LOGANARTS 15 Crawford Road, Milngavie, Glasgow United Kingdom G62 7LE T : +44 (0) 141 404 7444 M : + 44 (0) 7841 582 851 E : info@loganartsmanagement.com W : www.loganartsmanagement.com ANNELIES VAN PARYS Composer LOGANA RTS
2 AN ORESTEIA Score Sample 50 Fl. Ob. Eb Cl. 61 flz. m.o. change to piccolo (picc.) mf p ppp flz. m.o. mf p flz. m.o. mf p colour trill. Cb. Cl. Cbsn. mp p p pp Hn. C Tpt. Tbn. Tba. flz. m.o. mf pp flz. mp m.o. whisper mute mf p flz. mf mp m.o. pp pp p pp pp Vc. sf arco ppp Timp. gong G1 on timp. L.V. p L.V. B. D. T.-t. Cym. W. Bl. x ppp mp M./S. M. M./A. l'as sa - -sin de sa me re, - il a fui! Commissioned by Stichting Eduard van Beinum For Asko Schönberg. A drama of Clytemnestra from the Oresteia by Aeschylos; a companion to Oresteia by Iannis Xenakis. Can be performed as a separate music drama, for stage or concert hall, or as part of a complete "Oresteia" to be performed alongside that of Iannis Xenakis. Premiere by VocaalLAB Nederland and Asko Schönberg, cond. Alejo Perez February 18 th 2011 at Concertgebouw Brugge Production by Muziektheater Transparant, stage director Caroline Petrick A Muziektheater Transparant and Asko I Schönberg production, coproduced by Concertgebouw Bruges and VocaalLAB
3 CONTENTS BIOGRAPHY 4 BIOGRAPHY (NL) 6 CHRONOLOGY 8 PRESS COMMENTS 10 COMPLETE CATALOGUE 13 PRIZES & SELECTIONS 19 LIST OF WORKS 21 Score sample extracts: P2 Extract from An Oresteia P10 Sussurri P19 Extract from 2 nd Symphony Les Ponts Annelies Van Parys Photo Credit: Trui Hanoulle This performance again reflects the big talent of Annelies Van Parys who, as few other composers in Flanders, masters the art of limitation and has no fear for beauty and seduction. An Index of Memories De Morgen
4 BIOGRAPHY the perception is of a work that extraordinarily pervades all the senses, where you have the impression that, tonally, the ground is pulled from under your feet " Drifting Sand - Badische Zeitung Listen to Meditation (2005) by Annelies van Parys and you will hear a distant bell sound in the opening bars hidden behind woodwinds and horns echoing a profoundly personal and human sound. In this work, she takes her first steps towards spectralism. This is a musical voice learnt from her teacher at the Royal Conservatory of Ghent, Luc Brewaeys. Other important sources of inspiration for her musical voice and whom she met during her further studies are: Jonathan Harvey, Thierry De Mey, Luca Francesconi, Judith Weir... For Van Parys it is not so much the exploration of sound 'as such' that is important, although it obviously plays a role, but rather the sensation that creates the sound effects. Therein lies a fundamental difference: a shift from object to subject. The sensation of her scores is the result of an empirical process, based on meticulous observations of acoustic phenomena. There are the almost mathematical structures, the strict structures in which all aspects (from great shape to the smallest detail) meet the same proportions. She is always looking for a unit within micro- and macro- structures - within which she does not shun the traditional forms, instead embracing these in an unique musical voice. In a sense, Van Parys s two symphonies are the soundboard for this compositional quest. Her first symphony Carillon (2006), premiered by the Royal Flemish Philharmonic under Sian Edwards, is based on the tonal spectrum of the Ghent Belfry. The second symphony Les Ponts (2008) hangs more with the traditional symphonic form; it was premiered by the Symfonieorkest Vlaanderen with Otto Tausk. In 2012, this symphony opened the ISCM World Music Days in Brussels with Brussels Philharmonic. In 2006, Annelies was a guest for the first time at the World Music Days with her chamber work Phrases V (2001): the piece, that winning the Flandres- Quebec prize, swept her to victory a few years earlier. Her chamber works have been much loved by many musicians ever since. Most Belgian ensembles regularly perform her work, and increasingly her music is also becoming a regular feature in the concert programmes of foreign ensembles. The New York New Music Ensemble premiered Fragrances (2008) in Leuven and is now in their NY repertory; Drifting Sand (2011) was premiered by Ensemble Recherche and is now regularly on its programmes, as are other works with ensembles such as Asko Schoenberg and VocaalLAB Netherlands. In addition to chamber music and orchestral works Annelies shows a special talent for composing for voice. This is reflected in the voice solo Poïèma (2006), with Els Mondelaers performing this solo successfully in Amsterdam, Rome, Antwerp and next in 2014 at the Musikfestspiele Sanssouci. Ruhe (2007), commissioned by Collegium Vocale Ghent, for the music- theatre work that bears the same name, and performed globally by them more than a hundred times, is perhaps her most successful vocal work to date - Joyce McMillan in The Scotsman wrote: "... until the end, when Schubert's rhythms give way to a magnificently deconstructed, questioning coda by contemporary Flemish composer Annelies Van Parys." Ruhe was Annelies s first step toward the world of music- theatre. Once the interest in writing for the stage was aroused, she has focussed much on this field with opera, music theatre and installation works, with the drama of these complementing her chamber and orchestral writing. Notably works to date are: An Index of Memories (2009), Parcours (2011), and, An Oresteia (2010).
