Subject: Unerhörte Musik | Newsletter | 2016 | Nr. 8
From: Unerhörte Musik
Unerhörte Musik | Newsletter | 2016 | Nr. 8
NEWSLETTER 2016 | Nr. 8
12. und 19. April
„Ganz direkt wollten die Arbeiter wissen, wie das komponiert sei, wie
aus Fabriklärm und Tarifverträgen Musik werden könne.
Sie bezogen das, was sie hörten, sofort auf sich. Und dann
warfen sie mir vor, die Geräusche in meinem Stück seien bei
weitem nicht so stark, wie die, die sie gewöhnt seien.“
(Luigi Nono zu „la fabbrica illuminata“ 1971)
DEGEM,
der neu in unserer Stadt lebende australische Trompeter Callum
G’Froerer gibt sein Berlin-Debut am kommenden Dienstag, 12. April.
In seinem Programm The Window wird der Trompetenklang in verschiedene
Stadien von elektronischer Verfremdung getaucht; manchmal eingebettet in
Zuspiel, das Feedbacks evoziert, manchmal auch durch den Bassverstärker
verschattet.
Zur Aufführung kommen Werke von Liza Lim, Agostino Di Scipio, Eres
Holz, Cat Hope, James Rushford, Callum G’Froerer, Ryan
Fellhauer und Simon Charles.
Zu den festen Größen der Berliner Neue-Musik-Szene zählen die beiden
Musikerinnen des Duos XelmYa.
Unter dem Titel Conjunction spielen Alexa Renger, Violine und
Sylvia Hinz, Blockföte am Dienstag, 19. April ein spannendes
Programm in dieser außergewöhnlicher Besetzung: eine Verbindung von
durch Muskelkraft und Atem erzeugten Klängen, teils erweitert durch
Sampling und Synthese sowie visuelle Projektionen in Werken von Damian
Barbeler DE, Ludmila Yurina, Sarah Nemtsov UA, Tania Sikelianou,
John E. Zammitpace, Carolyn O’Brien DE, Catenation UA, Francesco
Lipari UA und John Strieder UA.
Um 19:45 Uhr werden die beiden Musikerinnen in Programm und Konzept
einführen.
Inhalt
Dienstag, 12. April 2016 | 20:30 Uhr | The Window
Callum G’Froerer, Trompete
The Window
Liza Lim – The Window (2014) – for solo quarter-tone Flügelhorn
Agostino Di Scipio – Modes of Interference 1 (2005/2006) – for trumpet,
feedback and electronics
This work is a composed dynamical system. It is entirely
based on an audio feedback loop. The two ends of the loop
are (a) 2 miniature microphones inside the trumpet, and (b)
two loudspeakers. In between are (c) the instrument (tube
with its natural resonances), and (d) a signal-processing
computer. A very high feedback gain is requested, so the
loop (a-b) builds up until it results in audible
oscillations, also called Larsen tones. The latter usually
represents a technical problem in sound systems, but in this
composition it is the main sound source. The trumpet and the
computer are utilised to play with it, turning a problem
into an opportunity. In performance, the trumpet player
explores the sonic potential of the audio feedback loop by
interfering with it in several manners.
– Agostino Di Scipio
As a composer, sound artist, and scholar, Di Scipio (born
1962 in Naples, Italy) explores original methods and
technologies for the generation and transmission of sound,
often experimenting with phenomena of emergence and chaotic
dynamics. Internationally renowned are his live-electronics
performance works and sound installations where
‘man-machine-environment’ feedback networks are implemented
and creatively elaborated. He was a DAAD artist-in-residence
in Berlin, and a guest composer at ZKM | Center for Art and
Media Karlsruhe and IMEB Bourges, among others. Between 2001
and 2013 he served as a full professor in Electronic Music
Composition at the Conservatory of Naples, and today he
holds this position at the Conservatory of L’Aquila. Di
Scipio has edited several publications, including a
monograph issue of the Journal of New Music Research on
Iannis Xenakis.
