[ 8. April 2016 ]

BERLIN – Unerhörte Musik | Newsletter | 2016 | Nr. 8

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)


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


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



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


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


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


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

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