NEW MUSIC INDABA 2006
Reimagining Mozart

29th June - 7th July, Grahamstown, South Africa

Induna

Michael Blake

Associate Director

Grant Olwage

Workshops Organizer

Fiona Tozer

Administrator

Gcisa Mdlulwa

New Music Indaba 2006
Sponsors
Gallery 1
Blurring the Borders
Gallery 2
New Music's Induna Considers New Pastures
Gallery 3
Too Much Of The Old And Not Enough Of The New
Gallery 4
Programme

New Music Indaba 2006

The New Music Indaba focuses on the 250th anniversary of Mozart's birthday this year. Instead of throwing up the usual programmes of Amadeus standards, the Indaba invited a bunch of South African composers to set about Re-imagining Mozart. The results are as diverse as one could imagine, with composers from the worlds of classical, jazz, electronic, choral, traditional and experimental music trying to find out what Mozart means in 2006. Our nine concerts of Re-imagining Mozart thread through the Indaba, each featuring both new Mozart-based works and Mozart's great chamber music. Cult composers such as John Cage and Arvo Pärt also provide their takes on the birthday boy.

Two other anniversaries — the Shostakovich centenary and 150 years of the death of Schumann — are marked in several ways with lunchtime concerts, Winter School events, and two concerts by the distinguished UK-based Fitzwilliam String Quartet, who were coached by Shostakovich in the 1970's, and who are back in Grahamstown after their mesmerising performances of a few years back.

As always, the cutting edge of the Indaba is razor-sharp with experimental rock/cross-over by Steamboat Switzerland, violin virtuosity by Japanese Yasutaka Hemmi and Irish music by Trio Rothko. The indefatigable Belgian pianist Daan Vandewalle contributes American composer Alvin Curran's epic four-and-a-half hour piano cycle Inner Cities and South African Benjamin Fourie gives a rare performance of Messiaen's complete Vingt Regards sur l'Enfant Jésus. South African ensembles complete the line-up: the sparkling JPO Winds with pianist Jill Richards, the popular Kerimov Trio, a newly-formed improvising ensemble AmaDuo, and South African choirs — the S. A. Singers, Joy Of Africa, the Vumaningoma Choristers and SDASA Chorale — remind us that we are above all a singing nation.

Michael Blake, Induna

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Blurring the Borders

Re-imagining Mozart is the theme of this year's New Music Indaba. Rather than simply celebrate the 250th anniversary of Mozart's birthday by trawling through the same old repertoire of Amadeus recitals, the festival invites an impressive cosmopolitan cast of composers and new music artists to navigate classical, jazz, electronic, choral, traditional and experimental sounds to map what Mozart means in 2006.

On June 30 filmmaker, writer, digital artist and all-round underground "renaissance man" Aryan Kaganof puts a mobile technology spin on Mozart's legacy, blurring the borders between "real" sound and digitised versions thereof at the world première of his K475 for Piano and Cellphone.

Belgian new music pianist Daan Vandewalle then teams up with Michael Blake (harpsichords and more) and Corinne Cooper (sound design) for a multimedia deconstruction of John Cage's HPSCHD. It starts at 7pm. Hardcore new-music enthusiasts should also diarise Vandewalle's full recital of American composer Alvin Curran's epic four-and-a-half-hour piano cycle Inner Cities on July 1 and 4. Fans of cutting-edge sounds can catch Steamboat Switzerland's multi-idiomatic jazz, rock and electronica-driven overhaul of pieces by Swiss composers Michael Wertmüller, Harmann Meier and Stephan Wittwer and pioneering American auteur Ruth Crawford on July 2 and their free improvised concert on July 5. Other essential new-music pit stops include the Stockholm Saxophone Quartet's electro-jazz sets on June 30 and July 2, South African jazz pianist Ramanna and art-music composer Michael Blake's independently composed but simultaneously played AmaDuo recital of part of British iconoclast Cornelius Cardew's open-form piece Treatise on July 3. And catch Japanese violin virtuoso Yasutaka Hemmi's electronics-filtered Fight with Violin on July 4.

Miles Keylock, Mail & Guardian

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Clockwise, from top left: Daan Vandewalle performs Inner Cities \| John McLachlan, Michael Blake and Daan Vandewalle \| S. A. Singers and Vumaningoma Choristers \| Class of 2006 \| Yasutaka Hemmi \| Sibusiso Njeza, Lihle Biata and Teenage Mahlangeni.

