Germany: On Air — The Sound of the Material in the Art of the 1950s to 1970s
2023-03-26 11:00 - 18:00 UTC | Kaiser Wilhelm Museum, Joseph-Beuys-Platz 1, Krefeld, 47798, Germany
The Kunstmuseen Krefeld are dedicating an exhibition titled On Air to the invisible material of sound in the art of the 1950s to ’70s. In this experimental period, boundaries in art were broken down, and artists processed materials that had previously played no role in the art context. Sounds, tones, noises, signals, and voices also became “substantial” sculptural material. Hearing now enriched sensual perception. Starting with machine sculptures, sound flowed into genres such as performance, installation, and new media, which were just beginning to emerge. The focus is on sound objects by artists such as, among others, Yaakov Agam, Joseph Beuys, Hermann Goepfert, Jannis Kounellis, Bruce Nauman, Robert Rauschenberg, Jean Tinguely, David Tudor and Timm Ulrichs. The exhibition will be accompanied by a catalog (German/English).

USA: Caterina Barbieri, Eli Keszler, & Marie Davidson (DJ Set)
2023-03-28 19:00 (America/New_York) | Pioneer Works, 159 Pioneer Street, Brooklyn, NY, 12231, United States
Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object-oriented perception in sound. Caterina explores the psycho-physical effects of repetition and pattern-based operations in music.

SEAMUS 2023 Conference
2023-04-07 - 2023-04-08 | New York University Bobst Library’s Avery Fisher Center, 70 West 4th Street, New York, NY, 10012, United States
The Society for Electro-Acoustic Music in the United States (SEAMUS) 2023 Conference will occur in two parts: the first in-person in NYC, and the second as a rhizomatic series of events in local areas.
Part I:
Part I of the conference will be hosted by SEAMUS using spaces at the DiMenna Center in NYC.
Paper presentations, workshops, panel discussions, and installations will take place at NYU Music Department facilities.
Part II: Rhizomatic Local Event Presentation
A day of collected asynchronous rhizomatically linked remote events, moderated with a live feed in April (dates to be determined by hosts). This event will then be archived on the SEAMUS site.
Venues
The DiMenna Center for Classical Music
450 West 37th Street, New York, NY 10018
(212) 594-6100
https://dimennacenter.org/
New York University Bobst Library’s Avery Fisher Center
70 West 4th Street, New York, NY 10012
(212) 998-1212
New York University’s Silver Center
100 Washington Sq E (at Washington Sq N), New York, NY 10003
(212) 998-8300

The 2023 Salvatore Martirano Memorial Composition Award
2023-04-10 23:59 (America/New_York)
Deadline: April 10, 2023 11:59PM CST (23:59 GMT-0600).
The University of Illinois School of Music and Global Crossroads Living-Learning Community announce the 27th Annual Salvatore Martirano Memorial Composition Award.
Eligibility: Any composer, regardless of age or nationality is eligible. Previous winners, as well as faculty and currently enrolled students at the University of Illinois are ineligible for the award.
Awards: First Prize cash award of $1000 and second prize cash award of $500 plus performances by the Illinois Modern Ensemble in the fall of 2023 on the 27th Annual Martirano Award Concert on the campus of the University of Illinois. Additional awards and performances may be given at the discretion of the judges
Judges: A panel of judges consisting of international composers and University of Illinois music composition faculty members will select the winning compositions.
Entries must be submitted and paid for online by Monday, April 10, 2023 11:59PM CST (23:59 GMT-0600).

Submission Deadline Passed

The 2023 Salvatore Martirano Memorial Composition Award

April 10, 2023

Submission Deadline Passed

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DETAILS
About Sal Martirano
Martirano was among the very first composers to use and invent new computer technology for composition. He created two electronic music systems, the first being the Sal-Mar Construction and later the YahaSALmaMac. The Sal-Mar Construction was called “the world’s first composing machine” by the Science Digest. Composer Joel Chadabe noted that “The Sal-Mar Construction is a historically important musical event and a stunning and classical display of individual American invention.
Martirano’s best-known composition is “L’s G.A.” (1967) for gassed-masked politico, helium bomb, three 16mm movie projectors and 2 channel tape recorder.
https://music.illinois.edu/about-salvatore-martirano

