Termine: 
10:00—18:00 Uhr: Masterclass Posaune | Bösendorfer Performance Lab
19:00 Uhr: Konzert Reverso Ensemble | Bösendorfer Performance Lab

Reverso Ensemble
Costa Rican chamber ensemble consisting of Martín Bonilla (trombone), Juan Carlos Meza (trumpet), Alonso Saavedra (piano), and Ricardo Alvarado (percussion).
Reverso is distinguished by its exploration and promotion of contemporary repertoire and the fusion of different musical styles. One of its main objectives is the commissioning and dissemination of new works, as well as collaboration with different artists.
Música Costarricense Volumen I (2022) is the ensemble’s first recording, featuring works by renowned Costa Rican composers as well as emerging composers from the local music scene.
During 2023 and 2024, Reverso presented chamber music seasons throughout South America and Europe, participating in important academic and artistic events such as the Encuentro de la Asociación de Trombonistas Españoles (ATE).
The members of Reverso are faculty members of the School of Musical Arts at the University of Costa Rica (UCR) and members of the National Symphony Orchestra of Costa Rica (OSN).

Martín Bonilla, trombone
Principal Trombonist of the National Symphony Orchestra of Costa Rica, professor of trombone and euphonium at the School of Musical Arts of the University of Costa Rica (UCR), and founding member of Trombones de Costa Rica and Reverso Trio.
Martín Bonilla has performed as a soloist on numerous occasions with prominent ensembles such as the National Symphony Orchestra of Costa Rica, the University of Costa Rica Symphony Orchestra, the Santa Fe Symphony Band of Argentina, and the United States Navy Band. He has participated as a guest artist in festivals such as Trombonanza, the American Trombone Workshop, the International Trombonists Association Festivals, the Big 12 Trombone Conference, and the Spanish Trombonists Association Festival, among others.
Mr. Bonilla has received the National Music Award in Costa Rica and the Special Award from the City of Passau, Germany.

Juan Carlos Meza, trumpet
Born in Cartago, Costa Rica, in 1977, Juan Carlos Meza began his musical studies at the age of seven with his father. He later earned master’s degrees in Music from the University of Costa Rica, specializing in Trumpet Performance and Wind Band Conducting.
He has developed an extensive career as an orchestral musician, soloist, conductor, and educator. In 2000, he served as Principal Trumpet of the Venezuela Symphony Orchestra in Caracas. He has also performed with various orchestras and ensembles, participated in recording projects, and collaborated in both classical and popular music.
As a conductor, he has served as Music Director of the Concert Bands of Cartago, Alajuela, and Limón, part of Costa Rica’s National Band Program.
He currently serves as Principal Trumpet of the National Symphony Orchestra of Costa Rica and as Professor of Trumpet and Chamber Music at the University of Costa Rica. He is also Music Director of the Symphony Orchestra of the School of Musical Arts at UCR.

Alonso Saavedra, piano
Faculty member and collaborative pianist at the School of Musical Arts of the University of Costa Rica (UCR).
He has performed as a soloist with the National Symphony Orchestra of Costa Rica (OSN), the University of Costa Rica Symphony Orchestra, the Symphony Orchestra of the UCR School of Musical Arts, and the National Youth Symphony Orchestra of Panama.
As a collaborative pianist, he has distinguished himself through performances with prominent trombonists such as Lito Fontana, Achilles Liarmakopoulos, Jeremy Wilson, Michel Becquet, Tim Higgins, and others. In 2026, he released Intersecciones, an EP featuring solo piano works by American composers written in a jazz-influenced style, available on streaming platforms.
Alonso Saavedra earned a Doctor of Musical Arts degree from Louisiana State University, where he studied with pianist Willis Delony.

Ricardo Alvarado, percussion
Costa Rican percussionist and educator, Ricardo Alvarado studied at Conservatorio Castella and the National Institute of Music. He has performed as a soloist and toured internationally with orchestras and percussion ensembles throughout Europe, the Americas, and Asia.
From 2000 to 2014, he was Principal Timpanist and Percussionist of the Venezuela Symphony Orchestra. He has also taught percussion and conducted masterclasses in several countries, including the United States, Colombia, Venezuela, Mexico, Costa Rica, and Spain.
In 2025, he received Costa Rica’s Carlos Enrique Vargas National Music Award in the Musical Performance category for his performances of Daniel Quesada’s Trópico Timpani Concerto.
He currently teaches percussion at the School of Musical Arts of the University of Costa Rica and performs with the National Symphony Orchestra of Costa Rica and the Costa Rica Ensemble–UNED.