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New Music's Induna Considers New Pastures

There are certain Festival fixtures that seem to defy the passage of time: Hare Krishna food at the Village Green, jazz at DSG — and, for the past seven years, Michael Blake as "Induna" of the New Music Indaba

Not for much longer. Blake will step down some time after this year's event has been wound up. "I think it's necessary, and I agreed it with my committee before I began. An event like the Indaba needs regular infusions of fresh ideas and creative vision."

When composer, academic and teacher Blake embarked on the Indaba, he had three main aims: to bring to South Africa the cream of international New Music performers and compositions; to create a space where South African composers could engage creatively with those visitors and works; and to commission and develop new collaborations between the two forces.

Ticking off the boxes, Blake estimates, "I think we've done pretty well." For him, the Bow Project — modern re-imaginings of Xhosa bow music in a range of genres — stands out. The project continues, more works will be added and a recording is planned. Then there are the new South African works that have received international showcasing, such as Carlo Mombelli and Jürgen Bräuninger's 2002 commissions for the Stockholm Saxophone Quartet, which have to date received more than 50 performances worldwide. "And at this year's Festival the SSQ encountered so many new works written for them they could make a whole CD!"

There's also the educational aspect of the Indaba, the Growing Composers project which runs workshops for emerging composers. At least 200 new South African works have been premièred at the Indaba so far.

But, feels Blake: "Many things could have been done differently with more resources. We could have created more synergies with other events such as the jazz or film festivals. We could have done more larger-scale, orchestral works. We could have held 10-day rather than five-day workshops, offered more bursaries, and improved commissioning fees. I didn't feel too bad about this at the first Indaba, because we were just getting on our feet. But on many occasions since I've felt we rely far too much on the enormous goodwill musicians and composers bring to the event."

Blake isn't quitting New Music. He will stay on the NewMusicSA committee and continue to nurse ongoing projects such as the Bow Project and Growing Composers. A new collaboration with the JPO is underway to help black composers who are ready to enter the orchestral world to negotiate the hurdles more effectively. Blake also hopes to bring seven years of recorded Indaba concerts into the public domain with some NewMusicSA CD's.

Then there's his own work as a composer. And his retirement may not be the only change afoot for the Indaba. The committee is currently discussing — although no decision has been taken — whether to detach the event from the Festival and stage it in Johannesburg in future years.

"When we began, the Festival was absolutely the right location," he says. "But now we feel very much the 'poor cousin' of the NAF. The Festival has a budget of R16m, and we receive R80 000 which does not even cover our infrastructure costs. We have no office here, and run the Indaba via our cellphones.

"The venues we are allocated are poorly resourced and serviced, and only suitable for certain, highly limiting types of events such as chamber recitals. Indaba programme space is compressed into disproportionately few pages, compared to that given to other, fairly average, music events."

Blake talks of these issues in a sad, resigned tone. Being a "poor cousin" clearly distresses him.

"This is all despite the fact that we are certainly one of the major sources of prestigious visiting artists on this year's programme, as in the past. We commission and première more new works than any other part of the Festival, and make one of the larger contributions to developing emerging artists.

So what will be Blake's most powerful memory of his time with the Indaba in Grahamstown? "Oh, I think the première of our first massed choir piece from Kevin Volans. That's the hallmark of the Indaba: history being made."

Gwen Ansell, Cue co-editor

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Clockwise, from top left: Stockholm Saxophone Quartet and Michael Blake (centre) \| AmaDuo \| Daan Vandewalle presents a workshop \| dinner with the Stockholm Saxophone Quartet \| Stockholm Saxophone Quartet perform \| Mokale Koapeng and Gillespie Trio \| Fiona Tozer and Clare Loveday \| Benjamin Fourie.

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Too Much Of The Old And Not Enough Of The New

The theme of this year's New Music Indaba, Re-imagining Mozart, played out in various ways, ranging from homage to parody. Deferring an unprecedented portion of a programme usually reserved for New Music to the 250-year-old birthday boy made for striking and sometimes disappointing juxtapositions. Several South African composers writing in contemporary classical and choral idioms drew inspiration from, or played on and with, Mozart's music.

Aryan Kaganof's live transmission/distortion, via his cellphone, of Indaba director/induna, Michael Blake playing Mozart's Fantasie in C minor (a Mozart original with which the Indaba opened and ended) set the programme off to an engaging start. Among premièred works that successfully took their lead from the master were Mokale Koapeng's Off The Wall, Ulrich Süsse's Dice Game Realisation and Martin Scherzinger's Hallucinating Accordion (though the latter owing more to the mbira than to Mozart). Yet the Mozart originals on the programme generally overshadowed the new compositions ostensibly in dialogue with them. Most of the latter were tongue-in-cheek miniatures. Jürgen Bräuninger tried to pull off two World Premières with essentially the same piece arranged for different ensembles.

