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Between contemporary and Renaissance repertoires, the concert performed by this trio is an ode to the “black bile” — the melancholy pitch, the saturnine liqueur…
A clear voice without vibrato, an acoustic or electric guitar, Eva Reiter’s subtle way of playing the viola da gamba form a patchwork of tormented and delightful miniatures: short bitter-sweet melodies, Purcell-style ostinati (with the music of Filidei, for example), pop songs that have been slowed down a hundred times, nocturnal confidences …When time fragments and the past wavers...
Imagine all the things that could be dreamed up when time no longer plays a role? That is a naïve question, but a very tempting one for just a moment. Music could eternally sway to and fro, there would be no yesterday, today or tomorrow, we wouldn’t need to worry about leaps in time between the Renaissance and the present time or between the Baroque and the Romantic periods, the melancholic music of a John Dowland (1563-1626) would stand directly next to Bernhard Ganders (*1969) „Darkness awaits us“, Thomas Campian (1567-1622) next to Burkhard Stangl’s (*1960) lucid Dowland adaptations, Franceco Filidei’s (*1973) gestural music next to “What if a day by Mr. Dowland”.
|JÜRG FREY (°1953)||Abendlied, from « 50 Sächelchen » for guitar|
|JOHN DOWLAND (°1563)||Mourne, Mourne, Day is with Darkness fled, for voice, gamba, guitar; What if A Day, for guitar|
|ARTHUR LAVANDIER (°1987)||My Naked Lady framed for soprano and gamba|
|TOBIAS HUME (°1569)||What greater Grief, for voice and gamba; Loves Farewell, for solo gamba|
|WOLFGANG MITTERER (°1958)||Mourn, Mourn for soprano, gamba and guitar|
|JÜRG FREY (°1953)||Cadillac, from « 50 Sächelchen » for guitar|
|BERNHARD GANDER (°1959)||Darkness awaits us for soprano and gamba|
|THOMAS CAMPIAN (°1567)||All looks be pale for soprano, gamba and lute|
|FRANCESCO FILIDEI (°1973)||And here they do not for soprano and gamba|
|JOHN DOWLAND (°1563)||Time stands still, for soprano, gamba and guitar|
|STEPHEN GOODALL (°1650)||Untitled, for solo gamba|
|BURKHARD STANGL (°1960)||Nights for soprano, gamba and guitar|
|BERNHARD GANDER (°1959)||Lamenti I, for gamba and guitar|
|EVA REITER (°1976)||My iron-spurred Lady, for performer and guitar|
|JÜRG FREY (°1953)||No 32, from « 50 Sächelchen » for guitar|
|BURKHARD STANGL (°1960)||With you for soprano, gamba and guitar|
One of the most poetic moments of the festival. (…) A concert without pause, nor applause, in one breathing, one respiration, one and the same poem. (...) The stunningly pure voice of the soprano Theresa Dlouhy, filled with both a moving candor and the most trenchant crystal, almost without vibrato, she invites us to transcend the limits of time.
Thomas Vergracht in ResMusica, February 2018
Ictus is a Brussels-based contemporary music ensemble a dynamic group of 20 or so co-opted musicians including the conductor Georges-Elie Octors. A sound engineer is a regular presence in their midst, a sign of the massive movement ensembles are making towards the status of a mixed "electric orchestra". The ensemble's home since 1994 has been the Rosas dance company's premises. Headed by Anne-Teresa De Keersmaeker the dance troupe has put on fourteen productions in collaboration with Ictus (from Amor Constante to Drumming, Rain and more recently Vortex Temporum). Ictus has also collaborated with other choreographers including Wim Vandekeybus, Maud Le Pladec, Eleanor Bauer and Fumiyo Ikeda. Amongst the twenty or so CDs released by Ictus, the two albums devoted to Fausto Romitelli have been particularly influential due to the audacity of their mixes. Ictus is now launching a new collection under the label Sub Rosa, Contra Naturam. Since 2004, the ensemble is resident at the Lille Opera. In addition to fundamental work with the Opera (themed concerts and educational activities), every year Ictus puts on a stage production. Fans will no doubt remember the 2004 production of Georges Aperghis’ Avis de Tempête, Michaël Levinas’ 2011 production of La Métamorphose and Wolfgang Mitterer’s 2016 production of Marta. The issue of formats and listening systems has been put in the mix: mini or maxi concerts, mystery programmes (the Blind Dates in Ghent), concerts with comments, concerts-cum-festivals where the audience is at liberty to roam around the stages (the landmark Liquid Room events showcased all over Europe). Finally, Ictus is running an Advanced Master dedicated to the interpretation of contemporary music in collaboration with the Ghent School of Arts. More information, a blog and lots of audio equipment are available on the ensemble’s website.
