Europe, by acclaimed ensembles and performers such as the Mivos
Quartet (New York), Jan Gerdes (Berlin) Anette Behr-König (Bremen), Na-
tionaltheater Mannheim, Jungen Oper Mannheim and Sinfonieorches-
ter TonArt Heidelberg and on various festivals like Valencia International
Performance Academy Festival (Spain), Spieltriebe Festival Osnabrück,
neuköllner Originaltöne Berlin, Kirchheimer Liedersommer, Heidelberger
Frühling and others.
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