Most of the more substantial music on the Indaba programme stood apart from the Mozart theme. Solo piano music was a highlight, thanks in no small part to the stamina and musicianship of Belgian Daan Vandewalle, who presented major works by Alvin Curran, Maria de Alvear and Elliott Carter. De Alvear's Urbaum looked beyond the 20th century avant-garde by rethinking the composer/performer relationship, leaving the performer relative freedom to explore parameters unspecified in the score. Looking back to the 20th century, South African Benjamin Fourie ably rose to the challenge of delivering Messiaen's full Vingt Regards sur l'Enfant Jésus.

Performers, then, made a major contribution to the Indaba. Festival debutants, the Kerimov Trio, gave committed performances of new and old works with assurance and verve, garnering appreciation from local composers, who often have to put up with second-rate performances of their works. Indaba veteran Jill Richards and the JPO Winds offered a somewhat lacklustre performance, though their reading of Kevin Volans's elegiac Untitled was deeply moving and coloured with compassion.

As in the past, the Indaba included improvised in addition to pre-composed works, though these concerts, too, did not address the Mozartean theme. Blake and jazz pianist/composer Nishlyn Ramanna, teaming up as AmaDuo, presented two extemporised pieces. The first inverted interactive improvisation aesthetics by placing the performers back-to-back and having them play independently-conceived material, paradoxically demonstrating that this requires acute mutual awareness. Their main work was a realisation of part of Cornelius Cardew's Treatise, with Ramanna at the keyboard and Blake exploring the by now rather familiar extended sonorities of the interior of the piano. Much of the interest of this piece lay in their interpretation of the graphic score, to which the audience did not have access (maybe projections could be considered in future?).

In a very different improvised vein, visiting Steamboat Switzerland raised the roof of the Beethoven Room with their multi-idiomatic, rock-based sets, which seamlessly moved through chaotic vortices, massed colours and driving, hard-core grooves.

The point of Re-imagining Mozart was perhaps most effectively realised on the periphery of the Indaba's list of premières and headline acts. At the opening of last Sunday's uMozart Ingw' emabalabala concert, the South African Singers from Durban conducted by Vusi Khanyile, offered, in German, a faithful, finely phrased rendition of the closing chorus from Mozart's The Magic Flute, with the conventional piano accompaniment. But in their gloriously rich, distinctively South African choral colours and textures, and the sheer sense of joy with which they made this piece their own, this choir demonstrated that Mozart has long been creatively re-imagined in this country, outside of any special festival contrived for the purpose.

When the New Music Indaba was launched seven years ago, one of its audacious moves was to place the notion of new music up for negotiation in the South African context. They did so by exploring potential convergences between very different musical domains: the experimental art music scene oriented towards the Western avant-garde and the varied world of indigenous South African choral and instrumental composition. The one world was small, specialised and its creators and audiences predominantly white, the other extensive, community-based and almost exclusively black.

Relatively Eurocentric by comparison with previous years, and uncharacteristically thin on non-choral indigenous music, this year's Indaba registered the ambition, the partial realisation and the unfulfilled promise of that ideal.

Brett Pyper and Thomas Pooley,
Cue contributing editor / Cue guest writer

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Clockwise, from top left: Paul Hanmer presents a workshop \| Kerimov Trio \| Stockholm Saxophone Quartet and Clare Loveday (centre) \| Gcisa Mdlulwa \| John McLachlan presents a workshop \| dinner \| Stockholm Saxophone Quartet with mouthpieces \| Michael Blake, Yasutaka Hemmi and Aryan Kaganof.

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PROGRAMME

Full notes on performers, composers, and works will be available at Indaba events.

Programmes and artists subject to change.

Day 1
Thursday 29 June

MASTERCLASSES FOR COMPOSERS 1

Thursday 29 June 20h00 | Beethoven Room | 2 hrs

First of four masterclasses for young composers attending the Indaba with the Stockholm Saxophone Quartet and guest composers John McLachlan (Ireland), Ulrich Süsse (Germany/South Africa) and others. The composers will write works for the Quartet during the Indaba. Come and get an insight into the creative process.

