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DTSTART;TZID=Europe/Amsterdam:20260511T190000
DTEND;TZID=Europe/Amsterdam:20260511T210000
DTSTAMP:20260427T211219
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SUMMARY:Evening Concert 1B
DESCRIPTION:This evening concert marks a special collaboration between the international ICMC community and Hamburg’s music scene. At its center is Ensemble 404 from the Hamburg University of Music and Drama (HfMT). For this occasion\, a video wall will be specially installed in the Friedrich-Ebert-Halle to highlight the synergy between sound and image.\nThe program ranges from intimate solo pieces with computer support to complex ensemble compositions and large-scale video works. \n  \nProgram Overview\nFantasy for Viola and Computer\nRichard Dudas \nNeuro Translation Engine\nVincenzo Russo \nClimate II for piano and computer \nRikako Kabashima \nWind Blown Rain\nMara Helmuth\, Esther Lamneck and Alfonso Belfiore \nDelicate Anticipation\nKotoka Suzuki \nAir-Carving Bamboo\nYu Chung Tseng \n  \nAbout the pieces & artists\nRichard Dudas: Fantasy for Viola and Computer\nThis work for solo viola and real-time audio processing in Max is a composed extension of some prior improvisational works using Max. It was written in part as an exploration of Bohlen-Pierce tuning (in the electronics)\, which divides the perfect twelfth into thirteen unequal justly-tuned steps. The viola part is pitted against this\, performing in standard twelve-unequal-steps-to-the-octave tuning\, juxtaposing and combining several different musical fragments\, each with its own character and mood. All sounds in the electronics are live: they are derived from the sounds of the on-stage violist. Max audio processing includes formant filtering to provide a vocal quality to the transposed and resonated viola sounds. \nAbout the artist\nRichard Dudas holds degrees in Music Composition from The Peabody Conservatory of Music of the Johns Hopkins University\, and from The University of California\, Berkeley. He additionally studied at the Franz Liszt Academy of Music in Budapest\, Hungary and the National Regional Conservatory of Nice\, France. In addition to composing music for acoustic instruments\, he has been actively involved with music technology since the late 1980s. As a computer musician\, he has taught courses at IRCAM\, and developed musical tools for Cycling ’74. Since 2007 he has been teaching music composition and computer music at Hanyang University in Seoul\, Korea. \n  \nVincenzo Russo: Neuro Translation Engine\nIn the future\, global societies remain marked by a multitude of languages\, dialects\, idiolects\, and diverse phonetic and cultural systems. Despite advances in AI-driven translation\, fundamental limits persist in the loss of emotional nuance\, imprecise interpretations\, and gaps between what is said and what is perceived. A team of computational linguists and neuroscientists develops an advanced artificial entity: the Neuro Translation Engine (NTE)\, capable of surpassing traditional textual or acoustic translation. The NTE does not translate words\, but the neural intentions behind language. It stimulates a specific area of the human brain\, the resonance cortex\, designed to receive universal neurosensory patterns. The result is a world where everyone can speak their native language while perfectly understanding others. Linguistic diversity is not diminished but enriched through mutual comprehension. The composition for ensemble and electronics illustrates how the NTE processes\, transforms\, and reconstructs communicative material. Through sound transformation techniques\, the acoustic material is dematerialized\, representing the machine’s “internal work”: the conversion of complex signals into a unified code. The final sound is entirely electronic\, devoid of recognizable references to the original ensemble. It forms a new language\, perceived as a pattern directly interpreted by the brain. \nAbout the artist\nVincenzo Russo (1995) holds a bachelor’s degree in Business Administration from the University of Naples “Parthenope.” He began his musical studies in Composition for Visual Media at the San Pietro a Majella Conservatory in Naples under the guidance of the late Maestro Lucio Lo Gatto. In July 2025\, he completed the second-level degree (Master’s degree) in Composition. Alongside his academic work\, he is active as a composer\, arranger\, and music producer\, working from his own recording studio. \n  \nRikako Kabashima: Climate II for piano and computer \nThis work was composed based on a variety of ideas inspired by climate change. In recent years\, translating insights from the natural world into my own compositions has become an important experiment in my creative practice.\nIn particular\, this piece draws inspiration from the rapid climate fluctuations caused by global warming\, a pressing issue worldwide. Each measure in the work is specified in seconds rather than traditional beats\, and there is no fixed meter. Within each measure\, rhythms are performed improvisationally according to the given duration.\nThis approach allows for different rhythms and nuances to emerge in every performance\, reflecting the ever-changing nature of the climate itself. \nAbout the artist\nRikako Kabashima was born in Kagoshima\, Japan\, in 1996. She began studying piano at the age of three and later pursued composition at Senzoku Gakuen College of Music in Tokyo. After completing her undergraduate studies in 2021\, she entered the master’s program in composition at Toho College of Music\, where she studied with Kazuro Mise and Hitomi Kaneko\, and explored computer music under the guidance of Takayuki Rai. She earned her master’s degree in March 2025.\nHer works have been selected at international festivals including the New York City Electroacoustic Music Festival (NYCEMF) in 2023\, the International Computer Music Conference (ICMC) in 2023\, 2024\, and 2025. \n  \nMara Helmuth\, Esther Lamneck and Alfonso Belfiore: Wind Blown Rain\nWind Blown Rain was inspired by natural processes and forces involving water. Water metamorphoses between many opposing states: from a gentle drizzle to a stormy downpour\, from a tiny droplet to a crashing ocean. Life on earth is dependent on water\, and also at its mercy. This piece focuses mainly on the transformed sounds of rain\, and its reflections in the tárogató sound. Samples were recorded in Venice and Ascea\, Italy. The music was composed in Italy in the summer of 2025 at Wassard Elea Artist’s residency in Ascea by a computer music composer and a performer/real time composer. While most of our previous collaborations have relied solely on the sound of the performer’s instrument for the computer part\, in this piece the instrumentalist