World Premiere! Real! Analogue! Kind of … wow!


I am very happy to announce the premiere of my instrumental piece EPIPHONIE , written for the series Vent d’ailleurs of the Theatre-Symphonie Biel-Bienne Solothurn (Suisse)

I especially would like to thank Marco Antonio Pérez-Ramirez for the invitation and his engagement in promoting new music in Biel-Bienne.

Marco recently wrote a post regarding the creation of new music, you find a copy of it beneath!

Thomas Cornelius Desi


Uraufführung Création

(2 Horns, Flute, Clarinet in A, Oboe, Bassoon, Trumpet in Bb, Trombone. – No Conductor. ca. 10 min)

When Marco told me about the „available“ musicians (i.e. instruments, but I see instruments equal human beings!) I wanted to have a collective „sound“ in that space he had in mind, the modernist Zwingli Church in Biel. So it is not only about human people playing instruments when writing new music pieces, it is also about the occasion, the venue this will happen. We know how scarce opportunities are today to present newly written contemporary music and most of them might be performed only once anyway.

So I tried to imagine the situation, the venue and its acoustics and I thought it would be a good place to play with a „spatial sound“, where the instruments play from different spots in that particular space.

At the same time a title came to my mind, actually when working on another piece. A choir piece „IN PARADISUM“ (which will be performed later this year in Vienna), made me dealing with latin texts. The meaning of an „Epiphonie“ came obviously on the day of epiphany (of Christ), which means „appearance“ of someone or something. So I heard sounds appearing in the „Zwingli-Church“. It is not a religious work at all. If – at all – there is something like a „melodic motive“ one might recognize the opening of the Strauss‘ waltz An der schönen blauen Donau, the so-called Donau-waltz. Fact that the eight opening bars of this genius‘ work ist appearing in a 10-minute-stretch makes it a stretch between religious music and dance music. It’s not heretic. It’s been a dream of mine ever since. – Ah, and a last word: There is no conductor maestro god. Only the cooperative listening while playing the notes might – might! – create something of esthetic and eventually ontological sense…

Enough words! Let the music speak, or shall I say „sing“:



Di Ma 24.08.2021 20:00 Zwinglikirche Biel Église Zwingli Bienne

Flöte Flûte Joana Fernandes
Oboe Hautbois Anna Štrobová
Klarinette Clarinette Gabriel Pernet
Fagott Basson Yisol Shin
Horn Cor Maurin Jenni Andreas Font
Trompete Tromette Magdalena Rosenberg
Posaune Trombone João Bastos
Perkussion Percussion Mathis Pellaux
Violine Violon
Marta Lucjan | Franziska Fessler | Yesong Leong
Viola Alto
Marta Ocete Montoro | Tatiana Zubova
Violoncello Violoncelle Kiril Fasla Prolat | Laurenz Gutjahr
Kontrabass Contrebasse Gil Brito

Programm Programme

Benjamin Ellin Co-Op21 Uraufführung Création
Gualtiero Dazzi Fragments retrouvés Uraufführung Création
Thomas Desi Epiphonie Uraufführung Création
Miguel Farias Latente Uraufführung Création
Julieta Szewach Todo era vuelo en nuestra tierra Schweizer Erstaufführung Création Suisse
Marcos Stuardo VirtualisUraufführung Création


Marco Antonio Perez-Ramirez
Compositeur – Manager de l’orchestre Symphonique Bienne Soleure chez Orchestre Symphonique Bienne Soleure (TOBS) wrote:

TOBS continue à s’engager pour la création contemporaine.
Lors de notre prochain concert d’été le 24.08, sur les 6 œuvres programmées, 5 seront des créations mondiales et 1 création suisse ! 

oeuvres de Gualtiero DazziMarcos Stuardo, Julieta Szewach, Benjamin EllinMiguel FaríasThomas Desi

Aujourd’hui, nous devons redoubler de vigilance et proposer la création pour un monde meilleur.
Il faut sans cesse commander des œuvres, les créer et les reprogrammer.
Dans cette société du jetable et de la reproduction, où règne le désir d’éliminer tout ce qui n’est pas distraction et profit, la création musicale ne trouve plus sa place, alors qu’elle est une valeur indispensable à notre humanité.
Le véritable art, celui qui éveille, édifie, est de plus en plus mis à
l’écart parce qu’il ne peut répondre à la demande d’une production immédiatement rentable, dont l’unique unité de mesure est la quantité. Comment oser imaginer que le profit soit l’unique valeur fondatrice de notre société humaine ?

Soutenir la création c’est œuvrer pour un futur meilleur.


I had to put a „personal note“ to it:

I totally agree. At the same time, music is one of the few creative human activities that do not produce waste, that do not use non-renewable resources. All this constitutes the immense value of the aesthetics that the arts represent in our culture; a phenomenon to be defended!

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