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SUN 27/09



6 pm, Knappensaal im SZentrum, Andreas-Hofer- Straße 10, Schwaz


Pieces for piano with different scordatura


Edu Haubensak
Collection I WP
Collection II WP


Simone Keller piano
Urs & Daniel Bachmann piano making/tuning


7.30 pm
Matthias Osterwold, Artistic Direktor of KLANGSPUREN,
in conversation with Edu Haubensak and introduction to the concert with Ensemble Konstellation



8 pm, Silbersaal im SZentrum, Andreas-Hofer- Straße 10, Schwaz


Beat Furrer antichesis
Giacinto Scelsi Natura renovatur
Manu Delago Newton's Rainbow UA
Supported by Hilde-Zach-Förderstipendium Komposition 2014 der Landeshauptstadt Innsbruck
Louis Andriessen Symfonie voor losse snaren


Ensemble Konstellation
Ivana Pristašová conductor
Manu Delago hang
Soumik Datta sarod

The unique quality of the Zurich composer Edu Haubensak is that he works with different tunings in parallel. He is a discoverer, researcher and inventor of tuning systems which are then adapted for instruments by scordatura or retuning. Haubensak has composed  for solo piano in ten different tunings. In the Swiss piano builders Gebrüder Bachmann, he found congenial partners who translate his ideas of intonation into reality. Collection I dating from 2005 and Collection II from 2014 represent the tenth tuning, which is described as mixed tuning, choric alteration (black keys), total alteration (white keys), non-equidistant, or non-octave repetitious. The premiere performance by the Swiss pianist Simone Keller marks the preliminary completion of the comprehensive cycle Grand Tuning I – X. Spazio (1993/1994) represents the second tuning (equidistant, choric intervals of one sixth-tone), which create vibrating, foreign harmonics. The mere description of the single voices suggests which unexpected, adventurous tonal spaces with their own characteristic atmosphere arise. An unusual picture: a pianist playing two differently tuned concert pianos. The KLANGSPUREN finale lies in the proven hands of the Ensemble Konstellation under its artistic director, the violinist and conductor Ivana Pristašová. The musicians of the Tyrolean State Conservatory will devote themselves to two classic works of modern music by Giacinto Scelsi (1905-1988) and Louis Andriessen (b. 1939), along with antichesis (2006), with which the festival honours this year’s Composer in Residence Beat Furrer one last time, and finally a world premiere of a work by the young Innsbruck composer Manu Delago. Once again the fascinating variability of string instruments takes centre stage. Where Furrer distributes fourteen musicians on stage in antichesis to confront a sensitive network of contrasting sound activity with phases of dramatic density, where Louis Andriessen, in his Symphony for Open Strings (1978), overlays repetitious patterns in unaccustomed string tunings, Scelsi, as if obsessed, explores the dimension of depth of the single tone with all its possibilities of colour. Manu Delago supplements the strings with two solo parts which contribute a highly unusual sound: the composer himself plays the “hang”, a metal instrument invented around 2000, to be played with two hands and consisting of semicircular segments containing acoustic surfaces in its rounded parts. The “sarod” is about one and a half centuries older, a lute-like instrument from Northern India with three rhythm, four melody and eighteen resonance strings, played here by the British master musician Soumik Datta.  Radio broadcasting: Ö1, Zeit-Ton, Tue, 06.10., 23.03 pm