Henry Fourès studied art history at the University of Montpellier and music at the Conservatoire National de Musique in Paris where he won first prizes for writing, analysis and composition. He continued his training at the academy in Vienna and piano at the University of Berlin in medieval musicology. From 1975 to 1977 he was an intern at the Groupe de Recherches Musicales (INA-GRM).

Professor in charge of improvised music at the Conservatory of Pantin from 1977 to 1980, then taught medieval musicology from 1980 to 1982 at the University of Toulouse-Le Mirail.

From 1991 to 1993 he was artistic director of the studio La Muse en Circuit. He worked regularly in Germany (Postdam, Berlin, Cologne, Frankfurt) where he was invited to various ensembles and symphony radios. From 1996 to 2008 he was chairman of the music lab and computer Marseille.

The eclecticism of its output as a composer and performer led him to collaborate with the creators of aesthetic and very different backgrounds (musicians, actors, choregraphers, visual artists, filmmakers). He is active in many areas, making films for television and composing music for picture, dance and stage. It is also the author of numerous creations radio (France Culture) and Hörspiel for HR and WDR. He wrote symphonic works, chamber music, electronic parts, mixed vocal works. It also designs and produces interactive installations and major events.

From 2000 to 2009, Henry Fourès is director of the National Superior Conservatory of Music and Dance Lyon. Today, recovering his full activity as a composer and performer, he also runs as guest artist in residence and composer in many contemporary festivals, creation and research Centers like GMEM Marseille, IRCAM and European universities.

Henry Fourès an officer of Arts and Letters, Knight of the Order of Merit and holder of the German Cross of Merit (Verdienst Kreuz).

His music is published by Edition Symétrie, Lyon and Peer Music Verlag, Hamburg.


yann-robinThe French composer Yann Robin began his musical studies at Aix-en-Provence. He later enrolled in the jazz class at the National Regional Conservatory in Marseille, while simultaneously integrating the composition class of Georges Boeuf. He was awarded first prizes from the Paris National Conservatory in the composition class of Frédéric Durieux and the analysis class of Michaël Levinas. He received a grant from the Meyer Foundation, and was awarded a first prize from the Beaux-Arts Academy as well as from the Salabert Foundation, and in 2011 the Sacem presented him with the Grand Prix de la Musique Symphonique. From 2006 to 2008, he attended the two-year curriculum at Ircam.

It is from 2004 when he undertakes a long collaboration with Alain Billard, clarinettist and soloist of the Ensemble intercontemporain and Multilatérale for which he writes his cycle Art of Metal made up of three pieces around the clarinet double bass metal. Of this collaboration is born, in autumn 2012, a monographic CD Vulcano / Art of Metal with Ircam and the Ensemble intercontemporain conducted by Susanna Mälkki.

In 2009 and 2010, he was a fellow at the French Academy in Rome, the Villa Médicis, where he launched a new contemporary music festival, the Controtempo Festival, which he still programs.

His music is performed in France and around the world. He has been commissioned by numerous prestigious structures such as Ircam, the Philharmonic Orchestra of Radio France, the New York Philharmonic, Casa Da Musica in Porto, the Seattle Symphony, the Orchestre National de Lille or the SWR Sinfonieorchester Baden-Baden und Freiburg.

His orchestral works comprised works such as Inferno, co-commissioned by Ircam and the Philharmonic Orchestra of Radio France, a work for large orchestra and electronics based on the cartography of Hell by Dante and Monumenta world premiered at Musica Festival in Strasbourg.

In 2005, he and other composers founded the Multilatérale Ensemble, and later became the artistic director.

His music is published by Editions Jobert.


Born in Innsbruck in 1974, the composer Johannes Maria Staud draws much of his inspiration from literature and the visual arts. Reflections on philosophical questions, social processes, and political events also influence his compositions. His artfully constructed works posses a rigorous dramaturgy.

