Kategorien
experimental music theatre Frau Musica nova Frau Musica nova köln performance mit musik zeitgenössische Musik und Club

Frau Musica (nova): PULSA:RE mit Cio D’Or

PULSA:RE 2014: Cio D’Or, Claudia Lichtblau und Brigitta Muntendorf 

Am  07. Dezember erlebt PULSA:RE im Rahmen von Frau Musica (nova) seine Premiere im Kammermusiksaal des Deutschlandfunks Köln. Die Soundarchitektin Cio D’Or und die Komponistin Brigitta Muntendorf kreieren in PULSA:RE gemeinsam mit dem Ensemble Garage eine Synthese aus zwei unterschiedlichen, musikalisch experimentellen Stilrichtungen. Während Cio D’Ors Musik die Grenzbereiche zwischen experimenteller Tanzmusik mit cinematischen Elementen auslotet, forscht die Komponistin Brigitta Muntendorf an experimentellen und elektronisch erweiterten Instrumentationen und multimedialen Setups klassischer Instrumentalensembles.

Basierend auf einer aus Cio D’Ors Schaffen kreierten Dramaturgie entwickelt Brigitta Muntendorf in enger Zusammenarbeit mit Cio D’Or eine Synthese aus Instrumentalklängen, extended Techniques, elektronischen Verfremdungen und vorhandenen Soundarchitekturen. Im Zentrum steht dabei ein Kerngedanke Cio D’Ors Musik: das Genre-Überwindende Streben nach „Unendlichkeit“ zwischen Ursprung und Entwicklung.

In einer gemeinsamen Probenphase mit dem Ensemble Garage und dem Klangregisseur und Gastmusiker Florian Zwissler wird diese Dramaturgie den Fähigkeiten der Musiker geöffnet und weiterentwickelt. Und dann Bewegung. Puls und Klang öffnen den Raum für die renommierte Choreografin Claudia Lichtblau und den Tänzer Matthias Hartmann, die wie sensorische Motoren stereotypischer Clubgänger und Nachtschwärmer artifiziell interpretieren. PULSA:RE ist eine Hommage an die Metamorphose, an Bewegung und an die Freiheit von Musik- und Musikschaffen.

20:00 Uhr Kammermusiksaal Deutschlandfunk Köln
Raderberggürtel 40 in 50968 Köln
Eintritt frei

 Mit freundlicher Unterstützung von:

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
performance mit musik solowerke mit Elektronik video zwei Klaviere und Elektronik

KreisIncrease (2018)

for two pianos, tape and live-electronics

premiere: 21.05.2018 Kunstfestspiele Herrenhausen

performer: GrauSchumacher Piano Duo
duration: 15 min

commissioned by Kunstfestspiele Herrenhausen and Ernst von Siemens Musikstiftung

technical set: live-electronic & stereo-tape + 3 channel-tape

score/electronics: contact me

part of: Trilogie für zwei Flügel, can be performed independently

audio recording is coming soon

 

 

program text

KreisIncrease is the latest composition in the „Trilogy for Two Pianos” series and occupies its midst.

Originally, Key of Absence was to take this position, celebrating emptiness with silence created by serene absence; the emptiness emerging when an unstoppable stream of impermanence concentrates in a bird’s eye view onto the pianists‘ working of their material in Key of Presence; the silence in which energetic urgency quietly disappears in exchange for an indiscriminate terrain of possibility . However, Key of Absence ended up taking another route – the idea that „future“ and „memory“ are nothing but constructions – preventing us from accepting our existence as fleeting and simultaneous- was too appalling for me.

KreisIncrease therefore now takes the place of Key of Absence and refers to a piece that I love very much – “Silence and Repentance” (orig.”Stille und Umkehr”) by Bernd Alois Zimmermann. I did not want to quote or deconstruct this existing piece of music, nor put original meanings into a new context. Although I incline towards its harmony, leaning on the parallel existence of different velocities, on the circling return of impulses – i.e. on its most predominant parameters – my question is, to what extent is it possible to translate the „meaningfulness“ of Zimmermann’s „resonances of sound and sound production in us „(Jean Luc Nancy) with my own compositional standpoint. Also, to what extent is it possible to conceive of two pianos, two people plus electronics as an orchestral apparatus, in which all sounds are naturally embedded and don´t have to be produced by pianistic performance. (And so they return, silence and indiscriminate territories of possibility: and now I can – with the help of Zimmermann – finally allow myself involvement with them.)

In “Key of Presence “and “Key of Absence” each player embodies his own melody, but in “KreisIncrease” they find themselves in an ostensible banality of individual procedure. It is only through verbatim supplementation via onstage stereo amplification that the sonority emerges – accidents, coincidences, flow, blackout, the performers’ failure to be precise, or their ability on a specific day; these are realities that create tension between the musicians and the sounds they produce.

“KreisIncrease” addresses the possibility of isolating that which constantly encircles itself, recognising Zimmermann´s use of ostinato as a voice unheard and unredeemed. Simultaneously, relationships are continually present in the musical manifestation: the relationship of the elements to each other, and between the pianists , as a source of fluctuating energy .