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Day 2
Friday 30 June

MASTERCLASSES FOR COMPOSERS 2

Friday 30 June 10h00 | Beethoven Room | 2 hrs

Second of four masterclasses for young composers attending the Indaba with the Stockholm Saxophone Quartet and guest composers John McLachlan (Ireland), Ulrich Süsse (Germany/South Africa) and others. The composers will write works for the Quartet during the Indaba. Come and get an insight into the creative process.

WORKSHOPS WITH VISITING ARTISTS 1: STOCKHOLM SAXOPHONE QUARTET

Friday 30 June 14h00 | Beethoven Room | 1 hr 30 mins

First of three workshops for young composers and performers (and anyone interested!) with three of the visiting overseas groups/artists on their music-making, instruments and how to write for their particular forces.

MULTIMEDIA EVENT: HPSCHD (RE-IMAGINING MOZART 1)

Friday 30 June 19h00 | Beethoven Room | 1 hr

Daan Vandewalle, Michael Blake, a.o. harpsichords
Aryan Kaganof cell phone
Corinne Cooper sound design

Aryan Kaganof
K475 for piano and cell phone (ruthlessly)
World Première

John Cage
HPSCHD

HPSCHD is Mozart served up multimedia style. Cage's work calls for x number of harpsichords playing music by Mozart and others, tapes of computer-generated sounds and several films, all presented simultaneously in an asynchronous and exuberant anarchy of activity. South African digital underground artist Aryan Kaganof then puts a mobile technology spin on Mozart, questioning the distinction between "real" sound and technological versions thereof.

LATE NIGHT WITH THE STOCKHOLM SAXOPHONE QUARTET

Friday 30 June 21h30 | Beethoven Room | 1 hr 10 mins

Sven Westerberg soprano saxophone
Jörgen Petterson alto saxophone
Leif Karlborg tenor saxophone
Per Hedlund baritone saxophone

The Stockholm Saxophone Quartet wowed sell-out festival crowds in 2002 with their dazzling technique, innovative programming and showmanship. Back by demand, this unusual combination returns to the Indaba to challenge our ears: expect new and (not so) old South African works and cutting-edge sounds from Scandinavia and Europe. The Quartet teams up with electronics for both their appearances.

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Day 3
Saturday 1 July

TRIO ROTHKO: RE-IMAGINING MOZART 2

Saturday 1 July 10h00 | Rhodes Chapel | 1 hr 10 mins

Cliodhna Ryan violin
Cian O'Duill viola
Clare O'Connell cello

This young Irish ensemble is equally at home with the classical repertory as with new music of contemporary composers, both of which are to be heard in their Indaba debut recitals. Rothko's first concert includes string trios by Mozart (Divertimento in E flat K563) and Beethoven, as well as a new Mozart-inspired piece by local composer Mokale Koapeng. The second programme, curated by Irish composer John McLachlan, showcases the music of contemporary Ireland.

MASTERCLASSES FOR COMPOSERS 3

Saturday 1 July 14h00 | Beethoven Room | 2 hrs

Third of four masterclasses for young composers attending the Indaba with the Stockholm Saxophone Quartet and guest composers John McLachlan (Ireland), Ulrich Süsse (Germany/South Africa) and others. The composers will write works for the Quartet during the Indaba. Come and get an insight into the creative process.

DAAN VANDEWALLE: ALVIN CURRAN'S INNER CITIES

Saturday 1 July 19h00 | Beethoven Room | 4 hrs 30 mins
(Please note duration, bring a comfortable cushion)

Daan Vandewalle piano

Alvin Curran
Inner Cities

Leading Belgian pianist Daan Vandewalle enjoys an international reputation as a new music specialist. His programmes are typically unusual both on a technical and intellectual level, and this is especially true of the first of his three Indaba offerings: a full performance of American Alvin Curran's sprawling masterpiece, Inner Cities, a cycle of 12 pieces embracing the contradictions (composed/improvised, tonal/atonal, maximal/minimal) of contemporary music-making, and which has been described by turns as "charming, maddening, annoying, gorgeous, funny, thoughtful, reckless, dull, stunning". Vandewalle's recent recording of Inner Cities has been praised as "monumental … staggering".

