Frederic D’haene

Frederic D’Haene is a Belgian avant-garde composer and creator of his own composition technique called ‘paradoxophony’ or ‘paradoxical coexistence.’

 

He was born on August 24, 1961, in Kortrijk, Belgium, and was introduced to music at an early age by his father, who played classical and jazz piano. D’Haene also started to play the piano, and enrolled in the local academy. His first interest in composition arose when he was 14 years old, and he was inspired to write a three-minute piece every day. In 1986, he graduated with a degree in musicology from the University of Ghent with a dissertation on Webern’s Variations for Orchestra. He joined the Royal Conservatoire in Liège, where he followed the teachings and guidance of the renowned composers Frederic Rzewski, Walter Zimmerman, Henri Pousseur, and Vinko Globokar. In 1986 Frederic also discovered Gagaku music (traditional court music from Japan) through the masters Tadatoshi Miyagawa and Kanehiko Togi. This new musical universe inspired him to write Music with silent aitake’s, a piece that achieved a unique coexistence between western and Japanese music.

 

In 1988 he attended the International Summer Course for New Music in Darmstadt, which proved to be a decisive moment in his musical career with Marianne Schroeder and André Hebbelinck discovering his music. From 1990 to 1996, D’Haene worked at the Royal Conservatoire in Liège as an assistant to Frederic Rzewski. Between 1999 and 2000, he taught aesthetics at the Hogeschool voor Wetenschap en Kunst in Ghent, before dedicating himself entirely to his own creations and moving to the Netherlands, where he lived as an independent composer. He returned to Belgium in 2009 and founded De Muziekautarchie, a non-profit organization that aims to improve composers’ socio-economic statuses. More recently Fluxus – static friction was performed by Het Collectief and conducted by Robin Engelen in Tilburg (NL) in December 2013, in Leuven (BE) in October 2015 and Gent (BE) in June 2018. Hearing from nowhere-part 3 was performed in Geneva (CH) by the ensemble Contrechamps and conducted by Michael Wendeberg in October 2014, and Music with silent aitake’s was conducted by Kasper de Roo and performed in January 2015 by the Ensemble Modern and Raigakusha at the Frankfurter Positionen festival (DE).

 

To date, D’Haene has mainly written commissioned work. His pieces have been conducted by James Wood, Mark Foster, Michael Wendeberg, Kasper de Roo, and Robin Engelen, and performed by numerous musicians and ensembles, including the Ensemble Modern, Contrechamps, Het Collectief, Quatuor Danel, Champ d’Action, and the soloists Geoffrey Madge, Frederic Rzewski, Armand Angster, Jean-Pierre Peuvion, Daan Vandewalle, Marianne Schroeder, Claude Coppens, Wibert Aerts, David Cohen, Wim Konink, and many others.

 

His varied work comprises orchestral music, chamber music, pieces for solo instruments, and vocal music. These works have been programmed, recorded, and broadcast in Belgium and abroad by a large number of festivals and venues such as deSingel (BE), Ars Musica Festival (BE), Transitfestival (BE), Blackheath Halls (UK), Edmonton New Music Festival (CA), Toronto Music Gallery (CA), Gesellschaft für akustische Lebenshilfe (DE), Frankfurter Positionen festival (DE), and others.

 

After three years of silence due to debilitating multiple sclerosis, Frederic began writing Resist to exist, a piece of opera/experimental musical theatre about freedom and power, devised and shaped along a theological and humanist line on the one hand and a Palestinian line on the other. The texts chosen featured are by Mahmoud Darwish in English translation, Dietrich Bonhoeffer, Albert Camus, and Sade, but also by Palestinian solidarity campaigners and other political and militant sources. Photo: Miel Pieters

fredericdhaene.be

 

 

The Reigakusha Ensemble

 

Yuko Hirai so  Ko Ishikawa sho  Remi Miura sho   Naoko Miyamaru kakko  Mayumi Miyata sho  Hanako Nakamura biwa  Kahoru Nakamura biwa  Mika Noda so  Takeshi Sasamoto ryuteki Eri Suzuki hichiriki Katsuhiko Tabuchi hichiriki  Yasumasa Tanaka taiko Nobukazu Taniuchi shoko  Mami Tsunoda ryuteki

 