interacts primarily with music created from natural recordings and their processed transformations. A third artist created the video part in response to the music from his own water-related video recordings. The video component of Wind Blown Rain is a visual meditation on the natural landscape\, filtered through the inner rhythm of rainfall. Created with images generated and modified using artificial intelligence\, the editing alternates slow-motion sequences\, crossfades\, and subtle variations to evoke a dilated sense of time. The environment\, immersed in rain\, transforms gradually\, suggesting a fragile balance between presence and dissolution. The visual work accompanies the music as a mental landscape—fluid and contemplative. \nAbout the artists\nMara Helmuth (b. 1957)\, internationally known computer music composer/researcher\, received a Guggenheim Fellowship in 2025. Her research explores sonification\, granular synthesis\, wireless sensor networks\, Internet2\, and RTcmix. She is Professor at College-Conservatory of Music\, University of Cincinnati\, where she received the George Rieveschl Award for Scholarly / Creative Works at in 2023. She served on the International Computer Music Association board of directors and as President. D.M.A.: Columbia Univ.\, earlier degrees: Univ. Ill. U-C. \nEsther Lamneck\, Clarinet and Tarogato\nThe New York Times calls Esther Lamneck\, “an astonishing virtuoso”She has appeared as a soloist with major orchestras\, with renowned chamber music artists and an international roster of musicians from the new music improvisation scene. http://www.estherlamneck.com/ \nAlfonso Belfiore is a composer and visual artist whose work explores the relationships between sound\, image\, movement\, and perception. Former professor of electronic music at the Conservatories of Florence and Padua\, he has collaborated with international institutions\, creating performances\, sound installations\, and multidisciplinary projects that merge musical innovation with digital art. His recent work investigates memory\, dreamlike space\, and the fragile line between reality and imagination. \n  \nKotoka Suzuki : Delicate Anticipation\nThis work is written as part of the series “In Praise of Shadows\,” inspired by Junichiro Tanizaki’s essay of the same title\, written at the birth of the modern era in imperial Japan. The essay describes how shadows and negative space are integral to traditional Japanese aesthetics in music\, architecture\, and food\, extending even to the design of everyday objects. As Tanizaki explains\, “We find beauty not in the thing itself but in the patterns of shadows\, the light and the darkness\, that one thing against another creates… Were it not for shadows\, there would be no beauty.” \nThe focus of the first of its sequence\, “In Praise of Shadows” for three paper players and electronics is placed on the collective loss of the tangible in our modern life\, analogues to how the excessive illumination of Edison’s modern light affect Japanese aesthetics and culture. Following this work\, “Orison” is composed for three music box players and electronics. The work is further inspired by the voices of children of war\, both from past and present\, speaking and singing about hope\, peace as well as sorrows arising from their personal experiences. These melodies\, presented as empty spaces on the music score\, reveal as they are fed through the music boxes. \nIn the third part of the sequence\, “Delicate Anticipation\,” written for a solo percussionist\, electronics\, and lights\, shadow is the central focus\, honouring the “patterns of shadows\, the light and the darkness\, that one thing against another creates”. Positioned behind the scrim\, the percussionist is only visible as a shadow while performing with lights and instruments primarily of metal and skin\, manipulating patterns of carefully choreographed shadows. The title derives from the English translation of the essay\, which describes the sensation of gazing at the silent liquid in the dark depths of a Japanese lacquerware bowl. As Tanizaki writes\, “What lies within the darkness one cannot distinguish…. …the fragrance carried upon the vapor brings a delicate anticipation.” \nAbout the artists\nKotoka Suzuki’s work engages deeply with the visual\, conceiving of sound as a physical form to be manipulated through the sculptural practice of composition. Artists such as the Arditti Quartet\, Eighth Blackbird\, Nouvel Ensemble Moderne\, and Mendelssohn Chamber Orchestra (Leipzig) have featured her work internationally through numerous venues and broadcasts\, including BBC Radio 3\, Schweizer Radio\, Lucerne Festival\, Heroin of Sound Festival\, Ultraschall\, and ZKM Media Museum. Suzuki is currently an Associate Professor at the University of Toronto. \nMichael Murphy is a Chinese-Canadian percussionist praised by The New York Times\, Opera Canada\, and The Herald. He has toured across North America\, Europe\, Scandinavia\, and Asia\, performing with ensembles including the Toronto Symphony Orchestra\, the National Ballet of Canada Orchestra\, and Philharmonisches Orchester Freiburg. A leading advocate for new music\, he has premiered concertos by Alice Ping Yee Ho\, Liam Ritz\, and Bob Becker and champions contemporary repertoire internationally. \n  \nYu Chung Tseng: Air-Carving Bamboo \n“Air-Carving Bamboo Music” premiered at the 2025 C-LAB Sound Arts Festival_DIVERSONICS . This work is an Acousmatic / electroacoustic music. The material comes from the composer’s field recordings of bamboo colliding on the shores of Emei Lake in his hometown of Hsinchu County in Taiwan. Through editing and transformation using DAW software\, and incorporating feedback material from AI Somax 2 on some of the bamboo collision rhythms\, the work was finally organized into an electroacoustic music piece.\nIn terms of performance style\, the composer wanted to differentiate themselves from traditional purely played electroacoustic music\, creating a synesthetic aesthetic experience for both the ears and eyes\, and letting electroacoustic music visible .