5 An Oresteia, in which her writing complements the monolithic musical work of Iannis Xenakis, is a particularly significant work in her catalogue, representing a big step outside her comfort zone - if only because she pitches her musical idiom perfectly alongside that of the Xenakis, akin to a translucent crystal alongside a perfect granite sculpture. Annelies fills the breaches in the archaic walls with the part of the story not told by Xenakis: in a prologue, epilogue and two music theatrical monologues Annelies digs her way to the intensely personal, to the deeply human dimension and the drama that is Clytemnestra. An Oresteia was nominated in 2010 for de Ovatie Awards (best performance of the year) in the Netherlands, and Annelies s part of the drama has since been taken successfully by Akso Schoenberg to the concert stage, opening the 2013 Gaudeamus Muziekweek. In 2012, Annelies Van Parys was asked by Muziektheater Transparant, with whom she has had a close collaboration for many years, to arrange an abridged version of Pelléas et Mélisande by Debussy for ensemble Oxalys. This was an instant hit and internationally acclaimed - Tom Janssens, De Standaard: "Her arrangement, with a glorious role for the harmonium, is a miracle." Currently, Annelies is working on the next stage of her musical story. She is preparing a full- length opera for Muziektheater Transparent in co- production with a range of partners (inc. Flemish Opera, desingel, Operadagen Rotterdam, Deutsche Oper Berlin and Bergen Nasjonale Opera). The premiere is scheduled for the OperaXXI Festival 2015 of De Vlaamse Opera with the Neue Vocalsolisten of Stuttgart in the lead role, accompanied by Asko Schoenberg, conducted by Etienne Siebens. The libretto is by Scottish poet Jen Hadfield, winner of the T S Eliot, staging by the Dutch video collective 33 1/3 and directed by Tom Creed. Besides this project, Annelies is currently working on several new commissions for orchestra, including those for the National Orchestra of Belgium and the defilharmonie / Royal Flemish Philharmonic. Annelies Van Parys has won many awards for her work, such as Flandres- Québec, Jeunesses Musicales, Tactus, and Frere Darche. She is on the juries for the international competitions of Tactus (Belgium), Gaudeamus Muziekweek (Nederlands), 2Agosto (Italy) and the Kyoto Prize of the Inamori Foundation (Japan). Annelies is a Laureate of the Royal Flemish Academy of Belgium for Arts and Science and, from 2014, she will be a member of this prestigious institution. Since 2008, Annelies Van Parys teaches orchestration, analysis and composition at the Royal Conservatory of Brussels. She is also Honorary Ambassador of the Royal Conservatory of Ghent.
6 BIOGRAPHY (NL) Als je luistert naar Meditation (2005) van Annelies van Parys, zou je zweren dat je in de openingsmaten een verre klok hoort slaan, die galmt, verstopt achter houtblazers en hoorns. In dit werk gebruikt ze voor het eerst technieken uit het spectralisme om de klank binnenstebuiten te keren. Ze leert deze stroming kennen tijdens haar studies aan het Koninklijk Conservatorium Gent, van haar leermeester Luc Brewaeys. Andere belangrijke inspiratiebronnen vormen componisten die ze later tijdens masterclasses ontmoet: Jonathan Harvey, Thierry Demey, Luca Francesconi, Judith Weir Bij Van Parys is niet zozeer de exploratie van de klank 'an sich' belangrijk, hoewel die natuurlijk een rol speelt, maar veeleer de sensatie die haar klanken teweeg brengen. Daarin schuilt een wezenlijk verschil, een verschuiving van object naar subject. In het laatste geval staat immers de gewaarwording centraal. Haar partituren zijn het gevolg van een empirisch proces, want in beginsel gebaseerd op nauwgezette observaties van akoestische fenomenen. En dan zijn er de bijna wiskundige constructies, de strenge structuren waarin alle aspecten (van grote vorm tot het kleinste detail) beantwoorden aan dezelfde verhoudingen. Ze zoekt steeds naar een eenheid van micro- en macrostructuur, waarbij ze de traditionele vormen niet schuwt. (vrij naar Joep Christenhusz) In zekere zin zijn Van Parys' twee symfonieën het klinkende verslag van deze compositorische zoektocht. Haar eerste symfonie Carillon (2006), wordt gecreëerd door DeFilharmonie met Sian Edwards en is gebaseerd op de toonspectra van het Gentse Belfort. De tweede symfonie Les ponts (2008) knoopt meer aan met de traditionele symfonische vorm en krijgt zijn première door Symfonieorkest Vlaanderen met Otto Tausk. In 2012 opent deze symfonie de World Music Days in Brussel met Brussels Philharmonic. In 2006 was Van Parys al een eerste keer te gast op de World Music Days met haar kamermuziekwerk Phrases V (2001), dat enkele jaren tevoren de prijs Flandres- Quebec wegkaapte. Haar kamermuziekwerken zijn geliefd bij heel wat musici. Zo spelen de meeste Belgische ensembles regelmatig werk van haar hand, maar ook buitenlandse topensembles kunnen haar muziek smaken. Het New York New Music Ensemble creëert Fragrances (2008) in Leuven