Teilnehmer:innen

Canadian composer of Ukrainian descent Marc Sabat (*1965) has been based in Berlin since 1999. He makes pieces for concerts and installations, drawing inspiration from ongoing research about the sounding and perception of microtonal rational intonation (JI). He relates his practice to various music forms, seeking points of shared exploration and dialogue between different modes of experience and cultural traditions. Largely self-taught as a composer, Sabat studied violin at the University of Toronto, at the Juilliard School in New York, and computer music at McGill University, as well as working privately with Malcolm Goldstein, James Tenney and Walter Zimmermann, among others. With Wolfgang von Schweinitz he developed the Extended Helmholtz-Ellis JI Pitch Notation and is a pioneer of instrumental music written and performed in JI. Sabat’s work is presented internationally, available online and in numerous published editions. He teaches composition and the theory and practice of intonation at the Universität der Künste Berlin and is currently a doctoral research fellow at the Sibelius Academy Helsinki. Together with colleagues Catherine Lamb and Rebecca Lane he co-initiated the Harmonic Space Orchestra in 2019.

Klaus Lang (*1971 Graz / Austria) lives in Steirisch Lassnitz (Austria). He studied composition and theory of music (with H.M. Preßl, B. Furrer and Y. Pagh-Paan) and organ. Klaus Lang loves tea and dislikes lawnmowers and Richard Wagner. Klaus Lang’s music is not a means to convey extramusical contents, such as emotions, philosophical or religious ideas, political propaganda, advertisement etc… His music is no language used to communicate non-musical content. Music is seen as a free and selfstanding acoustical object. In his work he is not using sound, sound is explored and given the opportunity to unfold its inherent rich beauties. Only when sound is just sound it is percievable as that what it really is: a temporal phenomenon – audible time. Klaus Lang sees time as the genuine material of a composer and at the same time also the fundamental content of music. In his view musical material is time perceived through sound, the object of music is the experience of time through listening. Music is time made audible.

https://klauslang.bandcamp.com

https://www.youtube.com/@theearlyorganistbyklauslan7891

Alyssa is fascinated with the architecture of music, both spatially and temporally. She composes works which explore extremes in time and space, using rigid proportions to generate forms in acoustic works and exploring the unpredictable duration and lack of control in gamified works. This is closely tied to her compositional style, which is concerned with a delicate balance between elements of functional form and elements of pure aesthetic purpose. As much structure as possible, as many ornaments as necessary (and vice versa).

Pablo Mariña is a Mexican composer of acoustic and computer music living and working in Graz, Austria. His focus lies in live electronics, structural approaches, and iterative processes. In his work, the composer has been searching for methods of creating pieces of live electronics that unfold sonic homogeneity between processed and non-processed sound materials. In his latest work, Pablo has also been exploring spatialization configurations and cross-perceptual phenomena.

In addition to concert music, Pablo Mariña is also creating sound installations, collaborates with video artists, and takes part in composers´ collectives GONaD and facere. In conjunction with his creative practice, Pablo Mariña is developing electronic and electroacoustic music performance and composition tools.

Pablo Mariña graduated from Composition and Music Theory studies at the Center for Music Studies and Research (CIEM) in Mexico City and is currently enrolled in Master’s Degree of Computer Music at the Institute of Electronic Music and a Master´s Degree Classical Composition studies at the University of Music and Performing Arts Graz.

Martin Ritter studied composition in Canada and currently lives in Graz, Austria. He writes both electronic as well as instrumental works and is performed across Europe, North America, and Asia. As a composer he is interested in the spaces sounds emerge in/from and the intersection of music, technology, and performance/performance practice. As a researcher he works with digital tools in order to analyze and understand electronic music. He holds a DMA in composition from the University of British Columbia where his primary teachers were Drs. Keith Hamel and Robert Pritchard, and a PhD in Computational Media Design from the University of Calgary where he studied with Drs. Friedemann Sallis and Jeffrey E. Boyd. At the Universität für Musik und darstellende Kunst Graz he studied with Klaus Lang and Marko Ciciliani.

