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X-WR-CALDESC:Events for ICMC HAMBURG 2026
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TZID:Europe/Amsterdam
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DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T173000
DTSTAMP:20260427T105900
CREATED:20260421T182814Z
LAST-MODIFIED:20260421T190152Z
UID:10000187-1778756400-1778779800@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:Makuta\nFelipe Otondo \nMechanization\nYu-Cheng Huang \nSpazio di accumulazione\nLeo Cicala \nThe Lament of Prince Hamlet\nChen Mu Hsi \nThe Throat of the Earth\nYe Peng \nTime Crystal Structure II\nHe Jing \nTriangle\nRay Fields \nUndercurrents\nAntonio Scarcia \n蜜蜂之后\nLia Su \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-2-4/
LOCATION:Hamburg University of Technology\, Building A (A 0.14)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T173000
DTSTAMP:20260427T105900
CREATED:20260421T185520Z
LAST-MODIFIED:20260421T185520Z
UID:10000182-1778756400-1778779800@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Dream Voyager: A Pilgrim of the Infinite\nZoe Yi-Cheng Lin \nMotes of Time\nYuming Sun \nEaves Verse\nShunhang Huang \nFulgore for audiovisual\nTakeyoshi Mori \nFusion of Horizons\nChi Wang \nIntertwine\nJohn Thompson \nNeon Reverie (ver. 2)\nWoon Seung Yeo and Ji Won Yoon \npORCELAIN\nDave O Mahony \nStellar Vibrato\nXingle Zhang \nStringDance: Ripples\nOuyang Mingshan \nVibe Higher (ver. 3)\nJi Won Yoon and Woon Seung Yeo \nWaves\nBike Öner \nOf Clouds and Clocks\nTom Williams
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-1-4/
LOCATION:Hamburg University of Technology\, Building A (A 0.18)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T120000
DTEND;TZID=Europe/Amsterdam:20260514T140000
DTSTAMP:20260427T105900
CREATED:20260415T122311Z
LAST-MODIFIED:20260417T115252Z
UID:10000122-1778760000-1778767200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Rehearsal & Concert Visit for Families
DESCRIPTION:Photo: Max Henschel\n  \nWhat does contemporary music sound like? What happens during the rehearsals? And what challenges might occur? We’ll look into these questions during rehearsal and concert visit for families.  \nFor families with children aged 7+\nRegistration required here \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n 
URL:http://icmc2026.ligeti-zentrum.de/event/off-icmc-rehearsal-concert-visit-for-families/
LOCATION:Hamburg University of Technology (TUHH)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Music,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T133000
DTEND;TZID=Europe/Amsterdam:20260514T150000
DTSTAMP:20260427T105900
CREATED:20260421T162627Z
LAST-MODIFIED:20260423T122046Z
UID:10000093-1778765400-1778770800@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 4A
DESCRIPTION:Concert 4A marks a special moment of collaboration between Hamburg’s local music scene and international composers. A particular highlight are two world premieres written especially for the renowned Hamburg-based double bassist John Eckhardt. Known for his explorations at the boundaries between new music and sound art\, Eckhardt here pushes the sonic extremes of his instrument in dialogue with the computer.\nAlongside the focus on the double bass\, the audience can expect a journey ranging from “electroacoustic romanticism” to AI-driven violin improvisations. \n  \nProgram Overview\nULYSSES II\nRoberto Cipollina and Eleonora Podestà \nThe Week\nHenrik von Coler \nEmpress Luo\nYao Hsiao \nconfim\, assim\, sem fim\nRodrigo Pascale \nThe Water lily in the blaze\nNatsuki Kambe \nLa Nuit Bleue\nZhixin Xu and Yunze Mu \n  \nAbout the pieces & artists\nRoberto Cipollina & Eleonora Podestà: ULYSSES II\nUlysses 2 is a project conceived by composer Roberto Cipollina. The work serves both as a performative and technological exploration of real-time performer-machine interaction\, emphasizing the role of AI not as a passive tool\, but as an active and adaptive musical agent within the creative process.\nThe work is conceived as a closed-form improvisational structure for acoustic instrument and real-time interactive electronics\, developed specifically to explore the creative potential of artificial intelligence in relation to the performer’s improvisation.\nAt the core of Ulysses 2 is the integration of Somax2\, a real-time generative system developed within the Max environment\, which enables responsive electronic behavior through the analysis and transformation of live performance data.\nWhile the project fully embraces aleatory elements and the concept of extemporaneity\, it also adheres to an organized formal structure that guides its overall development. In fact\, the performer engages with a series of prompts provided by the composer\, ensuring a coherent trajectory.\nThe electronic component\, built from a database of sampled sounds recorded by Eleonora Sofia Podestà\, responds and adapt to the performer’s expressive gestures in real-time. Through Somax2’s processing\, the system generates musically congruent textures and transformations.\nThis piece highlights the software’s ability to translate performance parameters into musically coherent electronic answers\, fostering a dynamic and co-creative dialogue between human performer and machine intelligence. \nAbout the artists\nRoberto Maria Cipollina is a composer and researcher in immersive technologies applied to music\, whose works have been performed across Europe and America. His compositions include A Lover’s Tale (2018)\, Alchimie (2020)\, Lu Re d’Amuri (2022)\, and Al-Qantarah (2024). Author of two musicological books and lecturer on palazzi della memoria in music\, artificial intelligence\, and virtual reality\, his works are internationally performed and published by Da Vinci Records. \nEleonora Podestà \n  \nHenrik von Coler: The Week\nOne Week is an acousmatic composition that integrates a staged reading in live performance. Drawing on an introspective autobiographical text\, it reflects on emotional states and personal experiences