Johannes Maria Staud studied musicology and philosophy in Vienna before continuing his compositional studies with Hanspeter Kyburz in Berlin. In 2002, he won the Erste Bank Composition Prize, and in 2003 he won the International Rostrum of Composers prize, followed by the Ernst von Siemens Composers’ Prize in 2004 and the Schleswig-Holstein Musik Festival’s Paul-Hindemith-Prize in 2009. Prestigious commissions followed for the Berlin and Vienna Philharmonic, the Cleveland Orchestra and the Bavarian Radio Symphony Orchestra. He wrote ensemble pieces for groups such as Trio Catch, Klangforum Wien, Ensemble Modern, Ensemble intercontemporain and ensemble recherche. In December 2018, his opera “Die Weiden” was premiered at Vienna State Opera. Since autumn 2018 he is working as a professor of composition at the Mozarteum University in Salzburg.


prof-elisabeth-gutjahr-79c66b41-1f11-4d3a-8cba-649c8c76bd05Elisabeth Gutjahr spent her childhood in Bonn and Geneva, two cosmopolitan cities that influenced her development.  After completing her studies in rhythm and music theory in Stuttgart and Cologne, at the age of 26 she was appointed as professor at the Trossingen State Academy of Music in Baden-Württemberg.  She was constantly concerned with the further development of the institution, in the senate, the university council, and from 2006 also as Rektorin, a function to which she was re-elected in 2012.  Moreover she has commitments in the conferences of university chancellors, in the regional music council (governing board), in the educational committee of the German Music Council (deputy chairperson), in the advisory committee on quality at the University of Gutenberg in Mainz, and since 2015 in the Council of the AEC.  She also holds further honorary positions on several boards and advisory committees, for example the Music Friends of Donaueschingen, the Zimmertheater Rottweil 2002 and the regio tv Ravensburg.
She is particularly preoccupied with the opposing poles of score and performance, libretto and stage, whereby she is interested in interdisciplinary processes that link music, theatre, dance, language, film and the fine arts with each other.  From an early age she focused her artistic activity on the creation of text in context with music.  Elisabeth Gutjahr has also organized competitions and festivals of contemporary music  and has worked as a music dramaturge, choreographer and stage director.

Since 1989 she has written several opera libretti and texts for music.  She wrote Gesualdo for the composer Franz Hummel (for the opening of the new opera house in Kaiserslautern), the text for the chamber opera On the Beautiful Blue Danube (voted Best Opera of the Year 1994 by the journal Opernwelt), Beuys (co-production between the Vienna Festival and the Deutsche Oper am Rhein Dusseldorf) and Styx (libretto about Handel and the Orpheus myth for the Handel Festival 1999/2000).
For the composer Tobias P. M. Schneid she wrote Swin swin, a chamber opera that was also produced for television and broadcast in 1998 on ARTE. She wrote the libretto for the opera Eclipse by József Sári (premiered in 2009 at Budapest Opera). In 2015, together with Henry Fourès, she produced the bilingual music radio play Correspondances in the studio La mise en circuit in Paris for the Musica Viva Festival in Strasbourg.

Elisabeth Gutjahr has written several artistic and music-educational articles such as Der Mythos Kreativität (Verlag Wissenschaft und Bildung, Berlin, 1996) as well as essays on music and concert educational theory, music education, improvisation and creative processes.  She has written several radio plays and also the cycle of poems Tractatus logico-poeticus, to which the award-winning audio book Wittgenstein with Klaus Löwitsch refers (commission and cooperation).

Guest professor :

~b781201Bernhard Gander was born in Lienz, Austria, in 1969. He studied at the Tiroler Landeskonservatorium (piano, music theory, conducting) as well as composition with Beat Furrer in Graz and electro-acoustic music at Studio UPIC/Paris and the Schweizerisches Zentrum für Computermusik/Zürich.

Ensembles and orchestras such as Klangforum Wien, Ensemble Modern, Ensemble Intercontemporain, Ensemble Intégrales, Talea Ensemble, Arditti Quartett, Ensemble Phace, Neue Vocalsolisten Stuttgart, RSO Wien, DSO Berlin, Brüsseler Philharmoniker, SWR Sinfonieorchester, WDR Sinfonieorchester, Hr-Sinfonieorchester, NÖ Tonkünstlerorchester perform his music in prestigious halls and festivals such as Wiener Konzerthaus, Steirischer Herbst, ORF, Klangspuren, Transart Bozen, Donaueschinger Musiktage, Wiener Festwochen, Wien modern, Musica Strassbourg, Wittener Tage für neue Kammermusik, Biennale München and many more.

Gander received several prizes (Musikförderungspreis der Stadt Wien für Komposition 2004, Erste Bank Kompositionspreis 2005, Staatsstipendium für Komposition 2005/07, SKE Publicity Preis 2009, Ernst Krenek Preis 2012 for „melting pot“), many of his works are published by Edition Peters.