Sound in Space, Sound in Place
2023-04-13 - 2023-06-04 | New Bedford Art Museum/ArtWorks!, 608 Pleasant Street, New Bedford, MA, 02740, United States
Sound in Space, Sound in Place, a survey of contemporary sound art, foregrounds sound and listening as powerful shapers of everyday experience and draws attention to sound’s unique properties as an artistic medium.
Call for Sounds
The New Bedford Art Museum invites New Bedford residents to submit short recordings of the sounds that make up New Bedford’s unique “soundscape.” What are the sounds that make New Bedford familiar—like home? What sounds anchor you in place? What sounds would you miss if they suddenly went silent? We want to hear what you hear! NBAM will incorporate a selection of these sounds into an exhibition planned for April 2023, as well as an interactive online map—scheduled to launch at the same time.
Special Discussion
April 14, 2023 6:00 – 7:30 pm
Exploration of Sound Spaces – A Survey
John Driscoll and Phil Edelstein of Composers Inside Electronics will present views of a number of works that they have collaborated on over a 50-year period.

Hear Now Music Festival
2023-04-13 20:00 (America/New_York) | 2220 Arts & Archives (Main Theater), 2220 Beverly Blvd, Los Angeles, CA, 90057, United States
Kick off concert!
Electroacoustic concert from People Inside Electronics (PIE) and Brightwork Ensemble.
People Inside Electronics (PIE) is a concert series devoted to the performance and promotion of live electroacoustic music in Los Angeles.
Brightwork Ensemble is a classical new music sextet based in Los Angeles, California.

#The Restless Factory: Phill Niblock & Katherine Liberovskaya Dafne Vicente-Sandoval
2023-04-21 21:00 (America/New_York) | Les Instants Chavirés, 7 Rue Richard Lenoir, Montreuil, 93100, France
Phill Niblock & Katherine Liberovskaya (New York)
Dafne Vicente-Sandoval (Paris) Bassoon [Live]
2 sets:
1 – Live video mixing by Katherine Liberovskaya + live sound collage by Phill Niblock
2 – World premiere of “NuDaf”, a 65-minute piece for bassoon by Phill Niblock, composed for and performed by Dafne Vicente-Sandoval, with film/video by Phill Niblock
Presented by La Fabrique Agitée

Norway: Catherine Christer Hennix’s Kamigaku Ensemble Performance
2023-04-22 20:00 (Europe/Oslo) | MUCH, Bjørvika, Edvard Munchs plass 1,, Oslo, 0194, Norway
Catherine Christer Hennix’s newly formed Kamigaku Ensemble explores the harmonic state that emerges when sustained tones are precisely tuned to their difference tones. By electronically intensifying these tones, the group immerse listeners in majestic waves of harmonic sound.
SHARED FROM BLANK FORMS, Brooklyn, NY 11238

NUNC! 5: Selections from the Call for Electronics
2023-04-23 17:00 (America/Chicago) | Ryan Opera Theater, 70 Arts Circle Drive, Evanston, IL, 60208-2405, United States
Han geul Lee, monolith
Elliott Lupp, STRIX
Maya Nguyen, whisper wind water
Mauricio Pauly, improv set
Jay Alan Yim, The Rope Dancer Accompanies Herself With Her Shadows
One of the leading conferences for new music in the world, the Northwestern University New Music Conference (NUNC!) brings together composers, performing musicians, scholars, and other new music advocates for a series of workshops, panel discussions, and concerts.

Three waiting-rooms
2023-04-25 20:00 - 22:00 (America/Los_Angeles) | Monk Space, 4414 W 2nd Street, Los Angeles, 90004, United States
Mattie Barbier, Tim Feeney, Stephanie Cheng Smith and Cassia Streb invite the audience to explore a site specific, collectively-conceived project blurring the sonic boundaries between the indoor and outdoor, the live and recorded. Three sounding sculptures via speakers and objects in the lobby; three sounding performances in the warehouse; three ways of building and shifting perspectives.

Intonal 2023
2023-04-26 - 2023-05-01 | Inkonst, Bergsgatan 29, Malmö, 214 22, Sweden
A SANCTUARY FOR EXPERIMENTAL MINDS
Intonal is an annual festival for experimental and electronic music that has been held in Malmö, Sweden since 2015. The focus of the festival is to offer an international programme of experimental and electronic music covering a wide range of genres, subgenres, and unique expressions.

