Phœnix

“Davidovsky+”

Concert in collaboration with the Zurich University of the Arts (ZHdK), class for electro-acoustic composition Germán Toro Pérez

Mario Davidovsky’s “Synchronisms” are masterpieces of instrumental music with playback tape, which we had already planned in 2020 but were unable to perform due to the coronavirus. Instead, a double LP was created. For the new edition of the idea of playing Davidovsky’s music in concert, we were able to win the ICST of the ZHdK as a co-production partner. This collaboration will result in seven new compositions by students for the same instrumentation.

Mario Davidovsky (4.3.1934–23.8.2019) is one of the great figures of American New Music – but has hardly been played in Europe. As a pioneer of electronic music, he was already working at the “Columbia-Princeton Electronic Music Center” in 1960. His work includes by far not only electronic music. His most famous works, the “Synchronisms”, a series of over a dozen works written over a period of more than 40 years, have influenced generations of composers. In combining “classical” instruments with pre-produced electronic sounds, Davidovsky, unlike many other composers of this genre, is not interested in special “sound effects” in any way, but rather seeks a fusion of instrumental sound with electronics, resulting in both continuity and intrinsic musical expression. The earliest “Synchronisms” date from a time when today’s sound technology was still in its infancy, but they are nevertheless masterpieces without equal; the long time span in which the “Synchronisms” were created also documents the technical progress in this field over the time. In addition to a large number of awards for his work, Mario Davidovsky received the Pulitzer Prize in 1971 explicitly for his work “Synchronisms No. 6”.


Program

Mario Davidovsky (1934–2019) “Synchronisms No. 1” for flute and electronic sounds (1963) – 4’21’’ Mario Davidovsky (1934–2019) “Synchronisms No. 3” for cello and electronic sounds (1964) – 5’03’’ Mario Davidovsky (1934–2019) “Synchronisms No. 6” for piano and electronic sounds (1970) – 7’32’’ Mario Davidovsky (1934–2019) “Synchronisms No. 9” for violin and tape (1988) – 8’52’’ Mario Davidovsky (1934–2019) “Synchronisms No. 10” for guitar and tape (1992) – 9’50’’ Mario Davidovsky (1934–2019) “Synchronisms No. 11” for contrabass and electronic sounds (2005) – 7’23’’ Mario Davidovsky (1934–2019) “Synchronisms No. 12” for clarinet and electronic sounds (2006) – 6’34’’ Students of ZHdK (class for electro-acoustic composition Germán Toro Pérez) New works for solo instrument and electronics (2024/25, WP, commissions EPhB) Joan Jordi Oliver Arcos (*1994) “Double” for double bass and live electronics – ca. 10’ Joyo Ann (*2003) “KAPA/KOERP” for clarinet and electronics – 5’20’’ Franziska Eva Wilhelm (*2003) “Cloud Imitations” for violin and electronics – 2’49’’ Andrzej Ojczenasz (*1992) “De limo terrae” for bass flute and live electronics – 6’30’’ Seçil Metin (*1994) “A Comet, Burn to Fade” for piano and live electronics – 5’37’’ Felix Friedrich (*2003) “scharf/unscharf” (sharp/unsharp) for cello and electronics – ca. 6’ Nuño Fernández Ezquerra (*1992) “Étude sur l’ombre” (shadow study) for electric guitar and live electronics – ca. 11’
Jürg Henneberger
supervision
Germán Toro Pérez
supervision
Christoph Bösch
flute, bass flute
Toshiko Sakakibara
clarinet
Maurizio Grandinetti
guitar, electric guitar
Ludovic Van Hellemont
piano
Friedemann Treiber
violin
Stéphanie Meyer
cello
Aleksander Gabryś
double bass
Quirin S. Oeschger
sound engineer
Marin Wolf
sound engineer
Leandro Gianini
sound design