en brengt het vervolgens ook enkele malen in NY, Ensemble Recherche creëert Drifting Sand (2011) eveneens in Leuven en plaatst het sindsdien regelmatig op programma, zo ook met ensembles als Asko Schoenberg en VocaalLAB Nederland. Naast kamermuziek en orkestwerken toont Van Parys een bijzondere aanleg voor het componeren voor stem. Dit uit zich in de stemsolo Poïèma (2006). Els Mondelaers voert deze solo met succes uit in Amsterdam, Rome, Antwerpen en in 2014 in Potsdam op de Musikfestspiele Potsdam Sanssouci. Ook Ruhe, in opdracht van Collegium Vocale Gent wordt als deel van de gelijknamige voorstelling meer dan honderd keer wereldwijd uitgevoerd. Joyce McMillan in de Scotsman: until the end, when Schubert's rhythms give way to a magnificently deconstructed, questioning coda by modern Flemish composer Annelies Van Parys. Ruhe (2007) is de eerste aanzet tot muziek theatrale werken. Eens de interesse gewekt zal ze er zich steeds meer op gaan focussen. Getuige daarvan zijn An Index of Memories (2009), Parcours (2011) en in het bijzonder An Oresteia (2010). Hier schrijft ze een aanvulling op het monolithische muziektheaterwerk van Iannis Xenakis. Het stuk betekent een flinke stap buiten Van Parys' comfortzone, al is het maar omdat haar muzikale idioom zich tot dat van Xenakis verhoudt als een fijngeslepen briljant tot een brok ruw graniet. (Joep Christenhusz in Muziek van Nu) In een proloog, een epiloog en twee muziektheatrale monologen gaat ze op zoek naar het persoonlijke, naar het menselijke. Deze
7 voorstelling is in 2010 genomineerd voor de Ovaties (beste voorstelling van het jaar) in Nederland. Asko Schoenberg en VocaalLAB Nederland brengen met veel bijval het werk als een zelfstandig concertstuk tijdens het openingsconcert van het Gaudeamusfestival 2013. In 2012 wordt van Parys door Muziektheater Transparant gevraagd om een ingekorte versie van Pelléas en Mélisande van Debussy te arrangeren voor het ensemble Oxalys. Dat is meteen een schot in de roos. Tom Janssens in De Standaard: Haar arrangement, met een glansrijke rol voor het harmonium, is een wonder. Het arrangement wordt ook internationaal opgemerkt. Momenteel is Van Parys bezig aan een volgende etappe in haar muziektheater verhaal. Opnieuw voor muziektheater Transparant en in coproductie met een hele reeks partners (om. Vlaamse Opera, De Singel, Operadagen Rotterdam, Deutsche Oper Berlin, Asko Schoenberg en Bergen Nasjonale Opera), bereidt ze een avondvullende opera voor. De première is gepland op het OperaXXI Festival 2015 in De Vlaamse Opera met de Neue Vocalsolisten Stuttgart in de hoofdrol, begeleid door het Asko- Schoenberg Ensemble olv. Etienne Siebens. Het libretto is van de Schotse T.S. Elliot Prize winnares Jen Hadfield, de scene is voor rekening van het Nederlands videocollectief 33 1/3 en de Ier Tom Creed tekent voor de regie. Naast dit project, werkt ze momenteel ook aan enkele orkestwerken (voor het Nationaal Orkest van België en voor De Filharmonie) en een klankinstallatie waarvoor ze een beurs krijgt van de SPES foundation. Annelies Van Parys is al vele malen bekroond voor haar werken. Zo kreeg ze de prijzen Flandres- Québec, Jeugd en Muziek en Gebroeders Darche. Ze wordt vaak gevraagd als jurylid voor internationale wedstrijden zoals Gaudeamus (NL), 2Agosto (IT), Kyoto Prize van de Inamori Foundation (JAP) en Tactus (B). In 2011 krijgt ze het laureaatschap van de Koninklijke Vlaamse Academie van België voor Kunst en Wetenschap. Vanaf 2014 is ze ook gevraagd om als lid te zetelen in deze prestigieuze instelling. Sinds 2008 is Van Parys verbonden aan het Koninklijk Conservatorium van Brussel waar ze de vakken orkestratie, vormanalyse en compositie doceert. Ze is ook ereambassadeur van het Koninklijk Conservatorium van Gent.
8 CHRONOLOGY (selection) 2013 Invited to International Dramaturgy/Composition Academy of Nasjonale Opera Bergen (Norway) An Oresteia performed at the opening concert of the 2013 Gaudeamus Muziekweek Jury member for Tactus International Composition Competition (Belgium) Jury member for Kyoto Prize of the Inamori Foundation (Japan) Bergen National Opera Libretto/Composition Academy Konzertstück for orchestra 2012 Performance at the opening concert of the ISCM World Music Days 2012 of Second Symphony Jury member for Gaudeamus Music Prize (Utrecht) Invited on International Libretto/Composition Academy of Nasjonale Opera Bergen (Norway) Jury member for the International Composition Contest 2 Agosto in Bologna (Italy) Première Passagen / Aphorisme by Bl!ndman 4x4 Première Pelléas et Mélisande (arr.) by Oxalys, cond. Marit Strindlund 2011 Laureate of the Royal Flemish Academy of Belgium Première Drifting Sand by Ensemble Recherche Première An Oresteia by Asko/Schoenberg and Vocaallab Nederland, cond. Alejo Pérez Selection for the Ovaties 2011, Netherlands Selection for the ISCM- Flanders score project National broadcasting Dutch Radio (Nl) Honorary Ambassador for the University College Ghent, dept. Royal Conservatory Jury member for the International Composition Contest 2 Agosto in Bologna (Italy) 2010 Première An Index of Memories by Spectra ensemble and Vocaallab Nederland, cond. Marit Strindlund Première 3 Regards by Het Collectief and Dragon Ensemble (Berlin), cond. Fu Renchang 2009 Prize Frères Darche for composition from University College Brussels, dept. Royal Conservatory 2008 Première Second Symphony Les Ponts by Flanders Symphonic Orchestra, cond. Otto Tausk Selection for the ISCM- Flanders score project Selection for the IAMIC Sounds of the Year 2009 Selection for the World Music Days 2012 National broadcasting Flemish Radio Première Fragrances by New York New Music Ensemble, cond. James Baker Première Canzon by De Volharding, cond. Jussi Jaatinen (NL)
