Subject: Unerhörte Musik | Newsletter | 2014 | Nr. 21
Date: Fri, 5 Dec 2014
From: Unerhörte Musik
Unerhörte Musik | Newsletter | 2014 | Nr. 21
NEWSLETTER 2014 | Nr. 21
9. und 16. Dezember
2015 ist gesichert!
„Mancher Zeitgenosse ist wie ein Elefant auf der Suche nach
Porzellanläden“ (Sir Peter Ustinov)
DEGEM,
die frohe Botschaft zuerst: Die Stiftung Deutsche Klassenlotterie
Berlin hat die Finanzierung unserer Reihe für 2015 gesichert! So ist in
der Pressemitteilung der Stiftung vom 4.12. zu lesen.
Wir danken allen, die uns in diesem Jahr unterstützt haben und freuen
uns, auch im kommenden Jahr mit der guten Neuen Musik dienen zu können!
Wild und euphorisch geht es in den letzten beiden Konzerten in diesem
Jahr zu:
Dienstag, 9. Dezember, 20:30 Uhr Give my regards to 116th street
Kobe Van Cauwenberghe, Gitarre
Give my regards to 116th street ist ein Programm mit ausschließlich
neuen Stücken von Komponisten, mit denen der flämische Gitarrist Kobe
Van Cauwenberghe währen seines dreijährigen Aufenthaltes in New York
zusammenarbeitete. Zufällig waren alle verbunden mit dem Music
Department der Columbia University, das sich in der 116ten Straße
befindet….
Alle Stücke sind für akustische Gitarre geschrieben, oft mit (teilweise
extremer) Verstärkung. Es ist, als würde der Gitarrenklang chirurgisch
freigelegt: die verschiedenen Herangehensweisen der Komponisten erkunden
die unterschiedlichsten, teils mikroskopisch feinen Klangmöglichkeiten
des Instrumentes, sowohl durch mikrotonale Verstimmungen, elektronische
Verfremdung oder durch Zuhilfenahme klangverfremdender Objekte. Die
Verstärkung erlaubt die Erhörung auch der feinsten und sanftesten Klänge…
Auf dem Programm stehen Werke von Paul Clift DE, Taylor Brook DE,
Rama Gottfried DE, Aaron Einbond DE, Alex Mincek DE und
Christopher Trapani DE
Dienstag, 16. Dezember, 20:30 Uhr Einsamkeit – Euphorie – Ekstase
Bärmann Trio
Sven van der Kuip, Klarinette
Ulrich Büsing, Bassetthorn, Baßklarinette
John-Noel Attard, Klavier
Inhalt
Dienstag, 9. Dezember 2014 | 20:30 Uhr | Kobe Van Cauwenberghe
Give my regards to 116th street
Kobe Van Cauwenberghe, Gitarre
Paul Clift
1950C (2012)
for restrung classical guitar DE
Taylor Brook
Sui generis (2014)
for steel-string guitar and electronics DE
The title, Sui Generis, is latin for “of it’s own kind”.
This composition follows from a 2008 solo guitar piece
entitled In Terra Nullius (empty land), that attempts to
depict remote areas of Northern British Columbia in musical
terms. Instead of depicting imagery, Sui Generis concerns
itself with the nature of the steel-string guitar and
music/sound itself. As a legal principle, Terra Nullius was
invoked by colonizing forces to claim land inhabited by
aboriginal populations. Colonizing forces claimed that there
was no law among these groups and therefor the land could be
considered an uninhabited, Terra Nullius. Some groups, such
as the Inuits of Alaska, responded by invoking Sui Generis:
we have different laws, laws of our own kind. To perform
this work, the guitar must be drastically retuned. Each
string is tuned down in pitch, resulting in a generally
mellow tone, closer to that of a baritone guitar. The
intervals between the strings has also been altered to
create a microtonal chord of naturally tuned intervals
relating to a B-flat tonic, further altering the resonance
of the instrument. The upper three strings form a B-flat
major triad, while the lower three strings are tuned to more
complex intervals: the just minor third, the just seventh,
and the just tritone. The electronic sound pushes the
harmonic possibilities
of the piece further, blending microtonal guitar samples
with the live guitar as seamlessly as possible. – TB
Rama Gottfried
Spindle (2012)
für verstärkte Gitarre DE
Spinning, in textiles, around a spike of wood, threads
gather, twist and combine, splinter-off; in disk-drives,
holding platters of data, reading, writing, heads jump,
between sections of storage, to be interpreted, processed,
and eventually contextualized; but if off-axis, wobbling,
bouncing, skipping, rubbing, scraping, clipping, popping,
striking, plucking, oscillating. – RG
Aaron Einbond
Silent Screen (2012)
for prepared steel-string guitar and electronics DE
Clicks, pops, and scratches; stiff, jerky motions; and a
hint of slap-stick humor are some of the images suggested by
the title Silent Screen written for Kobe Van Cauwenberghe.
