Csapó Gyula

September 26, 1955

Életrajz

Gyula Csapó was born in Pápa in 1955. In 1981, his work, The Last Tape, was featured at Darmstadt’s International Summer Course for New Music, as was Handshake After Shot at Tribune International des Compositeurs in Paris. After gaining his diploma from the Liszt Academy of Music in Budapest, he studied at the IRCAM (1980–1981) and completed his Ph.D. with Morton Feldman (SUNY–Buffalo, 1989). He would go on to teach there, followed by McGill and Princeton Universities. He became Full Professor of Composition and Theory at the University of Saskatchewan in 2003. In 1996/1997, he won a Fellowship at the Collegium Budapest Institute of Advanced Study and continued to work on a five-act “tragedyin music” entitled Phaedra. It was in this that he developed his drone-based compositional technique into synthetism, based on the interchangeability of elements within musical parameter-complexes. As a holder of a Doctor Habil. title with Venia Legendi (Liszt Academy of Music in Budapest, 2002), he taught courses at its Doctoral Program. Rivka Golani commissioned his Concerto for Viola and a Changing Environment, for which Csapó received the 2009 Artisjus Prize “Classical Composition of the Year”. Grants and commissions followed, e.g., a 2011 Canada Council grant for Déjà? Kojâ? for Quatuor Bozzini, which premiered in Montréal. His works have been performed at Avery Fisher and Alice Tully Halls at Lincoln Center, New York; the Royal Festival Hall, London; Muziekgebouw, Amsterdam; in Toronto, at CBC Radio; Montréal New Music Festival and in Tokyo (Tessara Autumn Festivals and in Hamarikyu Asahi Hall). The ARMEL Opera Festival and Competition made Act IV of Phaedra its entry work for international opera companies in 2014. His 2009 work entitled Great Initial uses human voice-imprints of all ages in reverse chronological order (Flaviana Sampaio’s choreography, Sombreiro, is based on that work). In 2014, Csapó was elected to the Széchenyi Academy of Arts and Letters in Budapest. Cs He has received appraisals from György Ligeti, György Kurtág, Clarence Barlow, James Tenney, Morton Feldman, and John Cage holds his work in very high esteem. Charles Bruck, during his 1992 Princeton visit, called his magnum opus Phaedra “the Pelléas of our time”. Universal Music Publishing (UMP EMB) published a large series of his musical scores. Numerous brief works in his output congeal into large meta-pieces, whose components may be programmed in any order and number [meta-pieces marked with* in the

