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
contemporary songs experimental music theatre multimediale werke performance mit musik voice and ensemble werke werke für ensemble

Keep quiet and dance (2018)

for voice, clarinet, violin, cello and electronics

premiere: Cairo Contemporary Music Days | 29.04.2018

performer: Egyptian Contemporary Music Ensemble |
clarinet: Sherif el Razzaz
violin: Hossam Shehata
cello: Mathis Mayr
guest: Kamilya Jubran (voice)

duration: 7:30 min

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

CHECK OUT THE OTHER VERSIONS

keep quiet and dance #1 (2018/2019)

for voice, clarinet, percussion, 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

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

about

Keep quiet and dance was 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.

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
multimediale werke performance mit musik solowerke mit Elektronik zwei Klaviere und Elektronik

key of absence

für zwei Klaviere und Live-Elektronik

Uraufführung: 13.10.2017 Ludwigshafen, BASF Feierabendhaus

Interpreten: GrauSchumacher Piano Duo
Dauer: 14 min

Kompositionsauftrag von BASF SE & Ultraschallfestival Berlin

Technik: Live-Elektronik & 4-kanal Zuspielung (Max MSP)

Partitur/MaxPatch: auf Anfrage

aus: Trilogie für zwei Flügel, eigenständig aufführbar

Programmtext

key of absence entstand in Anlehnung an key of presence ebenfalls für das GrauSchumacher Piano Duo. Zusammen mit key of will (UA Mai 2018 Kunstfestspiele Herrenhausen) bilden alle drei Stücke für zwei Klaviere, Live-Elektronik und Zuspielung die Trilogie für zwei Flügel – ein 45minütiges Klavierprogramm, das über die Musik eine Annäherung an Paradoxien von Anwesenheit, Abwesenheit und Gegenwärtigkeit versucht.

„Ich wünschte, das klang, wie es schon nicht mehr klingt.“

Das in dem Begriff Trilogie enthaltene „logos“ (Wort, Rede) bildet in key of absence den formalen Rahmen für eine ästhetische Auseinandersetzung mit der Bedeutung des Vergangenen hinsichtlich Musik, Musiktradition, wie auch Performance. Durch die räumlich spiegelverkehrte Verzahnung beider Flügel werden die Instrumentenkörper in der Komposition als eine lange Tafel begriffen, an der sich die Spieler gegenübersitzen. Dialoge gestalten sich durch und über Musik, doch scheinen die Spieler in spiralenartigen Schleifen oder virtuosen rhythmischen Pattern immer wieder im eigenen Kosmos zu verschwinden. Das Konfrontieren der Spieler mit Zitaten aus der Vergangenheit bildet einen kontinuierlichen Versuch, Gegenwärtigkeit zu schaffen.

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

Kategorien
audio visual performance installation kunst performance multimediale werke performance mit musik performances

Public Privacy #shift_ctrl | audio visual surveillance sculpture

Brigitta Muntendorf | Thomas Bismarck

PUBLIC PRIVACY #shift_ctrl 
audio visual surveillance sculpture with live pop-ups
for live-video, pre-recorded video, tape and live musicians
Premiere: 22.04-24.04: Town hall tower Witten with Nico Couck (e-guit), Till Künkler (trb), Sonja Horlacher (fl), Sergej Maingardt (electronics)

Gallery | Photos by Thomas Bismarck