9 2007 Composer in residence, Muziektheater Transparant Première Ruhe by Collegium Vocale Gent, cond. Christoph Siebert 2007-2011 over 100 performances all over the world National broadcasting Flemish Radio Première Stanza by Isabelle Moretti Selection for the ISCM- Flanders score project 2006 Première First Symphony Carillon by defilharmonie, cond. Sian Edwards Selection for the ISCM- Flanders score project National broadcasting Flemish Radio Première Recorder Concerto by Ruth Van Killegem, Collegium Instrumentale Brugensis, cond. Patrick Peire Selection for the ISCM- Flanders score project 2005 Première Meditation by I solisti del Vento, cond. Filip Rathé Selection for the ISCM- Flanders score project National broadcasting Flemish Radio Première 3 MEW Poems by Ingrid Schmithusen and Phoenix Trio (Canada) National broadcasting Radio Canada 2004 Prize Jeunesses Musicales for composition Laureate Masterclass Orchestral Composition, Tactus, with Einklang Première 2005 by Brussels Philharmonic, cond. Yoël Levi Recorded 2010 for CD Emerging Talent by Brussels Philharmonic, cond. Arturo Tamayo 2003 The Honorary mention for best animated short, Maanvis, Flanders International Film Festival 2002 Première Lux by Flemish Radio Choir, cond. Johan Duijck EBU broadcasting Europe and abroad 2001 Selection for Masterclass Composition, Ictusensemble Prize Flanders/Quebec for Phrases Première by Ensemble SMCQ, cond. Walter Boudreau (Canada) Selection for ISCM- World Music Days 2005 in Zagreb (Croatia) National broadcasting Radio Canada Recorded 2001 for CD Les Lauréats by SMCQ, cond. Walter Boudreau
10 SUSSURRI DELL OMBRA Score sample Flute Sussurri dell' Ombra for Wind Instruments Annelies Van Parys q=54 Flute 1 Flute 2 Oboe 1 Oboe 2 Cor Anglais Clarinet in Eb pp pp Clarinet in Bb 1 pp pp Clarinet in Bb 2 pp pp Bassoon 1 Bassoon 2 Contrabassoon Horn in F 1 Horn in F 2 Horn in F 3 sim. p sf sfp sf p sf p sf p sim. p sf p sf p sf p sf p sf p sf p Horn in F 4 p Picc. Trumpet in Bb 1 Trumpet in Bb 2 Trumpet in Bb 3 Trombone 1 Trombone 2 Bass Trombone Tuba Copyright annelies van parys 2014 Commissioned by The Royal Flemish Philharmonic defilharmonie Premiered on 11 th May 2014 at Amuz, Antwerp, Belgium. Performed by The Royal Flemish Philharmonic defilharmonie, cond. Jacob Slagter Annelies Van Parys 2014
11 PRESS COMMENTS Flemish composers came out of the equation very positively, precisely because of their innovative impulses showing a strong dose of originality and courage, which were fused in a very natural way. The sophisticated ritual for recorder, sculpture and projections (Parcours) by Annelies Van Parys and Anneleen Causmaeker combined a thorough use of alternative techniques to give a very physically dynamic performance. Parcours (World Music days opening concert) - Maarten Beirens in De Standaard, 2 October 2012 the perception is of a work that extraordinarily pervades all the senses, where you have the impression that, tonally, the ground is pulled from under your feet " Drifting Sand (Ensemble Recherche, Freiburg) - Alexander Dick, Badische Zeitung, 22 October 2012 "Her adaptation, including a shining role for the harmonium, is a miracle. The orchestration shivers when dark caverns are entered, it is tossed about when near the sea, it glistens in the glow of an immature love. And the most amazing feat is: Van Parys preserves the frosted silvery sheen of Debussy, but also adds something by virtue of her smart choices. Resulting in an arrangement with a voice of its own...the arrangement of Annelies Van Parys has everything to find general approval in times where a smaller cast is a blessing to be able to hear some music more often live... Pelléas et Mélisande (orchestration) Tom Janssens, De Standaard, 16 April 2012 "For the combined four Blindman quartets, a rather unusual cast, Annelies Van Parys wrote a musical panorama in which even the megaphone moments sound with tenderness" Passagen/Aphorisme - Geert Van Der Speeten, De Standaard, 11 January 2012 "Music Theatre is sometimes referred to as the genre of the future. If so, than we're looking forward to a brilliant future with Asko/Schönberg Ensemble and VocaalLAB The alternation of Xenakis' original, with rather aggressive and rough music and the more "female" insertions