Kategorien
audio visual performance club culture experimental music contemporary songs stimme und video voice and ensemble zeitgenössische Musik und Club

keep quiet and dance #1 (2018/19)

for voice, clarinet, percussion, violin, cello and electronics

premiere: Nemø ensemble, 03.05.2019, Bijloke Campus Ghent

duration: 7:30 min

technical setup: all instruments are amplified, voice with effect device, tape

CHECK OUT THE OTHER VERSIONS

keep quiet and dance (2018, original version)

for voice, clarinet, violin, cello and electronics
duration: 7:30 min

keep quiet and dance #2 (2018/2019)

for 4-channel voice, flute, clarinet, saxophone, percussion, violin, viola, cello, video & fixed media
duration 14 min

keep quiet and dance #3 (2018/2019)
for voice, percussion and string ensemble (3.3.3.2.1) and tape

ORIGINAL VERSION:

about

Keep quiet and dance was originally written for the European-Egyptian Contemporary Music Ensemble and the singer Kamilya Jubran.
The piece follows the idea of a song developing it’s own rules by denying and incorporating different kinds of material and building it’s own musical consistency. The title is a quotation of  the last words of Electra when she died. She’s a kind of opposite figure to Nawal Saadawi, who’s voice appears as a second layer in the piece. These two female figures are representing the powerful force of reaching a state of impersonality by following the idea of a rebellion. But the forces behind are very different: Electras enormous uncontrolled force, leaded by feelings of hate and revenge and Saadawis calm and resistant moves towards a better society are two very present polarities determining social  and political developments.
keep quiet and dance follows the idea of an open work – I re-write, re-work on it for different contexts, for different singers with different cultural backgrounds, for different formats of presentation.

Kategorien
audio visual performance club culture experimental music multimediale werke solowerke mit Elektronik stimme und video voice and ensemble werke zwei Klaviere und Elektronik

kleine formationen

KreisIncrease (2018)

for two pianos, tape and live-electronics

Keep quiet and dance (2018)

für Stimme, Klarinette, Violine, Violoncello und Elektronik

Keep quiet and dance #1 (2018/19)

für Stimme, Klarinette, Schlagwerk, Violine, Violoncello und Elektronik

Keep quiet and dance #2 (2018/19)

für 4-kanal Stimme, Flöte, Klarinette, Saxophon, Schlagwerk, Violine, Viola, Cello und fixed media

#AsPresentAsPossible (2017)

performer, piano, drumset, video und Elektronik

key of absence (2017)

für zwei Klaviere, Live-Elektronik und Zuspielung

Public Privacy #6: voice – bright no more (2017)

Performance Szene für Sängerin, Video und Elektronik

Public Privacy #5 Aria (2016)

für synthesizer und live video

Public Privacy #4 Leap in the dark (2015)

für E-Gitarre, Video und Zuspielung

play me back and forth (2015)

für Sopran, Klarinette, Cello, Sampler, Drumset, E-Zither, Video & Elektronik

Key of presence (2014/15)

für zwei Klaviere, Zuspielung und Live-Elektronik

Public Privacy #1: Flute Cover (2013)

für Flöte, Video und Zuspielung

Public Privacy #2: Piano Cover (2013)

für Keyboard, Video und Zuspielung

Public Privacy #3: Trumpet Cover (2014)

für Trompete, Video, Tape und Live-Elektronik

shivers on speed (2013)

für Bassflöte, Bassklarinette, Violine, Violoncello und Klavier

behind her back (2012/13)

für Solo-Schlagwerk, Flöte, Klarinette, Viola, Posaune, Klavier und 2 Lichtspieler

Rundumschlag# (2012)

für Flöte, E-Gitarre, Piano, Schlagwerk, Violine und Violoncello

durchhören (2010)

für Klarinette, Bassklarinette, Oboe, Saxophon und Fagott

Yes, Master (2011)

für vier Performer und Zuspiel

hin und weg (2010)

für Sopran und Cello

Hinterhall (2009)

für Saxophon und Schlagwerk, Live-Video und Lichtgeneratoren.
Video/Licht: Stefan Demming, Videokünstler

Überhall (2009)

für Klarinette, Saxophon, Posaune, Schlagwerk, Violine, Kontrabass und Video

Kategorien
Allgemein audio visual performance club culture experimental music community project contemporary songs dance and music e guitar and video

Plug & Play Me

 

PLUG & PLAY ME


Plug & PlayMe
schafft an der Schnittstelle von technoider Clubkultur und Avantgardemusik eine neue Realität: Während immer mehr Komponisten und Komponistinnen der neuen Musik mittels der Verbindung von Instrument, Elektronik, Video und Performance bestehende Formate aufbrechen und geradezu heimatlos werden, versuchen im Clubbereich immer mehr DJs neue Situationen für einen tanzenden Körper zu schaffen und ihn – im wahrsten Sinne des Wortes – zu klanglichen Experimenten zu bewegen.