PROGRAMM:

Sebastián Quesada (geb. 1981)
Zap

Phoebe Violet (geb. 1988)
Leges Motus
  Lex prima: Inertia
  Lex secunda: Motus
  Lex tertia: Actio et Reactio

Manuel Matarrita (geb. 1972)
Sonatina für Trompete und Klavier
    Allegro
    Zamba
    Cumbia

William Porras (geb. 1956)
Ticotango

Vinicio Meza (geb. 1968)
Sambalada

Agustín Pardo (geb. 1992)
Para el Mae (UA)

Termin

Do, 08.10.2026, 19:00 Uhr

Veranstaltungsort

Otto Wagner Areal, Pavillon 10Baumgartner Höhe 11140 Wien

Kartenpreise

Eintritt frei

Im Rahmen der Konzertreihe Series 20/21 des National Center for Musical Diffusion (CNDM) kehrt das renommierte Klangforum Wien zum zweiten Mal in dieser Saison nach Madrid zurück und präsentiert einen Abend, der den Dialog zwischen zwei Schlüsselfiguren der zeitgenössischen Musik feiert: Georg Friedrich Haas und Mauricio Sotelo.

Das Ensemble führt einerseits Hommage à Bridget Riley auf, ein Werk von Georg Friedrich Haas, das von der britischen Malerin inspiriert ist. Die Partitur entfaltet ein faszinierendes Zusammenspiel von Klangwahrnehmungen, Licht und Bewegung. Im Anschluss daran erlebt das Publikum die Weltpremiere von Homenaje a Georg Friedrich Haas, einem neuen, vom CNDM in Auftrag gegebenen Werk von Mauricio Sotelo, das dem österreichischen Komponisten aus einer zutiefst persönlichen Perspektive Tribut zollt.

Programm

Georg Friedrich HaasHommage à Bridget Riley (2019, spanische Erstaufführung)

Mauricio SoteloHomenaje à GF Haas (UA, Auftragswerk CNDM)

Mitwirkende

Klangforum Wien

Dirigent

Josep Planells Schiaffino

11.000 Saiten von Georg Friedrich Haas führt das Ensemble nach Antwerpen. Im Rahmen des Shifting Sounds Festival wird die historische Handelsbeurs zum Erlebnisraum einer immersiven Klangerfahrung. 50 Klaviere, gespielt von Studierenden des königlichen Konservatoriums Antwerpen und das Klangforum Wien entfesseln ein mikrotonales Universum, das sich zwischen fein gesponnenen Motiven und donnerndem Tosen gleich einer Naturgewalt aufspannt.

"50 pianos and a chamber ensemble transform the Antwerp Handelsbeurs into a sonic wave."

11.000 Saiten von Georg Friedrich Haas führt das Ensemble nach Antwerpen. Im Rahmen des Shifting Sounds Festival wird die historische Handelsbeurs zum Erlebnisraum einer immersiven Klangerfahrung. 50 Klaviere, gespielt von Studierenden des königlichen Konservatoriums Antwerpen und das Klangforum Wien entfesseln ein mikrotonales Universum, das sich zwischen fein gesponnenen Motiven und donnerndem Tosen gleich einer Naturgewalt aufspannt.

"50 pianos and a chamber ensemble transform the Antwerp Handelsbeurs into a sonic wave."

Johannes Maria Staud (*1974), Jagende Wolken, blendendes Blau! für Blechbläser Quintett (2024/25), deutsche Erstaufführung

Dmitri Kourliandski (*1976), Partially restored Landscapes für Streichquartett (2026), Uraufführung

Christian Manson (*1984), Towards a not yet remembered past… für Streichquartett (2026), Uraufführung

Quatuor Diotima
Ensemble Schwerpunkt

Auch das dritte Konzert am 24.04.2026, ab 22 Uhr (Saalbau Witten), bietet gleich mehrere Uraufführungen bei den Wittener Tagen: Von Enno Poppe, Johannes Kalitzke, Sonja Mutić und Peter Evans (Bild).

Late Night mit zwei sehr gegensätzlichen Instrumentalkonstellationen: Während das aparte Duo von Akkordeon und Klavier feine Fäden zwischen Affinität und Disparität spinnt, erkunden Sonja Mutić und Peter Evans das erzählerische Potenzial des homogenen Blechbläser-Quintetts.

