Plakat Low Vibrations.jpg


Im Bann der tiefen Töne!

Ein Gender Projekt rund um die Bassklarinette.

Dieses Projekt legt nicht nur einen Schwerpunkt auf das Instrument Bassklarinette, sondern schenkt auch den MusikerInnen sowie den Komponistinnen, die für die Bassklarinette geschrieben haben, spezielle Aufmerksamkeit.

Vor 20 Jahren noch gab es wenige Frauen die Bassklarinette als Soloinstrument gespielt haben. Inzwischen haben nicht nur mehr Frauen die Bassklarinette für sich als Hauptinstrument ausgewählt, sondern auch immer mehr namhafte Komponistinnen Werke für dieses einzigartige Instrument geschrieben.

Wir präsentieren Werke von zeitgenössischen Komponistinnen und stellen BassklarinettistInnen in den Mittelpunkt.

Masterclass mit Fie Schouten (Bassklarinette) und Ig Henneman (Komposition und Improvisation)
Studierende, Lehrende und Gäste der mdw spielen Werke von Carola Bauckholt, Mary Finsterer,
Ig Henneman, Rozalie Hirs, Katharina Klement, Georgia Nicolaou, Julia Purgina, Petra Stump-Linshalm, Calliope Tsoupaki u.a.


Künstlerische Leitung: Petra Stump-Linshalm und Heinz-Peter Linshalm

Leonard Bernstein Institut für Konzertfach Blas- und Schlaginstrumente
Joseph Haydn Institut für Kammermusik, Alte Musik und Neue Musik

in Kooperation mit Plattform Gender_mdw


Mi, 17. & Do, 18. Mai 2017
Masterclass und Workshop mit Fie Schouten und Ig Henneman


Fr, 19. Mai 2017
17:00 ein UHR.werk – Konzert und Performance mit Teresa Doblinger und Frederik Neyrinck
19:00 Abschlusskonzert LOW VIBRATIONS

Fanny Hensel-Saal, Anton von Webern Platz 1, 1030 Wien
Eintritt frei!


Masterclass mit Fie Schouten
17. & 18. Mai Raum: N0111 (Anton-von-Webern-Platz 1) und 308 (Singerstrasse 26)

Die genaue Einteilung wird noch bekannt gegeben!


Workshop mit Ig Henneman

17. Mai: 9:00 – 12:00 Raum: SI BO107 (Kammermusiksaal)
18. Mai: 9:00 – 12:00 Raum: M0101


Um Anmeldung wird gebeten unter


Composers talk mit Ig Henneman und Fie Schouten (Bassklarinette):
18. Mai: 16:00 - 17:30 Raum: E0104



The Dutch clarinettist Fie Schouten is a Amsterdam-based specialist in performing new music and she has a warm preference for playing on the low clarinets.
Schouten can be heard extensively as a soloist and with her own ensembles.
More than 70 pieces are written for and premiered by her in different formations.

Since 2008 Fie Schouten has been one of the Stockhausen-soloists. She performed many works by Karlheinz Stockhausen with the German ensemble musikFabrik, with the Dutch ASKO-Schönberg Ensemble, the English Birmingham Opera Company and the French ensemble Le Balcon.
She won prizes in competitions (Gaudeamus, Illzach, Tera de Marez Oyens) and produced four cd’s of her own. Three chambermusic cd’s came out at Karnatic Lab Records and the release of her solo cd ‘Ladder of Escape 11’ was in 2014 at Attacca Records.
Fie Schouten is artistic director of a bass clarinet festival titled ‘Basklarinet Festijn’ that took place in 2014 and 2016 in the Netherlands and she is initiator of the forum
In 2015 the Dutch Donemus Publishing published her album with bass clarinet miniatures. The album is made with an educational goal and contains short concert pieces.
Fie Schouten is professor of bass clarinet at the Prince Claus Conservatoire Groningen.
Next to teaching the bass clarinet she gives lectures on contemporary music and combines that with performing contemporary clarinet music.
She studied clarinet and bass clarinet at the Amsterdam Conservatoire, her most important teacher was Harry Sparnaay.
Fie Schouten is an ambassador of the bass clarinet and a Buffet Crampon Artist.


Ig Henneman

Ig Henneman Haarlem, the Netherlands

Ig Henneman composer, improvising violist and bandleader is an artist incapable of remaining satisfied with any music that lies strictly within the boundaries of any one style,” writes critic Ed Hazell. He has described her music as, “a beautiful, functioning musical world all its own that (she) developed organically out of poetry, jazz, classical, improvised music—and birdsong.”

Henneman has written for orchestras, ensembles, soloists, film, theater and for her own improvising groups. She has received several grants and commissions for her work. Henneman's work is performed internationally. As an improviser on viola she makes many tours and performs in festivals and venues in Europe, Japan, North and South America.


Since the nineties the music of the Russian composers Galina Ustvolskaya and Sofia Gubaidulina has been an inspiration for Henneman, who is attracted by the extremes of the former’s structural severity and the latter’s improvisational freedom, also to be found in the work of the Hungarian composer György Kurtág. However, her influences are wide ranging and include popular music as well.


Henneman's work is published by Donemus. Her music can be heard on several CD's on the Wig label.


They say

(...) Just like Ustvolskaya Henneman asks a fearless attitude from the listener. One who listens attentively will be rewarded with sharp, uncommon colored music.

--Mischa Andriessen Trouw Januari 18, 2013 CD Ig Henneman Sextet Live@ The Ironworks Vancouver Wig 22 (2012)


(...) Ig Henneman's compositions are not jazz. "Prelude...", as well as other pieces like "Bold Swagger" present a vision of music that yields toward freedom and expressivity of radical improvisation but are born from the classical sensibility of XXth century avant-guarde music (...) "Live @ the Ironworks Vancouver" takes the best of both musical worlds with staggering results.

---Jazzowy Alchemik April 19, 2013


Dutch Improvisational Reinventions

(...) It might seem odd to write elaborate, chamber-ish compositions when your band includes top-flight improvisers like trumpeter Axel Dörner and reedist Ab Baars, but violist Ig Henneman strikes a meticulous balance with her sextet on Live @ the Ironworks Vancouver (Wig21; 48:25****), where the personnel brings electricity to her writing. At its best the group–which also includes bassist de Joode, clarinetist Lori Freedman and pianist Marilyn Lerner–dissolves the lines where the austere arrangements and post-Morton Feldman composing ends and the improvisations begins.

--Peter Margasak Downbeat February 2013


(...) In this way Henneman developed a complete own language that shines with purity and authenticity (...) the six members own strong personalities that they like to show with guts, patience and measured discretion.

--Tim Sprangers CD Ig Henneman Sextet Live@ The Ironworks Vancouver Wig 22 (2012)



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