The last summer academy took place in 2017. The program will not be continued.
International Master Class for Young Composers
Every two years since 2003, the public foundation and residency program Akademie Schloss Solitude hosts a summer master class for young composers.
This Summer Academy seeks to fill a gap in the education of young composers, as master classes for composers are a rarity in the European New Music scene. In contrast to a long-term course of composition study with an individual instructor, the Summer Academy enables participants to contextualize their work and compositional thought within a stimulating, probing and interdisciplinary environment, and to exchange ideas among themselves, with the teachers and with the artists present at Akademie Schloss Solitude.
The exchange between fellows of the regular artist-in-residence program and participants of the Summer Academy for Young Composers is explicitly intended and welcome.
This master class concerns itself with musical composition through critical, individuated thinking. Discussions concentrating on the students‘ compositions and compositional thought will be the primary focus of the Summer Academy, which also includes private lessons and group sessions. Furthermore, presentations by artists from other disciplines will be offered. The Freiburg-based Ensemble SurPlus will be in residence at Akademie Schloss Solitude toward the end of the master class to prepare and perform two concerts of the participants‘ compositions.
The eigth Summer Academy took place from August 4 to 21, 2017 under the direction of Chaya Czernowin together with guest instructors Johannes Schöllhorn and Samir Odeh-Tamimi.
The final concerts of the master class took place on August 19 and 20, at 7 pm.
Instructors: Chaya Czernowin, Johannes Schöllhorn and Samir Odeh-Tamimi
Participants: Murat Çolak, Turkey; Peter Fahey, Ireland; Bnaya Halperin-Kaddari, Israel; Jarko Hartikainen, Finland; Matti Heininen, Finland; Hunjoo Jung, South Korea; Mu- Xuan Lin, Taiwan; Fernando Munizaga, Chile; Justina Repečkaitė, Lithuania; Benjamin Scheuer, Germany; Eiko Tsukamoto, Japan; Anna-Louisa Walton, USA; Nina C Young, USA; Alexandros Spyrou, Greece; Zeynep Toraman, Turkey; Vladimir Guicheff Bogacz, Uruguay.
Chaya Czernowin was the permanent faculty for the Summer Academy to give consistency in methodology and content. Additional instructors – different for every master class – will join her for a diversified exchange between teachers and students. For the master class 2013 they were joined by Dániel Péter Biró and in 2015 she was supported by Rebecca Saunders and Ming Tsao.
Biographies of the instructors:
Chaya Czernowin (*1957 in Israel) studied at the Rubin Academy in Tel Aviv, in Berlin, and at the University of California in San Diego, CA/USA. Invitations to Japan (1993–1995) , and to the Akademie Schloss Solitude, Stuttgart/Germany (1996) followed.
In addition to her chamber music and orchestral works, Czernowin wrote two operas: Pnima…ins Innere for the Munich Biennale (2000), and Adama, a counterpoint work on Mozart’s Zaide for the Salzburger Festival. Pnima was named Best Premiere by the critic's survey of Opernwelt (2000) and won the Bayerischer Theaterpreis. Zaide/Adama was broadcast on ARD and recorded by Deutsche Grammophon. Both operas have had multiple productions.
Czernowin was an artist in residence at the Salzburger Festival (2005/2006) and will be artist in residence at Lucerne Festival (2013). She taught composition at JML Institute in Tokyo/Japan and at the Darmstadt Summer Courses (1994–2010), was professor of music at the University of California in San Diego (1997–2005) and at the University of Music and Performing Arts in Vienna/Austria (2006–2009). Since 2009, she has been the Walter Bigelow Rosen Professor of Music at Harvard University, Harvard, MA/USA.
She has been teaching at the Summer Academy at Akademie Schloss Solitude since 2003.
Among other prizes, Czernowin was awarded with America Israel Felllowships (1979–1982); she represented Israel at the Uncesco composer's Rostrum (1981); DAAD scholarship (1983–1985); UCSD Fellowships (1987–1993); Stipendiumpreis (1988) and Kranichsteiner Musikpreis (1992), Darmstadt Summer Courses; Asahi Shimbun and American NEA Fellowships (1994/1995); Akademie Schloss Solitude Fellowship (1996); IRCAM reading panel commission (1998); scholarships of the SWR Experimentalstudio Freiburg (1998/2000/2001); ISCM World Music Days (1995/2001); the composer’s prize of the Ernst von Siemens Music Foundation (2003); the Rockefeller Foundation (2004); a nomination as a fellow to the Wissenschaftkolleg Berlin (2008); Fromm Foundation Award (2009); Guggenheim Foundation Fellowship (2011). Chaya Czernowin is published by Schott. Her music is recorded on Mode records, Wergo, Col Legno Deutsche Gramophone, Neos , Ethos, and Einstein Records.
Johannes Schöllhorn (*1962 in Murnau) studied with Klaus Huber, Emanuel Nunes and Mathias Spahlinger and musical analysis with Peter Förtig. He also attended conducting courses with Peter Eötvös.
