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Born in Mexico City in 1972, Castell\u00f3 studied music in her native town at the Conservatorio Nacional de M\u00e9xico, at the Universit\u00e9 de Montr\u00e9al, at the Conservatorium van Amsterdam, at the Konservatorium der Stadt Wien and at the Department of Composition and Electroacoustics at the University of Music and Performing Arts Vienna. Since 1999, she has lived in Vienna, where she is a teacher. In the year 2004, she founded the concert series \u201cNeue Musik in St. Ruprecht\u201d, and has organised hundreds of concerts and events.
\nEven though she remains devoted to old music, new and electroacoustic music take center stage in her work. She co-founded the ensembles Low Frequency Orchestra, frufru (with Maja Osojnik), cilantro (with Billy Roisz), subshrubs (with Katharina Klement, Tamara Wilhelm and Maja Osojnik) and Chesterfield (with Burkhard Stangl) Plenum, Zimt (with Gunter Schneider, Barbara Romen and Burkhard Stangl) a.o.. She has performed in Europe and America with these ensembles and with other musicians such as, Martin Siewert, John Butcher, Dafne Vicente-Sandoval, Urkuma, Franz Hautzinger, Isabelle Duthoit, dieb13, Jerome Noetinger, Mario de Vega, Attila Faraveli, Kazu Uchihashi, Bonnie Jones, Juanjose Rivas, Steve Bates, Olga Neuwirth, Wolfgang Mitterer and others.<\/p>\n
As a composer, she writes for her own instruments (mainly the Paetzold sub great bass recorder, with and without electronics) and for ensembles (amongst them the Danubia Saxophonquartett, Reconsil Ensemble Vienna and the Haydn Piano Trio) as well as Electroacustic Works. Her music has been published by the labels Mosz, Instertellar Records, Orlando Records, einklang_records, Mandorla Label, Mikroton Recordings, Monotype Records and chmafu nocords. Numerous composers, including Hilda Paredes, Daniel de la Cuesta, Katharina Klement, Burkhard Stangl, Jorge S\u00e1nchez-Chiong, and Mario Lavista, have worked with Ang\u00e9lica Castell\u00f3 or dedicated pieces to her. In recent years, Castell\u00f3\u2019s work has included installations that operate at the interface of music, performance and visual arts (Electroaltar, Electroaltar for J.C., Electroaltar f\u00fcr C.N., Margarita’ Stillleben Theater).<\/p>\n
Her debut album, \u201cBestario\u201d, unites the multifaceted nature of Ang\u00e9lica Castell\u00f3\u2019s work: Recordings of her own instruments serve as the raw material for pieces in which she edits the sounds of her flutes, sometimes beyond recognition, and combines them with frequently deformed fragments of other elements \u2014 be they electronically produced or found elsewhere \u2014 to a musical entity in which multiple layers overlap. She weaves existing pieces of other composers, such as Bach, into these contemporary forms of electronic processing, thereby referencing her work as an interpreter of old music. Even though her other sources of inspiration, such as from literature or visual arts, often have specific roots, they lead Castell\u00f3 to an abstract engagement with such topics as death, and dealing with traumatic encounters. Wide-ranging combinations of sounds that are constantly and sometimes simultaneously moving in different directions provide continuity as well as surprises, and when listened to repeatedly, they shed new light on the beasts from literature, the animal kingdom, and daily life that have been set to music.<\/p>\n
