Szathmáry & Tzschoppe | Schattenriss

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Avant Garde: Modern Composition Classical: Contemporary Moods: Type: Experimental
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by Szathmáry & Tzschoppe

New Music for Organ & Percussion
Genre: Avant Garde: Modern Composition
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  Song Share Time Download
1. 2•2
15:15 $0.99
2. Organologics
10:30 $0.99
3. Schattenriss
7:02 $0.99
4. Pulsar
11:55 $0.99
5. La Cloche Fêlée II
7:59 $0.99
6. Sense of Rhythm
11:35 $0.99
Downloads are available as MP3-320 files.


Album Notes
Recorded February 17-20, 2013 at Jesuitenkirche Heidelberg, Germany
Organ Registration: Ai Szathmáry
Executive Producer, Editing, Mastering: Joh. Christian Schulz

Andreas Paparrousos was born in Athens in 1975. At the University of Athens he studied Philosophy and at the same time, Composition with Ioannis. He also had piano tuition with Anastasia Parissi, Claudia Birkholz and church organ with Christos Paraskevopoulos. In 2002 he received his Diploma in Philosophy and in 2005 his Master in Systematic Philosophy. From 2005 he continued his Composition Studies with Younghi Pagh-Paan at the Music University in Bremen. 
He is a member of the Enargia Group in Athens and initiator of the Ensemble New Babylon Bremen. Among others his works have been performed by Ensemble Recherche and by performers such as Zsigmond Szathmáry and Margit Kern, and in countries such as Greece, Italy, Portugal, Germany and Canada.
His compositions focus on the ancient greek theory of „ethos“ in music and how sound may affect the whole entity of the listener at a maximum level. Today he lives and works as a composer in Bremen.

2•2, written in 2010/12, is dedicated to Domenico Scarlatti …

Joh. Christian Schulz, born 1962 in Karlsruhe/Germany, after receiving tuition from Róbert Wittinger, studied Composition with Milko Kelemen at Stuttgart Music University and Musicology with Hans Oesch and Hans-Heinrich Eggebrecht at Basel University. His catalogue includes chamber music and symphonic works as well as compositions for electronic media. Radio and CD recordings, public and private commissions as well as projects, e.g. with Experimental Studio of SWR, ZKM Karlsruhe, profectio-initiative freiburg and State Theaters of Mainz and Karlsruhe were stations of his compositional activity. For many years he also worked as a sound engineer and music producer, a guitarist and conductor.

“Organologics I, composed in 2012, is dedicated to Z. Szathmáry and O. Tzschoppe and follows the construction principles of a baroque triptych. The outer parts of the closed wings correspond to the introduction and the inside of the side parts with their dramatic and dynamic development point to an atmospheric dense, but metrically freely organised central image. Suspicious of any over-symmetrical construction I added a small coda, which picks up on the theme of the central image and ends in conciliation in major. The sound material stems from a series of fifths (c-g-d-a-e-b-f#-c#…), from which all harmonic structures are derived. The combination of mallets (vibraphone and glockenspiel) with the generally more flexible intonation of the organ results in very interesting mixtures and interferences, which usually can be rather found in electronic music.” ( J. C. Schulz)

Olaf Tzschoppe was born 1962 in Kiel. He studied Percussion in Freiburg and on a scholarship by DAAD in Ann Arbor (USA). His artistic focus is the solo repertoire and chamber music of the 20th & 21st century, as well as the interdisciplinary cooperation with other arts. He has premiered many solo and chamber works, which were composed especially for him. For over 22 years he was a member of the world-famous soloist ensemble Percussions de Strasbourg and is co-founder of Ensemble SurPlus, Trio SurPlus Freiburg and ensemble etendis. He has regularely performed with ensembles such as Klangforum Wien, Ensemble Modern or Ensemble MusikFabrik. Regular tours take him to other European countries and overseas (Asia, America, Africa). In addition to solo and other performances, he regularly plays concerts featuring improvised music. Olaf Tzschoppe is Professor of Percussion and Chamber Music at the University of the Arts Bremen.

“Schattenriss, written in 2012: 'Schat-ten-riss, der' (Duden: silhouette – depiction of objects and persons as shadows that only reveal the outline). The contrast of the idiomatic between two instruments cannot be greater than between the organ and percussion and yet they can relate to each other. Although the tonal-harmonic material is attributed exclusively to the organ – sharply contrasted by the noise-like percussion part – but there are approaches of mutual rapprochement. Percussive motoric skills give rise to condensing lines. Tembre-induced transformations overcome the limits of the two instruments.” (O. Tzschoppe)

Dieter Mack, born in Speyer in 1954, studied composition with Klaus Huber and Brian Ferneyhough at the Freiburg Music University from 1975-80 as well as music theory with Peter Förtig and piano with Rosa Sabater. From 1977-81 he was an assistant at Experimental studio of H. Strobel Foundation of SWF and a 1980/81 scholarship holder of the HSS. Since 1980 he had various teaching assignments for music theory, improvisation and Balinese music at the Music Academies of Freiburg, Trossingen, Basel and at Freiburg Music University from 1986 as a professor for Music Theory/Ear Training. Since1978 regularly travels to Bali, South India, Japan and from 1980 he is a member of the Stuttgart ensemble ExVoCo. After spending a whole year in Bali in 1982 he founded ensembles for Balinese music at the Freiburg Music University. From 1982-91 further studies followed in Bali, composition workshops in Bandung, Surabaya Yogyakarta and Jakarta. A portrait-tour by the German Goethe-Institut through Southeast Asia was organised in 1988 and in 1991 he was Composer in Residence at the School of Music, Victoria University, Wellington, New Zealand. From 1992-95 Mack was a visiting lecturer at IKIP Bandung and UPI Bandung, Indonesia. Since 1999 he has been a guest lecturer in the postgraduate course for Composition at the Art Academy STSI-Surakarta and since 2003 Professor of Composition at the Lübeck Music University. In 2008 he became a member of the Academy of the Arts Hamburg and Vice President of the Lübeck Music University.