Reigakusha was established in 1985 as an ensemble of professional gagaku instrumentalists dedicated to the study and performance of the classical gagaku repertoire and the creation of new music for ancient instruments. Led by the distinguished musician and composer Sukeyasu Shiba–a specialist in music for the ryuteki flute and biwa, and a former member of the Music Department of the Imperial Household Agency–Reigakusha has around thirty members. Since its formation, Reigakusha has acquired a fine reputation for its performances of the traditional gagaku repertoire; its revival of classical works that had disappeared from the repertoire over the past hundred years; its reproduction of facsimile instruments based on ancient Chinese and Japanese gagaku instruments preserved in the Shoso-in (the 8th-century Imperial storehouse in Nara); and its commissioning of new works for traditional instruments by leading Japanese composers. At present Reigakusha’s repertoire consists of more than 60 ancient gagaku works, 30 new works in the classical tradition, 20 revived works (based on scholarly research into music that had long disappeared from the traditional repertoire), and many major new works by contemporary composers such as Toru Takemitsu, Toshi Ichiyanagi, Maki Ishii, and Toshiro Saruya.

 

In the past decade, Reigakusha has received invitations from major concert halls such as the National Theatre of Japan and Suntory Hall in Tokyo, Izumi Hall in Osaka, and Kitara Hall in Sapporo. The ensemble has also appeared at leading music festivals such as the Kita-Kyushu International Music Festival, the Tsuyama International Music Festival, and the Yatsugatake Music Festival. In October 1995, Reigakusha presented a special outdoor performance of Takemitsu’s In an Autumn Garden at Meiji Shrine in Tokyo.

 

In July 1996, Reigakusha was invited to Seattle, Tanglewood, and the first Lincoln Center Festival in New York to perform Toru Takemitsu’s In an Autumn Garden. In October 1998, the ensemble also gave the UK premiere of In an Autumn Garden in Glasgow, Birmingham, and Cambridge, as well as at Queen Elizabeth Hall in London as part of the Takemitsu Festival, “Spirit Garden,” artistically directed by Oliver Knussen. To date, Reigakusha has given concerts of traditional and contemporary pieces in Brussels, Cologne, Berlin, Oslo, Innsbruck, Amsterdam, Morocco, and Volos, to name just a few. Reigakusha has been invited to the opening series of the Walt Disney Concert Hall in Los Angeles (2004), the special “Best of Boulez” concert to mark Pierre Boulez’s 80th birthday presented by the Chicago Symphony Orchestra (2005), the Salle Pleyel in Paris, the MITO Festival in Italy (2009), the Music From Japan Festival in the USA (2010), the National Gugak Centre in Seoul and Busan (2015), the Frankfurt Lab with Ensemble Modern (2015), and the British Museum (2018).  1st photo: Shinji Takehara, 2011

reigakusha.com

 

 

 

Ensemble Modern

 

Dietmar Wiesner flute  Christiane Albert flute  Nina Janßen-Deinzer clarinet, soprano saxophone  Ib Hausmann bass clarinet Udo Grimm tenor saxophone Uwe Dierksen trombone  Jeroen Mentens trombone  Hermann Kretzschmar piano  Rumi Ogawa percussion  David Haller percussion  Daniel Raabe cello  Michael M. Kasper cello  Paul Cannon double bass  Norbert Ommer sound direction

 

Since its founding in 1980, Ensemble Modern (EM) has been among the leading New Music ensembles. It currently unites 18 soloists from Belgium, Bulgaria, Germany, Great Britain, Greece, India, Israel, Japan, the United States, and Switzerland, illustrating the culturally diverse background of the ensemble. Residing in Frankfurt am Main, the ensemble has been incorporated as a civil law association (GbR) under German law since 1987, with the musicians as partners. EM is known for its unique organization and working method, foregoing an artistic director: projects, co-productions, and financial matters are decided and implemented jointly. Its unique and distinctive programming includes musical theatre works, dance and video projects, chamber music, and ensemble and orchestral concerts.

