19 MAI 2018 - 20h30 - St. Stephanskirche Leuk INTEGRATIONS part I
20 MAI 2018 - 17h - Schloss Leuk
21 MAI 2018 - 14h - Schloss Leuk INTEGRATIONS part III





Jesús Sánchez, flauta
Camilo Irizo, clarinete
Baldomero Lloréns, percusion
Ignacio Torner, piano
Alejandro Tuñón, violín

Since its creation in 2000, Taller Sonoro has tirelessly advanced in two main directions, the interpretation of the latest and most radical music in its aesthetic proposal, with the aim of offering it to the Spanish and international public with the highest degree of rigor and commitment; and support for young composers, offering the group itself as a useful and professional tool to fully develop their creative bet. The deployment of these two lines of action has been unstoppable in the last decade as it has been proven in a regular way in the Ciclo de Música Contemporanea in Seville and Granada from 2002, in seasons of CDMC at the Museo Reina Sofia Art Center, 2006, 2007 (and soon 2012), in the Ciclo de Música Comtemporanea in Córdoba (2005), the Ciclo de Música Contemporanea Orquesta Sinfónica of Malaga (2007), the Festival de Música Contemporanea of Alicante (2008), the Quincena Musical of San Sebastian (2006) and festivals KLEM (Bilbao, 2009) and ENSEMS (Valencia, 2010) … landmarks of an Iberian Peninsula which also lists the names of Almería (Ciclo de Música de Cámara of Unicaja), Santander (Universidad Internacional Menendez Pelayo), Murcia (II Festival de Música Contemporanea in Molina de Segura) and, again, Madrid (Auditorio Nacional de Musica). Simultaneously, the international diffusion of the activity of Taller Sonoro has been one of its prime objectives, contributing to the knowledge of current Spanish repertoires in European scope- Cycle OPUS 5.1 (Bordeaux, 2005), Cycle “Spirals” ( Paris, 2005), Hochschule für Musik (Frankfurt am Main, 2005), Instituto Cervantes Berlin (2006, 2007) and Bremen (2007), Colegio de España and Instituto Cervantes de Paris (2007), Theatre Quartz (Brest, 2008) Academia de España in Rome (2010) and recently in the Vienna Musikverein (May 2011) and, singularly, it is a group of remarkable presence in Latin American latitudes, from Peru (Festival de Música Contemporanea in Lima, 2007 and 2008) to Mexico (Festival Múisca contemporanea in Morelia, 2010) and Argentina (2011). Certainly, the collaboration with other musical groups and access to the recording market decisively enriches the contribution of Taller Sonoro to the national scene: with several projects in which the group has collaborated with the Ensemble Organum Marcel Peres and the Ensemble Gilles Binchois conducted by Dominique Vellard, the phonographic presence of our group covers monographs devoted to composers such as José María Sánchez-Verdú, Juan Cruz and Cesar Camarero, within the first edited series by Anemos in 2009 – as well as two live recordings devoted to the work of David del Puerto (Sendesaal, Radio Bremen, 28/11/2007) and finalists composers Premio Fundación de Autor SGAE (Auditorio 400, National Museum Art Centre Reina Sofia, 12.03.2007). Moreover, the pedagogical work of Taller Sonoro and its collaboration with the promotions of younger composers has been a fundamental constant in its career: thus in 2005 at the Hochschule für Musik in Frankfurt am Main and between 2004 and 2006 as resident group in the Curso Internacional de Analisis y Composición de Villafranca del Bierzo ( International Course on Analysis and Composition ), led by Cristóbal Halffter, and, in very significant way , the group is a fundamental part of the activities of the Chair of Composition “Manuel de Falla” in Cádiz promoted by Junta de Andalucía since 2004, which has become Taller Sonoro into a regular group in the planning of Festival de Música Española which is held annually in the Andalusian city. As evidence of this interest in direct and intimate contact with the composers at an early stage of professionalization, Taller Sonoro has undertaken several projects in recent years, currently valid thus, in 2008 established the position of “Resident Composer “, annually renewed and has already gone to Joav Pasowsky, Victor Ibarra and Christian Morales, and that in the same year the organization started an annual course, the “Taller Instrumental de Múisca Actual” (TIMAC), aimed at conservatory students and teachers in order to familiarize them with the current repertoire. Finally, Taller Sonoro, which since 2008 is managed from the promotional, administrative and artistic point of view by the company Ensemble Sonoro S. L. – has not forgotten the research, analysis and theoretical thoughts on the contemporary music: with more than twenty thousand visitors annually, the online magazine Espacio Sonoro, included since 2004 in the band’s website (www.tallersonoro.com) which is held every four months, it has become an essential reference for music lovers and for professionals who are interested in the sonic adventure of our time. Plural lines thrown into the future: in recent months, one of the initiatives received with greater expectations has been the creation of the Laboratorio de Música Electrónica de Andalucia Taller Sonoro (Laboratory of Electronic Music) (LEMAts), with the intention of making it an essential tool in our country for the composition of electronic music, both acousmatic and mixed, opened , like the instrumental group, to young composers. This is not, obviously, the only ajar door: We are aware of the necessity for opening horizons of repertoire, Taller Sonoro expects, in shortly, to make its staff more flexible; based on the initial organic-seven instrumentalists, held since its foundation- for specific projects in which the group will count on outside conductors ad hoc and visual artists who complete comprehensive proposals, so seductive in sound,spatial and visual fields, with the decisive addition of the fruits of LEMAts. These are our proposals and our renewed hope, based in a reality which is more than a decade behind but we only consider as the necessary impulse for further and more profound accomplishments.