\nThe composer invited percussionist Hsieh Yi-chieh to wave glow sticks in the dark\, as if drawing out or sculpting the electroacoustic music in air\, a technique akin to “grabbing music from a distance.” This presentation method\, besides giving electroacoustic music a performative quality\, greatly enhances the visual appeal\, auditory appeal\, and sonic dramatic tension of the performance. Postscript: Having composed electroacoustic music for more than 2 decades\, the composer occasionally wants to dabble in this area\, slightly transcending the aesthetic/philosophical view of “sound-only/purely auditory” in Acousmatic / electroacoustic music listening. \nAbout the artist\nYu-Chung Tseng\, receiving his DMA from UNT in Texas\, is a professor of electronic music composition and serves as the director of multi-channel Sound Lab at Institute of Music at National Yang Ming Chiao Tung University(NYCU) in Taiwan. \nHis music\, written for both acoustic and electronic media\, has been recognized with selection/awards from Pierre Schaeffer International Computer Music Competition (1st Prize/2003)\, Città di Udine International Contemporary Music Competition\, Musica Nova (First Prize/2010)\, Metamorphoses\, International Computer Music Conference(ICMC\, Best Music Award/2011/2015/2022)\,Taukay Edizioni Musicali call for Acousmatic Music(Winner/2019)\, and RMN Classical Electroacoustic call for work(Winner/2023)\,Polish International Electroacoustic Music Competition (Finalist/2023)\, KLANG International Acousmatic Composition Competition(Second Prize/2023) \, and Musica Nova (First Prize/2010). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/concert-1b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:11-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T190000
DTEND;TZID=Europe/Amsterdam:20260511T210000
DTSTAMP:20260427T211219
CREATED:20260423T145514Z
LAST-MODIFIED:20260423T145649Z
UID:10000208-1778526000-1778533200@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Abendkonzert #001 zur ICMC HAMBURG 2026
DESCRIPTION:Dieses Abendkonzert markiert eine besondere Zusammenarbeit zwischen der internationalen ICMC-Gemeinschaft und der Hamburger Musikszene. Im Mittelpunkt steht das Ensemble 404 der Hochschule für Musik und Theater Hamburg (HfMT). Für diesen Anlass wird in der Friedrich-Ebert-Halle eigens eine Video Wall installiert\, um die Synergie von Klang und Bild in den Fokus zu rücken.  \nDas Programm reicht von intimen Solostücken mit Computerunterstützung über komplexe Ensemble-Kompositionen bis hin zu großformatigen Videoarbeiten.  \n  \nProgramm (Änderungen vorbehalten) \nFantasy for Viola and Computer \nRichard Dudas \nNeuro Translation Engine \nVincenzo Russo \nClimate II for piano and computer  \nRikako Kabashima \nWind Blown Rain \nMara Helmuth and Esther Lamneck \nDelicate Anticipation \nKotoka Suzuki \nAir-Carving Bamboo – for electroacoustic music and 1 performer\nYu Chung Tseng \n  \nTickets und wichtige Informationen\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix\nEinlass: 18:30 Uhr \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-abendkonzert-001-zur-icmc-hamburg-2026/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:INTREPID
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T190000
DTEND;TZID=Europe/Amsterdam:20260512T210000
DTSTAMP:20260427T211219
CREATED:20260421T170217Z
LAST-MODIFIED:20260427T105636Z
UID:10000219-1778612400-1778619600@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 2B
DESCRIPTION:This Evening Concert promises a special experience for both eyes and ears. At the center of this session is the saxophone\, performed by one of the most distinguished artists of our time: Hamburg-based saxophonist Asya Fateyeva. Together with her talented students\, she presents five works specially conceived for her and her instruments.\nThis instrumental focus is complemented by two striking video works\, presented on the specially installed video wall in the FEH\, which dissolve the boundaries between sonic and visual space. \n  \nProgram Overview\nAdaptive_Study#06 – Symbolic Structures Enhanced\nRiccardo Dapelo \nExpandiere \nChing Lam Chung \nSilent “human bird language” \nYongbing Dai and Yiping Bai \nPoetic Encounter with the digital shadow\nNicolas Kummert \nResonant Thresholds\nCecilia Suhr \nJamshid Jam \nJean-Francois Charles and Ramin Roshandel \n  \nAbout the pieces & the artists\nRiccardo Dapelo : Adaptive_Study#06 – Symbolic Structures Enhanced\nAdaptive_Study#06 – Symbolic Structures Enhanced (composed 2025)\, is the sixth work in a series of compositional studies initiated in 2015. Across the series\, the research has addressed all parameters of the musical work\, from its initial conceptual design to score realization\, from performance instructions to the algorithmic and compositional conception of the live electronics. The present study continues this trajectory\, focusing on the idea of a musical work whose temporal form is not fixed or closed in advance.\nThe primary artistic objective is to explore an adaptive musical form capable of responding to performer behavior while maintaining stylistic coherence. Rather than relying on predefined formal trajectories or stochastic indeterminacy\, the piece investigates adaptive processes grounded in symbolic structures\, memory\, and performer–system interaction.\nTo this end\, the work is conceived around several interrelated principles. The live electronics system continuously observes and analyses the performer’s actions\, extracting symbolic information related to pitch\, duration\, density\, and temporal grouping. These data are transcribed into fragments of symbolic notation\, which are stored\, transformed\, and recontextualised during performance. In this way\, the system simulates a form of temporal awareness\, operating on a short-term memory of what has been played and produced up to the present moment.\nA central concern of the piece is the control of musical density. Both at the micro structural and macrostructural levels\, the system adapts its behaviour in response to changing performance conditions\, modulating the accumulation\, suspension\, or release of events in order to avoid entropic saturation. The live electronics do not function as an autonomous generator\, but rather as a responsive musical partner whose actions become perceptible over extended time spans.\nThe work is interactive in a dialogical sense: neither the performer’s actions nor the system’s responses are fully predetermined. Instead\, musical form emerges from the ongoing negotiation between human and algorithmic agency. Symbolic structures serve as a shared medium through which this interaction unfolds\, allowing the electronics to operate not only on sound\, but on compositional representations. Given the complexity of these ambitions\, the piece is explicitly conceived as a study. This format allows experimentation through hypotheses\, testing\, and retro-diction\, acknowledging that artistic practice does not follow a strictly scientific method. As Paul Veyne observes\, the artwork—however rigorously conceived—ultimately resists definitive classification\, reflecting the variability and unpredictability inherent in human creative processes.\nThe piece is presented together with an accompanying paper that documents its conceptual and compositional development.\nLive electronics setup is described in the score.