Date / Place I

18 April 2020 Gare du Nord, Basel

Date / Place II

19 April 2020 Gare du Nord, Basel




Mario Davidovsky: Synchronisms


Mario Davidovsky (1934–2019) “Synchronisms No. 1” for flute and electronic sounds (1963) – 4'21'' “Synchronisms No. 3” for cello and electronic sounds (1964) – 5'03'' “Synchronisms No. 6” for piano and electronic sounds (1970) – 7'32'' “Synchronisms No. 9” for violin and tape (1988) – 8'52'' “Synchronisms No. 10” for guitar and tape (1992) – 9'50'' “Synchronisms No. 11” for contrabass and electronic sounds (2005) – 7'23'' “Synchronisms No. 12” for clarinet and electronic sounds (2006) – 6'34''


Christoph Bösch
Toshiko Sakakibara
Maurizio Grandinetti
Ludovic Van Hellemont
Friedemann Treiber
Jan-Filip Ťupa
Aleksander Gabryś
double bass
Jürg Henneberger
Christof Stürchler
recording engineer

Program description

Mario Davidovsky 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”.

Since the concerts had to be cancelled due to the pandemic, the EPhB decided to do a combined audio and video production. Bandcamp