during periods of transition and uncertainty. The work may be understood as a form of Electroacoustic Romanticism: in line with the 2026 ICMC theme\, One Week translates romantic ideas into the language of electroacoustic music. In doing so\, it explores a balance between technological investigation and personal expressivity. At the same time\, the piece seeks to reach a broader range of listeners by foregrounding emotional engagement and incorporating a contemporary text that resonates with present-day cultural contexts. \nThe tape part of One Week is constructed from autobiographical field recordings combined with analog signal processing and experimental sound synthesis. In addition to conventional contemporary techniques\, the production draws on echo chambers\, analog and digital tape machines\, and vintage synthesizers and effects units. This process produces dense\, noisy\, and organic timbres and textures while consciously engaging with recognizable tropes of acousmatic music. During performance\, the tape part is live-diffused by the composer. Delivered in Ambisonics (up to seventh order)\, the work can be realized on a wide range of spatial sound systems\, in both 2D and 3D configurations. \nThe staged reading is performed by a musician and multimedia artist zl!ster\, who collaborated closely with the composer to refine the original text for performance. Through this revision\, the text is reshaped for the present moment while remaining anchored in the work’s autobiographical framework. \nAbout the artist\nPerformer: zl!ster is a Panamanian-American artist based out of Atlanta\, Georgia. His music embodies self-exploration through misinterpretations and exaggerations of real life. At times\, his work is a direct reflection of self; at others\, it is distorted\, shaped more by perception than reality. Rooted in curiosity and at times bravado\, his music lives in the realms of alternative rap and indie rock. \nComposer: Henrik von Coler is a musician and researcher\, working at the intersection of art\, science and technology. In 2024 he founded the Lab for Interaction and Immersion (L42i) at Georgia Tech’s School of Music. Before that he was the director of the Electronic Music Studio at TU Berlin and head of the Computer Music Team at the Audio Communication Group. In his research and creative work\, Henrik has explored various aspects of electronic music and musical instruments. This includes interface design\, algorithms for sound generation and experimental concepts for composition and performance. Most of his projects treat space as an integral part of music. In 2017 he founded the Electronic Orchestra Charlottenburg – an ensemble of up to 12 electronic musicians – to explore music interaction on immersive loudspeaker systems. He has since worked on ways to enhance how musicians and audiences experience spatial music and sound art. \n  \nYao Hsiao: Empress Luo\nxxx \nAbout the artist\nxxx \n  \nRodrigo Pascale: confim\, assim\, sem fim\n“confim\, assim\, sem fim” was composed in 2024 during the Laboratorio de Composición Mixta of Resonancias Iberoamericanas. It is dedicated to the Festival Expresiones Contemporáneas and to Francisco. This composition explores the concept of infinity within limited systems.\nThe pre-compositional research involved extensive explorations of harmonies based on mathematical ratios. I established a structure featuring 15 harmonies\, beginning with two frequencies at a ratio of 16/15. Each subsequent harmony added a new frequency derived from the initial ratio\, multiplied by a series of ratios following the sequence [16/15\, 15/14\, 14/13\, 13/12\, 12/11\, 11/10\, 10/9\, 9/8\, 8/7\, 7/6\, 6/5\, 5/4\, 4/3\, 3/2\, 2/1]. Notably\, some harmonies—including the second—utilized this sequence in reverse. For instance\, the ratio [15/14] was employed as the foundation for the first two frequencies\, while the third harmony emerged from multiplying [15/14] by [16/15]\, yielding [8/7].\nThe forward sequence often led to more dissonant harmonies\, while the backward sequence inclined towards consonance\, and I frequently juxtaposed the two. An exception occurred between harmonies 13 and 14\, where both utilized forward sequences to create heightened tension\, concluding in a consonant 15th harmony. The sequence employs a set of regressive numbers\, each divided by its preceding integer. This approach allows for the potential to extend beyond 2/1 to 1/0\, thus engaging with a well-known mathematical problem. As the results of division increase when the denominator decreases\, division by zero is said to “tend to infinity.”\nIn this exploration\, I realized that the logical conclusion of the composition was to approach infinity musically. However\, I confronted the challenge that the double bass can only produce a finite range of sounds\, and that the human hearing spans approximately from 20 Hz to 20 kHz. Faced with this problem\, I sought solutions that transcended the confines of the system itself. This led me to investigate how the limitations of our auditory perception could be brought to the forefront\, creating illusions of seemingly ever-rising glissandi and of rhythm turning to pitch. The transformation of percussive sounds into frequencies and the use of Shepard tones played a crucial role in this composition.\nconfim\, assim\, sem fim delves into the boundaries of auditory perception\, aiming to investigate the concept of infinity within limited systems. This composition begins with a sequence of harmonies\, where subtle facets of infinty aer explored through the techniques of the double bass. In its culminating section\, the work unveils the full potential of this exploration by incorporating exceptionally high frequencies and an enduring reverberation\, creating an immersive sonic landscape that invites listeners to experience the infinity within these media. \nAbout the artist\nRodrigo Pascale (b. 1996) is an internationally awarded Brazilian composer whose works have been performed worldwide by leading ensembles including JACK Quartet\, ICE\, MCME\, Splinter Reeds\, loadbang\, Hypercube\, Hinge\, and Sound Icon. A Prix CIME 2025 recipient and Gaudeamus Award 2026 Finalist\, he is pursuing a DMA at Peabody and has studied with Haas\, Kampela\, Fineberg\, Wubbels\, and Hersch. \n  \nNatsuki Kambe: The Water lily in the blaze \nI attempted to compose a piece that makes use of the wide range and rich timbral possibilities of the contrabass. In addition to the instrument’s inherent variety of tone colors\, I further explored new sounds through live electronics.