\nLive recording (earlier version): https://soundcloud.com/riccardodapelo/adaptive_study02 \nAbout the artist\nRiccardo Dapelo (b. 1962) studied composition with G. Manzoni and A. Vidolin. His work focuses on acoustic and electronic composition\, live electronics\, and interactive systems\, and has been performed internationally. He has published articles and lectured on voice analysis\, spatialisation\, philosophy of art\, and musical time. He collaborates with visual artists on interactive works and sound installations for museum and exhibition spaces. He teaches Composition at the Conservatory of Piacenza. \n  \nChing Lam Chung: Expandiere\nThis piece explores the different sound qualities of the baritone saxophone—from pitched materials to mechanical sounds—and its interaction with electronics\, thereby investigating the sonic hybridity between the instrument and electronic media. Both tape and live electronics are used: the fixed electronics allow sound objects to be precisely organized within the spatial environment\, while the live electronics serve as a bridge between the instrument and the fixed electronics\, enhancing their connections. \nThrough this approach\, the piece creates a unique sonic environment in which different sound objects interact and evolve with one another\, offering the audience a varied auditory experience in which the instrument and electronics fully merge. \nAbout the artist\nCHUNG Ching Lam\, Mavis (b.2003)\, was born and raised in Hong Kong. Mavis currently studies Master music composition at Frankfurt University of Music and Performing Arts\, under the guidance of Orm Finnendahl and Ulrich Alexander Kreppein.\nMavis’s music thoughtfully explores timbre\, transforming ordinary sounds into unexpected auditory experiences. Her compositions discover the beauty of melancholy as she creates a unique sonic landscape that reflects her philosophy and experiences.\nShe received third prize in the 2nd NC Wong Young Composers Award and was chosen for the electroacoustic composition fellowship at the Delian Academy 2024. She also participated in the URTIcanti contemporary music festival and the Internationales Digitalkunst Festival. Furthermore\, she attended the South China Contemporary Creative Music Institute and has been selected for the Mixed Media category at the iISUONO Contemporary Music Week 2025. Her compositions have been performed in Greece\, Germany\, and Italy.\nShe studies Bachelor music composition at Hong Kong Baptist University\, under the guidance of Eugene Birman\, Camilo Mendez\, Stylianos Dimou and Ka Shu TAM. \n  \nYongbing Dai and Yiping Bai: Silent “human bird language” \nThis work\, composed for saxophone and electronic music\, uses the saxophone’s unique multiphonic harmonics\, distinctive timbre\, and various techniques such as tonguing to evoke an effect of ancient human “bird language\,” akin to “abstract writing” incomprehensible to modern humans. It uses this to question the constant self-destruction that occurs on our shared planet. We can consider this: we have entered the age of artificial intelligence\, with highly advanced science and technology. Yet\, even in this civilized context\, for their own benefit\, humans can disregard and kill their fellow human beings. This is utterly absurd and tragic. How is this different from the barbaric slaughter of ancient times? What is the significance of the development of human technology and civilization? \nAbout the artists\nDai Yongbing holds a doctorate in Electronic Music Composition from the Shanghai Conservatory of Music. He currently teaches electronic music at the Art and Technology Department of the Composition Department of Wuhan Conservatory of Music. He was sponsored to study composition and electronic music composition at the Royal Danish Academy of Music\, where he received a master’s degree in composition. In 2023\, he studied sound art at the University of Music and Drama in Munich\, Germany.In 2024\, he was sponsored by the European Union’s Erasmus program to study electronic music composition with Professor Karlheinz Essl at the University of Music and Drama in Vienna\, Austria. The electronic music work “Two Trembling Hearts” won the first prize at the Hangzhou International Electronic Music Festival. In June 2022\, he was selected for the academic class of computer music design and performance at the IRCAM-Manni-festival Music Festival at Pompidou in Paris\, France. His work “Two Worlds of Monks” won the first prize in the UPI-Sketch professional group at the 2022 Xenakis (CIX) Music Center in France. His wind band work “Non-Taoism” was premiered by the Shenzhen Symphony Orchestra. His works have been performed all over the world\, such as Munich and Düsseldorf in Germany\, Amsterdam in the Netherlands\, Vienna in Austria\, Lisbon in Portugal\, Copenhagen in Denmark\, New York in the United States\, Tokyo in Japan\, Seoul in South Korea. \n  \nNicolas Kummert: Poetic Encounter with the digital shadow\nThis proposal invites saxophonist Asya Fateyeva into an improvisatory performance that explores the encounter between acoustic virtuosity and real-time electronic transformation. The project centres on a live-electronics setup I have developed within artistic research contexts over several years—a system deliberately designed to be simple\, flexible\, affordable\, and fast to deploy. It requires only a close microphone (ideally the Vigamusictools Intramic)\, a small audio interface\, a laptop\, and three compact controllers. Its purpose is not to impose effects but to extend the sonic and expressive possibilities of the acoustic instrument while remaining transparent and highly responsive.\nThe concept is straightforward: the saxophone produces the primary musical material\, and I modulate that sound live through controlled timbral\, spectral\, and temporal transformations. The electronics behave as a reactive partner—what I call the performer’s digital shadow: a sonic counterpart that follows\, shapes\, questions\, or briefly detaches from the acoustic gesture. The identity of the acoustic sound remains fully audible\, while the electronic layer opens new directions within the improvisation.\nThe artistic foundations of this work draw on several research frameworks:\n• Improvisation as assemblage (after Deleuze): the performance is approached as a self-emergent system in which performers\, instruments\, digital processes\, acoustics\, and feedback relations act together to shape the form in real time.
• Paulo de Assis’s Logic of Experimentation: the focus lies on what the instrument–electronics constellation can do when activated through exploratory performance\, rather than on pre-defined material.
• Georgina Born’s theory of musical mediation: the setup foregrounds the interplay between acoustic sound\, digital transformation\, performer interaction\, and audience perception.