Enno Poppe (*1969) Faden, Sieben Stücke für Akkordeon und Klavier, 2025

Johannes Kalitzke (*1959) tunnel blau für Klavier solo, 2025

Sonja Mutić (*1984) Unvoiced für Blechbläser-Quintett und Live-Elektronik, 2026

Peter Evans (*1981) Music for Brass Quintet , 2026

Anne-Maria Hölscher, Akkordeon
Florian Hölscher, Klavier
Ensemble Schwerpunkt
SWR Experimentalstudio

A complete solo recital feautiring the program from my NEOS CD.

Tage der neuen Musik Bamberg, DE

Festival Curator: Markus Elsner

Exhibition Opening William Kentridge: "Self-Portrait as a Coffee Pot"

Luciano Berio - Sequenza V (1966)

Mikael Rudolfsson, Trombone

Brandenburgisches Landesmuseum für moderne Kunst (Dieselkraftwerk), Cottbus / Chóśebuz

Teaching Jonas Bylund’s wonderful class at my Alma Mater, hmtm Hannover

Nina Šenk, laureate of the Erste Bank Composition Award 2024, is considered a key representative of Slovenia's up-and-coming international music scene. In her works, the 1982 born composer expands the possibilities of different soundscapes, questions the traditional structures of sound formations and creates a variety of harmonic timbres.

Following the world premiere of her opera Canvas as part of the Johann Joseph Fux Competition for Opera Composition 2023, Klangforum Wien is now collaborating with Nina Šenk again and will premiere her award winning piece November Night (2024) at Wien Modern 2024 on 21 November 2024 as part of the Erste Bank Composition Award, which is being presented for the 35th time this year.

Conducted by Vimbayi Kaziboni, Conductor-in-Residence of Klangforum Wien, the concert will also include the national premieres of Manos Tsangaris' Das Pizzicato Mysterium (2015-2016) and Juste Janulyte's Clessidra (2023), as well as Vladimir Tarnopolski's Foucault's Pendulum (2024).

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Photo: Nina Šenk - (c) Jože Suhadolnik

Programme

Justė Janulytė Clessidra (2023 NP)

Nina Šenk November Night (2024 WP)

Manos Tsangaris The Pizzicato Mystery (2015-2016 NP)

Vladimir Tarnopolski Foucault's Pendulum (2004)

Artists

Klangforum Wien

Conductor

Vimbayi Kaziboni

Solo Pieces by Omelchuk and Nurulla "Tower of Babel", Berlin, DE

Klangforum Wien

Conductor: Vimbayi Kaziboni

Dortmund Zeitinsel 2024 - Sound Cosmos Beat Furrer

Dortmund Concert Hall, Dortmund

5 October ’24 | 19:30

EVENT WEBSITE

Tickets

With Beat Furrer's extensive vocal cycle Akusmata, Klangforum Wien and the vocal ensemble Cantando Admont are premiering a composition specially created for the Konzerthaus Dortmund. Furrer, who is regarded as one of the most important composers of our time, works with literary texts by Pythagoras for this demanding cycle and creates completely new, complex soundscapes as a result.

On the occasion of Furrer's 70th birthday, the Konzerthaus Dortmund is dedicating this year's Zeitinsel to him. The festival was developed in close collaboration with the composer and conductor, and will present his major works and new compositions as well as his outstanding music theatre Begehren.

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Photo Beat Furrer: © Manu Theobald

Programme

Beat Furrer A sei voci

Solage Fumeux fume par fumée for 3 voices

Beat Furrer In mia vita da vuolp

Magister Filipoctus de Caserta De ma douleur for 3 voices

Beat Furrer Spazio immergente I

Beat Furrer Akusmata for 8 voices and 8 instruments (premiere of a new part)

Artists

Klangforum Wien

Cantando Admont

Soloists

Johanna Zimmer soprano (Spazio immergente I)

Gerald Preinfalk saxophone

Mikael Rudolfsson trombone

Conductor

Cordula Bürgi

JUBILÄUMSKONZERT „100 JAHRE RADIO IN ÖSTERREICH, 80 JAHRE MUK“

Di, 01.10.2024, 19:25 Uhr

In Kooperation mit dem Sender Radio Österreich 1 (OE1) veranstaltet die Musik und Kunst Privatuniversität der Stadt Wien („die MUK“) am 1. Oktober 2024 ein Jubiläumskonzert unter dem Motto 100 Jahre Radio in Österreich, 80 Jahre MUK.

Am 1. Oktober 1924 ging die erste staatlich konzessionierte Rundfunkgesellschaft in Österreich auf Sendung: Mit den Worten „Hallo, hallo! Hier Radio Wien!“ stellte sich die Radio Verkehrs Aktiengesellschaft — kurz RAVAG, im Volksmund als Radio Wien bezeichnet — der Öffentlichkeit vor. Das neue Medium fand mit populären Konzerten, Unterhaltungs- und Bildungsprogrammen rasch ein großes Publikum. Seit 1926 diente das Gebäude der MUK (Musik und Kunst Privatuniversität der Stadt Wien) in der Johannesgasse 4a bei der Wiener Oper als erstes Radio-Funkhaus Österreichs.