In gemeinsamen Live-Sets, Performances und Videoinstallationen erreichen Club und Avantgarde in dieser Hypermedia Club Performance eine fraktale Dimension, in der nichts unmöglich scheint. Die im Intermedialen verorteten „Pioniere mit Eigensinn“ Ensemble Garage präsentieren mit Plug & PlayMe eine Nacht voller ungehörter und unerhörter Kollaborationen: mit der Grande Dame des Techno Electric Indigo, den Videokünstlern Nika Radić und Lillevan, den Komponistinnen Brigitta Muntendorf und Carola Bauckholt, denKomponisten Michael Beil, Matthias Kranebitter und Benjamin Grau sowie der Performerin Sabine Akiko Ahrendt.

Während Nika Radićs Videoarbeiten den Clubraum mit Szenen einer Außenwelt verbinden, begreift Lillevan in Anlehnung an Alexander Schuberts Silent Posts das bewegte Bild als stumme Partitur und Codierung einer ad hoc entstehenden Live-Musik. Durch Instrumentenkörper verlängerte Tracks des neuen Albums 5 1 1 5 9 3schaffen Electric Indigo und Brigitta Muntendorf Synthesen und Differenzen aus instrumentalen, performativen und elektronischen Klangwelten. Bei Plug & PlayMe kreiert das unaufhörliche Radieren an Grenzlinien zwischen Musik und Performance einen Echoraum von Klang und Koordinaten, in denen offene und auch ganz autarke Spielsysteme – wie in der Sample-Performance Dancemat von Sabine Akiko Ahrendt und der Caravan-Session von Michael Beil – nebeneinander existieren.

Im unaufhörlichen Pulsieren blitzen musikalische Parallel- und Gegenwelten in unterschiedlichen Winkeln des Maschinenhauses in Essen auf und kreieren Referenzsysteme inmitten von Illusion, Trip, Rausch und Ernüchterung. Plug & PlayMe versteht sich als kollektives Interface und lädt ein – plug in and find out!

Daten

Dauer: Drei Stunden (inkl. Live-Set Electric Indigo)
Musiker: Ensemble Garage, 9 Musiker, Dirigent
Team: 1 Produktionsleitung, 1 Klangregie, 1 Videoassistenz, 1 künstlerische Leitung
Raumbeschaffenheit: großer Raum mit der Möglichkeit der Benutzung verschiedener Projektionsflächen (mind. zwei) und Solo-Spielpositionen. Clubraum ist ebenso möglich wie Konzerträume, Hallen und größere Galerieräume.
Programmänderungen: möglich

PROGRAM

Electric Indigo
5 1 1 5 9 3live PART I(Excursion) (2018) (German Premiere)

Electric Indigo & Brigitta Muntendorf
Trois plug & play
Ensemble on track (2018) (premiere)

Sabine Akiko Ahrendt
Dancemat
for solo perfomer(2018) (premiere)

Lillevan
Genetics of Chinese Whispers
for live-video and three musicians (2018) (premiere)

Benjamin Grau
Trap Type Piece
for ensemble and electronics (2018) (premiere)

Matthias Kranebitter
Pancrace Royer: Le Vertigo
for ensemble and electronics (2016) (premiere of the new version for Ensemble Garage)

Michael Beil
Caravan
for 4 performer, live-video and electronics (2017)

Electric Indigo & Brigitta Muntendorf
Ntandathu plug & play – Ensemble on track (2018) UA

Brigitta Muntendorf
blurred – for ensemble and electronics (2017) (premiere)
Konnichiwa – for ensemble and electronics (2017) (premiere)

Electric Indigo
5 1 1 5 9 3live
PART II (2018) DE

Fades in-between:
Brigitta Muntendorf, Public Privacy #Aria for synthesizer (2016) * Carola Bauckholt, Doppelbelichtung for violin and tape (2016)* Nika Radić, Trompe-l’oeil video projections

 

Kategorien
audio visual performance club culture experimental music contemporary songs dance and music techno and contemporary music werke für ensemble zeitgenössische Musik und Club