Theresa Dlouhy studied with Lydia Vierlinger at the University of Music and Performing Arts in Vienna. She worked with ensembles as the Bach Consort Vienna, the L'Orfeo Baroque Orchestra and under the batton of conductors as Walter Kobéra, Johannes Kalitzke, Peter Rundel, René Clemencic, Manfredo Kraemer and Friedrich Cerha. She worked with the Austrian ensemble Mikado mainly concerned with the music of the English Renaissance. In 2008 she founded together with gambist Eva Reiter in 2008 the ensemble UNIDAS. Another focus for Theresa Dlouhy is opera. She figured as Flaminia (Haydn) as Teofane (Handel) Galatea (Handel), as Königstochter in Wolfgang Mitterer's „Das tapfere Schneiderlein“, as Elisetta (Cimarosa), as Kammerzofe in the premiere of the opera „Die Gänsemagd“ (Iris ter Shiphorst), in the title role of the children's opera „Das kleine Gespenst“ by Walter Soyka, as Prinzessin vom Mond in Wolfgang Mitterer's comic opera „Baron Münchhausen“, in the world premiere of the sitcom opera Bernhard Gander's „Das leben am Rande der Milchstraße“ and as Emma in the children's opera "Schneewittchen" by Wolfgang Mitterer.
Born in Vienna, Eva Reiter studied recorder and viola da gamba at the University of Music and Performing Arts in Vienna. Continuation of both studies at the Sweelinck-Conservatory in Amsterdam. Both master's degrees "cum laude". Currently very active as a soloist as well as performing with different baroque orchestras. Since february 2015 permanent member of Ictus, Brussels. She was awarded the "Publicity Preis" of the SKE and the "Förderungspreis of the City of Vienna“ in 2008, the "Queen Marie José International Composition Prize" 2008, the "Staats" stipend of the Federal Chancellery for the Arts, a working stipend at the “Akademie Schloss Solitude” the "Erste Bank Composing Commission“ 2016 as well as other prizes. In 2009 her piece Alle Verbindungen gelten nur jetzt was one of the works selected for the Rostrum of Composers (IRC). Eva Reiter's compositions were performed at international festivals such as Transit/Leuven, Ars Musica/Brussels, ISCM World New Music Festival 2006/Stuttgart, Musikprotokoll Graz, Generator and Wien Modern at the Wiener Konzerthaus, Internationale Ferienkurse für Neue Musik Darmstadt, MaerzMusik Berlin and others.
Tom Pauwels studied classical guitar in Brussels, Köln and Münster with Albert Sundermann, Hubert Käppel and Reinbert Evers respectively. From 2002 until today he has worked as a co-artistic leader for ICTUS. Projectwise, he performs with the London based Plus-Minus ensemble. He has recorded works by Craenen, Lachenmann, Shlomowitz, Van Eycken, Guiraud, Trapani and for Cyprès (Ictus) works by Oehring, Harada, Romitelli and Aperghis. After a five year research project on new music for guitar he became a ‘Laureate of the Orpheus Institute’. Between 2002 and 2016 he was in charge of teaching new music for guitar at the Conservatory of Gent where he has developed an advanced master program with emphasis on contemporary chamber music in collaboration with the Spectra ensemble and Ictus. His broad interest in performance has led to collaborations with choreographers as Xavier Le Roy, Maud Le Pladec and Andros Zins-Browne.