Sweden – Alessandro Perini plays Bernard Parmegiani
2023-04-28 21:30 (Europe/Copenhagen) | Lund University, Helgonavägen 3, Lund, 223 62, Sweden
Bernard Parmigiani’s “De Natura Sonorum” – whose title echoes Lucretius’ “De Natura Sonorum” , explores the multiplicity of sound possibilities. This profuse work, with countless discoveries and dazzling intuitions, has influenced several generations of composers and remains a truly seminal piece in the experimental music soundscape.
INTONAL is an annual festival for experimental and electronic music that has been held in Malmö. The focus of the festival is to offer an international programme of experimental and electronic music covering a wide range of genres, subgenres and unique expressions. Besides established artists within the electronic avant garde and acts bordering towards sound art, a hefty club oriented programme will also present DJs acting within an innovative new scene for dance music. Parallel to this there is also a number of installation exhibitions and artist talks.
Visit the Intonal page – intonalfestival.com

Sweden – Film Screening “Echos” (2021)
2023-04-29 18:00 (Europe/Copenhagen) | Black Room Lund University, Helgonavägen 3, Lund, 223 62, Sweden
16:00 Artist Talk with François J. Bonnet and Katja Heldt about Éliane Radigue – in collaboration with the Division of Musicology at Lunds University / Sound Enivronment Center in Lund. Location: Black Room
18:00 Screening: Echos (2021) by Eléonore Huisse and François J. Bonnet. A sensitive portrait of Éliane Radigue based on intimacy and friendship. Sound Enivronment Center in Lund.
https://www.iac.lu.se/projects/intonal-festival-2023/
INTONAL is an annual festival for experimental and electronic music that has been held in Malmö. The focus of the festival is to offer an international programme of experimental and electronic music covering a wide range of genres, subgenres and unique expressions. Besides established artists within the electronic avant garde and acts bordering towards sound art, a hefty club oriented programme will also present DJs acting within an innovative new scene for dance music. Parallel to this there is also a number of installation exhibitions and artist talks.
Visit the Intonal page – intonalfestival.com

ICMC 2023 - Call for Submissions
2023-05-05 | The Chinese University of Hong Kong, School of Music, Shenzhen, China
ICMC 2023 will be held at the School of Music, The Chinese University of Hong Kong, Shenzhen (China), October 15-20, 2023
ICMC 2023 invites submissions of music works, papers, installations and demos from the worldwide composers and musicians. This conference will be presented in hybrid format, which means all the sessions will be presented online and in-person. There are no submission fees for all the categories.
Important Dates
SUBMISSION DEADLINE: MAY 5, 2023

Submission Deadline Passed

ICMC 2023 - Call for Submissions

May 5, 2023
School of Music

Shenzhen,

China

Submission Deadline Passed

Find out more

SELECTED WORKS ANNOUNCEMENT: JUNE 28 – 30, 2023
PROGRAM ANNOUNCEMENT: JULY 28, 2023
ICMC “SOUND OF CHANGES” CONFERENCE: OCTOBER 15-20, 2023

Here is the website for preliminary information and submission rules.
http://icmc2023.org.cn/_pc_/
International Computer Music Conference (ICMC) is the largest and most important international academic conference in the field of computer music. It is held annually in different countries around the world, and it has been held for 47 years since 1974. As an innovative academic platform, which integrates music, art, culture, science, technology, and other disciplines, the ICMC has received extensive attention in the music and technology community and music industry.

Portugal - Música Viva 2023 - 29th Edition
2023-05-05 19:00 - 2023-05-13 17:00 (Europe/Lisbon) | O’culto Da Ajuda,, 25 Travessa Zebras, Lisbon, 1300, Portugal
Festival
Sond’ar-Te Electric Ensemble
May 5, 2023 21:00 – 22:00
Sonoscopy
May 6, 2023 19:30 – 20:30
Sigma Project
May 8, 2023 19:30 – 20:30
Francis Dhomont “Jeu D’écritures”
May 9, 2023 19:30 – 20:30
Natasha Barrett “Impossible Moments”
May 9, 2023 21:00 – 22:00
Concrete [Lab] Ensemble
May 10, 2023 19:30 – 21:00
Opera By Vítor Rua – Sonic Rumble With Green Mustard
May 11, 2023 19:30 – 21:00
Humorictus Ensemble
May 12, 2023 19:30 – 21:00
Trio Sond’ar-Te
May 13, 2023 19:30 – 21:00

