Date / Place I

20 November 2017 Gare du Nord, Basel

Date / Place II

20 November 2017 Gare du Nord, Basel


Phoenix, phoenix satellite


Laureate concert Trabant 2016/17


Elnaz Seyedi (*1982) “Detaillierter Blick” for ensemble (2016/17, commission EPhB, WP) Kevin Juillerat (*1987) “TOMBEAU (...kammer...)” for 13 instruments (2016/17, commission EPhB, WP) György Ligeti (1923–2006) “Kammerkonzert” for 13 instrumentalists (1969/70)


Christoph Bösch
flute, alto flute, piccolo
Antje Thierbach
oboe, oboe d’amore, English horn
Toshiko Sakakibara
clarinet, bass clarinet
Richard Haynes
clarinet, bass clarinet
Lucas Rößner
Aurélien Tschopp
Jens Bracher
Michael Büttler
Daniel Stalder
Manuel Bärtsch
Kirill Zvegintsov
piano, celesta
Ludovic Van Hellemont
piano, harpsichord, harmonium
Friedemann Treiber
David Sontòn Caflisch
Petra Ackermann
Martin Jaggi
Aleksander Gabryś
double bass
Jürg Henneberger

Program description

In 2016/17 EPhB conducted for the second time a biennial international composition workshop. In three preparatory modules – these supported by the Swiss Arts Council “Pro Helvetia” – young composers at the beginning of their career get the opportunity to experiment with us as a professional specialist ensemble over the period of 18 months.

For the final fourth module – then as an integral part of our series – two selected graduates of the preparatory phase are commissioned to compose a new work as a musical “commentary” on a central work of the 20th or 21st century. The new works are to “orbit” this composition as “satellites”, i.e. they are to refer to it or contrast with it. In 2017, the two satellites will revolve around the “Chamber Concerto,” one of the major works of Hungarian composer György Ligeti.

Originally from Iran, Elnaz Seyedi studied composition in Bremen with Younghi Pagh-Paan, in Basel with Caspar Johannes Walter, and at the Folkwang University of the Arts Essen with Günter Steinke. With her work “Detaillierter Blick”, she illuminates and reflects on various mood states of Ligeti’s masterpiece without quoting it directly.

The composer and saxophonist Kevin Juillerat, who comes from French-speaking Switzerland, studied saxophone in Lausanne with Pierre-Stéphane Meugé and in Basel with Marcus Weiss. At the same time he studied in Geneva with Michael Jarrell and Luis Naon and in Basel with Georg Friedrich Haas composition. His new work TOMBEAU makes concrete use of individual “building blocks” from Ligeti’s chamber concerto, placing them in a new context and developing them further until, shortly before the end, they culminate in a short literal quotation that breaks off abruptly and leads to an open ending.