• Laurent Cugny’s audiotactile perspective: the electronic layer functions as an extension of touch\, gesture\, and micro-timing rather than an external effect. The project treats improvisation as a co-embodied process that produces a hybrid sonic entity.\nMusically\, the performance is structured as a series of improvisatory episodes that examine different modes of relationship between acoustic and transformed sound:
– subtle extensions of timbre and resonance;
– interactive textures and rhythmical counterpoints between acoustic phrasing and electronic responses
– sections where Asya’s sound is heavily transformed in real time\, while the unprocessed acoustic sound is replayed in the pauses of her playing\, blurring the audience’s visual-aural connection\, and questioning the musician’s immediate relationship to her own instrument.\nBecause the system is lightweight and adaptable\, the collaboration requires limited rehearsal and can be shaped around Asya’s musical language and preferred improvisational strategies. The format proposes an accessible but conceptually rigorous exploration of improvisation\, mediation\, and electronic augmentation. It offers the conference audience an accessible example of how simple\, flexible computer-music tools can generate rich musical dialogues and expand the expressive ecology of the acoustic instrument\, shedding new light on various aspects of improvisation.\nI propose to conclude the performance with a short discussion in which Asya can reflect on how the electronic shadow influenced musical decision-making\, interaction\, and perception—offering insight into the core research questions driving this work. \nAbout the artist\nNicolas Kummert (1979) is a Belgian saxophonist\, electronic artist\, composer and researcher known for his melodic sense\, openness and exploratory approach. He has recorded over 70 albums and performed worldwide with artists such as Lionel Loueke\, Jeff Ballard\, DRIFTER and many others. Active in hybrid acoustic–electronic projects\, film and dance music\, and interdisciplinary research\, he develops innovative modulation processes and collaborates across jazz\, poetry\, contemporary dance and African music. \n  \nJoe Wright: Cor Ddiglwed (Unhearing Chorus) \nCor Ddiglwed (unhearing chorus) takes inspiration from Daphne Oram’s ‘Bird of Parallax’\, and was developed with the one-of-a-kind\, Mini Oramics\, developed by Tom Richards based on Oram’s designs for a revised version of her pioneering graphical synthesis machine. \nIn the piece\, the author phrases/samples recorded with Oramics\, alongside field recordings taken locally to his home in South Wales and live processed saxophone which uses the instrument as input to a phase vocoder designed to mimic the writing / replaying / overwriting process that Mini Oramics facilitates. \nThe piece was written in the context of a highly divisive by-election in which local communities in South Wales saw a hot rise in populist sentiment\, and a rise in polarised rhetoric on and offline. While the technical inception of the piece draws heavily on Oram and the legacy of her synthesiser design\, the field recording process at this time highlighted the importance shapes and forms in captured human and animal voices – seen through an Oramics lens. The piece explores the idea of diverse clashing narrative threads in a fight for attention – as a metaphorical mirror to the author’s recordings of local dawn choruses. Both in the piece and the context of its composition\, these voices are\, despite their differences\, interconnected by common challenges and under-explored common ground\, yet are broadly unheard by others. \nThe piece forms part of a broader body of recent work that explores Oramics in the context of Oram and Iannis Xenakis’ work\, and the ways that their thinking and legacy can apply to contemporary musical composition\, instrument design\, and accessible musical tools and resources. \nAbout the artist\nJoe Wright is a musician and maker based in Cardiff\, with an interest in collaborative music making\, field recording\, accessible music technology/practice\, and creative code. As a saxophonist\, Joe is currently playing across the UK and Europe with jazz/contemporary music groups led by Rob Luft\, Corrie Dick\, and in FORJ. He also has a long-standing collaboration – Onin – with experimental musician\, James L Malone that explores unstable systems and atypical interactions. Recently\, Joe has been exploring field recording with a focus on his local natural spaces in South Wales. \n  \nCecilia Suhr: Resonant Thresholds\nResonant Thresholds explores the liminal space between human expression and technologically mediated sound. Structured around a fixed audio score\, the work unfolds as a slowly transforming audiovisual environment in which live violin performance interacts with real-time electronic processing. Noise\, resonance\, and breath-like textures blur distinctions between acoustic intimacy and digital vastness\, allowing the materiality of sound to become porous and unstable. Through structured live comprovisation (composed improvisation)\, the performer actively shapes the unfolding sonic landscape\, while the processed audio simultaneously generates an evolving visual score that functions as a symbolic translation of sound. The work invites listeners to inhabit a threshold between perception and imagination\, where meaning emerges through the continuous negotiation between composed structure\, live performance\, and technological extension. \nAbout the artist\nCecilia Suhr is an award-winning intermedia artist\, multimedia composer\, researcher\, author\, and multi-instrumentalist (violin\, cello\, voice\, piano\, bamboo flute). Her honors include the Pauline Oliveros Award (IAWM)\, a MacArthur Foundation DML Grant\, the American Prize (Honorable Mention)\, Global Music Awards\, Best of Competition from BEA\, among other distinctions. Her work has been presented at ICMC\, SEAMUS\, NYCEMF\, EMM\, SCI\, ACMC\, Mise-En\, MoXsonic\, and many more. She is a Full Professor at Miami University Regionals. \n  \nJean-Francois Charles and Ramin Roshandel: Jamshid Jam \nThe sonic dust of a country that has been burned to the ground several times over the centuries and yet has formed some of the most elaborate and highly sophisticated musical structures to have ever existed. According to Persian myths\, Jamshid\, who ruled during several centuries\, was responsible for inventions ranging from the manufacturing of weapons to the mining of jewels to the making of wine. He is also credited with the discovery of music. This is what brought the Jamshid Jam duet together: the search for music at the crossroads of the Radif tradition (Persian classical music) and the development of musical instruments such as the turntable and live electronics. \nAbout the artists\nRamin Roshandel grew up in a family surrounded by artists; his luthier dad\, his painter uncle\, and his setar instructor Farshid Jam had strong influences on him as a teenager. Ramin worked with the renowned Mohammad Reza Lotfi at Maktab-Khāne-ye Mirzā Abdollāh and won second place in the 7th National Youth Music Festival in Tehran\, Iran. As a composer\, Ramin Roshandel works with improvisatory structures to contrast or converge with non-tonal forms. \nJean-François Charles is Associate Professor of Composition and Digital Media at the University of Iowa. He creates at the crossroads of music and technology. As a clarinetist\, he has performed improvised music with artists ranging from Douglas Ewart to Gozo Yoshimasu. He worked with Karlheinz Stockhausen for the world premiere of Rechter Augenbrauentanz.