\nThe low register conveys a powerful\, flame-like energy. The high register\, produced through flageolet harmonics\, has a beautiful tone with a delicate charm reminiscent of water lilies. These two contrasting elements are brought together into a single image: a burning sunset reflected on a pond\, and water lilies blooming in its shadow.\nIn Max\, I used TR.lib by Professor Takayuki Rai. Throughout the piece\, grbFM is used extensively: in the low register it generates noise such as quarter tones\, while in the high register it creates chordal textures inspired by the Japanese traditional wind instrument shō.\nI would like to express my heartfelt gratitude to Professor Takayuki Rai for the many valuable suggestions he provided during the creation of this work. \nAbout the artist\nNatsuki Kambe was born in 2004 in Yokohama\, Japan. They began studying piano at the age of five and started composition studies with Kazuo Mise at the age of fifteen. In 2020\, she graduated from the Music Department of Toho Girls’ High School.\nIn the same year\, they entered Toho Gakuen College of Music as a composition major and are currently a third-year student (as of January 2026). Since April 2024\, she has been studying computer music under Takayuki Rai. \n  \nZhixin Xu and Yunze Mu: La Nuit Bleue\nLa nuit bleue is a piece written for solo harpsichord and live electronics. After three years of harpsichord study\, I had a strong thought in my mind that write a piece for harpsichord and live electronics. After the spectral analysis of the harpsichord sound as well as look through some pieces like Saariaho’s Jardin Secret II and Cage’s HPSCHD\, I realized that live spectral processing of this kind of idiophonic sound would be a big challenge because of the broad frequency distribution in spectrum. So\, I decided to use both fixed sounds and live processed sounds in the electronic part. Jardin Secret II and HPSCHD inspired me a lot while looking for sounds for electronics. Both of them contain noisy and glitchy sound in the tape part which are homogenies to harpsichord sound in some aspect\, although somehow radical for the time they were composed\, they worked well for harpsichord sound. With this idea\, I set the tone of the timbral character for this piece. \nAbout the artist\nZhixin Xu is a composer\, sound artist and computer music researcher based in Shanghai\, China. His compositions often involving electronics\, sometimes generated by the software he develops. Much of his recent music has been focused on exploring how purely computer-generated sound materials can be used along with musical instruments and purely acoustic sounds. His music and multimedia works have been heard in the U.S\, Europe and Asia on many events including ICMC and SEAMUS conferences.\nXu holds a Doctor of Musical Arts degree from the University of Cincinnati’s College-Conservatory of Music where he studied with Mara Helmuth\, and earlier degrees from CCM and the Shanghai Conservatory of Music. He is now assistant professor at Shanghai Jiao Tong University. His compositions are available on the ABLAZE label. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-4a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T180000
DTEND;TZID=Europe/Amsterdam:20260514T190000
DTSTAMP:20260427T105900
CREATED:20260415T122709Z
LAST-MODIFIED:20260421T201118Z
UID:10000123-1778781600-1778785200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Radioballett | Körperfunkkollektiv: "Fragment"
DESCRIPTION:Photo: Felix Konerding\n  \nRadioballett is an interactive performance that draws you into another world through wireless headphones\, where you and other participants can actively shape the space together.  \nThe piece “Fragment” explores the boundaries between private and public life through human experiences in both real and virtual worlds. It invites everyone to reflect on the balance between digital and “offline” existence and to engage with the interplay between social interaction and online networks. \nregistration required here \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n 
URL:http://icmc2026.ligeti-zentrum.de/event/off-icmc-radioballet-korperfunkkollektiv-fragment/
LOCATION:Town Hall Square Harburg\, Harburger Rathausplatz 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Music,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T190000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260427T105900
CREATED:20260421T163025Z
LAST-MODIFIED:20260422T124019Z
UID:10000096-1778785200-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 4B
DESCRIPTION:Concert 4B presents the full range of contemporary computer music in a chamber ensemble setting. Ensemble 404—Hamburg’s specialists in new music—navigates a program that spans highly spatialized sound worlds to audiovisual metamorphoses.