USA: The Pianists United: Rzewski in New York
2023-05-06 | Merkin Hall – Abraham Goodman House , 129 West 67th Street (btw Broadway and Amsterdam), New York, NY, 10023, United States
Celebration of the remarkable work of pianist-composer Frederic Rzewski in a marathon day of three concerts at 3 pm, 5:30 pm, and 8 pm.
https://www.kaufmanmusiccenter.org/mch/event/piano-dialogues-the-pianists-united-rzewski-in-new-york/

Philip Glass Ensemble performs Glassworks
2023-05-06 14:30 (America/New_York) | Roulette, 509 Atlantic Avenue (Corner of Third Avenue), Brooklyn, NY, 11217, United States
The Philip Glass Ensemble (PGE) performs Glass’ legendary album Glassworks in its entirety for the first time! In order to create his own revolutionary music, Philip Glass first needed to create his own revolutionary ensemble. Philip himself assembled this collection of furiously arpeggiating virtuosi, in order to embody his music, perfectly. And they do.

Morton Subotnick's As I Live and Breathe, Live with Projections by Lillevan
2023-05-06 22:00 (America/New_York) | BRIC Ballroom, 647 Fulton Street, Brooklyn, NY, 11217, United States
Electronic music pioneer Morton Subotnick celebrates his 90th birthday year with us, with his brand new piece As I Live and Breathe, a duet of image and sound he performs himself alongside live visual animation by his long-term collaborator Lillevan.

Sam Green and Annea Lockwood in conversation
2023-05-07 17:00 (America/New_York) | The Center for Fiction, 15 Lafayette Avenue, Brooklyn, NY, 11217, United States
Filmmaker Sam Green and legendary composer Annea Lockwood in conversation. Official Selection of the 2022 Sundance Film Festival, Green’s 32 Sounds is an immersive documentary and profound sensory experience that explores the elemental phenomenon of sound. Composer Annea Lockwood, the subject of Green’s 2021 documentary short, has spent a lifetime making and analyzing different sounds.

Lucid Iterations 2 at the 11th Annual CompCord Festival “What’s In a Name?”
2023-05-07 17:00 (America/New_York) | Kostabi World Chelsea, 225 W 22nd St, New York, NY, 10011, United States
Svjetlana Bukvich’s microtonal work Lucid Iterations 2 for Electric Viola da Gamba, Tuba, Arturia MicroFreak Synthesizer and Tape will be premiered at the first concert in the “Name Bands & Nicknames” 11th Annual CompCord Festival entitled “What’s in a Name?”.
Performers:
Jay Elfenbein – electric viola da gamba, Jay Rozen – tuba
Svjetlana Bukvich – Arturia MicroFreak synthesizer
Also on the program are works by composers Aaron Alter, Lynn Bechtold, Dennis Brandner, Dan Cooper, Jay Elfenbein, Gilbert Galindo, Christian Kuhen, Mark Kostabi, Peri Mauer, Max Pollak, Gene Pritsker, Jay Rodriguez, Jay Rozen, David See, and Ann Warren.
The concert will be live-streamed:
https://www.facebook.com/ComposersConcordance/live

Shakespeare & His Characters
2023-05-13 18:00 (America/New_York) | The Delancey, 168 Delancey St, New York, NY, 10002, United States
Composers:
William Anderson, Bruce Arnold,
Dan Cooper, Sophie Dunér, Jane Getter,
John Ferrari, Eugene W. McBride,
Gene Pritsker, Marina Vesic
Performers:
CompCord Rock Ensemble:
Fiffi – voice
Gene Pritsker, William Anderson – guitars
Bruce Arnold – bass
John Ferarri – drums

TENOR 2023 - International Conference on Technologies for Music Notation and Representation
2023-05-15
Registration for TENOR BOSTON 2023 is now OPEN
Full Registration (before May 15, 2023) is: $150. Students and independent artists: $50. Remote participation: $100. Full registration includes morning and afternoon coffee, tea, snacks; lunch will also be provided; and offers access to all papers, demos, workshops, and concerts.