TRE’SPACIAL

for ensemble & electronics

a spacial and performative exploration based on the audio track „Trois“ by Electric Indigo (51195913 live)

premiere: 29.08.2018 Ruhrtriennale | Maschinenhaus Essen
performer: Ensemble Garage & Electric Indigo
duration: 8 min
commissioned by Ruhrtriennale
instrumentation: flute (+picc), clarinet, alto saxophone, trombone, synthesizer, percussion, violin, viola, violoncello
technical set: check here
score/electronics: contact me

connected to: often played together with „HandleMe„, based on the track „Ntandathu“ by Electric Indigo

about

Tre’Spacial and HandleMe are two pieces for ensemble and electronics developed on the basis of two tracks by the Vienna based Techno Sound Artist Electric Indigo. With instrumentally extended tracks from the new album 511593  Brigitta Muntendorf created new syntheses from instrumental and electronic soundscapes. Tre’Spacial deals with the idea to make a spacial composition of Electric Indigos track „Trois“.  Musicians are entering one after the other the stage, performing „numbers“ by speaking with different voice effects the number „three“ in many languages, trying to communicate with the audience through color and timbre of their voice. It’s the development of an electronic-analog mixed soundscape that implements the physical approach of the musicians to stand the dynamic power of an electronic sound system is the center of the sound idea of Tre’Spacial. In opposite to this HandleMe creates a very different combination of analog instruments and electronic experimental Techno sound – the creation of differences is the core of this piece, a broken sarabande, a viola solo behind a bass line and a distorted baroque manner are set next to a straight beat. Also two completely different ways of moving, dancing and touching a sound and a movement are put together to create to lonesome existences.

 

Kategorien
audio visual performance multimediale werke solowerke mit Elektronik werke zwei Klaviere und Elektronik

Trilogie fuer zwei Flügel

for two pianos, live-electronics and tape

premiere of the whole cycle: 21.05.2018 Kunstfestspiele Herrenhausen
written for: GrauSchumacher Piano Duo
text & voices: Brigitta Muntendorf & Javier Salinas

program:

Key of presence (2014/15)

KreisIncrease (2018)

Key of absence (2017)

videos

Key of Presence

Eclat Festival 2015

Key of absence

Ultraschall Festival 2018

KreisIncrease coming soon

press

Neue Musik Zeitung (nmz), 2018 by Otto Paul Burkhardt (in German)

NMZ – article „Abscheulicher, wo eilst du hin?“

Podcast about „Trilogie für zwei Flügel“ with  Juliane Reil | Kunstfestspiele Herrenhausen

A podcast about the „Trilogie für zwei Flügel“ and the premiere of KreisIncrease about possibilities in future for contemporary music, the cooperation with GrauSchumacher Piano Duo and the question about music as an universal language: join a 45minutes walk through the Royal Gardens of Herrenhausen with Brigitta Muntendorf and Juliane Reil.

Kunstfestspiele Herrenhausen – podcast on Soudcloud

 

 

Kategorien
audio visual performance multimediale werke public privacy social composing solowerke mit Elektronik

Public Privacy #1 Flute Cover (2013)

first piece of the Social Composing series Public Privacy for flute, video & tape

Flute Cover Score

Public Privacy #1: Flute Cover

premiere: 27.06.2013 Deutzer Zentralwerk der Schönen Künste
performer: Daniel Agi
duration: 5 min

Performance by Liz Hirst, Ensemble Garage

 technical needs:

  • two loudspeakers & sub
  • projector (16:9)
  • no clicktrack needed

about:

Flute Cover is the first work in the „Public Privacy“ series , begun in 2013, for a solo instrument, video and recording, involving the dialogue between live performance and Youtube instrumentalist.The series confronts a compositional strategy I define as „Social Composing“, in which methods of composing interact with live performance and virtual presence. This continual shifting of the meaning of „private“ and „public“ as well as the changes in handling and living with identity and isolation comprise the central content of the „Public Privacy“ series.

For Flute Cover I contacted various „Youtuber flutists“ for permission to create a visual collage out of their uploaded „cover“ videos. This collage follows the processes and behavioral patterns of a video presentation in Social Media, rather than those of a concert situation. A „flute cover“( or another cover) is a type of cover in which hobby musicians or professionals replace the melody part of a well-known song with , in this case, their flute-playing, uploading the resulting video to Youtube.

Presenting classical instruments and ideas about virtuosity in everyday life in the videos altercates in live performance with the public´s expectations of a professional musician . However the videos also demonstrate how the terms „public“ and „private“ are defined, how much a player displays of him/herself and his/her home; they demonstrate aesthetics, in the type of presentation and how it affects the music; finally, they show what exists and what is absent in a musical performance. Each performer receives a personal pre-recorded video showing themselves in private surroundings. Eventually, with each successive performance, these videos displace the Youtube videos, creating a collage of fake Youtube videos of the interpreters.