PROGRAMM: ZEITGENÖSSISCHES, AKTUELLE KOMPOSITIONEN

Das Programm dieses Jubiläumskonzerts im MUK.theater (sowie live im Kultursender Radio Österreich 1) präsentiert Musik, die von österreichischen Musiker*innen und Komponist*innen zur radiophonen Aufführung komponiert oder arrangiert worden ist. Zitiert werden aber auch Bearbeitungen von Musik Richard Wagners, die am 1. Oktober 1924 zu hören gewesen sind.

Ein besonderer Schwerpunkt dieses Konzerts liegt auf Werken von Komponist*innen, die durch die Machtübernahme der Nationalsozialisten alle künstlerischen und musikpädagogischen Wirkungsmöglichkeiten verloren: Komponist*innen und Musikpädagog*innen wie Vally Weigl, Hans Gál, Egon Wellesz oder Bert Silving flohen ins Exil, andere — etwa Friedrich Wildgans — wurden inhaftiert.

Der von Elke Tschaikner und Christian Scheib moderierte Konzertabend beschränkt sich indes nicht auf die Erinnerung an die Geschichte, sondern bringt auch aktuelle Kompositionen zu Gehör: Neben einer Improvisation mit Live-Elektronik von Martin Siewert und Studierenden sind nicht weniger als drei Uraufführungen von Kompositionsstudierenden bei Dirk D’Ase durch das Koehne Quartett vorgesehen.

Die heutige MUK situiert sich seit 1945 (damals als Konversatorium der Stadt Wien) im Haus Johnannesgasse 4a, dessen Theater als Spiel- und Sendeort dieses Jubiläumskonzerts fungiert.
 

Eine Veranstaltung im Rahmen des Programmschwerpunkts „100 Jahre Radio in Österreich, 80 Jahre MUK“ mit freundlicher Unterstützung der Verwertungsgesellschaft Rundfunk (VG Rundfunk).

Nähere Informationen zur Fachtagung 100 Jahre Radio in Österreich: Programmatik und Wirkungsmacht der RAVAG (23.—24. Oktober | MUK.podium)

Termin

DI, 01.10.2024, 19:25 Uhr

Veranstaltungsort

Musik und Kunst Privatuniversität der Stadt Wien, MUK.theaterJohannesgasse 4a1010 Wien

Kartenpreise

Eintritt frei

Für geladene Gäste.

Solo Recital and Ensemble Concert as a crowning ending of my masterclass at the Escuela de Artes Musicales, San Jose, Costa Rica

"A Journey Into a New Musical Space"

·      O ECCLESIA – Hildegard von Bingen (Trombone Ensemble), 4:30min

Before music was perceieved as music, in the depths of the Dark Ages, the polymath Hildegard von Bingen was writing mystic melodies for prayers, monophonic songs notated in medieval chant notation. I have adopted this beautiful chant about the Holy Ursula for several solo trombone parts accompanied by a spacial drone filling the room with a mystic feeling, almost 1000 years old.

·      FOR JOHN CAGE – Michael Nyman (10-piece Brass Ensemble), 13:30min

There is no real resemblance with John Cage in Michael Nyman’s music, just the co-incidence that he happened to finish the piece on the day John Cage passed away. So the name is more to be seen as a tribute to the great Fluxus master than anything else. Michael Nyman’s music could be called neo-classical in a way that it combines a strong rhythmical drive with harmonic lightness and brightness. Several of the beautiful solos in the slow parts of the piece are played on Flugelhorn and Euphonium, reminding us of the brass-band tradition on the British Islands he derives from.

·      ENCOUNTER – Konstantia Gourzi (Mikael Rudolfsson), 13:44 min

The piece ”Encounter” by Konstantia Gourzi is the newest in our program and was commissioned by me for my solo CD which was released earlier this year. Konstantia has taken a glissando from the lowest to the highest registers of the trombone and adopted it and developed it electronically with time-lapse technilogy. Over this background or ”canvas”, she has paints the story of an unidentified object approching the viewer (or soloist) from a distance. What is the reaction when something much bigger than oneself, something not clearly recognizable, appears? Listen and decide for yourself!