\nExperience how physical instruments meet the precision of algorithms\, creating new hybrid identities in the process. \n  \nProgram Overview\nKryptobioza\nLidia Zielinska \nTide\, breath\nZihan Wang \nEverybody Loves Me\nHoward Kenty \nPresent-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nNaotoshi Osaka \nComing and Vanishing \nYixuan Zhao \nZusammenspiel I\nJavier Alejandro Garavaglia \nVesscape\nDanni Zhao and Congren Dai \n  \nAbout the pieces & artists\nLidia Zielinska: Kryptobioza\nCryptobiosis is a reversible\, temporary state of extreme reduction in life activities of a composer\, as a response to unfavourable environmental conditions. \nAbout the artist\nLidia Zielinska (*1953) – Polish composer\, professor-emeritus of composition and director of the Electroacoustic Music Studio at the Poznan Academy of Music; numerous awards for orchestral\, multimedial\, electroacoustic works; books\, papers\, guest lectures\, summer courses in Europe\, both Americas\, Asia\, New Zealand; vice-president of the Polish Society for Electroacoustic Music. \n  \nZihan Wang: Tide\, breath\nThis work integrates spatialised fixed-media electronic music with semi-improvised acoustic instrumental performance. Animated scores and sound scores are employed to guide performers and to synchronise their actions with the electronic sections. The compositional focus is spatial counterpoint which extending the interplay of traditional contrapuntal voice relationships into three-dimensional space. This approach generates perceptible parallels\, interweaving\, imitation\, and conflict between instrumental and electronic elements through the parameters of position\, distance\, diffusion\, and timbre. Spatial attributes therefore function as primary compositional parameters rather than post-production effects.\nThe work is inspired by reflections on the macro and micro-structures of two kinds of sound: human crowds and natural environments. Through extensive field recording\, I observed a shared underlying principle: both soundscapes arise from the continuous accumulation and interaction of innumerable micro-sonic events\, producing macro-level shifts in energy\, fluctuations in density\, and emergent directional tendencies. For example\, footsteps\, conversations\, breathing\, and whispers in a crowd collectively form an ever-shifting granular timbre. Similarly\, natural sounds such as rain\, wind\, rivers\, and flocks of birds can exhibit comparable behaviours. This work seeks to establish a perceptual and structural connection between these two sound worlds through electronic composition. \nAbout the artist\nZihan Wang is an electroacoustic music composer\, film composer\, and sonic artist. He is currently a post graduate research student at Monash University\, Melbourne\, Australia\, where his work investigates compositional strategies for ambisonics-based environments. His research engages with Robert Normandeau’s concept of timbre spatialisation and Denis Smalley’s theory of spectromorphology\, with a particular emphasis on timbre\, spatial articulation\, and electroacoustic composition. His creative practice includes fixed-media electroacoustic works\, sound installations\, animated score composition\, and film scoring. His work has been presented at venues and conferences including TENOR 2025 and the Melbourne International Film Festival (MIFF). \n  \nHoward Kenty: Everybody Loves Me\n“Everybody Loves Me” is a piece for voice\, percussion\, and live electronics that takes the words of Donald Trump as its only source material to depict a hellish kinetic nightmare. For this incarnation\, I would be the vocal performer\, and control the electronics onstage. I would need a percussion performer and the percussion itself to be provided by the festival. \nAbout the artist\nHowie Kenty is a Brooklyn-based composer and performer\, occasionally known by his musical alter-ego\, Hwarg. His music\, called “remarkable” with “astonishing poetic power” (Intl Compendium Prix Ars Electronica)\, is stylistically diverse\, encompassing ideas from contemporary classical\, electronic\, rock\, and ambient genres\, as well as sound art\, political issues\, and visual and theatrical elements. Howie is an Assistant Professor in Studio Composition at Purchase College. Listen at http://www.hwarg.com. \n  \nNaotoshi Osaka: Present-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nIto Jakuchu (1716–1800) was a mid Edo period Japanese painter renowned for his brilliantly colored depictions of plants and animals. I have long been fascinated by his works. There was a time when I myself collected butterflies\, and I was deeply captivated by the designs and patterns on their wings. This piece is inspired by those wing patterns\, transforming their visual designs into musical imagery. Jakuchu also painted butterflies\, and with the idea of composing as if I myself were Jakuchu painting a picture\, I titled this work as part of my “Present-Day Jakuchu” series.\nWhen visual and auditory perception are viewed at a higher level of abstraction\, they share many common qualities. In this work\, the visual impressions of the butterfly are linked to the sounds and musical structure.\nInachis io (The European Peacock Butterfly) has eye spot patterns on a reddish brown ground\, reminiscent of a peacock’s feathers\, which gives the species its name. Although it is not found in North America\, South America\, or Oceania\, it is widely distributed across the Eurasian continent\, including Europe and Asia. Many butterflies of the Nymphalidae family are elegant in appearance\, and this species is no exception; it can be seen in many places. In the composition\, I developed the music around two motifs: the background coloration and the eye spot patterns. Unlike my previous work\, this piece does not depict flight or resting behavior; instead\, it focuses solely on the coloration and patterns visible when the wings are fully spread.\nThis piece was originally written in 2023 for violin and piano. For this performance\, it has been newly expanded with an added electroacoustic part\, making this the premiere of the updated version. The electroacoustic materials were created as fixed media\, primarily using granular synthesis and FM synthesis. However\, the sound files are structured as passage level cues\, and their playback timing is performer controlled and triggered in real time. \nAbout the artist\nNaotoshi Osaka received his Master’s degree from Waseda University and\, after working at NTT Laboratories\, has pursued research and composition in electroacoustic music. His works have been selected for the ICMCfive times\, and for the New York City Electroacoustic Music Festival (NYCEMF)three times. He served as President of the Japan Society for Sonic Arts (JSSA) from 2009 to 2018. He is currently a research fellow at Waseda University and Tokyo Denki University\, holds a Ph.D. in engineering\, and is Professor Emeritus at Tokyo Denki University. \n  \nYixuan Zhao: Coming and Vanishing  \nComing and Vanishing is an Audiovisual work for solo flute and electronics that explores a transient and unstable phenomenon.