Für die Instrumentenleihen danken wir insbesonders:
Geigenbau Thomas Bellwald, Visp (Streichinstrumente)
Musikgesellschaft Vispe, Visp (Schlagwerk)
Jonas Imhof, Naters (Schlagwerk)




Integrations kontextualisiert das Neue Musik-Ensemble anhand von spezifischen Auftragswerken und Improvisationskonzepten neu. An den Konzerten in Leuk beteiligen sich Manuel Mengis, Hanspeter Pfammatter, Yannick Barman, UMS 'n JIP der österreichische Komponist Wolfgang Mitterer sowie die Ensembles Taller Sonoro Sevilla und dissonArt Thessaloniki.





Panayiotis Kokoras (Pandora's Box, world premiere, 20.5.18)

(Greece, 1974) studied composition with I. Ioannidi, K. Varotsi, A. Kergomard and classical guitar with E. Asimakopoulo in Athens, Greece. In 1999 he moved to England, for postgraduate studies where he completed his MA and PhD in composition with T. Myatt at the University of York with funds from Arts and Humanities Research Board (AHRB) and Aleksandra Trianti Music Scholarships (Society Friends of Music) among others. His works have been commissioned by institutes and festivals such as FROMM (Harvard University) IRCAM (France), MATA (New York), Spring Festival (The University of York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), and regularly performed in over 400 concerts in 70 cities around the world. His compositions have received 40 distinctions and prizes in international competitions among others Prix Ars Electronica 2011 (Austria), Métamorphoses 2010 & 2000 (Belgium), Giga-Hertz Music Award 2009 (Germany), ECPNM 2009 (Sweden), Bourges 2009, 2008 and 2004 (France), Gianni Bergamo 2007 (Switzerland), Pierre Schaeffer 2005 (Italy), Musica Viva 2005 and 2002 (Portugal), Look and Listen Prize 2004 (New York), Gaudeamus 2004 and 2003 (Holland), Jurgenson Competition 2003 (Russia), Seoul international competition 2003 (Korea), Takemitsu Composition Award 2002 (Japan), Noroit Prize 2002 (France), CIMESP 2002 (Brazil). Moreover, they have been selected by juries at more than 100 international call for score opportunities. Panayiotis Kokoras sound compositions develop functional classification and matching sound systems written on what he calls Holophonic Musical Texture. His works include significant influences of the electroacoustic studio upon acoustic instrumental compositions and vice versa. Panayiotis Kokoras' creative output consists of 50 works ranging from acoustic works to mixed media, improvisation and tape. He is founding member and currently Vice President of the Hellenic Electroacoustic Music Composers Association (HELMCA). He has taught at the HigherTechnological and Educational Institute of Crete and the Aristotle University of Thessaloniki. Since August 2012 he is Assistant Professor at the University of North Texas. His music is published in 30 CD compilations by Spectrum Press, NOR, Miso Musica, SAN / CEC, Independent Opposition Records, ICMC2004 and distributed in limited editions by LOSS, Host Artists Group, Musica Nova, Computer Music Journal (MIT Press), Dissonance Records and others.



Jose Manuel Martinez (Monologo de Cientos Yo, world premiere, 21.5.18)

José Manuel Martínez de la Torre (Jaén, 1987) studied composition and musicology at the CSM Manuel Castillo in Seville. As a composer, he manifests a growing interest in interdisciplinarity and the concept of space. In 2011 he collaborated with some electroacoustic musical backgrounds for the theatrical piece "Ensayo sobre uno mismo" by Raúl Pérez, selected at the Festival International et Universitaire des Arts de la Scène de l'Artois, and for the 26th Interuniversity Festival of Live Show of Lille, successfully performed in both cities. A year later, again at the Artois Festival, he also composed an electroacoustic background for the work Nasz Dom by the Polish Nana Cwujdzinska and the French Remy Cartier. Since 2012 he is in charge of the production and electroacoustic support of the spanish vocal ensemble ProyectoEle. He performs his acousmatic pieces in 10 collaborative projects: Chansons", "Dream" (directed by Michael Thomas), “Nordavind”, “Litany for the soul”, “…but listen”, “4”, “La luz vislumbrada”, “De mitos y sortilegios”, “Dadá music room” (in which he premiered two own works for voice and tape as soundtrack for two dadaist short films) and “Minimal”. In 2017 he was selected for the composition course Cátedra Manuel de Falla, with Leo Brouwer as guest professor. There, he premiered the work Sillage, Op. 50 for violin and piano (performed by Taller Sonoro). As a musicologist, his studies focus on the study of space and concert ritual, breaking with traditional paradigms, considering it like elements of distortion in the communicative process of art. Their aesthetic proposals consider that the artistic work exists at the moment of the interaction with the receiver (in the sensorial experience). He believe that the listener is who have to complete the semantic meaning that the art itself in its physical representation does not have.


José María Ciria (Anon Murus, 2016, 20.5.18)



César Camarero (Reverso II, 2001, 20.5.18)



Javier Hagen (eeeeiio-dklmrr, eeeeii-dhlnr, world premieres, 20./21.5.18)



Improvisationen (19./20./21.5.18)