The steel-string guitar — an instrument associated with the
American frontier rather than European refinement — is
mounted on a table, prepared with a knitting needle, and
manipulated with pick, slide and electric motor. The
resulting near-silent sound world is projected toward the
listener with close amplification. The computer analyzes
this flickering image and matches timbral features to a
database of pre-recorded samples, like a foley artist
syncing sound effect to screen. Perhaps these are the early
years of interactive computer music, recalling the
beginnings of silent film a century ago. – AE
Alex Mincek
Strata (2011)
für verstärkte Gitarre DE
„Strata“ for amplified guitar begins with distinct layers of
extremely quiet musical structures caused by strenuous
physical actions. As the piece progresses, the independent
layers of physical gestures awkwardly collide causing
various malfunctions, which result in a complex network of
audible structures and ambiguous causes and effects. The
idea behind the piece is that there are often numerous
layers of ‚unseen‘ and unintended outcomes to even our
smallest, most mundane everyday activities. – AM
Christopher Trapani
Really Coming Down (2007)
für Gitarre und Live-Elektronik DE
“Really Coming Down” is a sort of double quodlibet, based on
two disparate sources: a Tudor melody set to the anonymous
English poem “Western Wind,” and Irma Thomas’ “It’s
Raining,” a New Orleans R & B classic written and produced
by Allen Toussaint. Fragments from both float by throughout
the piece, whose four sections are given subtitles borrowed
from the French marine barometer. Live electronic
manipulations predominate in the second and third sections,
while the outer sections feature many precorded sound files,
mostly drawn from my own recorded improvisations on electric
guitar, harmonica, mandolin, and Appalachian dulcimer. – CT
Guitarist Kobe Van Cauwenberghe, born in Antwerp, Belgium, is a
commited performer of the music of today. In addition to a master degree
in guitar performance at the conservatory of Ghent,
where he studied with Tom Pauwels, he received a 2nd master degree in
Contemporary Performance Practice from the Manhattan School of Music in
New York City, where he studied with David Starobin and Mark Stewart. To
help him realize this program he received a fellowship from the Belgian
American Education Foundation. During his three year long stay in New
York City, Kobe was a member of the Wet Ink Ensemble and was involved in
several large projects as a freelance guitarist, including a tour with
the Signal Ensemble and Helmut Lachenmann for the composer’s 75th
birthday and, with the Talea Ensemble, the American premiers of Fausto
Romitelli’s Professor Bad Trip, An Index of Metals and his solo work
Trash TV Trance. He also worked with the Callithumpian Consort in
Boston, the International Ensemble Modern Academy in Frankfurt and the
Either/Or Ensemble in New York. Kobe is currently a member of the
electric guitar-quartet Zwerm, which he co-founded in 2007, the Nadar
Ensemble and the Parisian collective soundinitiative. As a freelance
guitarist he performed with the Ictus ensemble in Brussels and ensembles
2E2M and Multilatérale in Paris. He also forms the guitar duo Oh Mensch
with Matthias Koole, with whom he is currently in residence at the
Akademie Schloss Solitude in Stuttgart. As a soloist he is preparing an
album with new pieces written for him, to be released on Carrier records
in the winter of 2014/15. In the past years Kobe has played concerts in
Europe, The United States, Mexico and Canada, both as a soloist as in
chambermusic formation and large ensemble. He played in concert halls
like de-Singel, Flagey, Palais des Beaux-Arts, Merkin Hall, Symphony
Space and Le Poisson Rouge, and in festivals like Ars Musica, Manifeste,
The Bang on a Can Marathon, The Holland Festival, Tzlil Meudcan,
Festival Internacional Chihuahua, Donaueschinger Tage für Neue Musik and
the Damstadt Summer Course for New Music, where he was awarded a Stipend
Prize in 2010. Kobe Van Cauwenberghe can be heard on Psi Label, New
World Records, Bridge records and on Mode Records with a CD/DVD
dedicated to the music of Helmut Lachenmann.
Kommen Sie, feiern Sie mit uns und freuen sich für die Musiker,
Ensembles und Komponisten, die nun auch im kommenden Jahr ihr Podium bei
uns haben werden….
…und Sie die gute Musik!
Herzlich grüßen
Ihre Rainer Rubbert und Martin Daske
Die Unerhörte Musik wird noch bis Ende 2014 gefördert aus den Mitteln
des Regierenden Bürgermeisters von Berlin, Senatskanzlei | Kulturelle
Angelegenheiten
Alle Veranstaltungen finden im BKA-Theater, Mehringdamm 34, 10961
Berlin, statt. Telefon: 030 – 20 22 007
Eintritt: 12,- / 8,- €
Zehnerkarte: 70,- / 50,- € (übertragbar)