Date / Place I

24 March 2017 Gare du Nord, Basel

Date / Place II

25 March 2017 Gare du Nord, Basel

Series

Phoenix

Title

“lock-in – New Swiss Music 2017”

Program

Arturo Corrales (*1973) “the undrowned down under drone wonder” for 11 instrumente and electronics (2017, WP, commission EPhB) – 12’ Carlo Ciceri (1980–2022) “Mare Marginis” for amplified ensemble (2017, WP, commission EPhB) – 15’ Michael Pelzel (*1978) “Sempiternal lock-in” for 17 instrumentalists (2012/13) – 35’

Musicians

Jürg Henneberger
conductor
Christoph Bösch
flute, piccolo, bass flute
Antje Thierbach
oboe, English horn
Toshiko Sakakibara
clarinet, bass clarinet, contrabass clarinet
Pierre Fatus
bassoon, contrabassoon
Aurélien Tschopp
horn
Nenad Marković
trumpet
Michael Büttler
trombone
Daniel Stalder
percussion
Bastian Pfefferli
percussion
Julia Wacker
harp
Manuel Bärtsch
piano, celesta
Ludovic Van Hellemont
piano
Friedemann Treiber
violin
Bogdan Božović
violin
David Sontòn Caflisch
viola
Jan-Filip Ťupa
cello
Daniel Sailer
double bass
Christof Stürchler
sound engineer

Program description

Three Swiss composers, who are surprisingly still relatively unknown in Basel, are the focus of this project.

The composer, conductor, guitarist, lecturer and architect Arturo Corrales originally comes from El Salvador, but has lived in Geneva for over twenty years. He is co-founder and musical director of the ensemble “Vortex”, with whom the EPhB performed together in May 2013. Despite its experimental character, his music is strongly influenced by folklore and pop music.

video

The Italian-born composer and conductor Carlo Ciceri has lived in Lugano since 2002. He was a member of the ensemble “RepertorioZero” and co-founder of the group “Crile” a research collective made up of dance theatre, new music and new media. He died in a skiing accident on 22 March 2022.

The composer, choir conductor and organist Michael Pelzel studied in Basel with Detlev Müller-Siemens and Georg Friedrich Haas. In his ensemble composition “Sempiternal lock-in”, Pelzel uses East African “inherent patterns” in the so-called “lock-in” playing technique, which is applied to the marimba-like mallet instruments Akadinda and Amadinda. Two to three percussionists play an instrument from both sides, whereby continuous chains of sixteenth notes are repeatedly combined in different ways, creating fascinating “inherent patterns”. Pelzel is thus inspired to create a highly virtuoso ensemble piece in which the percussion plays a central role.

Jürg Henneberger