\nThe flute interacts closely with the electronic layer through air sounds\, breath tones\, and extended techniques. Pitch and noise are deliberately blurred\, allowing the instrument to function not as a melodic foreground but as a fluctuating presence. The electronic part is primarily built from processed human whispers and breaths\, materials detached from linguistic meaning. Through subtle layering and diffusion\, the voices lose semantic clarity and become abstract sonic matter. Acoustic and electronic sound exist in a continuous state of mutual negotiation\, shaping and destabilizing one another in real time.\nThe visual draws inspiration from traditional Chinese landscape painting while incorporating a surrealist sensibility. Through gradual transformations of light and shadow\, the imagery reveals and amplifies microscopic details within the sound. Rather than illustrating the music\, the visuals function as a parallel perceptual layer\, extending the listening experience into a spatial and visual field.\nSound and visual are not merely layered media\, but revealing a dynamic process\, existing only within the persistent tension between appearance and disappearance\, presence and loss\, immediacy and dissolution. \nAbout the artists\nComposer: ZHAO Yixuan is a composer\, a lecturer at the Dept. of Music AI and Music Information Technology\, Central Conservatory of Music\, China\, and a visiting researcher at the Royal Birmingham Conservatoire\, UK.\nShe has been dedicated to exploring the practice of digital audio and artificial intelligence in music composition and collaborating with performers to search for more possibilities in technological performance environments. Her composition spans interactive music\, electroacoustic music\, contemporary music\, and new media art. \nVisual Designer: WU Shuangqi (/’su:ki/) is an inter-media creator and visual-physical experimenter engaged in visual media\, contemporary theatre\, physical improvisation\, visual design\, sound\, audiovisual\, photography\, editing\, etc.\nHer creations are mainly based on physical experience\, deconstructing and visually outputting the body and external information\, intending to explore the assembly\, pattern\, motivation and form in the algorithms of flesh and behaviour\, to gain extension in perversion and mutation. \n  \nJavier Alejandro Garavaglia: Zusammenspiel I\nElectroacoustic composition in which a live viola and a live clarinet (in A) are combined with spectral digital DPS effects and multi-channel spatialisation in 8.1 surround sound. The latter applies Ambisonics (4th order) in real-time added to a system developed by the composer and documented in several international papers and articles (including MIT’S Computer Music Journal). \nAbout the artist\nAward-winning composer\, violist\, sound artist and retired university music professor with a broad and interdisciplinary approach to digital art and related technologies. His work focuses primarily on various aspects of music/sound composition and performance supported by computing\, with a constant search for new sonic experiences combining new developments in computer-aided sound synthesis\, live interaction\, extended instrumental techniques and sound spatialisation. Compositions are performed/broadcast in Europe\, America and Asia in world-renowned concert halls/broadcasters and include electroacoustic music (acousmatic\, interactive\, multimedia)\, instrumental music (e.g.\, solo instrument\, ensemble & orchestra) and sound art (e.g.\, installations). Plenty of his acousmatic music can also be found on commercial CDs by Edition DEGEM\, Cybele\, EMF\, etc. \nInfo: https://tinyurl.com/JavierGaravaglia \n  \nDanni Zhao and Congren Dai: Vesscape\nThis work repeatedly performs the same action: pouring sound into a hollow system. \nThe breath of the flute is not treated as lyrical material\, but as a continuously failing act\, namely\, blowing\, gasping\, breaking\, and losing control. Pitches emerge again and again\, yet never settle. The electric bass introduces low-frequency pressure and inertia\, an irresistible downward pull that keeps the entire sound field at the edge of overload. \nA live electronic system analyses the performed sound using AI\, distributing features such as breath\, impact\, and pitch deviation across multiple “vessel” sound sources and visual entities. In its touring performance version\, the original vessel installation has been translated into an 8.1 spatial audio field\, allowing the acoustic presence and directional behavior of the vessels to be simulated through multichannel diffusion. These vessels are not metaphors for containers; they function as receivers of pressure\, being filled\, stretched\, and forced into vibration. The harder the music pushes\, the more unstable the vessels become; when the performer attempts to regain control\, the system exposes even more fractures. \nThe structure begins with an almost violent injection of energy\, gradually shifting into a direct confrontation between body and object. Unstable registers and microtonal deviations are continuously amplified; rhythm is fragmented into dense\, short bursts of broken gestures\, until the system briefly collapses. In the end\, sound is exhausted\, leaving only residual breath and unfinished pitch afterimages. \nThis is not a work about “generation”. It is a sustained experiment in pressure\, control\, capacity\, and limits. The system never truly responds to the performer; it merely records how pressure fails\, again and again. \nAbout the artists\nDanni Zhao is a Chinese composer and electronic music artist. She studies Electronic Music Composition at the Central Conservatory of Music\, where she received the National Scholarship and recommendation for postgraduate study. Her works have won awards at international composition and electronic music competitions and have been presented at events such as ICMC and major music festivals. She is active in concert music\, film\, documentary\, theatre\, and game scoring. \nCongren Dai is a PhD candidate at the Central Conservatory of Music\, specialising in Music AI. He holds an MRes in AI and Machine Learning from Imperial College London and an MSc in Data Science from King’s College London. Having interned in computer vision at Google and engaged in music AI projects at Huawei\, he now applies Large Language Models to musical score understanding and instrument recognition in his research\, alongside contributions to continual learning. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-4b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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DTSTART;TZID=Europe/Amsterdam:20260514T213000
DTEND;TZID=Europe/Amsterdam:20260514T233000
DTSTAMP:20260427T105900
CREATED:20260421T163434Z
LAST-MODIFIED:20260423T122902Z
UID:10000069-1778794200-1778801400@icmc2026.ligeti-zentrum.de
SUMMARY:Club Concert 4C
DESCRIPTION:Program Overview\nMerzmania\nGintas Kraptavicius \nImprovisation for Spheres \nCalvin McCormack \nMarsia 3\nJonathan Impett \noscheat\nMoritz Wesp\, Eric Haupt and Victor Gelling \nThe Skin of the Earth: Fragments\nPaulo C. Chagas \nThe Long Now III \nCat Hope and Juan Parra Cancino \nTape Speed and Feedback\nAndrew Loveless \n  \nAbout the pieces & artists\nGintas Kraptavicius: Merzmania\nElectroacoustic live electronics performance made using my own created instrument made from computer\, Plogue Bidule software & midi controller assigned to VST plugins. All software parameters controlled\, altered live in a real time during performance using knobs & sliders of midi controller attached to VST plugins parameters. Performance made from synthesized sounds\, no samples or before recorded sounds as fields’ recordings are used. Merzmania it is piece connecting classical music skills with today noise music (slight allusion to noise icon – Merzbow). Merzmania main playing method is real time interaction with computer which i am using on all my live compositions. I am using Computer as Music Instrument just like any other acoustic music instrument. Like a guitar. Onstage i get the same emotional feeling playing with computer as playing with any other acoustic/electric instrument. Main thing in a live performance it is energy and emotion to the pot like to rock’n’roll concerts. Merzmania featuring the motif of the Lithuanian folk song “Teka\, teka šviesi saulė” (“The sun is rising\, the bright sun is rising”). \nAbout the artist\nGintas K (Gintas Kraptavičius) a Lithuanian sound artist\, composer living and working in Lithuania.\nNowadays Gintas is working in the field of digital experimental and electroacoustic music\, making music for films\, sound installations. His compositions are based on granular synthesis\, live electronic\, hard digital computer music\, small melodies. Collaborations with sound artists @c\, Paulo Raposo\, Kouhei Matsunaga\, David Ellis and many others. He has released numerous of records on labels such as Cronica\, Baskaru\, Con-v\, Copy for Your Records\, Bolt\, Creative Sources\, Sub Rosa and others.\nSince 2011 member of Lithuanian Composers Union. He has presented his works\, performed at various international festivals\, conferences\, symposiums as Transmediale.05\, Transmediale.07\, ISEA2015\, ISSTA2016\, IRCAM forum workshop 2017 \, xCoAx 2018\, ICMC2018\,ICMC2022 ICMC2025 ICMC-NYCEMF 2019\, NYCEMF 2020 \, NYCEMF 2021\, NYCEMF 2022\, NYCEMF 2023\, NYCEMF 2024\, NYCEMF 2025\, Ars Electronica Festival 2020\,. Ars Electronica Festival 2023 Ars Electronica Festival 2024 . IRCAM forum workshop 2025 Paris Ars Electronica Forum Wallis 2025\, FARM 2025\nArtist in residency at DAR 2016\, DAR 2011 \, MoKS 2016\, KKKC 2023\nWinner of the II International Sound-Art Contest Broadcasting Art 2010 \, Spain.\nWinner of The University of South Florida New-Music Consortium 2019 International Call for Scores in electronic composition category. \n  \nCalvin McCormack: Improvisation for Spheres\nImprovisation for Spheres is a live electronic work for two custom spherical controllers with reactive visuals. Each sphere combines surface-embedded capacitive touch pads with an inertial measurement unit\, wirelessly transmitting sphere orientation and touch sensing. Each sphere sits in a chalice cradle\, with a ring of touch sensors embedded around the rim. The spherical form factor affords intuitive spatialization\, the sphere’s rotation corresponds to the sound’s position in ambisonics\, making spatial movement as immediate and embodied as pitch selection. Touch pads support expressive melodic and harmonic performance\, and skin-touchpad contact area allowing dynamic and timbral expression. The work explores the sphere as both instrument and spatializer\, where single gestures unite melodic\, timbral\, and spatial control. This audiovisual improvisation demonstrates how spatialization can be performed artistically rather than mixed\, elevated from post-production to real-time expression. \nAbout the artist\nCalvin McCormack is an MST student at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. His research focuses on accessible HCI and inclusive design for musical applications. He also conducts research in auditory neuroscience and plays jazz guitar. \n  \nJonathan Impett: Marsia 3\nThis is the final piece of a series written for the installation Apollo e Marsia in 2024. This work expands the moment in time represented by Tintoretto in his painting La gara tra Apollo e Marsia (c.1545). Apollo\, playing a bowed instrument with sympathetic strings\, has been challenged by the satyr Marsia\, playing a woodwind instrument\, to see who is the greater musician. Ovid’s retelling of the story describes a terrible end for