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Day 4
Sunday 2 July

uMozart Ingw`emabalabala! - RE-IMAGINING MOZART 3

Sunday 2 July 11h00 | Rhodes Chapel | 1hr 10 mins

S. A. Singers choir
Vusi Khanyile conductor

Joy Of Africa choir
Dr Makhaya Mjana conductor

Vumaningoma Choristers choir
Manhunhu Mjali Vuu conductor

The S. A. Singers, from Durban, Kwa-Zulu Natal, make their début appearance at the New Music Indaba. They are winners of the KZN 2000 Arts & Culture competition and the 2001 National Choir Festival. The S. A. Singers performed the Prince Eargo with KZN Philharmonic in 2003, and in 2005, they were winners of the KZN Imvunge and KZN Post competitions. At the World AIDS Day in 2000, they delivered a beautiful, unforgettable performance that communicated an important HIV/AIDS-aware message. In a contribution to their community, S. A. Singers delivered an outstanding performance at the Commemoration Of The King Shaka Ka Senzangakhona. The S. A. Singers will perform music from Mozart's The Magic Flute and Tanduxolo Ngqobe traditional songs.

The Port Elizabeth-based Joy Of Africa choir, who are currently champions of South Africa's National Choir Festival, will appear at the New Music Indaba for the fifth time.

The Vumaningoma Choristers, from Umtata, also make their début appearance at this year's New Music Indaba. Manhunhu Mjali, who played a prominent role along with many of his choristers at the award winning Carmen e Khayelitsha, directs them.

As a mass choir, S. A. Singers, Joy Of Africa and Vumaningoma Choristers will perform new music by Teenage Mahlangeni, Sibusiso Njeza and Lihle Biata.

ORANGE CLOUDS: VIDEO-CANTATA

Sunday 2 July 13h30 | Olive Schreiner Hall | 1 hr

Ensemble Noir
Vanya Abrahams, Chantelle Grant, Ray Mckenna singers
Bongani Ndodana conductor

John Greyson & Bongani Ndodana
Orange Clouds

Well-known Canadian filmmaker John Greyson has teamed up with composer Bongani Ndodana to create Orange Clouds, a video-cantata that pays tribute to the migrations of several sub-cultural trail-blazers from South Africa, Mexico, Palestine, the US and Canada, folks who put their "firstness" on the front burner. In the process Orange Clouds investigates the question of precedence: in this post-postcolonial and post-postmodern moment, why does being "first" still exert so much cultural capital?

Through the course of ten songs, Orange Clouds weaves together tales of similar journeys, connecting stories of bravery and precedence across decades and geography. Some of these stories include that of Simon Nkoli, Africa's first black, gay advocate and AIDS spokesman; Portia White, Canada's first major coloured opera singer; and Fred Urquart, the scientist who discovered the secret of the orange monarch butterfly's migration, from which the cantata takes its inspiration.

WORKSHOPS WITH VISITING ARTISTS 2: STEAMBOAT SWITZERLAND

Sunday 2 July 16h00 | Beethoven Room | 1 hr 30 mins

Second of three workshops for young composers and performers (and anyone interested!) with three of the visiting overseas groups/artists on their music-making, instruments and how to write for their particular forces.

STOCKHOLM SAXOPHONE QUARTET: RE-IMAGINING MOZART 4

Sunday 2 July 19h00 | Beethoven Room | 1 hr 10 mins

Sven Westerberg soprano saxophone
Jörgen Petterson alto saxophone
Leif Karlborg tenor saxophone
Per Hedlund baritone saxophone

LATE NIGHT WITH STEAMBOAT SWITZERLAND 1

Sunday 2 July 21h30 | Beethoven Room | 1 hr 10 mins

Dominik Blum hammond organ/analogue synthesizer/piano
Marino Pliakas bass guitar
Lucas Niggli drums/percussion

One of the world's foremost sound experimenters, Swiss-based Steamboat Switzerland makes their South African début at the Indaba. Recently returned from appearances with musicians from the Red Hot Chilly Peppers and Björk, Steamboat traverses the worlds of jazz, rock, electronica and the art music avant-garde.

Within the scope of their well-tried concept of multi-idiomatic modules — descending from hard-core rock until contemporary composition — and interacting with improvised textures, Steamboat serves onstage a spontaneous choice (they decide on stage during the set!) consisting of instant composition and various fixed materials such as pieces by Swiss composers Michael Wertmüller, Hermann Meier and Stephan Wittwer, and path-blazing American woman auteur Ruth Crawford, amongst others. Their second concert is a totally free improvised event on their alternative set up: amplified and prepared piano (instead of Hammond organ), electric bass (and/or amplified classical guitar) and small drum set.