“About Pulsar: After 13 years, in 2008, I revisited the church organ again, here in combination with percussion instruments, which most likely originates to some part from the interaction with my close friends Z. Szathmáry and O. Tzschoppe to whom this piece is dedicated. In Pulsar the “interpersonal” or “social” aspects of ensemble playing – usually the focus of most of my pieces – are of less importance, although there are some sections that still ask for close interaction. The extreme difference in character of both instruments almost impedes too “tricky” interactions, not to speak about the mechanical and spacial circumstances in a church. Although pitched percussion instruments could be an ideal combination with certain organ stops, I mainly used non–pitched instruments (except crotales that have non-harmonic high pitches. Slight differences may even add to the sharp character that is intended in most sections in the composition where they are used), because both instruments are difficult to be retuned spontaneously. Therefore the focus in this composition is on various types of energetic pulsations, thus referring to the more utopian title of that phenomenon in our cosmic infinity. Various reasons have brought me back to this everlasting idea, the fact that I am interested in using the church organ as a “living organism”. (Dieter Mack)

Farangis Nurulla-Khoja is a Tajik-Canadian composer born in Dushanbe (Tajikistan) into the family of Tajik composer Ziyodullo Shahidi. She holds a Doctorate in Composition from the University of Gothenburg (Sweden), she studied Electroacoustic Music at IRCAM (Paris) and did her doctorate at UCSD (San Diego). She studied with Ole Lützow-Holm, Roger Reynolds, Brian Ferneyhough and Philippe Leroux and completed master classes with Gérard Grisey and Jonathan Harvey. Her compo-sitions include symphonic, chamber music, vocal and electroacoustic music.
Farangis Nurulla-Khoja received the Grand Prize of the Abu Gazali Foundation in Salzburg (Austria), the Art prize of the Canada Arts Council 2008 with the Joseph S. Stauffer Prize for Art, awards at the III Magistralia Composers Competition 2010, the Andrey Petrov Composers Competition 2014 and 2016 (Saint Petersburg), the Grazyna Bacewicz International Composers Competition 2015 (Lodz) and of the Longueuil Art Council 2016. In 2017 she received a gold medal "Best of Show” at the Global Music Award. Her works have been performed at numerous European, Asian and North American festivals by various ensembles and soloists. Farangis has been Composer in Residence for many prestigious organisations such as the Royaumont Foundation (France), the Bellagio Center of the Rockefeller Foundation (Italy) and the Society of Swedish Composers in Cortona (Italy).

“La Cloche Fêlée II is written for organ & percussion. It was commissioned by the percussionist Olaf Tzschoppe and the organist Zsigmond Szathmáry with the support of Canada Council for the Arts. The piece was composed 2009-2010 during my residency in Bellagio, Italy and Freiburg, Germany while working closely with the organist Zsigmond Szathmáry.“ (F. Nurulla-Khoja)

Zsigmond Szathmáry was born in Hungary in 1939. He received his musical education in Composition (Ferenc Szabó) and Organ (Ferenc Gergely) at the Franz Liszt Academy of Music in Budapest. Further studies led him to Vienna and Frankfurt (Helmut Walcha). In 1960 he won the first prize at the Organ Competition in Budapest. In 1972 he was awarded the Bach Prize Scholarship of the Free City of Hamburg. As an organist he worked in Hamburg and at the cathedral of Bremen. Since 1978, after teaching at the Music Universities of Lübeck and Hanover, and until his retirement, he held a professorship at the Freiburg Music University. Szathmáry, who is a member of the Free Academy of the Arts in Hamburg, gave numerous guest courses at conservatories and universities in Europe, North America, Japan and Korea. He is a lecturer at the Summer Academy for Organists in Haarlem (Holland) and teaches at the Darmstadt Summer Course for New Music. In 1987, the Hungarian State awarded him the Franz Liszt Badge. In 2008 he received the Artisjus Prize. Since 2009 he is a member of the Hungarian Academy of Sciences and Arts. He undertook extensive concert tours and recorded numerous LPs and CDs (Sony, Harmonia Mundi, Wergo, Signum, RCA, BIS, Hungaroton, ARE). His compositions, works for solo instruments, chamber music, works for orchestra and choir, were mainly published by the publishers Bärenreiter and Moeck.

About Sense of Rhythm, written 2011: “Making music together is like a conversation, a quarrel, a reconciliation, like life itself with all its ups and downs. It demands hardness and mildness and above all understanding each other. Since all instruments involved can fully develop their special characteristics (organ: above all harmony - percussion: above all rhythm), a new dimension of size and colourfulness arises, which always fascinated me. As if a new instrument was created, which is much more than some instruments of the Baroque era with their built-in childlike gimmicks such as cymbelstern, drum and glockenspiel. I dedicated Sense of Rhythm to my friend Olaf Tzschoppe.” (Z. Szathmáry)



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