Eres Holz – MACH (2011) – for solo trumpet
Cat Hope – Liminum (2012) – for trumpet and bass amplifier
This work develops Cat’s work with bass frequencies, drone,
glissandi and mobile scores. At certain points in the score,
the instrument is sampled, pitched down using an octaver
pedal usually applied for electric guitars, and played
through a bass amplifier. A similar process happens with
distortion. The performer reads the score in an automated
player that interrupts and reverses the order of different
players randomly, indicating changes in texture and effect.
Cat Hope
Cat Hope is an accomplished Perth based musician, composer,
songwriter, sound and performance artist whose practice is
an interdisciplinary one that crosses over into film, video,
performance and installation. Her work has taken her on
numerous tours around Australia, the USA, Japan and Europe.
Her recordings are distributed and published worldwide, and
she has written soundscapes for dance and theatre companies
as well as commissions for film and pure music works. Cat is
a classically trained flautist, vocalist, improviser,
experimental bassist and electronic composer. She has
directed and edited numerous short music videos and created
audiovisual installations. She has conducted extensive
funded research into communication technologies, audio
recording in forensic science, noise notation, low frequency
sound, graphic scores and surveillance techniques for use in
performance. She is also an active researcher in the area of
music archiving, film music, digital art and electronic
music performance. She has managed a small label/production
company, Bloodstar Music.
James Rushford – Glorious Union (2010) – for trumpet and tape
Glorious Union spotlights the trumpeter in the middle of a
brief but intense storm of activity. The throat and mouth
are used in combination with trumpet tones and noises, and
these same noises, mirrored and heavily processed, are heard
in a virtuosically constructed accompanying tape part. The
rapidly exhausting nature of the trumpet writing places the
trumpeter in a position where as much as possible is
attempted, however the musical result could be said to be
the area between achievement and attempt. Despite all of
this, this work does not lack playfulness, and respite is
granted to the trumpeter in selected ghostly lyrical
phrases. (Callum G’Froerer)
James Rushford (born in Melbourne 1985) lives in Los
Angeles. Composer-performer. Commissions from BBC Scottish
Symphony (Glasgow), Melbourne Symphony Orchestra, Ensemble
Neon (Oslo), Speak Percussion, Ensemble Offspring, Decibel,
Melbourne International Arts Festival (2006/2008), Norway
Ultima Festival (2011), Unsound Festival (New York 2014),
Liquid Architecture Festival (2010). Performances at Steim
Institute (Amsterdam), Logos Foundation (Ghent), Issue
Project Room (New York), Instants Chavirés (Montreuil),
Constellation (Chicago), Café Oto (London), Super Deluxe
(Tokyo), Monday Evening Concerts (Los Angeles), Cave12
(Geneva), WORM (Rotterdam), Ausland (Berlin), Centre for
Contemporary Art (Warsaw), Only Connect Festival (Oslo), Now
Now (2011/2012), Adelaide Festival (2014), Bendigo
International Festival of Exploratory Music (2013/2014),
Melbourne International Jazz Festival (2011), Tectonics
Festival (Adelaide 2014, New York 2015, Tel Aviv 2015).
Performances with Krakow Sinfonietta, Australian Art
Orchestra, Michael Pisaro, Klaus Lang, Tashi Wada, David
Behrman, Jon Rose. Collaborative projects with Joe Talia,
Golden Fur (with Samuel Dunscombe & Judith Hamann), Ora
Clementi (with crys cole), Oren Ambarchi, Sophia Brous,
Kassel Jaeger, Graham Lambkin, Francis Plagne.
