1. Ruth Prieto: On July 2nd, you will be giving one of 10 seminars organised in Madrid by the Katarina Gurska Centre on the subject of contemporary instrumental composition. What can you tell us about this initiative?

Lorelei Dowling: This initiative in Madrid at the Katarina Gurska Centre is fantastic and I just can’t believe that in 2016 other Universities are not doing this! The idea came about from Aureliano Cattaneo, Alberto Posadas, Jose Luis Tora.
To quote Aureliano ‘The idea of your class came about as it gives the chance to young composers to work directly with the instrument and players instead of having just abstract information. The bassoon is less known to young composers (compared to flute, clarinet) but it’s a fantastic and very flexible instrument. It’s a great occasion for the students to work with you.’
The end result is a concert of the students’ final piece for their masters’ of composition. As there are three of us giving instrumental seminars, the choice of the students instrumentation is either a duo, trio or solo piece. We instrumentalists also play a solo from our repertoire at the final concert.
 
2. R.P.: The composers and performer taking part in the initiative will be introduced to their musical language and technique. What can you tell us about your musical language and technique?

Lorelei Dowling: I will be giving a weekend seminar about the Bassoon and the Contrabassoon and the Contraforte (the instrument has been in development since 2001 by Wolf). For composers, the bassoon has always been a challenge as not many bassoonists embrace contemporary music and the instrument has been slow in developing in new music techniques.
I begin my power point presentation for composers with the opening solo of the Stravinsky’s Rite of Spring and go from there.
For bassoon performers, I make sure I introduce the repertoire I know that can be included in a final recital and can challenge the bassoonistinstrumentalist. By educating bassoonists in new music, it gives them work opportunities in the future and not just the option that there is only a job in an orchestra. One forgets that in theatre work, new music ensembles, teaching, chamber music, and film music, knowledge of new music is needed.
 
3. R.P. : As a bassoonist which are your sound and technical resources for contemporary music?

Lorelei Dowling: I have built up an extensive reference library which I refer to and cross check. I also spend some time in the week working out new effects. The trouble with bassoon contemporary reference books is that they mostly only work for the person who wrote the book. The bassoon itself is governed by the reed, the physicality of the player ( ie big mouth cavity, bigger hands, the language the player speaks etc) and sometimes which type of bassoon one plays ( Hecekel, Püchner, Yamaha, Bell, Mossmann…. Some players have certain added keys that other players don’t.) Also we must never forget that the Basson  (an instrument I can`t play) is till used in France.
One resource that composers and bassoonists should look it is any of Pierluigi Billone’s bassoon solo works andor ensemble pieces with bassoon.
 
4. R.P. : Is your instrument the instrument with the language of the XXI century?

Lorelei Dowling: The bassoon is definitely developing in new music effects. It is still really undervalued by composers as they don’t understand it, but I would definitely say it can compete with other instruments in terms of the use of contemporary techniques and colour.
One of the newest developments is the Contraforte ( developed by  Gunter Wolf); which is a new improved version of a Contrabassoon.

5. R.P.:  Where are you right now in your life as a performer?

Lorelei Dowling: As a performer I feel that I am still being constantly challenged and this keeps me inspired, energised and young!!!! My first CD is about to be released (on TYXArt label) with  Billone, Staud, Jacob TV so I am really excited.

6. R.P.:  How do you see the contemporary music scene today?

Lorelei Dowling:The contemporary music scene is bigger than it ever was, but still has a long way to go. I love the idea of giving seminars to composers. They really enjoy it and (judging by my work in Madrid) in the end really understand how the bassoon works in contemporary music.
I am rather saddened by the lack of interest from young bassoon students in contemporary music. If only the composition and electronic department of a university/ conservatorium and the bassoon department would work together developing short pieces (7 mins is optimal for a solo piece!!). If that would happen then I would know that the future for bassoon and new music would be assured and this in turn would make me very happy and my mission in life would have been achieved!!


 

 

Nuevas técnicas instrumentales en el Fagot
por Lorelei Dowling
2 de Julio del 2016 en el Centro Superior KATARINA GURSKA

Informaciones Prácticas:
Nuevas técnicas instrumentales en el fagot
El seminario tendrá 8 horas de duración.
2 de julio del 2016
Precio por seminario para alumnos, ex-alumnos y profesores CSKG: 80€
Precio para público general: 120€ 
El seminario girará en torno a La voz como fuente  para la escritura instrumental.
Tendrá lugar en la sede del CSKG de la Calle Sta. Engracia, 181.


