Xavier Dayer
Composition Jury 2017
Biography
Xavier Dayer’s music was revealed during a performance in 1998 at the Festival Archipel, in Geneva, with the Ensemble Contrechamps. In only a few years, he became renowned on the international music scene. Born in 1972 in Geneva, where he studied with Eric Gaudibert, he then pursued his studies in Paris (IRCAM) with Tristan Murail and Brian Ferneyhough. He is recipient of a number of prizes, including the Bürgi-Willert Foundation Prize, awarded by Heinz Holliger and the Sandoz Foundation’s FEMS Prize, awarded by Henri Dutilleux. Resident at the Académie de France, in Rome – Villa Médicis in 2008-2009, he was named professor of composition at the Bern University of the Arts (HKB) in 2009.
Greatly solicited in Switzerland and abroad, he has collaborated with the Grand Théâtre de Genève, the Orchestre de la Suisse Romande, the SWR-Vokalensemble in Stuttgart, the Swiss Chamber Concerts and the Niew Ensemble in Amsterdam. Xavier Dayer is very attached to poet Fernando Pessoa, whose texts he used for his chamber opera Le Marin, as well as for several other vocal works. His latest opera, Les contes de la lune vague après la pluie, was premiered at the Opéra Comique in Paris in 2015. He is currently writing two new operas, commissioned by the Zurich Opera and the Konzert Theater in Bern for 2018.
Events

Jaehyuck Choi (22 y.o., Korea)
Nocturne III for clarinet et orchestra1
Yair Klartag (31 y.o., Israel)
Bocca Chiusa for clarinet et orchestra2
Hankyeol Yoon (23 y.o., Korea)
Prank for clarinet et orchestra3
SOLOISTS :
Jérôme Comte, clarinet1
Fabio Di Càsola, clarinet, 1st Prize 19902
Ernesto Molinari, clarinet3
L’Orchestre de Chambre de Genève
Orchestre de la HEM-Genève
Pierre Bleuse, conducting
Direct broadcast on Espace 2 - Live video streaming on our website, Facebook & YouTube
With the support of Fondation Reine Marie José
NOTE ON THE PROGRAMME:
By placing contemporary creation at the heart of its artistic projects, the Geneva Competition wants to act as both a pioneer and a militant. In the same way as we try to refresh musical interpretation by promoting young talent from all over the world, it is vital that the music itself regenerates and stays up-to-date by giving creativity a deserving place. Since 2013, our Composition Prize has shown that it is possible to consider composition as a discipline in its own right, and to view its winners as virtuosos and its finals as events for the general public. We continue to believe that this is worthwhile and are now broadening the competition to include a work for solo clarinet and orchestra.