From these reflections upon the meaningful interpretation of „silence and repentance”, the title „KreisIncrease“ was born. One could also say that in searching for something that could call itself REAL, „KreisIncrease“ is the REVEALED- in consummate execution.

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 performance mit musik performances public privacy stimme und video

Public Privacy #6: voice | bright no more

performance scene for singer, video and electronics

Public Privacy #6 voice Bright no more | Muntendorfmusic/video/scene: Brigitta Muntendorf
duration: 8 min
premiere: Festival Rümlingen 2017, in frame of SCREEN-SHARING
composed for: Frauke Aulbert, singer and performer (www.stimmkuenstlerin.de)

general technical needs: 
projector / screen (white Gaze or natural proejction surface)
Stereo-PA and subwoofer
effect device for voice (for example TC Helicon Voicelive 2 or voice-software)
microphone (Shure SM 58)
requisites: working desk & laptop with score, different varicolored LED-Lights

Recording (FRAU MUSICA NOVA)

Trailer

Program notes

Public Privacy #6: voice: bright no more is the a piece within the Public Privacy series for solo instrument, video and electronics. The discourse about the public and the private in our digital culture takes place against a backdrop of manifold and fast moving developments. I composed the piece while my stay in Japan, Kyoto, at the Villa Kamogawa of the Goethe Institute. My experiences and observations concerning the structural organization of the Japanese society and communication had a deep impact on my artistic access to socio-political themes connected to a living within the digital culture. A completely different society with different models of public and private, balancing between a future-oriented thinking and the preservation of traditions, confronted with political implications on the development of individuality on the one hand and the required conformity on the other hand. The“Craziness of the Japanese“ – as the saying goes – appeared more and more as multi-layered consequences of a socio-political structure, some images seem to be weird, yes, but from circumstances that force people to invent and create real, digital and interpersonal spaces, we don’t have or need in Europe or other parts of the western world.

Separation and isolation as visibilities of an imbalance between public and private are not only in Japan a big topic – they’re social realities in every society, in which capitalistic ideas creates new needs and expectations.

On this background I wanted to show the vulnerable but also powerful side of this tireless and artificial force to develop a so called individuality. Sharing the space with an „I“, that yes, could be individuality. But it could also be a construction of relationship between a force and a space in between models of public and private and a state between being and performing.

Public Privacy #6: voice | bright no more at Festival Rümlingen

Gallery

commissioned by Ernst von Siemens Musikstiftung and Festival Rümlingen

Kategorien
audio visual performance ensemble und video experimental music theatre performance mit musik video

Hi victim! (2013)

original title: Endlich Opfer
for large ensemble, 1 actor, 4 singer, childrens choir, tape and video

premiere: 20.09.2013 Arge Kultur Salzburg | Taschenopernfestival klang21
instrumentation: 2 S., A., T., Kinderchor (12), Fl., Klar.Sax., Hrn., Tba., Sz., Pno., Vl., Vla., Vc., Kb, fixed media
duration: 20′
director: Thierry Bruehl
ensemble: oenm (Österreichisches Ensemble für Neue Musik)
conductor: Juan Garcia Rodriguez
childrens choir:  Salzburger Landestheater, Leitung: Wolfgang Götz

 

program text

Hi Victim (Endlich Opfer!) was performed by the ÖENM at the Pocket Opera Festival Salzburg and deals with a photo, which was given to the composers in the beginning of the composition process. This photo shows Italian sunbathers at the beach of Naples ignoring two dead gipsy girls lying covered with towels on the beach – it shocked the world in 2006.
When I received this photo I told the stage director Thierry Bruehl that I won’t make a music theatre about this scene. What kind of music doesn’t raise the moral pointing finger and what kind of music doesn’t celebrate pain? But the more I thought about these questions I asked myself about the moment, in which you’re confronted with a scene like this. What exactly is this awkward silence, this faint feeling of powerlessness? And I recognized that this void is full of blatant and unfulfilled desires, a methodically insanity compressed in a strong corset strangulating humanity and compassion. Showing these mechanisms that cause socio-political paralyses in a society opened the door to create a very precised-working breathing machine on the stage out of a strong construction of music, performers and mixed media.

Hi Victim starts in the void – an empty stage, a counting voice as a correlation to the waiting, musicians appear by following strict vector courses along the stage. Some are blowing dust through instruments and disappear; some are playing on their positions, isolated in the stage space. A colored conductor (Vimbayi Kaziboni) is projected conducting at the wall in the back of the protagonists trying to sync with the live conductor, but left alone at the wall being a playing object for the actor. The music consists of a live part by the ensemble and of a synchronized tape. As the stage the music is composed in thinking of spiral developing – every minute a new performer enters the stage (entering and leaving the stage is part of the score) till a machine of movements, rhythm, singing and playing is created without pausing and with only one aim: an unstoppable expanding although the structures (the corset) disallow discharging. Hi Victim has no libretto – the singers sing through solmization, the voice of the tape is counting and the actor is the only performer, who crosses the existing ways and interacts with musicians and the projected conductor – scene, music and video are interlacing each other and tell a story without any words. It’s obvious that this pocket opera is not a story about redemption, it’s the story of watching the void – with the aim to create a reflecting moment for the prerequisite of humanity.