of Annelies Van Parys worked miraculously well. This Oresteia proved to be an overwhelming, intriguing experience for musicians as well as the public." An Oresteia - Jury for De Ovatie - VSCD Classical Music Prize 2011 (NL), Flanders Music Centre, 26 May 2011 [Van Parys s] score fits arrestingly well The performance was overwhelming Maarten Beirens, De Standaard, 22 February 2011 the adaptations were so well integrated that they - certainly after a first hearing - seemed to fit seamless in the rest. Performed by Muziektheater Transparant, Asko/Schönberg and VocaalLAB Nederland, the whole composition was an overwhelming experience. Peter Vianen, Gonzo, 27 February 2011 This performance again reflects the big talent of Annelies Van Parys who, as few other composers in Flanders, masters the art of limitation and has no fear for beauty and seduction. An Index Of Memories - Stefan Moens, De Morgen, 15 March 2010 Van Parys is new to me: audio samples on her website suggest that she's a remarkable talent... Fragrances - Alex Ross, The Rest is Noise, May 2012
12 Her new work, Fragrances, finds a very nice balance between sensual harmonies and a particularly lively atmosphere. This also pleased the New York New Music Ensemble, that immediately proposed to play her work next month in New York. Maarten Beirens, De Standaard (article on Transit- Festival Leuven), 28 October 2008 It's an immensely sad, powerful and disturbing show, in which the music sometimes seems to rebuke the crude self- justifications of the speakers, and sometimes seems cheerfully complicit with it; until the end, when Schubert's rhythms give way to a magnificently deconstructed, questioning coda by modern Flemish composer Annelies Van Parys, sung against an oddly chilling black- and- white image of the kind of idyllic European rural scene that could never, after 1945, look quite the same again. Ruhe - Joyce McMillan, Scotsman, 28 August 2008 At the end, Schubert gives way to a new composition by Annelies van Parys and an astonishingly simple but effective piece of cinematography. Rarely do artforms come together so eloquently. Keith Bruce, Herald Tribune, 22 August 2010 So the composer can care about the most refined sonorous details without sounding overdone. Besides, unbelievably talented Einklang - Rudy Tambuyser, De Morgen, 22 November 2010 Phrases V is an incursion in a world where the dominant gods could be Debussy, Takemitsu and Ligeti. The reference to the Illuminations de Rimbaud is appropriate. Bravo. Ristic and Van Parys are the laureates amongst the laureates. Phrases V - Frédéric Cardin, La scena Musicale, CD review: Les Lauréats, February 2004 Half of a film s impact is always sound, and mention should be made of the music by Annelies Van Parys, an aleatoric work for wind ensemble that drives the film along with bursts of microtonal lines over deep- fathom drones. The music is the work s only soundtrack. Maanvis - Taylor Jessen, Animation World Magazine, 15 December 2003
13 COMPLETE CATALOGUE Van Parys is new to me: audio samples on her website suggest that she's a remarkable talent... Alex Ross - The Rest is Noise MUSIC THEATRE: Bzzz't (20') 2012 For harp solo Commissioned by Theater De Spiegel. Music theatre production for small children. Premiered by Isabelle Matthijssens / Sonja Tavormina. Instrumentation: Harp Pelléas et Mélisande (120 ) Debussy arr. Van Parys Reduction of opera (arrangement libretto by Wouter Van Looy) for chamber ensemble. Commissioned by Muziektheater Transparant. Premiere by Oxalys Ensemble, cond. Marit Strindlund, April 2012 at Concertgebouw Bruges. A co- production with Nye Opera Bergen, Vlaamse Opera and La Monnaie. Instrumentation: Soprano, Tenor, Baritone, Contralto, Bass, Boy soprano, 2 violin, viola, 2 cello, double bass, flute, oboe, clarinet, fagot, horn, harp, harmonium, percussion (1) Parcours (20-25 ) 2011 For recorder solo, water and electronics. Commissioned by and dedicated to Guillaume Van Mechelen. Premiered by Jan Van Hoecke, June 2011 at Werkhuys Antwerp. Concept and staging Anneleen De Causmaecker, staging advice Fardau Akkerhof. Supported by Studio Champ D Action (electronics) Instrumentation: Recorder, water, electronics An Oresteia (20 ) 2010* For mezzo, mezzo- alto, alto and ensemble. Commissioned by the Eduard van Beinum Stichting for Asko/Schönberg. A drama of Clytemnestra from the Oresteia by Aeschylos; a companion to Oresteia by Iannis Xenakis. Can be performed as a separate music drama, for stage or concert hall, or as part of a complete "Oresteia" to be performed alongside that of Iannis Xenakis. Premiere by vocaallab Nederland and Asko/Schönberg Ensemble, cond. Alejo Pérez, February 2011 at Concertgebouw Brugge. Concept and staging Caroline Petrick. Muziektheater Transparant and Concertgebouw Brugge production. Instrumentation: Soprano, Mezzo, Mezzo- alto, flute, oboe, piccolo clarinet Eb, contrabass clarinet, double bassoon, horn in F, trumpet in c, tenor trombone, tuba, cello, timpani, percussion (1) An Index Of Memories (70 ) 2009 For voices and ensemble. Commissioned by the Spectra Ensemble. Premiere by VocaalLAB Nederland and Spectra Ensemble, cond. Marit Strindlund, March 2010 at desingel, Antwerp. Staging Caroline Petrick. A production of Muziektheater Transparant. Instrumentation: Mezzo, Baritone, SSA, flute, clarinet, horn, violin, viola, cello, percussion (3)