TENOR 2023 - Concert #1
2023-05-15 17:00 (America/New_York) | Longy School of Music of Bard College, Edward M. Pickman Concert Hall, 27 Garden St, Cambridge, 02138, United States
CONCERT #1
Roy Guzman
Abstracciones de Jangueo En La Finca de Julio
Rob Hamilton
Elegy (Ready, Set, Rapture)
Cecilia Suhr
Eastern Praxis
Xavier Davenport
GuitaRPG [NeoScore competition winner]
Motoki Ohkubo
yeah, I see. huh? uh-huh, yup.
Sebastian Adams
Circum (after James Joyce)

TENOR 2023 - Concert #2
2023-05-15 20:00 (America/New_York) | Longy School of Music of Bard College, Edward M. Pickman Concert Hall, 27 Garden St, Cambridge, 02138, United States
CONCERT #2
Jaslyn Robertson
Shadow Aria
Eugene Markin
Survival Kit
Iran Sanadzadeh
502 Days of Self
Shai Cohen
Points of Convergence
Cat Hope
Their Lives Are Stripped of Meaning
Ryan Ross Smith
Animated Notation Workshop

Call for Submissions – Radio – A Space for Sonic Art
2023-05-15 23:59 (America/New_York)
ORGANISED SOUND
Call for Submissions – Volume 29, Number 1
Issue thematic title: “Radio – A Space for Sonic Art”
Date of Publication: April 2024
Publishers: Cambridge University Press
Issue co-ordinator: Michal Rataj (michal.rataj@hamu.cz)
Deadline for submission: 15 May 2023

Submission Deadline Passed

Call for Submissions – Radio – A Space for Sonic Art

May 15, 2023

Submission Deadline Passed

Find out more

Background:
Since the beginning of the 20th century radio as a medium has built all kinds of synapses in societies, cultural practices and art discourses. Despite the fact that it was expected to be overshadowed by the rise of television, it has continued to challenge norms within a wide variety of creativity across art disciplines. The internet has been questioning the position of radio again, yet it is still radio as sound medium that provokes sonic imagination from surprising creative angles, which do not only emerge from within public service environments.
Across the history of the radio medium we not only approach fascination with bi-directional communication, but also an unprecedented subversive emphasis on aural approaches despite the continuously increasing visuality of the past century. Along with the history of radio we have been witnessing the rise of new studio technologies and distribution strategies, which have not only influenced radical change regarding the listening experience, but have also directly influenced the way artists make the art of sound (let’s call it music). New technologies and instruments have emerged from inside radio studios in order to reveal completely new timbral and spatial experiences of the work of composers, poets, theatre and film makers, as well as visual artists. Listeners are part of a democratic “listening space for all” (Klaus Schöning 1997), while any distant spaces become part of the new radio space (F. T. Marinetti & Pino Masnata 1933).
Already at the beginning of public radio we can identify how differently traditional acoustic content had to be approached when being picked up by microphones inside the radio studio (Kurt Weill 1975). This directly influenced not only how new music started to be recorded but also what kinds of new sonic creativity were about to emerge, including musique concrète, Hörspiel, sound poetry, sound film, soundscape and radio opera, among many others.
Radio as medium in contemporary art practice has developed from its primary purpose of sound distribution into a variety of creative and social strategies, where sound has turned out to be the principal common denominator across creative disciplines, social communities and cultural regions. At the threshold of the second quarter of the 21st century we are questioning the role of radio inside an intermedia discourse with respect to its history, subversive social potential, imaginative potential and audio creativity, as well as its power to build bridges across communities of artists and listeners.
This issue of Organised Sound will be the first dedicated to sonic exploration by way of the radio medium over the decades, as well as its future potential.

Topics for investigation might include:
• Historical aspects of radio with respect to the current intermedia scene
• Creative and social potential of audio creativity
• Radio potential challenged by the internet
• Audio creativity challenging mainstream radio content
• Approaches of public service radio stations to innovative audio content
• Independent radio initiatives as cultural and social subversion
• The radio as musical instrument
• Radiophony as compositional strategy
• Visual aspects of radiophonic creation
• Aesthetic aspects of making for radio
• Radio making as politicsThis call is open to all, and we wish particularly to encourage submissions from often under-represented groups in these fora, and also creatively and collaboratively-produced articles.Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s areas of focus are always welcome.