Callum G’Froerer – Charcoal 1.2 (2016) – for breath, objects and tape
This short piece highlights a few different processes of
learning, and was borne out of hearing my friend Jenny’s
recordings of her practising interpreting video exercises of
sign language conversations. (Callum G’Froerer)
Ryan Fellhauer – quasi_blue (2015) – for trumpet without mouthpiece
Simon Charles – Coincidence of Wants (2015) – for trumpet and electronics
The premise of the work lies in reevaluating the roles of
composer and performer. It seeks to push the boundaries that
these roles encompass and find new areas wherein the might
overlap. It is a work of no fixed duration, no fixed
frequencies, however there are strictures that consistently
guide its manifestation in performance. There is a surface
identity to the work, however the details of this shift with
each performance. It is in these discrepancies that the work
lives; that which is unpredicted and which immediately
throws into question work’s stability. Somehow, the greater
the force of this questioning, the stronger the identity of
this piece presents itself. There is no score as such, but
rather an algorithmic principle that is tapped and
re-crystallized with each iteration. The role of composer is
liberated through this regenerative process, and the role of
performer is coloured with each situation and performance.
(Simon Charles)
Simon Charles (born 1984) is a composer and improviser based
in Melbourne, Australia. He performs on saxophone and
electronics. His compositions typically explore Just
Intonation, and the integration of electro-acoustic media in
notation and performance. He has composed works for
orchestras and ensembles including the Arcko Symphonic
Project, the Melbourne Symphony Orchestra and Speak
Percussion. In 2014 he was commissioned by the Australia
Council for the Arts to compose Crepuscule, a work for
baroque violin, recorder, harpsichord and electronics. The
work explores notions of the decay and dissolution of
musical syntax, through granular synthesis and tuning
systems based in Just Intonation. Solo performances often
use sine tones and reel-to-reel tapes to explore tuning
systems developed through Just Intonation. This work was
documented in Just Sine Tones, undertaken through Punctum
Arts’ Seedpod Residency program. His work in
electro-acoustic improvisation is documented in Melpomene,
by Footsoldiers (duo with Alisdair McIndoe).
He has also worked on several interdisciplinary
collaborations in dance, theatre and hybrid performance
productions, including SUPERTONE by choreographer, Rennie
McDougall, and several works with performance poet, Jessica
Wilkinson. He has received several awards for composition,
and has undertaken artist residencies at Bundanon and at
Montsalvat, where he was sponsored by the Montsalvat Trust.
In 2005 and 2016 he was the young Australian Delegate and
the Asian Composers League festival and conference for
contemporary music.
Callum G’Froerer is an Australian trumpet player based
in Berlin, active in improvised and notated musical settings.
Past and present projects include new music quartet Cathexis,
improvising ensemble Phonetic Orchestra, bass-piano-trumpet trio DRUM,
and the Berlin-based performance quartet Arcades. His compositional
pursuits include the long-term project ‘Charcoals’ initiated in 2014,
with items ranging from field recordings to chamber music. He was part
of the Sydney-based Ensemble Offspring’s inaugural Hatched Academy in 2014.
In February 2013, G’Froerer released his debut album, ‘City Speaks’,
recorded in 2011 by ABC and released in 2013 on the Listen/Hear
Collective label. His quartet album, ‘Space Available’ was released
independently in January 2015.
G’Froerer was a 2013 Fellow at the Australian National Academy of Music,
producing concerts of contemporary repertoire including Australian
premieres of works by Eres Holz, Luciano Berio, Morton Feldman,
Sebastian Elikowski-Winkler, Abel Paul, and Rebecca Saunders. He has
performed in the USA, Italy, Germany, and Singapore, and has performed
music by Karlheinz Stockhausen, James Rushford, Eres Holz, Liza Lim, Cat
Hope, James Ledger, and Lindsay Vickery.
G’Froerer was long-listed for the 2014 Freedman Jazz Fellowship, and the
2015 Freedman Classical Fellowship.
G’Froerer performed at the 2015 Stockhausen Memorial Concert in Kürten,
Germany, and was a prize-winner at the 2011 and 2015 Stockhausen Courses
in Kürten, Germany. He has performed at the Chosen Vale Trumpet Seminar
in New Hampshire, USA and the Sillico Trumpet Seminar in Tuscany. He has
studied with Tristram Williams, David Elton, Scott Tinkler and Marco Blaauw.