14 ORCHESTRA: Konzertstück (11') 2013 For symphonic orchestra. Commissioned by Belgian National Orchestra. Premiere in June 2014 by the Belgian National, cond. Alexander Vedernikov at Bozar, Brussels. Instrumentation: 3.3.3.3/4.3.3.1/Timp. 3 Perc. Cel. harp/strings (div.) Aphorisme (3') 2013 For piano and string orchestra Premiered by Timur und seine Mannschaft at the Conservatory of Ghent, October 2013. Second Symphony Les Ponts (17') 2007-2008* For symphonic orchestra. Commissioned by Symfonieorkest Vlaanderen. Premiere by Symfonieorkest Vlaanderen cond. Otto Tausk in March 2008 in the concert hall of the Royal Conservatory of Brussels. Instrumentation: 2 (1).2.2.1 Ten sax.2. / 4.2.3.1. / T. 2p / Strings (div) First Symphony Carillon (19') 2006* For symphonic orchestra. Commissioned by defilharmonie. Premiere by de Filharmonie cond. Sian Edwards, October 2006, Bozar. Instrumentation: 3.3.3.3./4.3.2.1./ T. 3p. Cel/ Hp/ Strings (div) Einklang (10 ) 2004 For symphonic orchestra. Written for the tactus international Composition Seminar. Premiered by the Flemish Radio Orchestra, cond. Yoël Levi, November 2005 at Concertgebouw Brugge. Rec. by same orchestra (now Brussels Filharmonic) cond. Arturo Tamayo for the CD Emerging Talent. Instrumentation: 3.3.3.3./4.3.3.1./ T. 2p/ Hp/ Strings (div) LARGE ENSEMBLE: Sussurri dell Ombra (7 ) 2014 Commissioned by The Royal Flemish Philharmonic defilharmonie Premiered on 11 May 2014 at Amuz, Antwerp, Belgium by The Royal Flemish Philharmonic defilharmo nie, cond. Jacob Slagter Instrumentation: 3 flute, 2 oboe, 1 cor anglais, 1 Eb clarinet, 2 Bb clarinet, 2 bassoon, 1 contrabassoon / 4 horn in F, 1 Bb piccolo trumpet, 2 Bb trumpet, 2 tenor trombones, 1 bass trombone, 1 tuba Canzon (10') 2007-2008 For flute, saxophones, horn, trumpets, trombones, piano and double bass. Commissioned by Orkest de Volharding (Amsterdam). Premiere by Orkest de Volharding, cond. Jussi Jaatinen, March 2008 at Muziekgebouw aan t IJ. Instrumentation: Flute, 3 saxophones, horn, 3 trumpets, 3 trombones, piano, double bass Concerto (10 ) 2005* For recorder, harpsichord and strings. Commissioned by Collegium Instrumentale Brugense. Premiered by Collegium Instrumentale Brugense and Ruth van Killegem, cond. Patrick Peire, Jan 2006. Instrumentation: Recorder, harpsichord, strings
15 CHOIR: 5 Frammenti (11 ) 2012 For male voices. Commissioned by De Bijloke Ghent, premiered by Cinquecento (Vienna) at De Bijloke Ghent, May 2012. Instrumentation: 6 male voices A A T T Bar B 2 Trakl Gedichte (5 ) 2009 For mixed (amator) choir a capella. Version for mixed or male choir (MezATBarB) Premiere (3 voice setting) by Vivento Voce, 2010 cond. Kurt Bikkembergs. Ed. Euprint. Instrumentation: Mixed choir a capella (S A Bar) Ruhe (5') 2007 For male choir. Commissioned by Collegium Vocale Ghent. Premiere by Collegium Vocale Ghent (cond. Christoph Siebert) in May 2007 in Tour Taxis Brussels in a production of Josse De Pauw in the framework of KunstenfestivaldesArts. Instrumentation: Male choir, 8 voices T T B B (solo) T T B B (tutti) In Mortem Iacobi (5') 2005 For mixed choir a capella. Commissioned by the renaissance chamber choir El Grillo. Premiered by El Grillo, April 2005, cond. Inge Bollaert in the framework of a Jacob Obrecht happening in Ghent. Instrumentation: Choir S A T T B CHAMBER MUSIC + VOICE: Memories of an Index (10') 2012 for Mezzo and Ensemble Produced on a CD for the 20th Anniversary of the Spectra Ensemble Instrumentation: Mezzo, flute, clarinet, horn, violon, viola, cello, percussion, piano Passagen/Aphorisme (15 ) 2012 For voice and ensemble. Commissioned by Blindman. Premiered by Blindman on January 6 th at Concertgebouw Bruges. Instrumentation: Soprano, Contralto, Tenor, Baritone, 4 saxophones, string quartet, percussion (4) Voy A Dormir (5 ) 2011 For soprano, bass flute and clarinet on a text of Alfonsina Storni. Commissioned by Festival Ars Musica. Premiere by Het Collectief and Donatienne Michel- Dansac, March 2011 during the Festival Ars Musica. Instrumentation: Soprano, bass flute, clarinet An Oresteia, 2010 (Cf Staged) Visions De Lourdes (17'45") 2008 For mezzo and ensemble. Soundtrack for the film of Charles de Keukeleire. Commissioned by Muziektheater Transparant, coproduced with the Belgian Filmarchive and La Bourse, Brussels. Premiere by Hermes Ensemble and Els