Johannes Schöllhorn’s music is performed by many international Soloists and ensembles like Ensemble Modern, Ensemble Intercontemporain, Remix Ensemble, Klangforum Wien, Ensemble Musikfabrik, Ensemble l’instant donné, ensemble recherche, Neue Vocalsolisten, ensemble ascolta, das Neue Ensemble and orchestras like the Radio Symphony Orchestras of the WDR and SWR, the DSO Berlin, the Seoul Philharmonic orchestra, BBC Scottish Symphony Orchestra and the Philharmonia Orchestra London. He received numerous prizes like the Comitée de lecture of the Ensemble Intercontemporain in 1997 and the Praetorius Prize 2009. His chamber opera les petites filles modèles was performed many times in Paris and France and had its premiere at the Opera de Bastille in 1997. In 2008, he participated in the into-project in Hong Kong. Johannes Schöllhorn's music presents a wide range of genres from chamber music, vocal music and orchestra music to music for theatre. Besides his own compositions he is also working on different kinds of transcompositions and transcriptions, eg. he has made his own version of Pierre Boulez' ...explosante- fixe....
Johannes Schöllhorn was teaching from 1995 to 2000 at the Musikhochschule Zürich-Winterthur (Switzerland). He was conductor of the Ensemble für Neue Musik at the Musikhochschule Freiburg (until 2004) and from 2001 to 2009 he was professor for composition at the Hochschule für Musik und Theater Hannover and Director of the Institut für Neue Musik. Since 2009 he has been professor for composition and director of the Institut für Neue Musik at the Hochschule für Musik in Cologne. Johannes Schöllhorn gave several composition courses at the Fondation Royaumont (France) and at the Bartók-Festival (Hungary), for the Ictus-Seminar (Belgium), at the Conservatoire de Paris, the Conservatory of Music in Tianjin (China), the Central Conservatory of Music in Beijing (China), in Hong Kong (China), at the Takefu-Festival (Japan), the Tokyo Ondai University (Japan), the Seoul Philharmonic Orchestra (Korea), at the Centro San Fedele Milano (Italy) in Kiev (Ukraine), the TrinityLaban College (London), Ticino Musica (Lugano, Switzerland), Jakarta (Indonesia) and Manila (Philippines).
Samir Odeh-Tamimi has developed his very own language in music which draws upon his intense involvement with both western avant-garde music and Arabic music performance practice. Full of enthusiasm for the European classics as well as New Music, the Palestinian-Israeli composer arrived in Germany at the age of 22 and studied musicology and composition. Alongside studying the works of his compositional paragons, who include Giacinto Scelsi and Iannis Xenakis, he also questioned the musical culture of his native country; he had studied this in his youth as a member of an ensemble performing traditional Arabic music on contemporary instruments.
Samir Odeh-Tamimi’s compositions can now be heard at well-known festivals, and he has received commissions from Deutschlandfunk, Saarländischer Rundfunk, the Donaueschingen Festival, European Centre of the Arts in Hellerau, WDR Radio and Bavarian Radio/musica viva. In 2010, his music theatre piece Leila und Madschnun received its world premiere at the Ruhrtriennale in Bochum. As part of the project into Istanbul, initiated by Ensemble Modern and the Siemens Arts Programme in cooperation with the Goethe Institute, he composed a piece for Ensemble Modern inspired by his stay in the Turkish metropolis. During the last few years, Samir Odeh-Tamimi has also closely collaborated with the Boulanger Trio and the Neue Vocalsolisten Stuttgart. The singers have since travelled to the composer’s birthplace and parents’ home close to Tel Aviv to discover his musical roots for the premiere of a new piece for Stuttgart’s Eclat Festival.
Samir Odeh-Tamimi’s oratorio Hinter der Mauer (Behind the Wall) was commissioned by the RIAS Kammerchor on the occasion of the 20th anniversary of German reunification. Following its world premiere in the Berlin Radialsystem it was again performed by the RIAS Kammerchor and the musikFabrik ensemble in Jerusalem and Dresden. His oeuvre is also permeated by other political and historical issues; his piece Hálatt-Hissár (State of Siege), for example, refers to the violent siege of Ramallah in 2001. Mansúr, the celebrated work commissioned by the Salzburg Festival and performed for the first time in 2014 by the Bavarian Radio Choir and members of the Bavarian Radio Symphony Orchestra under Rupert Huber, deals with the Sufi mystic and revolutionary Mansur Al-Hallağ.
Samir Odeh-Tamimi is currently composing part of a large collaborative music theatre work together with DJ and electronic musician Stefan Goldmann, which will feature the recorder player Jeremias Schwarzer as artistic director, singer Salome Kammer, the Japanese installation artist Chiharu Shiota and the Zafraan Ensemble. At the same time, he is working on an epilogue for Bach's St. John Passion, commissioned by KlaraFestival, the world premiere of which will take place in March 2016. Further projects include a new piece for the WDR Choir, a viola concerto for the Stuttgart Chamber Orchestra, as well as a large orchestral piece for the new SWR Orchestra.
Project coordination: Marieanne Roth