Manuela Kerer born in 1980 in Brixen/ Italy, likes to marvel and is continuously on the search for new sounds, surprises and challenges. She passed her composition studies with distinction in Innsbruck, studied with Alessandro Solbiati in Milan and graduated in violin-instrumental education, law (PhD “‘In the name of all artists, art, and social progress’:  The development of the rights of
Composers) and psychology (PhD “Music and dementia”).

In her music, she combines all these disciplines. Manuela Kerer composed for the Solistenensemble Kaleidoskop Berlin, Klangforum Wien, die reihe, the Bayerische Kammerphilharmonie, the Münchener Biennale or Wien Modern and for master musicians like Julius Berger and Maja Ratkje. Her music has been performed at the Konzerthaus Berlin and Vienna, at Kampnagel Hamburg, at the Accademia Filarmonica Romana und the ACF New York. 

Manuela Kerer received several awards, including the Walther-von-der-Vogelweide prize (2009), the SKE Publicity Prize (2011) and the Austrian State Grant for composition (2008, 2011, 2016). In 2009 she was elected one of 100 young creative talents of Europe from the European Committee. In 2012/2013 the Austrian Ministry of Foreign Affairs selected her for the program “New Austrian Sound of Music”. In 2015 she was awarded the international scholarship “Composer in Residence – Female composers to Frankfurt”. In 2016 she was Composer in Residence at the Festival St.Gallen/Styria, in 2019 at Schlossmediale Werdenberg and Festival “Leicht über Linz”. Kerer’s works are published by “Breitkopf & Härtel”. Many of them have been featured on CD, a portrait CD has been published in the ORF-edition “Zeitton”.    >

2019 Calgary New Music Festival | Airborne Extended


Kaput II

English from German kaputt (broken), originated from the Yiddish קאַפּוט (broken, “lost, dead”).
What is broken is thrown away and ends up in the garbage. But what happens to “discarded” notes? Usually nothing. In the present piece, however, notes that were first noted in other pieces by Manuela Kerer, but then deleted, were dug up, dusted off and reassembled. They have also inspired new ideas and developments. To illustrate the act of discarding, the instruments are first packaged in (transparent) garbage bags. Then comes the (in Kerer’s ears) epitome of musical trash: MIDI instruments (MIDI recorder and MIDI guitar). The musicians look motionless with the instruments packed in garbage bags in playing position on the notes. Impaired by the garbage bags they also start to play, and it results in a comical Sextett, the MIDI instruments, for example, on the right instruments unplayable sounds for the best, the musicians in contrast “playfully stand out” with feeling. Shortly before (or already in the middle of it?), the musicians release their instruments and play without plastic additives. The MIDI instruments? They lost their “tongue”.