16 Mondelaers, cond. Koen Kessels, January 2009 in La Bourse, Brussels. Instrumentation: Mezzo, alto flute, bass clarinet, alto violin, double bass, percussion Ruins (13') 2006 For soprano and ensemble. Commissioned by de Bijloke. Premiere by Champ d'action and Rolande Van der Paal cond. James Wood, March 2006 at de Bijloke, Gent. Instrumentation: Soprano (or Mezzo), alto flute, clarinet, cello, percussion, piano 3 Mew Poems (14') 2004 For mezzo and ensemble on texts of Charlotte Mew. Commissioned by the Phoenix Trio. Premiere by the Phoenix Trio in February 2005, Montréal. Instrumentation: Mezzo, flute, cello, piano CHAMBER MUSIC: Chants d'auvergne, selection (30') Canteloube - arr. Annelies Van Parys, 2013 Reduction of selection of songs for chamber ensemble Commissioned by Oxalys. Premiere in spring 2014 by Oxalys and Claire Lefiliâtre at Amuz, Antwerp. Instrumentation: Voice, flute, oboe, clarinet, bassoon, horn, harp, string quintet Passagen / Aphorisme, Echo (4 ) 2012 For tenor saxophone and string quartet. Commissioned by Blindman. Instrumentation: Tenor saxophone, 2 violin, viola, cello Drifting Sand* (10 ) 2011 For string trio. Commissioned by Transit Festival Leuven. Première by Ensemble Recherche, October 2011 Leuven. Instrumentation: Violin, viola, cello Fragrances (10') 2008 For flute, clarinet, violin, cello, piano and percussion. Commissioned by Transit- festival Leuven. Première by the New York New Music Ensemble, cond. James Baker, October 2008 Leuven. Instrumentation: Flute, clarinet, violin, cello, piano, percussion Concert (10 ) 2005 (Arr. 2006) For recorder, harpsichord and string quintet. Commissioned by Collegium Instrumentale Brugense. Arranged for and premiered by Jan Van Hoecke, cond. Bart Bouckaert. Instrumentation: Recorder, harpsichord, 2 violin, viola, cello, double bass Colours (12) 2005 For flute, clarinet, string trio, piano and percussion. Commissioned by the Spectra Ensemble. Premiered by Spectra Ensemble, cond. Filip Rathé, September 2005 Leuven in the framework of the Transit Festival. Instrumentation: Flute, clarinet, violin, viola, cello, piano, percussion
17 Meditation (7') 2005* For double wind quintet. Commissioned by I Solisti del Vento. Premiere by I Solisti, cond. Filip Rathé, October 2005 at De Singel in Antwerp during the festival music@venture. Instrumentation: 2 Flute, 2 oboe, 2 carinet, 2 horn, 2 bassoon Wasser Trio (15') 2004 For string trio Commissioned by Goeyvaerts Trio, premiered by Goeyvaerts Trio in Sint- Niklaas 2004. Maanvis (6') 2001 For alto flute, clarinet, cello, harp and percussion. Music for a poëtical cartoon of Isabel Bouttens. Honorary mention for best animated short at Flanders Film festival 2003 (music rec. by ensemble Contr'Art in September 2001) Instrumentation: Alto flute, clarinet, cello, harp, percussion Phrases V (9') 2001 For guitar, harp, piano and percussion. Written for the Ictus International Composition Seminar. Premiere by ensemble Contr'Art in Bruges. Awarded Prize Vlaanderen/Québec, Canadian premiere in Montréal May 2002 by the SMCQ cond. Walter Boudreau (Rec. and Broadc.: CBC, CD Atma- Classique ACD 2 2281) Instrumentation: Guitar, harp, piano, percussion SOLO: Résonances (7') 2013 For piano duet Commissioned for concours of Ghent Rotary Club Imposed piece for all participants. Instrumentation: Piano (four hands) Catalogue d'insectes (10') 2012 (in progress) For harp solo Compilation of small character pieces Instrumentation: Harp solo Passagen / Aphorisme, Solo (4 ) 2012 For tenor saxophone solo. Commissioned by Blindman. Premiered by Piet Rebel (Blindman Sax) on January 2012 at Concertgebouw Bruges. Instrumentation: Tenor saxophone Parcours (20-25 ) 2011 For recorder solo, water and electronics. Commissioned by and dedicated to Guillaume Van Mechelen. Premiered by Jan Van Hoecke, June 2011 at Werkhuys Antwerp. Concept and Staging Anneleen De Causmaecker, staging advice Fardau Akkerhof. Supported by Studio Champ D Action (electronics: Jasper Braet) Instrumentation: Recorder, water and electronics
18 Schizzo (7 ) 2010 For pianoforte (or piano) solo. Commissioned by MA- festival Bruges, imposed piece for semi- finals pianoforte 2010. Premiere by semi- finalists in Bruges. Instrumentation: Pianoforte (or piano) Reflections I And II (8 ) 2009 For cello solo. Written for and premiered by Viviane Spanoghe, Antwerp 2009. Instrumentation: Cello Stanza (13 ) 2007* For harp solo. Commissioned by de Bijloke. Premiere by Isabelle Moretti, March 2007 in de Bijloke, Ghent. Instrumentation: Harp Poïèma (8') 2006 For (female) voice solo. Written for and premiered by Els Mondelaers, March 2006 at Academia Belgica, Rome (IT). Instrumentation: Voice (any) 5 Short Stories (7'30) 2001 For piano solo. Premiere by Yutaka Oya in Tilburg (NL), April 2001. Instrumentation: Piano * Selected for ISCM- Flanders score project
