A program of old, new and brand new works, including Luigi Nono’s Post-Praeludium per Donau, and world premieres by Alex Stephenson (MM 2017) and Nikolas Jeleniauskas (PhD).

In cooperation with the composition department.

Parisian violinist Alexandra Griffin-Klein devotes an important part of her career to promoting contemporary music, working closely with composers such as Pascal Dusapin, Philippe Hurel, Gérard Pesson, Michaël Jarrell, Allain Gaussin, Sofia Goubaïdoulina and Helmut Lachenmann. As a frequent violinist with Ensemble Intercontemporain and a soloist of the Ensemble Cairn, she appeared at the Darmstadt Festival in 2010, performing a cycle of Gérard Pesson premieres at the 104 in Paris and received in 2012 ‘5 Diapasons’ for her recording of Raphaël Cendo’s string quartet, In vivo. Philippe Hurel dedicated his new solo violin piece Trait, to her, which she premiered in Paris in September 2014. Alex Greffin Klein plays a Sebastian Klotz violin dating from 1756.

Pluton (1988) is a monumental work for piano and computer by Philippe Manoury. The computer senses the performer’s piano playing through a specialized MIDI interface, which is used to synchronize the computer with the piano (using score following). Manoury explores the idea of using the pianist’s interpretation of the score to control various parameters of the computer’s actions. These computer actions take the form of synthesis, processing of the piano sounds, and spatialization.

Miller Smith Puckette (born 1959) is the associate director of the CRCA and professor of music at USC Sans Diego, where he has been since 1994. Puckette is the author of MAX, a graphical development environment for music, which he developed while working at IRCAM in the late 1980s. He is also the author of Pure Data (Pd).

Pianist Shiau-uen Ding equally performs traditional and contemporary repertoire. She has performed in France, Germany, Belgium, China, and throughout the US and Taiwan. Most recently, she premiered Christopher Bailey’s Empty Theatre, a quasi-concerto for piano and orchestra, at SinusTon Festival in Germany. She was called a “daredevil” by The New York Times for her performance at Bang on a Can Marathon and “a powerful force on the new music scene” by Array.

A retrospective of electronic tape compositions performed in Darmstadt between 1952 and 2010.