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Day 5
Monday 3 July

MASTERCLASSES FOR COMPOSERS 4

Monday 3 July 10h00 | Beethoven Room | 2 hrs

Fourth and final masterclass for young composers attending the Indaba with the Stockholm Saxophone Quartet and guest composers John McLachlan (Ireland), Ulrich Süsse (Germany/South Africa) and others. The composers will write works for the Quartet during the Indaba. Come and get an insight into the creative process.

JPO WINDS WITH JILL RICHARDS: RE-IMAGINING MOZART 5

Monday 3 July 12h00 | Rhodes Chapel | 1 hr 10 mins

Gary Roberts oboe, director
Principal Wind Players of the Johannesburg Philharmonic Orchestra
Jill Richards piano

Jürgen Bräuninger
Mozart Dice Game
World Première

Paul Hanmer
New Work for Wind Quintet
World Première

Mozart
Quintet for Piano and Winds in E flat K452

Mozart
Fantasie für eine Orgelwalze (Fantasia for a Mechanical Organ) in F minor K608

Carlo Mombelli
New Work for Piano and Wind Quintet
World Première

ORANGE CLOUDS: VIDEO-CANTATA

Monday 3 July 13h30 | Olive Schreiner Hall | 1 hr

Ensemble Noir
Vanya Abrahams, Chantelle Grant, Ray Mckenna singers
Bongani Ndodana conductor

John Greyson & Bongani Ndodana
Orange Clouds

TRIO ROTHKO: NEW MUSIC FROM IRELAND

Monday 3 July 19h00 | Beethoven Room | 1 hr 10 mins

Cliodhna Ryan violin
Cian O'Duill viola
Clare O'Connell cello

AMADUO

Monday 3 July 21h30 | Beethoven Room | 1 hr 10 mins

Michael Blake and Nishlyn Ramanna piano

Cornelius Cardew
Treatise

Blake/Ramanna
New Work

Leading South African jazz pianist Ramanna and art music composer Blake finally get together onstage for a collaboration only possible at the Indaba. As well as performing their own independently-composed but simultaneously-played (!) works, they present part of British iconoclast Cornelius Cardew's open-form piece Treatise on the occasion of the twenty-fifth anniversary of his untimely death.

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Day 6
Tuesday 4 July

DAAN VANDEWALLE: MARIA DE ALVEAR'S URBAUM

Tuesday 4 July 12h00 | Beethoven Room | 1 hr 10 mins

Daan Vandewalle piano

Maria de Alvear
Urbaum

Leading Belgian pianist Daan Vandewalle enjoys an international reputation as a new music specialist. His programmes are typically unusual both on a technical and intellectual level. His second concert features the music of Spanish-German female composer Maria de Alvear, known for her non-conventional approaches to composition and interest in music as a spiritual and healing force.

FIGHT WITH THE VIOLIN

Tuesday 4 July 19h00 | Beethoven Room | 1 hr 10 mins

Yasutaka Hemmi solo violin, electronics

Helmut Lachenmann
Toccatina

Toshio Hosokawa
Winter Bird

Luciano Berio
Sequenza VIII

David Young
Animali

Brian Ferneyhough
Unsichtbare Farben

Michael Blake/Aryan Kaganof
Ringtones
World Première

Young Japanese violin virtuoso Yasutaka Hemmi performs some of the most technically exacting compositions for solo violin.

LATE NIGHT WITH STEAMBOAT SWITZERLAND 2

Tuesday 4 July 21h30 | Beethoven Room | 1 hr 10 mins

Dominik Blum hammond organ/analogue synthesizer/piano
Marino Pliakas bass guitar
Lucas Niggli drums/percussion

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Day 7
Wednesday 5 July

WORKSHOPS WITH VISITING ARTISTS 3: DAAN VANDEWALLE

Wednesday 5 July 10h00 | Beethoven Room | 1 hr 30 mins

Third and final workshop for young composers and performers (and anyone interested!) with three of the visiting overseas groups/artists on their music-making, instruments and how to write for their particular forces.

KERIMOV TRIO: RE-IMAGINING MOZART 6

Wednesday 5 July 12h00 | Rhodes Chapel | 1 hr 10 mins

Yelena Kerimov violin
Boris Kerimov cello
Christopher Duigan piano

Ulrich Süsse
Mozart Dice Game
World Première

Mozart
Trio in E K542

David Kosviner
New Work
World Première

Mozart/Arvo Pärt
Adagio

Martin Scherzinger
New Work
World Première

PERCUSSION PROFILES

Wednesday 5 July 15h00 | Beethoven Room | 1 hr

Lucas Niggli and South African percussionists

Cameroon-born Swiss-based percussionist Lucas Niggli from Steamboat Switzerland gives a concert of works produced during a weeklong workshop in Durban featuring five percussionists from around South Africa.