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Művek listája

publication, is working on his Concerto for Piano End… commissioned by Zoltán Fejérvári. LIST OF WORKS OPERAS Phèdre – une tragédie/parodie en musique en cinq Actes – For Double Stage, Op. 60 (1996–1997, rev. 2014, 2021), 5 Acts Lib: Jean Racine Pub: UMP EMB Le Couvent – [Work-in-Progress Opera], Op. 66, chbr. ens. Lib: Raymond Radiguet ORATORIC WORKS Requiem, Op. 83 (2015–2016), SATB, 7 rec., cl./B cl., vl., vl./vla., vlc., db., 2 perc. CONCERTOS Concerto for Viola and a Changing Environment, Op. 61 (2008–2009, rev. 2021), vla., symph. orch. SR: HCD 32665 Triple Concerto, Op. 64 (2009), engl. hn., cimb., vla., 4 perc., str. quartet, db. Concerto for Piano End…, Op. 89 (2020–2021), pno., large ens., CD playback ORCHESTRAL WORKS Talea Iacta Est, Op. 58 (2008), symph. orch. Tweetfonie, Op. 76 (2014), symph. orch. ENSEMBLE Homage to Franz Kafka – For Any Two Groups of Instruments Capable of Playing Definite or Indefinite (Noise-Like) Sounds*, Op. 2 (1974) Pub: Na-Ne Gallery Card Postale à Violaine Denis*, Op. 14 (1980, rev. 1986), ens. La Reine de Thulé, Op. 73 (2013), 2 engl. hn., 5 timpani/2 engl. hn., gran cassa, db./2 engl. hn., 2 hn., 5 timpani/2 bs., 5 timp. fanatritratritràna*, Op. 11 (1976, rev. 1981), 5 electric org./5 synth./5 vlc. A Maximalist Homage Span to Steve Reich – For Any Clapping/Percussive Being/Device*, Op. 37 (1993) Echo-locations dans un Trou Noir I, II, III, Op. 56 (2007), 4 female voices/4 fl. Parmi les Blancs et Noirs…at Intervals…from the Cabin – Hommage à Raymond Russell, Op. 62 (2008), chbr. ens. CHAMBER WORKS Globe, Op. 1 (1972–1974), 2 pno. Handshake After Shot – to János Pilinszky*, Op. 6 (1977), 2 muted tr., ob., electric org., suspended cardboard box Pub: UMP EMB SR: BMC CD 013 “No halld meg, Eduárd…”/“Hark, Edward…” – Homage to Edvard Grieg, Op. 12 (1979, rev. 1982, 1997), 2 cimb., pno., db. [Version no. 2 with Electronica] Pub: UMP EMB SR: BMC CD 013 XPÓHOI – In memoriam Morton Feldman, Op. 28 (1987, rev. 1991–1992), str. quartet “Sonate, que me veux-tu? alias: The Exam”, Op. 19 (1987, rev. 2003–2004), 2/3 hn., pno., celeste, harp Gratitude for a Dream*, Op. 21 (1988), guitar, pno. Tiny Bird, Little Bird – A Double Letter to John Cage*, Op. 23 (1982, rev. 1990, 2011), 2 pno., 2 amplified and filtered drums/chbr. ens. Choral in Perfect Time*, Op. 29 (1992–1993), keyboard, bass drum Phrag Mental Friezes, Op. 39 (1999–2000, rev. 2001), 2 cl., vl., vlc., pno. Pub: UMP EMB Tundragobelin, Op. 40 (2000), cl., vl., vlc., pno. Pub: UMP EMB Jewels – A Potlatch, Op. 42 (2000), vlc., perc. trio Trytonnosaurus Tamed*, Op. 48 (2002), vlc., pno. Hímzésminták a Megrepedt Föld Arculatára/Embroidery Patterns on the Cracked Face of the Earth, Op. 51 (2003–2004), 2 cl., bs. Pub: UMP EMB Gyümölcs az Ember, Op. 54 (2006), pno., perc. Hármasút/Trifurcation [Part of Phaedra, Independently Performable], Op. 59 (2007), fl., A fl., B fl. Déjà ? Kojâ ? – Prima, Seconda e Terza Parte, Op. 71 (2012–2014), str. quartet SR: QB Label, CQB 1821 M.Sz. Gewidmet*, Op. 74 (2013), harp, 2 perc. Adagietto for Two Percussionists*, Op. 75 (2013) Mártának – Gyuriért, Op. 85 (2019), harp, pno., vlc. Senili Vidám Dalai*, Op. 88 (2021), vlc., pno. VOCAL WORKS Two Poems by Po Tchu-Yi, Op. 4 (1975)*, reciter vl. Na’Conxypan, Op. 13 (1977–1981, rev. 1985), S, A, MS, 9 vl., fl., ob., 2 cl., 3 perc., electric org., db., acc. BirdDayCage*, Op. 20 (1988), B, vlc., pno. Lib: Without Text SR: BMC CD 013 There is No Need to Worry*, Op. 44 (2001), voice Lib: Composer Huacas – Cantata