Born 1970, London/UK, currently Canterbury/UK
Wilde Lieder Marx.Music Ensemble Category Prizewinner

Alistair Zaldua is a composer of contemporary and experimental music and has written work for chamber ensemble, solo instrument, live electronics, audio/visual installation, and orchestra. His work has received performances from highly acclaimed ensembles and performers such as ensemble surplus, Ensemble Aventure, Ensemble Modern, Composers Slide Quartet, and Ian Pace, Mark Knoop, Jonathan Powell, Rei Nakamura, Adam Linson and Lauren Redhead. His work consists of both fixed notated scores, as well as openly notated work and has been performed both internationally at festivals for contemporary music including Borealis (Bergen, Norway, 2014), Leeds New Music Festival (2013), UsineSonore (Malleray-Bevilard, Switzerland, 2012), REM (Bremen, 2011), Delmenhorst (2010), Quantensprünge ZKM (Karlsruhe, 2007 & 2008), Freiburger Frühling (2006), Música Nova (Sao Paolo, 2006), and Núcleo Música Nueva (Montevideo, 2006). Current commissions and projects include work for the Aleph Guitar Quartet, Andrew Digby, and  collaborative work with film artist Adam Hodgkins which featured as part of Exploding Cinema at the Supernormal festival (2015). Since 1998 he has worked as conductor of the new music ensemble and lecturer in contemporary music at the University of Music, Freiburg (Institut für Neue Musik). As a composer and conductor he has worked with different new music ensembles such as Ensemble Ascolta (Stuttgart), Ensemble Aventure (Freiburg) and Ensemble Modern (Frankfurt), the South-West German Radio Soloist Chamber Ensemble and with the Berner Philharmonic Orchestra. Alistair studied composition with James Dillon. He received a DAAD scholarship to study with Mathias Spahlinger at the Musikhochschule, Freiburg, completing his studies in 1995-1997.

manifesto (11’)
Orchestration: speaker + fl, ob, cl, bsn, hrn, tpt, tbn, vln, vla, vlc, db, pno, perc

The text for this work was constructed from two fragments from Karl Marx’s Communist Manifesto that are rewritten in ways that potentially reveal further meanings than those that can be found in the original text. This process uses Marx’s words and reformulates them, presenting versions of the text with gaps and thereby connecting parts of it that are not connected in the original. By re-presenting the text this way I aimed to uncover further meanings, however slight, that do not intend to contradict Marx, but to create a context as the text is read and reread several times and from different perspectives. My aim was to to allow the text to iterate over and again Marx’s prophesy that the situation of the proletariat becoming the ruling class creates the conditions for the end of class division itself. A corollary to this is found in the intention behind the change in the harmonic languages and timbral procedures employed, and in the changing relationships of the instrumental groups to the speaker and to each other. The ensemble as a whole aims at presenting the utopia of a classless society by including processes and staging situations that enact it.