MESSIAEN'S VINGT REGARDS SUR L'ENFANT JÉSUS

Wednesday 5 July 19h00 | Beethoven Room | 3 hrs (interval)

Benjamin Fourie piano

Olivier Messiaen
Vingt Regards sur l'Enfant Jésus

Well-known South African pianist Benjamin Fourie gives a rare complete performance of Olivier Messiaen's vast cycle Vingt Regards sur l'Enfant Jésus (Twenty Contemplations on the Christ Child). Combining two of Messiaen's favourite subjects — birds and Catholic mysticism — Vingt Regards (1944) is one of the masterpieces of twentieth-century piano music.

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Day 8
Thursday 6 July

KERIMOV TRIO: SHOSTAKOVICH CENTENARY

Thursday 6 July 12h00 | Beethoven Room | 1 hr 10 mins

Yelena Kerimov violin
Boris Kerimov cello
Christopher Duigan piano

Georgey Nikolaevich Ivanov
Dedication

Alfred Schnittke
Cello Sonata

Alfred Schnittke
Stille Musik

Dimitri Shostakovich
Piano Trio No 2 in E minor Op 67

In their second offering the ever-popular KZN-based Kerimov Trio play the Russians.

WINTER SCHOOL: A CONVERSATION ABOUT DIMITRI SHOSTAKOVICH

Thursday 6 July 18h00 | Beethoven Room | 40 mins

Alan George, founding member and violist of the Fitzwilliam String Quartet, in conversation with Professor Christine Lucia to mark the occasion of the centenary of the great Russian composer Shostakovich's birth. George worked closely with Shostakovich, who entrusted the Quartet with the Western premières of his last quartets.

FITZWILLIAM STRING QUARTET: RE-IMAGINING MOZART 7 + SHOSTAKOVICH CENTENARY + SCHUMANN ANNIVERSARY

Thursday 6 July 20h00 | Rhodes Chapel | 1 hr 30 mins (interval)

Lucy Russell violin
Jonathan Sparey violin
Alan George viola
Andrew Skidmore cello

Ronald Stevenson
Prelude and Recitative in Memoriam Dimitri Shostakovich

Dimitri Shostakovich
String Quartet No 6 in G Op 101

Michael Blake
String Quartet No 1 (In Memory of William Burton)

Mozart
Requiem in D minor K626
(version for string quartet by Peter Lichtenthal, 1780-1853)

As part of their South African tour one of the world's great string quartets returns to the Indaba after their triumphant appearances in 2001. The Gramophone Award-winning ensemble caps the Indaba's celebrations of Mozart (with a rare string quartet version of the Requiem arranged by Mozart's pupil Lichtenthal) and Shostakovich, with whose music the Fitzwilliams are intimately associated, having worked with the composer himself

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Day 9
Friday 7 July

DAAN VANDEWALLE:
RE-IMAGINING MOZART 8 + SCHUMANN ANNIVERSARY

Friday 7 July 12h00 | Beethoven Room | 1 hr 20 mins

Daan Vandewalle piano

Mozart
Fantasie in C minor K475

Surendran Reddy
New Work
World Première

Schumann
Novellete in D Op 21 No 2

Elliott Carter
Night Fantasies

WINTER SCHOOL: ROBERT SCHUMANN NOW AND THEN

Friday 7 July 14h30 | Blue Theatre, Eden Grove | 1 hr

Professor Christine Lucia on Robert Schumann, one of the iconic composers of Romanticism, to mark the 150th anniversary of Schumann's death. Prof. Lucia is Chair of Music at the Wits School of Arts.

FITZWILLIAM STRING QUARTET: RE-IMAGINING MOZART 8 + SHOSTAKOVICH CENTENARY + SCHUMANN ANNIVERSARY

Friday 7 July 20h00 | Rhodes Chapel | 1 hr 30 mins (interval)

Lucy Russell violin
Jonathan Sparey violin
Alan George viola
Andrew Skidmore cello

Ulrich Süsse
Mozart Dice Game

Mozart
Eine Kleine Nachtmusik K525

Dimitri Shostakovich
String Quartet No 13 in B flat minor Op138b

Michael Blake
Piano Quintet

As part of their South African tour one of the world's great string quartets returns to the Indaba after their triumphant appearances in 2001. The Gramophone Award-winning ensemble caps the Indaba's celebrations of Mozart (with the much-loved Eine Kleine Nachtmusik), Shostakovich, with whose music the Fitzwilliams are intimately associated, having worked with the composer himself, and Schumann (Blake's Piano Quintet is a homage to Schumann's Piano Quintet in E flat Op 44 of 1842).

