Von: Annesley Black
Datum: Thu, 15 Feb 2024
Betreff: UPCOMING – MÜNCHEN – STUTTGART – RADIO
concert newsletter and warm greetings
17.02.2024 – 19:00 MÜNCHEN – guitarduo santorsa~pereyra – so nah~ so fern|gravity dreams
BELLEPARAIS _raum für kunst, Schellingstr.54, München.
Annesley Black:fresh used goods (2023)
Werke für 2 E-Gitarre und Live-Elektronik von Annesley Black, Sara Glojnarić, Ann Cleare und Lisa Streich
BELLEPARAIS _raum für kunst
18.02.2024 – 11:00 STUTTGART & 19.02.2024 – 19:00 STUTTGART– Staatsorchester Stuttgart,dir: Pablo González world premiere
Liederhalle, Beethovensaal- Berliner Platz 1-3, 70174 Stuttgart
A sound, a narrow, a channel, an inlet, the straits, the barrens, the stretch of a neck for large spatialised orchestra commissioned by the Stuttgarter Staatsorchestra and the Deutsche Musikrat Stuttgarter Staatsorchester dir.: Pablo González. Liederhalle, Beethovensaal, Stuttgart.
Werke für Orchester von György Kurtág, Annesley Black, Hector Berlioz
Über das Stück (Interviews auf Deutsch)
the piece will be broadcast on 22.03.2024 in SWR- see below.
About the piece A sound, a narrow, a channel, an inlet, the straits, the barrens, the stretch of a neck
In this piece is for orchestra spatialised around the concert hall, I was concerned with the relationship between humans and space. The space that is explored here is the Beethoven Saal of the Liederhalle. The curved architecture may seem as inflexible as the Antartic Regions in 1911. The musicians are distrubuted throughout the hall. They, and the sound objects form themselves in the space and are formed by the space. The sounds create a dramaturgy of the opening of space and of movement of sounds in space.
The inspiration for the piece is rooted in my analysis of William Forsythe’s choreography one flat thing reproduced and my subsequent research about the Terra Nova expedition of Robert Falcon Scott and his team in the Antarctica (1910-1913), especially the memoirs and filming made by Herbert G. Ponting of this tragically failed expedition.
In this piece I am conceptually inspired by this expedition and the great white environment of the Antarctic regions. Signals (percussive morse code) and animalistic calls (transcriptions of underwater sounds from Weddell Seals and the cries of the Emperor Penguins) are transmitted from the stage, and eventually answered by instruments moving throughout the hall and in stations above and surrounding the audience. The dramaturgical structure is shaped by rivalling processes, some with an exponential, unstoppable development , some in a manner that allows for recuperation (what scientists call a „healthy line“, when referring to the process of glacial melting). In this manner, the signals and calls are not only affected by their position in space: the entire masses, points and streams of sound travelling through the hall and therefore our aural perception of the space is affected by these different processes.
RADIO BROADCASTS
8.02.2024, 00:10 br2, „concerto bavarese“ Annesley Black: „misinterpreting the 2008 south sudanese budget reform for the orchestra“ . hr-Sinfonieorchester, Ltg.: David R. Coleman;
04.03.2024, 23:03 ORF, oe1 „Zeit-Ton“ Zeit-Ton Porträt: „Die Komponistin Annesley Black“
22.03.2024, 20:00 SWR2 „Abendkonzert“ Annesley Black: „A sound, a narrow, a channel, an inlet, the straits, the barrens, the stretch of a neck“, für großes, im Raum verteiltes Orchester (Mitschntt der UA vom 18.2.2024) Staatsorchester Stuttgart Ltg: Pablo GonzálezHope to see some of you there! Yours, truly
In this piece is for orchestra spatialised around the concert hall, I was concerned with the relationship between humans and space. The space that is explored here is the Beethoven Saal of the Liederhalle. The curved architecture may seem as inflexible as the Antartic Regions in 1911. The musicians are distrubuted throughout the hall. They, and the sound objects form themselves in the space and are formed by the space. The sounds create a dramaturgy of the opening of space and of movement of sounds in space.
The inspiration for the piece is rooted in my analysis of William Forsythe’s choreography one flat thing reproduced and my subsequent research about the Terra Nova expedition of Robert Falcon Scott and his team in the Antarctica (1910-1913), especially the memoirs and filming made by Herbert G. Ponting of this tragically failed expedition.
In this piece I am conceptually inspired by this expedition and the great white environment of the Antarctic regions. Signals (percussive morse code) and animalistic calls (transcriptions of underwater sounds from Weddell Seals and the cries of the Emperor Penguins) are transmitted from the stage, and eventually answered by instruments moving throughout the hall and in stations above and surrounding the audience. The dramaturgical structure is shaped by rivalling processes, some with an exponential, unstoppable development , some in a manner that allows for recuperation (what scientists call a „healthy line“, when referring to the process of glacial melting). In this manner, the signals and calls are not only affected by their position in space: the entire masses, points and streams of sound travelling through the hall and therefore our aural perception of the space is affected by these different processes.
RADIO BROADCASTS
8.02.2024, 00:10 br2, „concerto bavarese“ Annesley Black: „misinterpreting the 2008 south sudanese budget reform for the orchestra“ . hr-Sinfonieorchester, Ltg.: David R. Coleman;
04.03.2024, 23:03 ORF, oe1 „Zeit-Ton“ Zeit-Ton Porträt: „Die Komponistin Annesley Black“
22.03.2024, 20:00 SWR2 „Abendkonzert“ Annesley Black: „A sound, a narrow, a channel, an inlet, the straits, the barrens, the stretch of a neck“, für großes, im Raum verteiltes Orchester (Mitschntt der UA vom 18.2.2024) Staatsorchester Stuttgart Ltg: Pablo GonzálezHope to see some of you there! Yours, truly
Annesley Black
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If you are not in accordance with the storage of your email address and name, and/ or want to avoid receiving further news about my concerts and events, you can remove yourself from this list, by answering with „REMOVE“ and your contact information will be deleted from my personal archives. No hard feelings.
Sollten Sie mit der Speicherung der Daten und der weiteren Zusendung von E-Mails durch mir nicht mehr einverstanden sein, so können Sie sich vom Bezug jederzeit abmelden, indem Sie auf diese Nachricht mit „Abmeldung“ antworten.
If you are not in accordance with the storage of your email address and name, and/ or want to avoid receiving further news about my concerts and events, you can remove yourself from this list, by answering with „REMOVE“ and your contact information will be deleted from my personal archives. No hard feelings.
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Annesley Black
Annesley Black
https://www.annesleyblack.com/ (website coming soon!)