He has performed with the Australian Chamber Orchestra, Manufaktur für
Aktuelle Musik, Geoffrey Gurrumul Yunupingu, Kammerakademie Potsdam,
Kate Miller-Heidke, Martha Wainwright, and the Australian Art Orchestra.
Festival performances include the Bendigo Festival for Exploratory
Music, Soft Soft Loud @ Fremantle Arts Centre, Perth Festival,
Wangaratta Jazz Festival, Sydney Festival, and CTM Festival (Berlin
Dienstag, 19. April 2016 | 20:30 Uhr | Conjunction
Alexa Renger, Violine
Sylvia Hinz, Blockflöte
Conjunction
Damian Barbeler – Confessions 2 (2006) – für Violine, Sopranblockflöte
und Elektronik DE
This Confession is a portrait in sound of a person in
confession. What we know of the character is vague. We can
only guess from the musical lines as to their emotional
state, and the events that have transpired to bring him/her
to this guilty point in time. There are two levels of
consciousness here: the surface sentiments expressed by the
live instrument – emotions of regret, guilt, contrition etc.
Then there are the deeper, more primal and contradictory
instincts portrayed in the electronics. The “Industrial
Romantic” sounds and subject matter are a favourite with the
composer: a recurrent theme in much of Barbeler’s work.
Damian Barbeler’s award-winning compositions have been
performed and broadcast around the world, sung and played by
leading Australian and international soloists and ensembles.
He is widely recognised for his highly idiosyncratic
compositional style and especially his lush, emotional sound
worlds inspired by textures and patterns from nature. He is
an enthusiastic collaborator often working with creative
types from diverse fields like architecture, software
design, media arts, dance and more.
A distinctive part of Barbeler’s expertise has been his
ability to inspire amateur and especially young musicians to
excel in professional settings. His wide-ranging career has
taken him to a diverse range of places from famous concert
halls to biscuit factories, boardrooms and far-flung parts
of regional Australia. Acting out the precept that an artist
should also teach, he is just as happy in the exquisite,
rarefied atmosphere of art music, as he is in the
invigorating world of beginners, students and music-loving
amateurs.
Barbeler has twice received the ‚Recommended Work‘ award at
the UNESCO International Rostrum of Composers and was a
finalist in the renowned Toru Takemitsu Prize 2008. He
recently received a PhD from the Sydney Conservatorium,
holds a lectureship with Wollongong University, where is
working with students from the education faculty on the
„Children’s Opera Project“, and is resident composer at MLC
and SCEGGS Secondary Colleges in Sydney. He was awarded the
sought-after Ian Potter Emerging Composer Fellowship to
compose seven works during 2006-2007, including commissions
for recorder player Genevieve Lacey, and a chamber opera
(with librettist Rodney Hall) for Southern Cross Soloists.
Ludmila Yurina – Pulsar (2007) – für Violine solo
Sarah Nemtsov – IRA (2013) – UA der Version für
Paetzold-Kontrabassblockflöte solo mit Zuspiel
Sarah Nemtsov (geb.1980) hat Komposition und Oboe an der
Hochschule für Musik und Theater Hannover bei Nigel Osborne
und an der UDK Berlin bei Walter Zimmermann studiert. Sie
erhielt zahlreiche Preise und Stipendien, u.a. 2012
den Deutschen Musikautorenpreis in der Kategorie
„Nachwuchsförderung“ und 2013 den Busoni-Kompositionspreis.