 

Lorelei Dowling
Lorelei Dowling, fagotista y contrafagotista, es una mundialmente reconocida especialista en el repertorio contemporáneo. Desde el comienzo de su carrera profesional en la Sydney Symphony Orchestra con 24 años, ha continuado tocando con la Australian Opera and Ballet Orchestra, Lausanne Chamber Orchestra, Mozarteum Orchestra, Ensemble Modern, Musikfabrik, Esbjerg Ensemble y otros. Ha sido la primera fagotista que interpretó el Concierto para fagot de Jolivet con una importante orquesta australiana; ha ofrecido conciertos en numerosos festivales por todo el mundo, incluyendo en los Salzburg Festspiele, Schlegwig-Holstein y el Festival Lochenhaus de Gidon Kremer’, donde grabó el Nonetto de Nino Rota.
 
Desde 1994 es fagot solista del Klangforum Wien con el que ha grabado más de 30 cds y ha hecho numerosas grabaciones para radios de Austria y Australia.
 
Ha impartido clases y recitales sobre técnicas contemporáneas de fagot y contrafagot en la  Manhattan School of Music; en los conservatorios de Moscú, París y Venecia; RNCM Birmingham; Porto School of Music, y en los IDRS de Wisconsin, Ithaca y Birmingham.
 
En 2010 fue el  fagot invitado en la BDRS Annual Convention en el Reino Unido.  Desde 2009 es profesora de fagot en la Musikhochschule de Graz.  Entre otros, han escrito obras para ella los compositores Pierluigi Billone, Elena Kats-Chemin y Mark Andre.
 
Fundó HONK en 2010 con un DJ, explorando la electrónica con fagot y contrafagot; y en 2013 in_between_4_bassoons, un cuarteto de fagotes especializado en música contemporánea, improvisación y sus propias composiciones.


 

El Centro Superior KATARINA GURSKA (CSKG) está llevando a cabo una serie de diez seminarios, junto a su actividad del Máster de Composición Instrumental Contemporánea (MCIC), que dieron comienzo la primera semana de febrero de este curso 2015-16. Estarán impartidos por profesores invitados de reconocido prestigio internacional en la escena musical y, aunque están dirigidos a compositores, intérpretes o cualquier persona interesada en la música de creación actual, son seminarios abiertos a todo aquel que quiera tomar parte en ellos. Estos seminarios estarán impartidos por 4 compositores, 3 intérpretes y 3 musicólogos. Los impartidos por compositores e intérpretes serán de 8 horas de duración, mientras que los impartidos por musicólogos serán de 12 horas. 

Precio por seminario para alumnos, ex-alumnos y profesores CSKG: 80€

Precio para público general: 120€ 

Por un lado, el impartido por compositores contará con la presencia de Beat Furrer, Pierluigi Billone, Chaya Czernowiny, Voro García, quienes trabajarán en la introducción a su lenguaje y técnica musical. El de intérpretes estará impartido por el violista Christophe Desjardins, la fagotista Lorelei Dowling y el percusionista Christian Dierstein quienes incidirán en los recursos técnico-sonoros en la música contemporánea. Por último, el seminario impartido por musicólogos contará con Till Knipper que hablará sobre microtonalidad, José Luis Besada sobre formalización y modelización musical y Paulo de Assis sobre Arte Comprometido y Arte Puro.

Todos tendrán lugar en la sede del CSKG de la Calle Sta. Engracia, 181, de Madrid durante los fines de semana de 11 a 15h y 16:30 a 20:30 los sábados, y de 10 a 14h los domingos, siendo el calendario lectivo el siguiente:

6 de febrero: Chaya Czernowin

20 de febrero: Pierluigi Billone

12 y 13 de marzo: Paulo de Assis

2 y 3 de abril: José Luis Besada

23 y 24 de abril: Till Knipper

7 de mayo: Christian Dierstein

28 de mayo: Beat Furrer

11 de junio: Christophe Desjardins

2 de julio: Lorelei Dowling

9 de julio: Voro García