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Presented by NewMusicSA - The International Society for Contemporary Music, South African Section
www.iscm.org

The Arts Council-Anchomhairie Ealaion (Eire)

Association of Irish Composers

Department of Arts and Culture

DStv
DStv

Distell Foundation for the Performing Arts

SAMRO Endowment for the National Arts

Pro Helvetia

Helge Ax:son Johnson Foundation

MuziekCentrum-Vlaandern

Canada Council

Japan Foundation

NEW MUSIC INDABA 2006 Reimagining Mozart

Induna

Associate Director

Workshops Organizer

Administrator

Contents

New Music Indaba 2006

Sponsors

Blurring the Borders

New Music's Induna Considers New Pastures

Too Much Of The Old And Not Enough Of The New

PROGRAMME

Day 1 Thursday 29 June

MASTERCLASSES FOR COMPOSERS 1

Day 2 Friday 30 June

MASTERCLASSES FOR COMPOSERS 2

WORKSHOPS WITH VISITING ARTISTS 1: STOCKHOLM SAXOPHONE QUARTET

MULTIMEDIA EVENT: HPSCHD (RE-IMAGINING MOZART 1)

LATE NIGHT WITH THE STOCKHOLM SAXOPHONE QUARTET

Day 3 Saturday 1 July

TRIO ROTHKO: RE-IMAGINING MOZART 2

MASTERCLASSES FOR COMPOSERS 3

DAAN VANDEWALLE: ALVIN CURRAN'S INNER CITIES

Day 4 Sunday 2 July

uMozart Ingw`emabalabala! - RE-IMAGINING MOZART 3

ORANGE CLOUDS: VIDEO-CANTATA

WORKSHOPS WITH VISITING ARTISTS 2: STEAMBOAT SWITZERLAND

STOCKHOLM SAXOPHONE QUARTET: RE-IMAGINING MOZART 4

LATE NIGHT WITH STEAMBOAT SWITZERLAND 1

Day 5 Monday 3 July

MASTERCLASSES FOR COMPOSERS 4

JPO WINDS WITH JILL RICHARDS: RE-IMAGINING MOZART 5

ORANGE CLOUDS: VIDEO-CANTATA

TRIO ROTHKO: NEW MUSIC FROM IRELAND

AMADUO

Day 6 Tuesday 4 July

DAAN VANDEWALLE: MARIA DE ALVEAR'S URBAUM

FIGHT WITH THE VIOLIN

LATE NIGHT WITH STEAMBOAT SWITZERLAND 2

Day 7 Wednesday 5 July

WORKSHOPS WITH VISITING ARTISTS 3: DAAN VANDEWALLE

KERIMOV TRIO: RE-IMAGINING MOZART 6

PERCUSSION PROFILES

MESSIAEN'S VINGT REGARDS SUR L'ENFANT JÉSUS

Day 8 Thursday 6 July

KERIMOV TRIO: SHOSTAKOVICH CENTENARY

WINTER SCHOOL: A CONVERSATION ABOUT DIMITRI SHOSTAKOVICH

FITZWILLIAM STRING QUARTET: RE-IMAGINING MOZART 7 + SHOSTAKOVICH CENTENARY + SCHUMANN ANNIVERSARY

Day 9 Friday 7 July

DAAN VANDEWALLE:RE-IMAGINING MOZART 8 + SCHUMANN ANNIVERSARY

WINTER SCHOOL: ROBERT SCHUMANN NOW AND THEN

FITZWILLIAM STRING QUARTET: RE-IMAGINING MOZART 8 + SHOSTAKOVICH CENTENARY + SCHUMANN ANNIVERSARY

NEW MUSIC INDABA 2006
Reimagining Mozart

Day 1
Thursday 29 June

Day 2
Friday 30 June

Day 3
Saturday 1 July

Day 4
Sunday 2 July

Day 5
Monday 3 July

Day 6
Tuesday 4 July

Day 7
Wednesday 5 July

Day 8
Thursday 6 July

Day 9
Friday 7 July

DAAN VANDEWALLE:
RE-IMAGINING MOZART 8 + SCHUMANN ANNIVERSARY