\nRamin Roshandel & Jean-François Charles have worked on several projects together. Roshandel was the setār soloist for the premiere performances of Charles’ opera Grant Wood in Paris in 2019. They performed together as part of the live soundtrack composed by Charles and Nicolas Sidoroff to the 1923 Hunchback of Notre-Dame movie\, a commission by FilmScene with premiere performances in November 2023 in Iowa. In 2025\, they composed and performed a series of 13 concerts with the Red Cedar Chamber Music ensemble. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/concert-2b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:12-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T190000
DTEND;TZID=Europe/Amsterdam:20260512T210000
DTSTAMP:20260427T211219
CREATED:20260423T124414Z
LAST-MODIFIED:20260423T155232Z
UID:10000207-1778612400-1778619600@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Abendkonzert #002 zur ICMC HAMBURG 2026
DESCRIPTION:Asya Fateyeva & Friends – Saxophon-Innovationen \nDas zweite Abendkonzert der ICMC HAMBURG 2026 verspricht ein besonderes Erlebnis für Augen und Ohren. Im Mittelpunkt dieser Session steht das Saxophon\, interpretiert von einer der profiliertesten Künstlerinnen unserer Zeit: der Hamburger Saxophonistin Asya Fateyeva. Gemeinsam mit ihren talentierten Studierenden präsentiert sie fünf Werke\, die speziell für sie und ihr Instrumentarium konzipiert wurden.  \nErgänzt wird dieser instrumentale Schwerpunkt durch zwei beeindruckende Video-Arbeiten\, die auf der eigens für die ICMC in der Friedrich-Ebert-Halle installierten Video Wall präsentiert werden und die Grenzen zwischen Klangraum und visuellem Raum auflösen.  \n  \nProgramm (Änderungen vorbehalten) \n​​Adaptive_Study#06 – Symbolic Structures Enhanced \nRiccardo Dapelo\n \nExpandiere  \nChing Lam Chung \nSilent “human bird language” \nYongbing Dai\n \nPoetic Encounter with the digital shadow \nNicolas Kummert\n \nCor Ddiglwed (Unhearing Chorus) \nJoe Wright\n \nResonant Thresholds \nCecilia Suhr\n \nJamshid Jam \nJean-Francois Charles Ramin Roshandel:\n \n  \nTickets und wichtige Informationen\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix\nEinlass: 18:30 Uhr \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-abendkonzert-002/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:INTREPID
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T190000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260427T211219
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T190000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260427T211219
CREATED:20260423T130335Z
LAST-MODIFIED:20260423T160359Z
UID:10000206-1778785200-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Abendkonzert #003 zur ICMC HAMBURG 2026
DESCRIPTION:Ensemble 404 & Die Ästhetik des Widerstands \nDieser Konzertabend präsentiert die gesamte Bandbreite zeitgenössischer Computermusik in kammermusikalischer Besetzung. Das Ensemble 404 – Spezialist für neue Musik in Hamburg – navigiert durch ein Programm\, das von hochgradig spatialisierten Klangwelten bis hin zu audiovisuellen Metamorphosen reicht.  \nErleben Sie\, wie physische Instrumente auf die Präzision von Algorithmen treffen und dabei neue\, hybride Identitäten erschaffen.  \n  \nProgramm (Änderungen vorbehalten) \nKryptobioza \nLidia Zielinska\n \nTide\, breath \nZihan Wang\n \nEverybody Loves Me \nHoward Kenty\n \nPresent-Day Jakuchu Series: Butterfly Pictures “Inachis io” for violin\, piano\, and electroacoustics \nNaotoshi Osaka\n \nComing and Vanishing \nYixuan Zhao\n \nZusammenspiel I \nJavier Alejandro Garavaglia\n \nVesscape\nDanni Zhao and Congren Dai\n \n  \nTickets und wichtige Informationen\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix\nEinlass: 18:30 Uhr \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-abendkonzert-003/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:INTREPID
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T190000
DTEND;TZID=Europe/Amsterdam:20260516T210000
DTSTAMP:20260427T211219
CREATED:20260421T164223Z
LAST-MODIFIED:20260427T105325Z
UID:10000106-1778958000-1778965200@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 6B
DESCRIPTION:Concert 6B focuses on a monumental instrument that bridges centuries-old tradition and futuristic technology: the FEH organ. In this concert\, its powerful pipe sounds merge with AI agents\, mobile networks\, and immersive live electronics. It is an invitation to experience the organ not only as a sacred instrument\, but as a living\, breathing part of a digital ecosystem—complemented by outstanding chamber works for flute\, saxophone\, and violin. \n  \nProgram Overview\nTraversée IIIb \nNicolas Brochec \nSpring Code \nJian Feng \n《Missed Call》\nYi-Tzu Huang \nSchattenwald \nSarah Proske \npan:individual\, “come closer\, come home”\nFranz Danksagmüller \nOpus\nS. Ali Hosseini and Federico Lessio \nles lignes de désir\nPierre Alexandre Tremblay \n  \nAbout the pieces & artists\nNicolas Brochec: Traversée IIIb  \nTraversée IIIb is a mixed music piece for flute\, live electronics\, and Somax AI agents\, in which the electronic part is generated in real time. In Traversée IIIb\, the generation of electronic material is controlled by a real-time playing-technique recognition system. Combined with Somax AI agents\, this enables close interactions between the instrumental and electronic parts\, producing sonic responses ranging from counterpoint to accompaniment\, and occasionally introducing unexpected electronic events. For this reason\, a functional notation is used for the electronic part of the score\, describing actions and parameters rather than musical results\, which cannot be fully predetermined. \nAbout the artist\nNicolas Brochec is a composer and sound artist specializing in contemporary instrumental and electroacoustic music. He has studied with leading contemporary composers\, including Philippe Manoury\, Martin Matalon\, José Manuel López López\, and Daniel D’Adamo. His work has been commissioned by institutions such as the Philharmonie de Paris\, NHK member ensembles\, and Improtech (IRCAM). His compositions have received international recognition\, including the First Prize at the Sound’Ar-te Electric Ensemble competition (Portugal) and a Special Prize at the Ise-Shima Competition (Japan). He is currently a PhD candidate at Tokyo University of the Arts and has been awarded a Japanese Government (MEXT) Scholarship as well as grants from the Foundation for the Advancement of Telecommunications (NTT). \n  \nJian Feng: Spring Code\nSpring Code is a real-time interactive audiovisual work that revives the konghou (Chinese harp)—once lost for centuries—through a custom responsive interface. Treating classical poetic aesthetics as a generative source\, it reimagines Wang Wei’s line “Clear spring flows over stones” not as an illustration\, but as executable logic: a living data stream shaped by performance.