Marsia\, but in the moment depicted by Tintoretto both musicians are waiting for the judgement of Midas\, both trying to remember and assess what they and their competitor have just played. \nThe piece is therefore a play on the nonlinearity of memory under stress as both try to replay the performances in their mind. Moments are recalled\, replayed or intrude\, but are always changing in their reconstruction. Memories of themselves and of the other constantly modulate each other. New constructs emerge in memory through this process\, and obsessive recall generates attractors and mirrors; we know from recent neuroscience that remembering and imagining are essentially the same reconstructive process. \nAt its root\, the material all derives from two hymns to Apollo inscribed in stone at Delphi\, arguably the earliest remaining instances of music notation\, and likewise fragmented by erasures. Across time\, musicians have attempted to reconstruct this partially-lost memory in different ways\, creating new formations in the process. \nHere\, the Delphic material is subject to layers of nonlinear memory process\, implemented in Open Music as forward- and backward-moving wave phenomena\, sweeping up emergent patterns as they develop. This produces a score that often requires the performer to assimilate a polyphony of musical materials and physical behaviours as layers of memory. Analogous processes are used in the recorded and live sound processing\, largely through physical modelling\, cross-resynthesis and filtering – digital and analogue. This is in turn heard through a model of the stringed instrument of Marsia’s opponent\, Apollo. An AI brings the live performance into relation with the behaviours\, memory and projection of both competitors. \nAbout the artists\nJonathan Impett (1956) is a composer\, trumpet player and writer. His work is concerned with the discourses and practices of contemporary musical creativity\, particularly the nature of the technologically-situated musical artefact. Activity in the space between composition and improvisation has led to continuous research in the areas of interactive systems\, interfaces and modes of collaborative performance. Recent works combine installation\, live electronics and computational models with notated and improvised performance\, using fluid dynamics as a unifying behavioural model. A new project Anamnesis takes a radical approach to AI\, identifying creative paths implied but unnoticed. He leads the research group “Music\, Thought and Technology” at the Orpheus Institute\, Ghent. \nRichard Craig (alto flute) was born in Glasgow. He studied at the Royal Conservatoire of Scotland and the Conservatoire de Strasbourg. He performs with groups such as Musikfabrik\, Klangforum Wien\, ELISION and in Scandinavia with CAPUT\, Kammarensemblen. He has released two solo discs of contemporary works\, Vale and Inward\, and recorded for Another Timbre\, Wergo\, FHR\, Métier\, as well as SWR\, BBC and Finnish Radio. Not only a celebrated advocate of contemporary music\, his recent album of the Telemann Fantasias and his improvisations was lauded as “bold\, beautiful and clever” (Gramophone). He is also an improviser\, composer and teacher\, currently Director of Performance at the University of Edinburgh. \n  \nMoritz Wesp\, Eric Haupt and Victor Gelling: oscheat\nThis contribution presents oscheat\, a work-in-progress OSC-based interface\, designed to extend ensemble communication beyond conventional musical gestures. By providing a modular and user-friendly environment\, oscheat allows performers to directly control each other’s digital instruments\, enabling novel forms of interaction\, role-sharing\, and emergent musical structures in real time.\nOur instrumental system is structured into three functional sections reflecting core musical building blocks: synthesizers for melodic and harmonic material\, sequencers for rhythmic organization\, and samplers for vocal and sound-based material.\nAdditional functionality includes real-time MIDI recording and looping\, pitch mapping with support for alternative tunings\, spatialization\, and global macro controls for large-scale structural manipulation. Each performer manages their instruments individually while making the controls accessible through oscheat.\nMoritz Wesp\, Eric Haupt and Victor Gelling are playing an eight-minute improvisation\, demonstrating oscheat’s potential for rapid musical exchange\, shared authorship\, and collective decision-making. By exposing critical control parameters to all participants\, the interface encourages social negotiation and flexible role allocation\, making it relevant for both creative research and educational contexts. \nAbout the artists\nMoritz Wesp lives in Cologne (GER) and plays trombone\, virtual trombone and other instruments that he designs\, programs and builds. As an improviser he is working with different ensembles like Mariá Portugal Erosao\, Matthias Muche’s Bonecrusher or the Simon Rummel Ensemble. Besides this he composes music and is part of the Audio-VR project SONA. \nEric Haupt is a guitarist and composer working in experimental music and punk. He completed his Bachelor of Music at the HfMT Cologne in 2018. He is a founding member of the ensembles Now My Life Is Sweet Like Cinnamon and Lawn Chair\, as well as the initiator of the experimental game-show performance Sport1. His music has been presented at festivals throughout Europe and collaborations include internationally renowned producers Olaf O.P.A.L. and Chris Coady. His punk compositions have been broadcast on international radio stations such as BBC Radio 6 Music. \nVictor Gelling is an improviser and composer who uses stringed instruments including but not limited to upright bass\, tenor banjo\, Pedalsteel- and Nonpedalsteel-Guitars in addition to pedals\, synthesizers and barely working self-coded computer programs to create sounds. Their work spans genres from jazz to noise to electric cowboy songs to complex music\, which culminates in their large ensemble works with Trash & Post-Chaotic Music\, their alt-country/post-punk alias Slowklahoma\, solo works or their playing in the Jorik Bergman Trio. \n  \nPaulo C. Chagas: The Skin of the Earth: Fragments\nAbout the artists\nPaulo C. Chagas is a Brazilian-American composer and Professor of Composition at the University of California\, Riverside. With over 220 works across orchestral\, chamber\, electroacoustic\, audiovisual\, and multimedia formats\, his work integrates advanced technology and expressive depth. He studied in Brazil\, Belgium\, and Germany\, earning a Ph.D. from the Université de Liège\, and was composer-in-residence at the WDR Electronic Studio. A Fulbright Scholar (Berlin\, 2022–23) and ICMA board member\, his work is widely performed and published.