·      SEQUENZA V – Luciano Berio (Pablo Marin-Reyes), 7:00 min

Luciano Berio wrote, in the course of his immensly successful carreer as a contemporary composer, a series of solo pieces, so called ”Sequenzas” for almost all imaginable instruments, including voice. These can be looked upon not only as a beautiful red thread through his development as a composer but also as small studies of curiosity of each instrument and its abilities. For the trombone Sequenza he took his beautiful childhood memory of the clown Grock, meditated upon the clownesque abilities of the trombone, vocalized it, tweaked and bent it, and in doing so created a timeless classic, and a perpetual standard of the trombone repertoire.

·      OUTERSPACE – Pierre Jodlowski (Mikael Rudolfsson), 11:00 min

When a solo instrument meets a fantasy landscape, a video installation and an anonymus, masked player, a musical performance transforms to theater. Pierre Jodlowski writes himself:
”Composed for one trombonist, video and electronics, OUTERSPACE is questioning space: an augmented space with the development of new technologies, in which the modern individual escapes risking to get lost. This vertigo is here expressed by the video: in the back of the stage, it opens a window on a virtual space, enclosed with four black walls, inhabited by three screens which show encrypted images.
The trombonist’s movements being coordinated with the camera motion in the video, the audience discovers this cold, tight and uninhabitable space filled and congested with smog, blinding lights and, soon, avatars of the musician until it reaches the final saturation point. The trombone, as a music instrument and camera, reveals its third identity: demiurgic hole, swallowing one by one clones of the musician during a burlesque scene. In the video, nothing remains except, frozen on the screens, a frontal view of the trombone’s bell, threatening, pointing the audience.”

·      HEART OF TONES – Pauline Oliveros (Ensemble) 7–10 mins

Pauline Oliveros was a scholar of John Cage and formed the multifaceted term ”Deep Listening Music”. These are, not very much different from the Hildegard von Bingen piece from the start, opportunities to dwell, to meditate and to listen purely to what’s inside music and what’s inside yourself.

”For me Deep Listening is a life long practice. The more I listen the more I learn to listen. Deep Listening involves going below the surface of what is heard, expanding to the whole field of sound while finding focus. This is the way to connect with the acoustic environment, all that inhabits it, and all that there is.” (Pauline Oliveros)

·      EMBARKMENT FANFARE – Mike Svoboda (Trombone Octet), 2:40 min

Instead of starting the program with a fanfare, I thought of closing it with one. Because everythinng anyway is endless, the end of something is just the beginning of something different. As a tribute and as a call in the future, this short piece for eight panning trombone players was originally written by Mike Svoboda as a start to his large-scale work ”Music for Open Spaces”. Quite a fitting contribution!

Tysk tidlöshet och franska fyrverkerier - musik för trombone och orgel genom nio århundraden.
Musik av Hildegard von Bingen, Telemann, Mozart, Guilmant, Vierne och Hosokawa.

Mikael Rudolfsson, trombone
Ulfert Smidt, orgel

G.F. Haas’ massive piece for ensemble and 50 Pianos, microtonally tuned to each other. An immersive sound experience, a completely transparent wall of sound, painted in the brightest colors of spectral beauty.

50 Pianists of the Conservatorium van Amsterdam

Klangforum Wien

Bas Wiegers, musical direction

Production: Holland Festival and Klangforum Wien

Shows at 16:00 and 20:00 respectively!

Reihe "Neue Töne" in Zusammenarbeit mit dem Förderverein für Kultur und Forschung Bogen-Oberalteich e.V.
Luciano Berio (1925-2003), Call; Richard Ayres (*1965), Nr. 49; Wolfgang Rihm (*1952), Sine nomine I; Sergei Newski (*1972), Fanfare; Zaneta Rydzewska (*1991), Zauberwürfel; Bernhard Gander (*1969), insincere sermon; Beat Furrer (*1954), Studie; AndersHillborg (*1954), Brass Quintett

Hinweis:
Schüler und Studenten frei (benötigen kein Ticket).
Für Mitglieder "Konzertfreunde Straubing" gilt die Abo-Karte 2024

Weitere Infos auf der Homepage:
https://www.konzertfreunde.de

Joint concert with book presentation of the Graphic Novel »Stockhausen – Der Mann, der vom Sirius kam«.

Karlheinz Stockhausen - Tierkreis für Posaune u. Streichquartett

Konstantia Gourzi - The Encounter for solo trombone and tape

Mikael Rudolfsson, Trombone

Moritz Ter Nedden, Violin and Artistic Direction

Infos and Tickets:
https://www.parkbuchhandlung.de/event/stockhausen-der-mann-der-vom-sirius-kam/