\nThe konghou functions simultaneously as an instrument and an expressive interface. Its acoustic output—plucks\, harmonics\, string vibrations—is captured via a microphone\, while performer gestures are tracked through laser distance\, pressure\, and sliding touch sensors. All inputs are fed into an integrated system built on Max/MSP\, Arduino\, and TouchDesigner\, driving real-time granular synthesis\, adaptive spatialization (VBAP)\, dynamic visuals\, and responsive light from addressable LED strips.\nThe resulting soundscape evokes the fluidity of mountain streams; its visual layer maps audio features to flowing particles\, creating a multimodal environment where cultural memory is continuously re-encoded. “Spring” embodies nature’s flow; “Code” pulses as digital lifeblood. Rather than preserving tradition as an artifact\, Spring Code compiles it anew in every performance—where hand gestures conduct light and data\, and konghou tones shape space and sound.\nBetween the echo of a mountain spring and the pulse of an algorithm\, the work constructs an inexhaustible river of resonance across time. In Spring Code\, the spring never dries—the code never stops flowing. \nAbout the artist\nJian Feng is a composer and Associate Professor at the Wuhan Conservatory of Music\, where she serves as Director of the Center for Computer Music Composition Research. She was a visiting scholar at the Center for New Music and Audio Technologies (CNMAT) at the University of California\, Berkeley\, supported by the China Scholarship Council.\nHer creative and research practice centers on interactive electronic music and the application of artificial intelligence in musical contexts. Her works have been presented at leading international forums and festivals\, including the International Computer Music Conference (ICMC)\, the International Society for Contemporary Music (ISCM) World New Music Days\, Frontier+ Festival (UK)\, MUSICACOUSTICA-Beijing\, MUSICACOUSTICA-Hangzhou\, and the Shanghai International Electroacoustic Week.\nFeng holds key roles in China’s interdisciplinary arts–technology community: Deputy Secretary-General of the Electronic Music Society of the Chinese Musicians Association\, Committee Member of the Art & Artificial Intelligence Specialized Committee of the Chinese Association for Artificial Intelligence (CAAI)\, and Executive Committee Member of the Computational Arts Division of the China Computer Federation (CCF). \n  \nYi-Tzu Huang:《Missed Call》\nMissed Call for flute and live electronics was composed in 2025. The compositional idea was inspired by the concepts of “making choices” and “paused time”\, exploring the subtle connection of social relationships. The sound materials of live electronics are totally based on the flute timbre\, which not only imitates the intonations of the female voice but also motivates the dynamic of musical gestures throughout the whole piece. Moreover\, I attempt to depict the potential feelings through the background of light electroacoustic sound. In the music\, “Missed call” symbolizes unaligned energy and temporary pauses\, while “receiving a call” represents a force that can change current reality of musical unfolding. Therefore\, what may appear as a break or auditory interruption is actually a moment of inner preparation or cognitive balance\, allowing the musical closure to be awakened again. \nAbout the artist\nYi-Tzu Huang is a Taiwanese composer who studies in graduate program of music composition at the Institute of Music of National Yang Ming Chiao Tung University. Her music focuses on the subtle connections between sound and human emotions\, exploring both the musical time and auditory space of human cognition. The experiments in electronic or instrumental timbres and the expression of sound are emphasized in her current research. \n  \nSarah Proske: Schattenwald \nSchattenwald mixes recorded organ sounds with the real organ. The hissing and whistling of a small\, fully mechanical organ forms the basis of an almost romantically fragmentary soundscape. At the same time\, the organ reveals something of its inner workings and sounds like “musique concrète instrumentale.” In addition to this technical aspect\, the title reveals something about the poetic approach. Nature and culture collide. One thinks one can hear the call of an eagle owl\, the wind rustling through the trees\, the creaking of branches…\nThe electronics are based on recordings of a small\, fully mechanical organ. Playing with the key pressure and half-drawn registers creates mystical-sounding tones\, which have been arranged into a dramaturgically designed soundscape through multiple layers. The similarity to natural sounds is intentional here and is picked up and commented on by the live organ performance. A slightly changing chord (fixed with wooden wedges) emerges between the shadow sounds and increasingly dominates the tonal structure of the piece. The organist is repeatedly given musical material with which he improvises within the given framework.\nThe performance of the piece must be adapted to the respective organ; alternatives are indicated in the score. The composition was written for the organ in St. Nikolai\, Hamburg\, with its special possibilities\, in particular wind swellers and built-in percussion instruments. \nAbout the artist\nSarah Proske was born in Suhl (Thuringia) in 1999. She completed a church music degree (Master’s degree\, with a focus on IKN – improvisation\, composition and new media) as well as a master’s degree in organ improvisation with Prof. Franz Danksagmüller at Musikhochschule Lübeck. She has received several composition commissions\, such as works commissioned by the “Orgelstadt Hamburg e.V.”\, Erzbistum Paderborn\, Dommusik Linz for the vocal ensemble „Cantando Admont“\, as well as compositions for choir and ensemble for the Diocese of Graz-Seckau.\nShe won awards in different disciplines\, so as a composer as well as a soprano and organ improviser at different competitions.\nHer compositions have been performed at venues including the Orgelpark Amsterdam\, the opening oft he festival „Leer_raum“ at Stiftskirche Tübingen\, „Nordische Filmtage“ in Lübeck and the Schönberger Musiksommer.\nSince March 2023\, Sarah Proske has been working as an assistant organist at St. Jakobi Lübeck\, and since November 2023 as a tutor for the subject “Improvisation\, Composition and New Media” at the MHL. \n  \nFranz Danksagmüller : pan:individual\, “come closer\, come home”\npan:individual is a participatory work for organ\, live electronics\, mobile phones\, and audience that explores how individual perception\, agency\, and identity are transformed within digitally mediated collective systems. The piece examines how contemporary technologies shape experiences of belonging\, guidance\, and participation\, blurring the boundary between individual action and collective behavior.