works by Jessie Marino, Tim McCormack, Julie Herndon.

Jessie Marino – Remapping II (2019) NP
Julie Herndon – of a Touch (2019) NP
Timothy McCormack - The Chain of the Spine (2017)

Marco Fusi, violin
Winnie Huang, violin, cardboard, glass, and sine waves
Caroline Mayrhofer, Paetzold contrabass recorder

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performance/installation of Charlie Sdraulig's one to one, work for violinist and one member of the audience. during Kalv Festival the piece will be performed several times for spectators selected via a lottery.

link to the trailer of the piece

Xenakis' ballet Kraanerg with Klangofrum Wien and Sylvain Cambreling

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World premiere of

Remapping II (2019) for two performers
Portraits (2019) for three performers

with Winnie Huang and Jessie Marino

Coaching postgraduate students of all instruments on XX and XXI century repertoire, including G. Scelsi, T. de May, S. Reich, B. Maderna, M. Kagel.

ITI KE MI (New Moon. Mouth. Feminine) for Viola is the result of a long period of study and research with the instrument by the composer followed by actually working together with the performer. Neither the stringing nor the tuning of the viola are standard: two fourth strings, one third and one first string are tuned E, C, G and A in that order. Both score and notation - the latter also uses a system of colours - are inevitably very complex because their job is to define, differentiate between and represent a veritable maze of techniques and sounds which the performer is required to employ and produce. These techniques and sounds make huge demands on the performer's physical and interpretative abilities since the work is a total rethink of the instrument and the huge number of roles required of the viola mean that at times the results sound utterly unlike music for a stringed instrument. The sophisticated combination of various approaches to fingering and bowing separates out the individual components of a sound and puts them back together in such a way that a whole new horizon opens onto vibrations.

The workshop will describe the learning process of ITI KE MI and the importance of the collaborative work with the composer himself, in order for the performer to comprehend, embody and deliver the work, overcoming the technical and instrumental challenges that such an experimental score offers. The presentation will explore Billone's radical approach to the viola, focussing as well on notational issues and solutions adopted in the final version of the work. Composer and performers alike may gather precious insights from this score, exploring the effective connection between highly researched technical and instrumental gestures and their expressive and musical result.

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Masterclass for violinist and violist on extended techniques and contemporary repertoire

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"Fuga Perpetua - musical terms meaning ‘always running’ – is a total artwork, combining virtuosic music for ensemble, a dynamic surround-sound installation in constant motion, video projections and a ‘vocal crowd’. The leading storytellers of the work are refugees in Kenya, Israel, Italy and the UK, narrating beyond words, through our senses of hearing and sight, intuition and imagination.

The more we read and hear about refugees, it seems we understand and relate to their experience less. They become representations of something other-than-us, reduced to a familiar script of our worst fears. Responding to one of the greatest dramas of our time, Yuval Avital and Meitar Ensemble smuggle us across the border between our concepts of ‘us’ and ‘them’.

‘Home’ is the root of our identity, our magnetic north, our fixed point from which we orient our story, a sanctuary of protection and intimacy. Without a home, we become vulnerable, unstable, disoriented, lost. Our experience of music is also defined around ideas of home, of stability and rest, but also of movement, change and transformation. In Fuga Perpetua, a rest in one artistic layer drives movement in another, in counterpoint, interweaving constantly.

The ‘storytellers’ in Fuga Perpetua are refugees, appearing in the work through projected ‘interviews’ conducted by Avital and collaborators, where individual refugees were asked to relive before the camera significant moments and memories of their lives, both silently and in voice, following a process designed for this project by Avital with the guidance of Prof. Gerald Cupchik (University of Toronto), a specialist in emotions and aesthetic experience."

Yuval Avidal