\nhttps://solo.to/paulocchagas \nBrazilian soprano Adriane Queiroz trained in Pará\, Missouri\, and Vienna. Since 2002/03 she has been a member of the Staatsoper Unter den Linden\, performing roles such as Pamina\, Micaëla\, Susanna\, and Liù. She has appeared at major venues including the Hamburg State Opera\, Semperoper Dresden\, and Wiener Festwochen\, and in concerts at the Musikverein and Konzerthaus Vienna. Her repertoire spans Mozart to contemporary works\, including Schönberg’s Erwartung and Nono’s La fabbrica illuminata\, with recent premieres under Sir Simon Rattle.\nwww.adrianequeiroz.com \n  \nCat Hope and Juan Parra Cancino: The Long Now III  \nThis a scored work for live modular synthesiser performance\, with a backing track. It explores the potential of digital notation for modern electronic instruments\, in this case\, the contemporary modular synthesiser. It is named after the Long Now Foundation\, that aims to provide counterpoint to today’s accelerating culture by encouraging long-term thinking\, fostering responsibility in the framework of the next 10\,000 years. Music provides complex answers to the question of “How Long is Now?”\, and in this work\, a slow descent into very low sound by the performer\, where pitch is either uncontrollable or almost inaudible\, reflects the limits of human action in and perception of sound as it passes through time\, highlighting that there may be other ways to listen\, and other ways to experience our passing through time.\nThe fixed media part of this piece was created at EMS in Sweden\, using the Buchla 200’s 4 x 259 waveform generators and the score is read on the Decibel ScorePlayer\, which also produces the fixed media part. \nAbout the artists\nJuan Parra Cancino studied Composition at the Catholic University of Chile and Sonology at the Royal Conservatoire The Hague\, earning a Master’s degree focused on electronic music composition and performance. In 2014\, he completed his PhD at Leiden University with his thesis “Multiple Paths: Towards a\nPerformance Practice in Computer Music. Parra has been a research fellow at the Orpheus Institute since 2009. \nCat Hope is a award winning Australian composer who focuses on the extremes of sound – from extreme noise to barely audible delicacy. Her works have been performed world wide by ensembles such as Yarn Wire (US)\, the BBC Scottish Symphony (UK) and her works are published internationally on labels such as Hat (Hut) Art\, with her monograph CD Ephemeral Rivers winning the German Critics Prize in 2017. Cat is a represented composer with the Australian Music Centre\, and her music is published by Material Press. Her first opera\, Speechless\, won the Best New Dramatic work in the 2020 Art Music Awards. \n  \nAndrew Loveless: Tape Speed and Feedback\nThis performance presents a live realization of a dual-transport digital tape instrument designed for exploratory composition using playback speed manipulation and controlled feedback. It is performed using a custom-designed system which includes a live visualization that displays the spinning reels to indicate the playback speed of each transport. This provides an engaging visual element that helps the audience follow the sounds as they unfold.\nThe source of the sound material is the distinct\, high-pitched whine of a CRT television’s flyback\ntransformer\, which was chosen for its nearly inaudible high-frequency energy and analog character. One transport initially auditions the sound at normal speed before being dramatically slowed to reveal its hidden textures. The second transport is then introduced at a carefully tuned speed ratio\, allowing the two sources to harmonize and phase against one another. These relationships produce beating patterns and periodic pulses that arise solely from speed interactions rather than from discrete sequencing or event-based control.\nAs the piece develops\, the output of one transport is routed into the input of the other\, introducing overdubbing and pitch-shifted layering. This process generates additional sound material while maintaining continuity with the original material. The performance is further extended by the routing configuration and playback speed chosen during the performance\, rather than fixed delay parameters. Throughout the performance\, changes are gradual and continuous\, allowing structure to emerge organically from simple operational constraints.\nThe performance concludes with a slow attenuation of the feedback\, allowing layers to dissipate organically. Instead of presenting a fixed composition\, the work is shaped through live interaction with the instrument. In doing so\, the performance situates historical tape music techniques within a contemporary digital context. \nAbout the artist\nAndrew Loveless is a graduate student in Music Technology at the Georgia Institute of Technology. Their work focuses on performance-centered instrument design and improvisation\, with an emphasis on preserving tape music techniques and making them more accessible through hands-on\, educational tools. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/club-concert-4c/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:14-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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