References
• Marinetti, F. T. & Masnata, P. 1991. La Radia (1933). In D. Kahn & G. Whitehead (eds.) Wireles Imagination. Sound, radio and the avant-garde. Cambridge MA: MIT Press, 266 – 268.
• Schöning, K. 1997. Klangreise – Sound Journey. Studio Akustische Kunst. 155 Werke 1968 – 1997. Köln: WDR.
• Weill, K. 1975. Der Rundfunk und die Umschichtung des Musiklebens (1926). In: Weill, K. Ausgewählte Schriften. Frankfurt am Main: Suhrkamp Taschenbuch, 285.

SUBMISSION DEADLINE: 15 May 2023
SUBMISSION FORMAT: Notes for Contributors including how to submit on Scholar One and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:
https://www.cambridge.org/core/journals/organised-sound/information/instructions-contributors (and download the pdf)General queries should be sent to:
os@dmu.ac.uk, not to the guest editor.Hard copy of articles and images and other material (e.g., sound and video files, etc. – normally max. 15’ sound files or 8’ movie files), both only when requested, should be submitted to:
Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.
Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.

Editor: Leigh Landy; Associate Editor: James Andean
Founding Editors: Ross Kirk, Tony Myatt and Richard Orton†
Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse
International Editorial Board: Marc Battier, Manuella Blackburn, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi

TENOR 2023 - Concert #3
2023-05-16 17:00 (America/New_York) | New England Conservatory of Music, Plimpton Shattuck Black Box Theatre, 255 St. Botolph St., Boston, 02115, United States
CONCERT #3
Anders Lind
Music for Upright Bass and Mobile Phone Orchestra
Simon Hutchinson
Baion
Lauren McCall
Kaleidoscore [NeoScore competition finalist]
duo B. : Lisa Mezzacappa + Jason Levis; with network-based scoring system designed & programmed by Tim Perkis
Incomplete, Open

TENOR 2023 - Concert #4
2023-05-16 20:00 (America/New_York) | New England Conservatory of Music, Plimpton Shattuck Black Box Theatre, 255 St. Botolph St., Boston, 02115, United States
CONCERT #4
Lei Liang
From Six Seasons (for any number of improvising musicians and pre-recorded sounds), “Season 4: Migration”
Kitty Xiao [DIGISCORE / TENOR BOSTON 2023 commissioned composer]
tendons for transformation
Ingrid Laubrock [DIGISCORE / TENOR BOSTON 2023 commissioned composer]
Paths/Fields
Daniel McKemie
Seaswell, for four snare drums
Benjamin Eidson
VISS 1 for Trumpet
Jessica Shand, Manuel Cherep, Jack Armitage
MOTHERBIRD

Zeena Parkins & Laetitia Sonami
2023-05-17 20:00 (America/New_York) | Roulette, 509 Atlantic Avenue (Corner of Third Avenue), Brooklyn, NY, 11217, United States
Electro-acoustic composer/improviser Zeena Parkins and sound artist/performer/instrument builder Laetitia Sonami will perform a new collaborative work as well as new solos.

A to Z Electronic
2023-05-18 19:00 - 21:00 (America/New_York) | Gallery MC, 549 W 52nd St, New York, NY, 10019, United States
Twenty-six composers, in alphabetical order (first, middle or last names), present their short electronic music compositions. The event will be mostly electronic, with some electro-acoustic music presented as well.
Composers: Arthur Kampela, Bernhard Philipp Eder, Carlos Castro, Dan Cooper, Shanan Estreicher, Ford Fourqurean, Patrick Grant, Adam Holzman, Velizar Iordanov, Joseph Martin Waters, Howie Kenty, Lukas Ligeti, Florian Magnus Maier, Natasha Bogojevich, Otto Castro, Gene Pritsker, Quincy Jones, David Rothenberg, Zach Seely, Roger Trefousse, Vladimir Ussachevsky, Aleksandra Vrebalov, Randall Woolf, Amy X Neuburg, Carolyn Yarnell, Lev Zhurbin.

France – Martin Matalon score for the Fritz Lang film Metropolis
2023-05-19 18:30 - 2023-05-20 17:00 (Europe/Paris) | Philharmonie de Paris – Grande salle Pierre Boulez, 221 Av. Jean Jaurès, Paris, 75019, France
For the restored version of the film Metropolis, the Argentinian composer Martin Matalon had composed in 1995 an original score, initially intended for sixteen instrumentalists and electronics.
Orchestre de Paris
Kazushi Ōno conductor
Etienne Démoulin IRCAM electronics
Before the concert
May 20, 6:30pm | Salle de conférence, Philharmonie
Meet Martin Matalon