American composer and pianist Forrest Moody was raised in rural Alabama. First trained as a pianist, he studied at the Eastman School of Music under Barry Snyder. As a pianist, he has performed throughout the Eastern United States and Western Europe. After moving to Berlin in 2016, he began his work as a composer. Since then, his compositions have been performed in various venues and settings in Germany, Austria, Switzerland and France. He now resides in Graz, Austria, where he studies composition with Klaus Lang and piano with Han-Gyeol Lie at the Kunstuniversität Graz.

Aleksey Vylegzhanin was born August 19th, 1987 in Novosibirsk, Russia. His earliest musical influences were his parents, a classically trained singer and choir conductor. He started playing piano at the age of 6 and took his first organ lesson a few years later. He finished musical college and Novosibirsk State Conservatory under prof. Natalya Baginskaya. Since 2010, he studies at the Universität für Musik und darstellende Kunst Graz under prof. Gunther Rost. He participated in master-classes with D. Roth, Z. Szathmary, L. Lohmann, J. van Oortmerssen, E. Bellotti, W. Porter and N. Hakim. He has played concerts in Russia, Slovenia, Croatia, Germany, Austria and England; for example: gala concert in Moscow’s cathedral (2009), solo concerts in Graz’s cathedral (2009), Herz-Jesu-Kirche and Schulkirche in Amberg (2017), as part of the projects: “organ@mumuth” (2013), „Petr Eben: Faust“ (2014), „Organ on Stage“ (2015) „Schlafes Bruder“ (2016), etc. Furthermore, he plays with numerous choirs, orchestras and various chamber music ensembles.

Maria Iaiza was born in Italy in 1998. At the age of five, she began studying piano with Prof. Maria Puxeddu. She continued her training at the Jacopo Tomadini Conservatory of Udine in the class of Maestro Giovanni Baffero, where she obtained the Academic Diploma I with full marks and distinction in 2017. She attended the two-year specialist training at the Giuseppe Tartini Conservatory in Trieste with Prof. Teresa Trevisan and obtained the academic diploma II cum laude in 2020. She deepened her studies in contemporary music in the Divertimento Ensemble with Prof. Maria Grazia Bellocchio. In addition, thanks to the Erasmus program, Maria studied with Prof. Thérèse Fahy, Professor at the Royal Irish Academy of Music in Dublin and with Prof. Antoinette Van Zabner at the University of Music and Performing Arts Vienna. She is currently studying chamber music at the University of Music and Performing Arts Graz with Prof. Chia Chou. 

Barbara Konrad, geboren in Graz, studierte klassische Violine in Graz und in Wien. Sie hörte 2001 auf in Orchestern zu spielen sowie zu unterrichten und spielte Tango, Tanzmusik und Wiener Schrammelmusik. 2008 ging sie nach Belgien, um dort Alte Musik zu studieren. Seitdem spielt sie regelmässig Violine und Viola in La Petite Bande, Ars Antiqua Austria, Bach Concentus, und - neben  sehr viel Kammermusik - ab und zu in den Gruppen wie Les Buffardins, Le Concert d'Anvers, Il Gardellino, L'Orfeo Barockorchester.  Im Moment beschäftigt sie sich intensiv mit Diminutionen der Musik Italiens um 1600 und erforscht zusammen mit Klaus Lang die klanglichen Möglichkeiten der Viola d'Amore.

Atousa Falamarzian is an Iranian performer and composer based in Tehran and Graz. She is interested in developing her music from varying types of sonic materials such as electronics, acoustics, jazz and rock elements. Atousa is also exploring her artistic world using different mediums, including videography, performing arts and visual arts. 

Sepehr Karbassian is an Iranian composer and performer.

He has studied computer music and electroacoustic composition at the university of music and performing arts Graz in Austria and had the opportunity to learn from composers such as Gerhard Eckel, Klaus Lang, Marko Ciciliani, Christian Ofenbauer, Dimitri Papageorgiou and Joachim Heintz.

Sepehr is the founding member of Zeitschleife cultural society in Austria. He began his music studies in Iran with guitar performance and film scoring techniques with Babak Mirzakhani, as well as music theory, contemporary composition, and piano performance with Mazyar Younesi, Vartan Sahakian, Arash Teymourian, and double bass performance with Parvaneh Anaraki.

Among his other activities can be mentioned: Scoring for various films, live Performance and composing for theatre, musicological research about history and aesthetics.