www.castello.klingt.org <\/a><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″][vc_custom_heading text=”Menu” font_container=”tag:h2|font_size:12|text_align:right” use_theme_fonts=”yes”][vc_custom_heading text=”CPM-Lab” font_container=”tag:h3|font_size:22|text_align:right” use_theme_fonts=”yes”][vc_wp_custommenu nav_menu=”165″][vc_empty_space height=”32″][vc_btn title=”SIGN IN HERE” style=”custom” custom_background=”#5b8fb5″ custom_text=”#ffffff” shape=”square” align=”right” css_animation=”fadeInRight” link=”url:https%3A%2F%2Fwww.wellenklaenge.at%2Fde%2Fcpm%2Fcpm-anmeldung%2F|||”][\/vc_column][\/vc_row][vc_row el_class=”vl-text-justify” css=”.vc_custom_1519215466730{padding-top: 20px !important;padding-bottom: 40px !important;}”][vc_column width=”1\/4″][vc_custom_heading text=”David Six (AT):” font_container=”tag:h4|text_align:right|color:%235b8fb5″ use_theme_fonts=”yes” css=”.vc_custom_1550924209077{padding-right: 20px !important;}”][vc_single_image image=”5420″ img_size=”full” alignment=”right” onclick=”link_image” css=”.vc_custom_1550944975626{padding-right: 20px !important;}”][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1519215941688{border-left-width: 1px !important;border-left-color: #e1e0e1 !important;border-left-style: solid !important;border-radius: 1px !important;}”][vc_row_inner][vc_column_inner css=”.vc_custom_1519215938872{padding-left: 40px !important;}”][vc_column_text css=”.vc_custom_1583666207511{margin-bottom: 0px !important;}”]improvisation, composition, ensemble work<\/strong><\/p>\n “David Six excels in creating vast spheres that bestow a profound validity on every single note, every tune, and any tonal experiment without being too rational about it.”\u00a0<\/em>(Michael Ternai)<\/p>\n www.davidsix.com<\/a><\/span>[\/vc_column_text][vc_empty_space][vc_video link=”https:\/\/www.youtube.com\/watch?v=NTszZtMjXzI”][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″][\/vc_column][\/vc_row][vc_row el_class=”vl-text-justify” css=”.vc_custom_1519215466730{padding-top: 20px !important;padding-bottom: 40px !important;}”][vc_column width=”1\/4″][vc_custom_heading text=”Simon Z\u00f6chbauer (AT):” font_container=”tag:h4|text_align:right|color:%235b8fb5″ use_theme_fonts=”yes” css=”.vc_custom_1583665993705{padding-right: 20px !important;}”][vc_single_image image=”7352″ img_size=”full” alignment=”right” onclick=”link_image” css=”.vc_custom_1583666023377{padding-right: 20px !important;}”][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1519215941688{border-left-width: 1px !important;border-left-color: #e1e0e1 !important;border-left-style: solid !important;border-radius: 1px !important;}”][vc_row_inner][vc_column_inner css=”.vc_custom_1519215938872{padding-left: 40px !important;}”][vc_column_text css=”.vc_custom_1583666089799{margin-bottom: 0px !important;}”]workshop management, improvisation, composition, ensemble<\/strong><\/p>\n As both composer and musician, Simon Z\u00f6chbauer is an enquiring spirit. Freethinking and playful, with the meticulousness of a scholar and the profundity of a philosopher he charts musical landscapes, burrows for roots and looks behind the facades which make up his everyday reality.<\/p>\n His trumpet studies eventually led him down the Danube from the Anton Bruckner University in Linz to the Universit\u00e4t fu\u0308r Musik und darstellende Kunst Wien, from where he graduated in specialized concert studies in 2015. In addition to his work with classical music and its technical possibilities, Z\u00f6chbauer earlier explored traditional music and its translation into the present. With his now internationally celebrated ensemble Federspiel, which has already played on the best-known concert stages throughout the world (Goldener Saal of the Musikverein Wien, the Berliner Philharmonie, the Elbphilharmonie Hamburg and many more), he digs down for roots and underlying soil.<\/p>\n In his first solo project, with which Z\u00f6chbauer now celebrated his debut in March 2019, his compositions open up to contemporary and electronic impulses as well the influences of sacred music. With the release of the album \u201cAchad\u201d and, no less importantly, his role as of 2018 as artistic director of the wellenkl\u00e6nge festival Lunz am See, the present is emerging ever more clearly as the focus of his creative activity. Z\u00f6chbauer\u2019s searching preoccupation with music and its creative conditions unlocks spaces which project out from the moment into the temporal past and future in equal measure.<\/p>\n