2014 war sie Gastdozentin für Komposition (Schwerpunkt
Musikteater) an der Musikhochschule Köln. Ihre Werke werden
bei international renommierten Festivals aufgeführt, wie
den Donaueschinger Musiktagen, den Internationalen
Ferienkursen für Neue Musik Darmstadt (2014), der Münchener
Biennale, dem Straßburger Festival Musica, Ultraschall
Berlin, MaerzMusik u.v.m.
Sarah Nemtsovs Musik ist häufig von der Auseinandersetzung
mit Literatur geprägt. In mehreren Werken versucht sie, die
Schwelle zwischen Konzert und Musiktheater auszuloten.
Gleichzeitigkeit, Schichtungen und „chaotische Formen“ von
Kammermusik beschäftigen sie in ihrem „Briefe-Zyklus“ von
2012, sowie in ihren neuesten Kompositionen, in denen auch
Elektronik eine Rolle spielt. Ihr Werkverzeichnis mit nahezu
100 Kompositionen umfasst verschiedenste Gattungen.
Tania Sikelianou – Three Pictures (2010) – für Violine, Altblockflöte
und Projektion
John E. Zammitpace – Thermos 2 + 4 (2015) – für Violine und Bassblockflöte
Carolyn O’Brien – Caprice (2013) – für Violine solo DE
Catenation – conjunction II (2016) – für Violine und Grossbassblockflöte
mit Zuspiel und Projektion UA
Catenation was founded in 1996. Their unique music can be
described as a mixture of industrial, metal, noise and
ambient. Catenation use the following instruments: drums,
old tape machine, guitars, defect cassette recorder, voices,
welding machine, driller, piano, prepared piano, 386dx
computer with fm-soundcard, violin, wrenches, hammers,
effects, distortion, …
Francesco Lipari – Lu venerdì di marzu (2016) – für Tenorblockflöte solo UA
John Strieder- Decessio (2015/16) – für Violine und Bassblockflöte,
erweiterte Fassung UA
XelmYa Duo
Filigrane Klänge kraftvoll dargeboten
Neue Musik wird durch XelmYa zugleich kraftvoll und filigran erlebbar
gemacht. Ein Erlebnis, an dem wir das Publikum durch Konzerte, Festivals
( z.B. “Sonic 3.0” in Kopenhagen oder Spahlingerfest in Chicago ), usw.
teilhaben lassen möchten.
XelmYa verfolgt seit der Gründung 2008 nachhaltig die Förderung der
Neuen Musik von Komponistinnen. Wir sind der Überzeugung, dass deren
Werke im allgemeinen Konzertbetrieb deutlich und grundlos
unterrepräsentiert sind und wollen dem mit unseren Programmen
entgegenwirken.
Alexa Renger, Violine studierte ab 1988 Instrumentalpädagogik mit
Hauptfach Violine bei Kolja Blacher an der Hochschule der Künste Berlin,
später ebendort Orchester- und Kammermusik bei Emil Maas, Uwe- Martin
Heiberg, Axel Gerhardt und anderen. Ihr Hauptinteresse gilt der
Kammermusik in verschiedenen Formationen, zum Beispiel im Duo Violine
und Klavier.
Sylvia Hinz, Blockflöte studierte ihr Instrument an der Universität
der Künste Berlin bei Gerd Lünenbürger, experimentelle Musik bei Dieter
Schnebel, Kammermusik bei Nigel North und Ensembleleitung an der BAK
Trossingen bei Wolfgang Rüdiger, René Schuh, u.a.. Sie spielt auf der
ganzen Welt ( u.a. Argentinien, Italien, UK, Mexiko, Irland,
Niederlande, Frankreich, Spanien, Dänemark, Schottland, … ) neben
Solo- Programmen viel Kammermusik, gerne in ungewöhnlichen Besetzungen.
Willkommen zu zwei Konzerten mit feiner Musik!
Herzliche Grüße,
Ihre Rainer Rubbert und Martin Daske
Die Unerhörte Musik wird gefördert aus 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: 13,- / 9,- €
Zehnerkarte: 80,- / 60,- € (übertragbar)