Public Privacy series

public_privacyPublic Privacy #2: Piano Cover 
Public Privacy #3: Trumpet Cover
Public Privacy #3.1: Trombone Cover
Public Privacy #4: Leap in the dark (E-Guitar)
Public Privacy #5: Aria (synthesizer)
Public Privacy #6: bright no more (voice)

 

Kategorien
audio visual performance kunst performance multimediale werke performance mit musik performances social composing solowerke mit Elektronik werke für ensemble

#AsPresentAsPossible

for performer, piano, drumset, video & electronics (original version)

premiere: 1.12.2017 Elbphilharmonie Hamburg
ensemble: Decoder Ensemble, performer: Carola Schaal
duration: 13 min
technical data: 16:9 projection (flushfloor) / stereo tape / amplification of piano/drumset /  voice-effekct device for the performer.

Our present is characterized by a call for declaration and confirmation of self that triggers an almost perverse attitude of sending individuality through all channels of our communication network.
In our digital-real continuum the existence and „raison d’être“ is constituted by visibility – while invisibility is equivalent to non-existence. In „As#presentAs#possible #solo“ the clarinet player defines her presence by a vanishing self, enters the stage without her instrument and explores the space between defining and being defined, between projecting and being projection.

versions:

#AsPresentAsPossible (2017)

performer, piano, drumset, video & electronics (original version) – premiered by Decoder Ensemble

#AsPresentAsPossible SOLO (2017/18)

for performer, video & electronics – premiered by Carola Schaal

#AsPresentAsPossible TWO (2017/19)

for two performer, piano, drum set, video & electronics – premiered by Ensemble Garage

Gallery

All photos by Gerhard Kühne:

Trailer

Concert #AsPresentAsPossible“ Decoder Ensemble / curated by Brigitta Muntendorf

The piece #AsPresentAsPossible was premiered at a concert program with Decoder Ensemble of the same name at the Elbphilharmonie Hamburg. A special concert that explores possibilities to share music in the middle of the audience – enjoy our trailer!

#AsPresentAsPossible – an homage to the “Bang”!  With a glimpse from the Elbphilharmonie, the Decoder Ensemble and Brigitta Muntendorf invite all to a transmedia happening, where the significance of corporal presence intertwines with concepts of physical and virtual existence in the events occupying all areas of the concert room.  With the music of Michael Beil​, Jessie Marino​, Brigitta Muntendorf (WP), Fat Boy Slim, Josh Spear and interludes drawing upon the Youtube/street musicians “Too Many Zooz”, #AsPresentAsPossible is constantly exploring the space between music, theater, and video amidst real and virtual “thereness”.  Through the collaboration with the choreographer Miriam Heinrich Horwitz​, one witnesses how the Decoder Ensemble encounters a new side of performance culture.  Here, physicality and reality, and the perception of those, confronts the musical interpretation.  How present can we, and do we want to be?  When do we transcend into presence through the very mediums that should make us invisible?

Kategorien
audio visual performance multimediale werke performance mit musik performances stimme und video werke werke für ensemble

#AsPresentAsPossible

for performer, piano, drumset, video & electronics (original version)

premiere: 1.12.2017 Elbphilharmonie Hamburg
ensemble: Decoder Ensemble, performer: Carola Schaal
duration: 13 min
technical data: 16:9 projection (flushfloor) / stereo tape / amplification of piano/drumset /  voice-effekct device for the performer.

Our present is characterized by a call for declaration and confirmation of self that triggers an almost perverse attitude of sending individuality through all channels of our communication network.
In our digital-real continuum the existence and „raison d’être“ is constituted by visibility – while invisibility is equivalent to non-existence. In „As#presentAs#possible #solo“ the clarinet player defines her presence by a vanishing self, enters the stage without her instrument and explores the space between defining and being defined, between projecting and being projection.

versions:

#AsPresentAsPossible (2017)

performer, piano, drumset, video & electronics (original version) – premiered by Decoder Ensemble

#AsPresentAsPossible SOLO (2017/18)

for performer, video & electronics – premiered by Carola Schaal

#AsPresentAsPossible TWO (2017/19)

for two performer, piano, drum set, video & electronics – premiered by Ensemble Garage

Gallery

All photos by Gerhard Kühne:

Concert #AsPresentAsPossible“ Decoder Ensemble / curated by Brigitta Muntendorf

The piece #AsPresentAsPossible was premiered at a concert program with Decoder Ensemble of the same name at the Elbphilharmonie Hamburg. A special concert that explores possibilities to share music in the middle of the audience – enjoy our trailer!