 

Tours and guest appearances have taken the group to the most renowned festivals and distinguished performance venues, such as the Salzburger Festspiele, Klangspuren Schwaz, Bregenzer Festspiele, Wien Modern, Festival d'Automne à Paris, Holland Festival, Klangspuren Schwaz, Berliner Festspiele, and Ruhrtriennale und Lucerne Festival, as well as Wigmore Hall, Cité de la Musique, Tokyo Wonder Site, Concertgebouw Amsterdam, Elbphilharmonie, Kölner Philharmonie, Konzerthaus Berlin, and Festspielhaus Baden-Baden. It has had its own subscription series at the Alte Oper Frankfurt since 1985, presenting mostly recent works and developments. It regularly produces musical theatre works in cooperation with the Frankfurt Opera, as well as a series of workshop concerts entitled Happy New Ears, introducing and explaining central works and composers of the 20th and 21st Centuries. Since 2011, Ensemble Modern has joined the Frankfurt Radio Symphony Orchestra in presenting the festival cresc... Biennial for Modern Music Frankfurt Rhine-Main.

 

The ensemble strives to achieve the highest possible degree of authenticity by working closely with the composers themselves. The musicians rehearse an average of 70 new works every year, 20 of which are world premieres. Its work is characterised by extraordinary and often long-term cooperative ventures with renowned artists, such as John Adams, George Benjamin, Peter Eötvös, Heiner Goebbels, Hans Werner Henze, Mauricio Kagel, György Kurtág, Helmut Lachenmann, György Ligeti, Benedict Mason, Karlheinz Stockhausen, Steve Reich, and Frank Zappa.

 

In addition to its multifaceted concert activities, Ensemble Modern presents the results of its work through regular radio and CD recordings. Almost 30 of the more than 150 CD productions have been released by the ensemble’s own label, Ensemble Modern Media. Ensemble Modern was declared a Leuchtturm,  or beacon, of contemporary culture in Germany in 2003 by the German Federal Cultural Foundation. That same year, Ensemble Modern began bundling its existing education and further education projects under one roof, founding the International Ensemble Modern Academy (IEMA) with the goal of passing on the musical heritage of modernism. IEMA’s formats developed especially for specific target groups include the Master’s Degree Programme in contemporary music for young professional musicians in cooperation with the Frankfurt am Main Academy of Music and Performing Arts as well as international master courses, composition seminars, and school projects. All these pursue the goal of educating a broad public about a great variety of contemporary musical tendencies and an open, creative approach to artistic processes. photo: Vincent Stefan

ensemble-modern.com

 

 

 

Kasper de Roo

Kasper de Roo is an internationally renowned interpreter of 20th and 21st-century music. After studying the bassoon and conducting at the Royal Conservatory in his home city of The Hague and at the Sweelinck Conservatory in Amsterdam, he initially worked as a bassoonist with the Rotterdam Philharmonic Orchestra, before making his debut as a conductor at the 1979 Cabrillo Music Festival at the invitation of Dennis Russell Davies. The following year, he was a prizewinner at the International Competition for Conductors in Besançon.

 

In 1984 he was appointed Kapellmeister at the Stuttgart State Opera, and in 1992 he was appointed Musical Director of the City of Innsbruck Symphony Orchestra and the Tyrolean State Theatre. From 1988, de Roo was regularly invited as a guest conductor of the National Symphony Orchestra of Ireland (NSO) before being appointed its principal conductor in 1994. With the NSO, de Roo enjoyed very successful concert tours of Ireland, Great Britain, Germany, and Austria, and made numerous recordings.

 

With the Klangspuren Festival Schwaz, de Roo founded Windkraft – Kapelle für Neue Musik in 1999. Windkraft has given concerts at the Klangspuren Festival Schwaz, the Transart Festival Bolzano, the Gaida Festival Vilnius, and the Arena Festival Riga and in Amsterdam, Cologne, and Basel to mention just a few. As a conductor of contemporary music he regularly appears with Ensemble Modern, Ensemble Die Reihe Vienna, MusikFabrik Köln, Oslo Sinfonietta, Ergon Ensemble Athens, Con Tempo Ensemble Beijing, and Windkraft – Kapelle für Neue Musik at leading festivals in Europe. These festivals include the Festival Modern Wien, the Edinburgh Festival, the Festival d’Automne Paris, the Ultima Festival Oslo, the Holland Festival, the Schleswig-Holstein Festival, the Klangspuren Festival, the Venice Biennale, and the New Vision Arts Festival in Hong Kong. De Roo has enjoyed a long alliance and regular successful collaborations with the Ensemble Modern since 1987. Their recording of Elliott Sharp’s Tessellation Row was nominated for a German Record Award in 2004.

