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Austrian State Scholarship

Following an indipendent jury’s decision, I will be granted the Austrian state scholarship in composition 2021 — and «Jeux the lumière» will be staged in Japan.

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«Jeux de lumière» will be played adain in October in Tokyo.

As of June 2021, the current year seems to look rather promising. After the good news that my work for solo cello (Jeux de lumière) was chosen in the course of an international call for scores from more than 100 submissions to be played in Tokyo in October by Kei Yamazawa, I recieved a very encouraging letter by the Federal Ministery for Arts, Culture, Civil Service and Sport last Monday which informed me that I will be granted the Austrian state scholarship in composition. The scholarship will be a strong support in pursuing my compositional objectives as well as a great motivation to get some works done that I have planned to write for a long time. Here’s what I intend to do over the next months.

A new song cycle

I’ve already started working on a new work for mezzo soprano and piano in which I’d like to pursue my idea of combining small percussion instruments with the sounds of a piano (which I’ve extensively tried out and tested as a pianist onstage in my second book of XXI Oracles Of The Night). Having an additional player who doesn’t have to touch the keys while singing leaves space for even more sound combinations. And of course there will be a semantical layer in the new work—I’ve already decided upon the text for the new piece and I’m eager to start composing as soon as the semester is over. I’m especially looking forward to collaborating with the mezzo soprano Klaudia Tandl who has asked me for such a new piece.

Even more percussion

To be perfectly honest, there cannot be too many percussion instruments in a piece of mine. Not ever. However, I haven’t written a work for a solo-percussionist yet. This is what’s gonna happen next. The first step will be to write a piece for only one player. The second step will be to extend this piece to a concert-like piece for a solo-percussionist and other instruments (I’m strongly considering making it a true concerto for percussion and large orchestra, knowing that such a piece will be difficult to stage and to hear one day, though). I’m very much looking forward to discussing some ideas with the brilliant percussionist Manuel Alcaraz Clemente.

Further projects for the next year include writing a pice for the wonderful ensemble airborne extended. I’m really looking ahead with pleasant anticipation to discover some of the possibilities of a cembalo which I haven’t used in my works thus far. I’m also planning to write a noe vocal work without further instruments. That’s all still up in the air and lots of preparatory work needs to be done in the autumn before starting to write notes. Anyways—this will be an exciting year on my work desk and I’ll do my very best to turn these into exciting pieces.