\nThe performance unfolds as a distributed audiovisual environment in which audience members access individualized video streams on their mobile phones. Initially fragmented and asynchronous\, these streams gradually align\, forming a shared sonic and visual field. The organ part follows algorithmic and process-based instructions that guide constrained improvisation\, functioning not as an authoritative voice but as one element within a larger collective texture shaped by live electronics.\nAs the performance progresses\, audience members are invited to participate vocally\, tuning into sustained pitches suggested by the audiovisual environment. Digital avatars address participants directly\, encouraging alignment and proximity and culminating in the formation of a collective sonic organism.\nRather than presenting a narrative or explicit critique\, pan:individual creates an experiential situation in which participants are invited to reflect on how digitally mediated systems influence collective identity\, agency\, and the desire to belong. \nAbout the artist\nFranz Danksagmüller (*1969) is an Austrian organist\, composer\, and media artist working at the intersection of instrumental performance\, live electronics\, rule-based improvisation\, and participatory systems. He is Professor for Organ and Improvisation at the University of Music in Lübeck and currently Visiting Professor at the Royal Academy of Music\, London. His works include music theatre\, ensemble and vocal works\, and participatory projects integrating digital technologies and audience interaction\, presented internationally across Europe\, Asia\, Africa\, and North America. \n  \nS. Ali Hosseini and Federico Lessio: Opus\nThis project draws inspiration from the works of German filmmaker and cinematographer Walter Ruttmann\, a pioneering figure in abstract experimental cinema.\nBy studying Ruttmann’s visionary approach\, I have reinterpreted his work through a contemporary lens\, integrating modern technology to introduce a new dimension of abstraction.\nMy goal is to build upon his artistic legacy\, pushing the boundaries of visual expression while staying true to the essence of his groundbreaking innovations.\nThe musical composition for this project blends electronic\, electroacoustic\, and acoustic elements to authentically capture its essence.\nBy incorporating synthesizers and concrète sounds\, I seek to establish a fresh sonic approach\, one that bridges tradition with innovation\, enhancing the abstract nature of the work through a dynamic and immersive auditory experience. \nAbout the artists\nS. Ali Hosseini. Born in 1991 in Tehran\, Iran. I hold a Bachelor’s degree in Composition from the Tehran Conservatory of Music\, where I focused on Classic music and composition. Currently\, I am pursuing a Master’s degree in Applied Music (Musica Applicata) at the Conservatorio G. Nicolini in Piacenza\, Italy. My studies encompass electroacoustic\, electronic\, and contemprory composition\, as well as sound design and the integration of video and short films.\nI am currently exploring new approaches to composition based on spatial audio and microtonality and integration with visual Art.\nMy works have been featured at several prestigious festivals\, including the PdMaxCon25~ (USA)\, UVM 2025: COSMOCENO (Brazil)\, Simultan Festival (Romania)\, MA/IN Festival (Italy)\, SEHSUCHTE film festival (Germany)\, Musicmediale Festival (Italy)\, Appennino Festival (Italy)\, Piacenza Music Festival (Italy)\, Pensiero Contemporaneo Festival (Italy)\, and La Notte dei Ricercatori (Italy)\, 43rd Festival Tous Courts (France)\, Evimus 2025 (Germany). \nFederico Lessio \n  \nPierre Alexandre Tremblay: les lignes de désir\nArchitects\, luthiers\, designers\, urban planners\, and other dreamers\, imagine a Platonic aesthetic intended use of the object of their creativity. A vision of beauty in action. Yet lives/masses/swarms/users have their ways\, and soon emerge lines of desire. \nThis piece is an ode to the beauty of aging and experience\, of traces of time passing and writing its story\, of patina and of wrinkles\, of used leather boots\, of rusty structures\, of crow’s feet. Fragile and subtle at first\, these lines\, in the wake of usage\, are the witnesses of the soft and gentle resistance of the ignored wanderer. \nIt is an homage to the emerging beauty of subversive (ab)uses. \n— \nThanks Irine Røsnes\, Linda Jankowska\, the FluCoMa team\, Notam’s team\, and CeReNeM’s Creative Coding Lab. \nAbout the artist\nPierre Alexandre Tremblay (Montréal\, 1975) is a composer and performer on bass guitar and electronic devices\, in solo and group settings\, between electroacoustic music\, contemporary jazz\, mixed music and improvised music. He also worked in popular music\, and practises creative coding. His music is available on empreintes DIGITALes. He was Professor of Composition and Improvisation at the University of Huddersfield (England\, UK) from 2005 to ’24. In September 2024\, he joined the team of the Conservatorio della Svizzera italiana as a research professor in composition. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-6b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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DTSTART;TZID=Europe/Amsterdam:20260516T190000
DTEND;TZID=Europe/Amsterdam:20260516T210000
DTSTAMP:20260427T211219
CREATED:20260422T093240Z
LAST-MODIFIED:20260423T162836Z
UID:10000209-1778958000-1778965200@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Abendkonzert #004 zur ICMC HAMBURG 2026
DESCRIPTION:Die Königin der Instrumente im digitalen Dialog \nDas letzte Abendkonzert der ICMC HAMBURG 2026 rückt ein monumentales Instrument in den Fokus\, das eine Brücke zwischen jahrhundertealter Tradition und futuristischer Technologie schlägt: die Orgel der Friedrich-Ebert-Halle. In diesem Konzert verschmelzen die mächtigen Pfeifenklänge mit KI-Agenten\, mobilen Netzwerken und immersiver Live-Elektronik.  \nEs ist eine Einladung\, die Orgel nicht nur als sakrales Instrument\, sondern als lebendigen\, atmenden Teil eines digitalen Ökosystems zu erleben – ergänzt durch herausragende kammermusikalische Werke für Flöte\, Saxophon und Violine.  \n  \nProgramm (Änderungen vorbehalten) \nTraversée IIIb \nNicolas Brochec\n \nSpring Code for Konghou and Interactive Audiovisuals  \nJian Feng\n \n《Missed Call》 \nYi-Tzu Huang\n \nSchattenwald\nSarah Proske\n \npan:individual\, “come closer\, come home”\nFranz Danksagmüller\n \nOpus\nS. Ali Hosseini\n \nles lignes de désir \nPierre Alexandre Tremblay\n \n  \nTickets und wichtige Informationen\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix\nEinlass: 18:30 Uhr \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-abendkonzert-004/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:INTREPID
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