[ 10. August 2016 ]


Von: Annesley Black

Datum: Wed, 10 Aug 2016


Dear friends, esteemed colleagues

I am delighted to invite you to the premiere of my new piece „tolerance


Premiere: 11.08.2016 19:30 – CENTRALSTATION DARMSTADT

second performance: 12.08.2016 22:00 CENTRALSTATION DARMSTADT

commissioned by the Internationale Musikinstitut Darmstadt for the 70th

Interenationale Ferienkurse für Neue Musik, Darmstadt, 2016


multimedia piece for five musicians – Alt/Tenor Sax, Sopranino Sax,

Soprano, Percussion/Drumset, Piano

with analogue electronic instruments:

Ideogrammophone, No-Input-Mixer, Morse Oscillator Key, Cracklebox,

Turntables, Moog Synthesizer, 2 Reel-To-Reel Tape Machines.

dur.: ca. 50 Min.


Nikola Lutz (Saxophones, ideogrammophone, drumset)

Mark Lorenz Kysela (Saxophone, No-Input-Mixer

Julia Mihàly (Soprano, Cracklebox, Morse-oscillator key, reel-to-reel)

Martin Lorenz (Percussion, Drumset, Morse-oscillator key, turntables)

Sebastian Berweck (Piano, Moog, Reel-to-reel)

Annesley Black (speaker)

Ajtony Csaba (conductor/ musical direction)

Lutz Garmsen- Media installation, light-installation, robots

David Runge – Programming

Annesley Black, Lukas Becker, little bit cologne – Sound Direction,

technical direction



“TOLERANCE STACKS” is a piece in which I explore my relationship to the

history of electroacoustic music. With text from Thomas Edison, Charles

Cros, Samuel Morse, Hermann Heiss, Karlheinz Stockhausen, Hartmut

Bruckner (ZKM) and myself, protagonists from the history of electricity,

communication and electronic music are represented with themes such as

establishments of standards and gradual or sudden repudiation of

technology that no longer complies to these standards. In “TOLERANCE

STACKS” I have sifted through a reservoir of concepts, inventions and

mechanical/electrical objects to find life in what has deemed by the

greater society to be waste.

The initial impulse to write the piece came from an idea from the IMD to

write a piece for the instruments from the Electronic Studio for

Composition Hermann Heiss (Darmstadt), some of which were designed by

the composer Hermann Heiss himself (1897-1966). After much

investigation, these historical instruments were deemed beyond repair. I

had already sought out five musicians who were well acquainted with

analogue electronic audio, and I decided to re-focus the piece on these

musicians, and their pioneer approach to their own analog

electroacoustic instruments as well as acoustic „concert“ instruments of

the Western Classical music tradition.

Although I eventually deviated from the theme of Heiss, the initial

research I did about him is still present in the piece. What especially

affected me were the ramifications of the time and place, in which Heiss

lived, upon his person and artistic development. This seemed for me a

reflection of the overall impact of political and social climates upon

technology and communication technology – including the electronic

instruments Heiss was utilising, and the musicians are using on the

stage in the piece.

The musicians inspired me to explore the tension between man and

machine, which demanded on my part a style of notation that allowed for

unknown, or „X-Factors“. Throughout „TOLERANCE STACKS“ the musicians

switch between their acoustic and electroacoustic instruments, as well

as between composed/ notated and improvised music.

The media installation from Lutz Garmsen allows the audience to view the

live manipulations of the instruments, which are interspersed by

scurrile animations of aged machines and a miniature live robot theatre.

The visual events are triggered by sound through a programme especially

designed for the piece by David Runge.

Best wishes to you and yours.

Annesley Black

Annesley Black Hügelstr. 198, 60431 Frankfurt a.M Mobile:





U p c o m i n g e v e n t s:

11.08.2016(Premiere), 12.08.2016 Centralstation Darmstadt, Darmstädter

Ferienkurse für Neue Musik • “tolerance stacks” (Arbeitstitel)– for five

musicians (Julia Mihály: Soprano, cracklebox, reel-to-reel tape

recorders, Mark Lorenz Kysela: Saxophones, No-Input-Mixer, Nikola Lutz:

Saxophones, ideogrammophone, Martin Lorenz: percussion, turntables,

Sebastian Berweck: Piano, moog, reel-to-reel tape recorders), Ajtony

Csaba: conductor. Media-installation (light, robots, video): Lutz

Garmsen. http://www.oscilux.de/garmsen.html Programming: David Runge.

sleepmap.de/ Darmstädter Ferienkurse –


12.11.2016 (Premiere), Theaterhaus T1, Stuttgart, Festival Attacca,

Stuttgart • “shadow music” (Arbeitstitel) – for ensemble and shadow

players – ensemble suono mobile (Stuttgart). Light installation: Lutz

Garmsen http://www.suonomobile.de/

R e c e n t h i g h l i g h t s: 18.05.2015 (Premiere) SCHNAWWL,

Nationaltheater Mannheim • “Solopoly” – Musiktheater für 5 Schlagzeuger

– Regie: Andrea Gronemeyer


11.07.2015 Radialsystem V, Berlin • „4238 de Bullion“ – for Piano and

live digitally processed video and sound projection, Ernst Surberg,

Klavier – http://www.surberg.net/ – Ensemble Mosaik

http://www.ensemble-mosaik.de/ – Heroines of Sound Festival –

http://www.heroines-of-sound.com/ 23.07.2015 Open Space, Victoria, B.C

Canada • „ROOMS“ – saxophones, guitar, piano, viola, live-electronics

(WP) – Tsilumos Ensemble, SALT Festival http://www.tsilumos.org

Commissioned by the Canada Council for the

Arts. 10.11.2015 BKA, Berlin • „AORKO“ – Max Savikangas, Viola (Uusinta

Ensemble) -http://uusintaensemble.fi/ensemble/ Unerhörte Musik –