 

De Roo has conducted numerous renowned orchestras, including the Rotterdam Philharmonic Orchestra, the Royal Philharmonic Orchestra Antwerp, the Dresdner Philharmonie, the Basel Sinfonietta, the Noord Nederlands Orkest Groningen, the Residentie Orkest The Hague, the SWR Symphonieorchester Stuttgart, the Staatsorchester Stuttgart, the Symphony Orchestra of the Beethovenhalle Bonn, the Stuttgart Chamber Orchestra, the Orquesta Filarmónica de Buenos Aires, the Bruckner Orchester Linz, and the National Philharmonic Warsaw.

 

In 2015 de Roo conducted MUSIC WITH SILENT AITAKE’S by Frederic D’Haene with Ensemble Modern and Reigakusha in Frankfurt. photo: Christiaan De Roo

www.kasperderoo.com

 

 

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The Reigakusha Ensemble

 

Yuko Hirai so  Ko Ishikawa sho  Remi Miura sho   Naoko Miyamaru kakko  Mayumi Miyata sho  Hanako Nakamura biwa  Kahoru Nakamura biwa  Mika Noda so  Takeshi Sasamoto ryuteki Eri Suzuki hichiriki Katsuhiko Tabuchi hichiriki  Yasumasa Tanaka taiko Nobukazu Taniuchi shoko  Mami Tsunoda ryuteki

 

Reigakusha was established in 1985 as an ensemble of professional gagaku instrumentalists dedicated to the study and performance of the classical gagaku repertoire and the creation of new music for ancient instruments. Led by the distinguished musician and composer Sukeyasu Shiba–a specialist in music for the ryuteki flute and biwa, and a former member of the Music Department of the Imperial Household Agency–Reigakusha has around thirty members. Since its formation, Reigakusha has acquired a fine reputation for its performances of the traditional gagaku repertoire; its revival of classical works that had disappeared from the repertoire over the past hundred years; its reproduction of facsimile instruments based on ancient Chinese and Japanese gagaku instruments preserved in the Shoso-in (the 8th-century Imperial storehouse in Nara); and its commissioning o`f new works for traditional instruments by leading Japanese composers. At present Reigakusha’s repertoire consists of more than 60 ancient gagaku works, 30 new works in the classical tradition, 20 revived works (based on scholarly research into music that had long disappeared from the traditional repertoire), and many major new works by contemporary composers such as Toru Takemitsu, Toshi Ichiyanagi, Maki Ishii, and Toshiro Saruya.

 

In the past decade, Reigakusha has received invitations from major concert halls such as the National Theatre of Japan and Suntory Hall in Tokyo, Izumi Hall in Osaka, and Kitara Hall in Sapporo. The ensemble has also appeared at leading music festivals such as the Kita-Kyushu International Music Festival, the Tsuyama International Music Festival, and the Yatsugatake Music Festival. In October 1995, Reigakusha presented a special outdoor performance of Takemitsu’s In an Autumn Garden at Meiji Shrine in Tokyo.

 

In July 1996, Reigakusha was invited to Seattle, Tanglewood, and the first Lincoln Center Festival in New York to perform Toru Takemitsu’s In an Autumn Garden. In October 1998, the ensemble also gave the UK premiere of In an Autumn Garden in Glasgow, Birmingham, and Cambridge, as well as at Queen Elizabeth Hall in London as part of the Takemitsu Festival, “Spirit Garden,” artistically directed by Oliver Knussen. To date, Reigakusha has given concerts of traditional and contemporary pieces in Brussels, Cologne, Berlin, Oslo, Innsbruck, Amsterdam, Morocco, and Volos, to name just a few. Reigakusha has been invited to the opening series of the Walt Disney Concert Hall in Los Angeles (2004), the special “Best of Boulez” concert to mark Pierre Boulez’s 80th birthday presented by the Chicago Symphony Orchestra (2005), the Salle Pleyel in Paris, the MITO Festival in Italy (2009), the Music From Japan Festival in the USA (2010), the National Gugak Centre in Seoul and Busan (2015), the Frankfurt Lab with Ensemble Modern (2015), and the British Museum (2018).  1st photo: Shinji Takehara, 2011

reigakusha.com