for High Soprano and Chamber Ensemble, Op. 57 (2007–2008), S, fl., cl., 2 perc., vl., vlc. Lib: Hernando Ruiz de Alarcón Trilce V de César Vallejo, Op. 78 (2014), voice, 8-stringed guitar Lib: César Vallejo SOLO WORKS Öt képtelenség/Five Impossibilities*, Op. 5 (1976), pno. Hommage à Stockhausen*, Op. 7 (1978), pno. A View from the Cape Horn*, Op. 8 (1978), hn. Card Postale à Violaine Denis*, Op. 14 (1980, rev. 1986), electric org. Sarah Bande (Magnétique) Pour L*, Op. 16 (1983, rev. 1986, 2012), pno. Air of No Return+, Op. 30 (1983–1990, rev. 2018), pno. Lullaby*, Op. 17 (1986), guitar/cimb. Yagul*, Op. 18 (1987), pno. Sunset Psalm*, Op. 24 (1990), tr./2 tr. in tandem Labyrinth*, Op. 25 (1990–1991), vlc. 21 Preludes to The Death of Art(aud), Op. 35 (1991), pno. Hommage à Edvard Munch*, Op. 27 (1991), vla. Une Passacaille Transcendue*, Op. 26 (1991), pno. A Desert March…, Op. 31 (1991–1993, rev. 2018), pno. Pub: UMP EMB SR: OPEN SPACE 7 Do Not Fold! – Visage*, Op. 32 (1993), vla. Plain Greeting for Elevated Trumpet*, Op. 33 (1994) Lucia di Hammer More?, Op. 41 (2000), vlc. Straight Labyrinth, Op. 45 (2001), pno. Pub: UMP EMB SR: BMC CD 224 Bogus Loci*, Op. 43 (2001, rev. 2013), pno. Sideways Air on a Black Hole, Op. 47 (2002), cl. Pub: UMP EMB La Bimba Celeste, Op. 46 (2002), pno. Hug/Homme/Age – Interpolations Out of Hugo Wolf*, Op. 50 (2003), pno. En-Coeur – For Rivka Golani*, Op. 52 (2004), vla. A végső cél/The Ultimate Goal*, Op. 15 (2005), pno. SR: ODR CD 307 Maria Zart Variations, Op. 82 (2007–2018), pno. SR: CD H 66 Cordiforme – à Rivka*, Op. 49 (2009), vla. Violae*, Op. 65 (2010), vla. A la Recherche…*, Op. 68 (2011), vlc. Tango, Op. 67 (2011), pno. La Travesía Intermitente Hacia Los Galápagos (I–IV), Op. 69 (2011–2012), pno. Tábita, Tábita Táncol, Op. 72 (2013), vla. La Reine de Thulé, Op. 73 (2013), vla. Cynara Stupa Octochorda, Op. 77 (2014), 8-stringed guitar Weigh the Wait, Op. 79 (2015), guitar Le Petit Labyrinthe*, Op. 80 (2016), vl. Bendik Ildikó in memoriam, Op. 81 (2018), vl. Gemini-Minigem*, Op. 84 (2019), vlc. Jeney Zoltán in memoriam, Op. 86 (2020), harp Orpheid*, Op. 87 (2020), pno. ELECTROACOUSTIC WORKS Az Utolsó Tekercs/The Last Tape – Hommage à Samuel Beckett, Op. 3 (1974), vl.-actor, tape-recorder, sine-wave generator Pub: UMP EMB SR: BMC CD 013 Tao Song (1:1/2), Op. 9 (1974–1977, rev. 1979), vl./vlc., harps., electric org., 3 gongs, 4 loudspeakers, live-electronic feedback system/accom panying CD Maldives – une voyage en mer, Op. 10 (1978–1979), vl., 6 boxed microphones, 6 loudspeakers, mixer, live electronic feedback system Remnants in White – Digital Audio Tape Made with Voice, Op. 22 (1989), voice, Oberheim synth., Selzer bottles Sutræcitations, Op. 34 (1991–1995, rev. 1996), reciter, 3 cl., glass drones, pno., microphone, monitor speaker(s), volume control pedal and un specified instr. (noise sources) Pub: UMP EMB SR: BMC CD 013 Hommage à (Mawlana Jalal-ud-din) Rumi, Op. 36 (1991–1992, rev. 2016), male voice, vlc., keyboard, 5 timp. Valahol/Somewhere, Op. 38 (1996), B, B cl., fl., A fl., trb., CD playback Lib: Composer Menggonggong, Op. 53 (2004), digital computer The Great Initial – Emberhangidőszobor/Humanvoicetimesculpture, Op. 63 (2005, rev. 2009), a multigeneration chr. from the oldest to the youngest voices that never met, computer SR: HCD 32665 Lib: Without Text Trigonometry for Shahr-e-Zád, Op. 55 (2006–2007), 10 voices, 2 rec., CDplayback Tool az Óperencián (a Monument to Opera), Op. 70 (2012), 3 db., 2 tubular bells, 5 cellular phones

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