19 COMPOSER PRIZES & SELECTIONS Invited to become a member of the Royal Flemish Academy of Belgium for Arts and Sciences, 2014 Selection for International Dramaturgy/Composition Academy of Bergen Nasjonale Opera (Norway), 2013 Member of the Royal Flemish Academy of Belgium for Arts and Sciences, 2014 Selection for International Libretto/Composition Academy of Bergen Nasjonale Opera (Norway), 2012 Selection of Drifting Sand for the ISCM Flanders score project, 2012 Selection of Second Symphony Les Ponts for ISCM World Music Days in Brussels, 2012 Laureate of the Royal Flemish Academy of Belgium for Science and the Arts, 2011 Honorary Ambassador for the University College Ghent, dept. Royal Conservatory, 2011 Prize Frères Darche from University College Brussels, Royal Conservatory, 2009 Selection of Second Symphony Les Ponts for the ISCM- Flanders score project, 2009 Selection of Second Symphony Les Ponts for the IAMIC Sounds of the Year, 2009 Selection of Stanza (harp solo) for the ISCM- Flanders score project, 2008 Selection of First Symphony Carillon for the ISCM- Flanders score project, 2007 Selection of Recorder concerto and Meditation for the ISCM- Flanders score project, 2006 Selection Phrases V for ISCM- World Music Days in Zagreb (Croatia), 2005 Laureate of the tactus International Composition Seminar (with the Belgian National Orchestra, cond. Pascale Rophé) for the piece Einklang, 2004 Prize Jeugd en Muziek (Jeunesses Musicales) for composition, 2004 Prize Flanders/Quebec for Phrases V, 2001 Selection for Ictus International Composition Seminar (with the Ictus Ensemble, Brussels), 2001 PROFESSIONAL Professor of composition, University College Brussels, dept. Royal Conservatory, 2013 Professor Orchestration, University College Brussels, dept. Royal Conservatory, since 2010 Professor Formal Analysis, University College Brussels, dept. Royal Conservatory, since 2008
20 Founding board- member of ISCM- Flanders, since 2006 Teacher piano, Municipal Conservatory Bruges, since 2001 Lecturer music University College Gent, dept. Arteveldehogeschool, 2000-2008 STUDIES Composition, one year of advanced- master (prof: Luc Brewaeys, University College Ghent, dept. Royal Conservatory), 2000 Master of Music: composition (prof: Luc Brewaeys, University College Ghent, Royal Conservatory), 1999 Master of Music: piano (prof: Johan Duijck, University College Ghent, dept. Royal Conservatory), 1998
21 LIST OF WORKS Sussurri dell'ombra (7') for winds, 2014 Konzertstück (10') for orchestra, 2013 Aphorisme (3') for piano and strings, 2013 Chants d'auvergne, selection (30') Canteloube - arr. Van Parys Reduction for chamber ensemble, 2013 Résonances (5') For piano duet 2013 Memories of an Index (10') for Mezzo and Ensemble, 2012 Catalogue d'insectes (10') For harp solo 2012 Bzzz't (20') For harp solo, 2012 5 Frammenti (11 ) For male voices, 2012 Passagen/Aphorisme (15 ) For voice and ensemble, 2012 Passagen/Aphorisme, Echo (4 ) For tenor saxophone and string quartet, 2012 Pelléas et Mélisande (120 ) Debussy arr. Van Parys Reduction of opera for chamber ensemble, 2011 Parcours (20-25 ) For recorder solo, water and electronics, 2011 Parcours (8 ) For bass recorder solo, water and electronics, 2011 Drifting Sand (10 ) For string trio, 2011 * Voy A Dormir (5 ) For soprano, bass flute and clarinet on a text of Alfonsina Storni, 2011 An Oresteia (20 ) For Mezzo, mezzo- alto, alto and ensemble, 2010* Schizzo (7 ) For pianoforte (or piano) solo, 2010 Reflections I And II (8 ) For cello solo, 2009 An Index Of Memories (70 ) For voices and ensemble, 2009 Visions De Lourdes (17'45") For mezzo and ensemble, 2008 Fragrances (10') For flute, clarinet, violin, cello, piano and percussion, 2008 Second Symphony Les Ponts (17') For symphonic orchestra, 2007-2008* Canzon (10') For flute, saxophones, horn, trumpets, trombones, piano and double bass, 2007-2008
22 Stanza (13 ) For harp solo, 2007* Ruhe (5') For male choir, 2007 First Symphony Carillon (19') For symphonic orchestra, 2006* Ruins (13') For soprano and ensemble, 2006 Poïèma (8') For (female) voice solo, 2006 Concerto (10 ) For recorder, harpsichord and string quintet, 2005 (Arr. 2006) Concerto (10 ) For recorder, harpsichord and strings, 2005* In Mortem Iacobi (5') For mixed choir a capella, 2005 Colours (12) For flute, clarinet, string trio, piano and percussion, 2005 Meditation (7') For double wind quintet, 2005* 3 Mew Poems (14') For mezzo and ensemble on texts of Charlotte Mew, 2004 Einklang (10 ) For symphonic orchestra, 2004 Wasser (15') for string trio 2004 Maanvis (6') For alto flute, clarinet, cello, harp and percussion, 2001 Phrases V (9') For guitar, harp, piano and percussion, 2001 5 Short Stories (7'30) For piano solo, 2001 * Selected for ISCM- Flanders score project
LOGANA R T S M A N A G E M E N 23 T SECOND SYMPHONY LES PONTS Score Sample Commissioned by Symfonieorkest Vlaanderen Premiere by Symfonieorkest Vlaanderen, cond. Otto Tausk th Premiered on March 14 2008 at Concert Hall of the Royal Conservatory of Brussels T : +44 (0) 141 404 7444 M : +44 (0) 7841 582 851 E : info@loganartsmanagement.com W : www.loganartsmanagement.com
24 For more information, recordings or how to obtain scores and parts please contact: LOGANARTS Management T: +44 (0) 141 404 7444 M: +44 (0) 7841 582 851 15 Crawford Road, Milngavie Glasgow G62 7LE UNITED KINGDOM E : info@loganartsmanagement.com W : www.loganartsmanagement.com a member of iama June 2014