#AsPresentAsPossible – an homage to the “Bang”!  With a glimpse from the Elbphilharmonie, the Decoder Ensemble and Brigitta Muntendorf invite all to a transmedia happening, where the significance of corporal presence intertwines with concepts of physical and virtual existence in the events occupying all areas of the concert room.  With the music of Michael Beil​, Jessie Marino​, Brigitta Muntendorf (WP), Fat Boy Slim, Josh Spear and interludes drawing upon the Youtube/street musicians “Too Many Zooz”, #AsPresentAsPossible is constantly exploring the space between music, theater, and video amidst real and virtual “thereness”.  Through the collaboration with the choreographer Miriam Heinrich Horwitz​, one witnesses how the Decoder Ensemble encounters a new side of performance culture.  Here, physicality and reality, and the perception of those, confronts the musical interpretation.  How present can we, and do we want to be?  When do we transcend into presence through the very mediums that should make us invisible?

Kategorien
audio visual performance experimental music theatre multimediale werke performance mit musik public privacy

Full-lenght Evening Programs

ARCHIPEL – a Spectacle of Blending

für 13 MusikerInnen, Chor, 10 TänzerInnen, Live-Elektronik, Tape

THEATRE OF ECHO / THEATER DES NACHHALLS

45min audiovisual concert installation / multichannel/ multiscreen / GrauSchumacher Piano Duo

Bilderschlachten – Batailles d’Image (2019)

für Tänzer, Streichquartett, Orchester und Live-Elektronik

iScreen, YouScream!

social media opera for ensemble, actress, live-video and electronicsduration: 65-70 min | 10 musicians/1 actress/stage/direction/audio-&video engineer

SCREEN-SHARING

intermedial live performance for 4 musicians

Kategorien
audio visual performance experimental music theatre Experimentelles Musiktheater multimediale werke performance mit musik performances public privacy

SCREEN-SHARING

This 45-minute intermedial live performance about the question of being present inbetween the real and the digital world. A space created with different transmedial existences searching for ways to overcome the obstacle of expression. Six solo pieces from the Public Privacy series and iScreen, YouScream! for instrument, video and electronics are re-writed, staged and directed for SCREEN-SHARING.

The staging refers to a hacker space as an interface between the uninhabitable reality and an artificial, virtual living space. The connection between staging and performance create a model of a world, in which the body and the virtual representation can’t exist without the other part – and at the same time both existences are competing for attention and visibility.
TRAILER
Public Privacy #6 „bright no more“ for voice, video and electronics was written explicitly for SCREEN-SHARING.

TRAILER

Programm:

Public Privacy #6: voice – bright no more
for voice & effect device, video and electronics

status message 1-12
for saxophone or clarinet
(from iScreen, YouScream! new version for alto saxophone)

Public Privacy #3 trumpet cover covered by trombone
for amplified trombone, video and tape

Saxstar
(from: iScreen, YouScream! new solo version)
for saxophone, live-video, pre-recorded video & tape

Trombone Tutorial
(from: iScreen, YouScream! new solo version)
for amplified trombone and 3 performer, video and tape

Public Privacy #5 Aria
for sampler and video

General information

intermedial live performance for four musicians
premiered: 12/13.08.2017 Festival Rümlingen
performer: 4 performer (or 5) & 2 sound/video engineers
duration: 45 minutes
commissionend by: Festival Rümlingen & Ernst von Siemens Musikstiftung (PP#6: „bright no more“)

Performer & team

4 performer: voice, trombone, saxophone and sampler/piano
clarinet can be added (status message). Because of the individual video material the easiest way to perform SCREEN-SHARING is in the original team:
voice: Frauke Aulbert | piano: Malgorzata Walentynowicz | Saxophone: Frank Riedel | trombone: Stephen Menotti | sound engineer: Sergej Maingardt | video engineer: Andreas Eduardo Frank
1 video engineer

General technical requirements & stage

  • stereo PA + subwoofer, local amplification of the sampler
  • amplification for voice, sax (voice&instrument), trb (voice & instrument), piano-player (voice-mic & contact mic)
  • 2 screens (gauze) and 2 projectors (size, arrangement depending on the  performance space)
  • 3 webcams connected via active USB
  • 2 red LED Spots
  • 4 tables with desk lamps

SCREEN-SHARING at Festival Rümlingen

Gallery