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 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 Experimentelles Musiktheater performance mit musik performances

abschminken

…the short rest of a long ending

for mezzo soprano, bass flute, piano, percussion, viola, violoncello and video/tape
partitur abschminken

a collaboration with Jürgen Palmer (video artist).

premiere: 04.05.2012
Acht Brücken Festival Cologne | Thürmchen Ensemble
conductor: Erik Oña
duration: 6 min

abschminken (engl.: to remove make-up) is a play in-between a public and private space: while the music is performed on stage the video shows a scene in the wardrobe behind the stage. We don’t know anything about the time relationship between both spaces, we even can’t define the relationship between the virtual and the real performers.
The camera acts as a mirror for the virtual singer. He’s removing his make-up – removing his stage-role, another identity, another body and perhaps he’s removing more than that.

The music appears as a sound mirror, changing between an artificial mannerism and instrumented emotional eruptions. The music forms itself and acts inside the challenge between countenance and the loss of control.
A complaining Bach and souvenirs of arias appear as reminiscences of a vanished nature, music as a vanished role, as a costume that has to be changed and asks its wearer for a new definition. Are we strong enough?

Video


ensemble garage

fragments of Bach:

J.S. Bach, Aria No. 54 (Matthäus-Passion):
„Können Tränen meiner Wangen“ [Auszug]

Johannis-Passion
“Zerfließe, mein Herze” [Auszug]

BWV 13
„Meine Seufzer, meine Tränen“ [Auszug]

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

 

Kategorien
dance and music performance mit musik performances

Musik und Tanz

ARCHIPEL – a Spectacle of Blending

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

Bilderschlachten – Batailles d’Image (2019)

für Tänzer, Streichquartett, Orchester und Live-Elektronik

WAH-WAH (2016)

Tanzperformance für 7 Tänzer und 4-Kanal Zuspielung | Anna Konjetzky

City Dance Köln (2016)

12stündiges Community-Projekt in Köln in Anlehnung an Anna Halprin mit über 500 Teilnehmern | Stephanie Thiersch

Kategorien
audio visual performance performance mit musik performances

performance art

Public Privacy #shift_ctrl (2016)

audio visual surveillance sculpture with live pop-ups

free play (2015)

…do we have  right to anonymity?
audio visual performance for 3 performer and sampler

PUBLIC PRIVACY #CITY (2014)

performances and sound installations in public space

Yes, Master (2011)

for four performer and tape

Chicken&Chickets (2008)

performance (part 1)

Latexkonzert (2008)

Performance (Teil 2)

 

Kategorien
community project dance and music performance mit musik performances

music and dance

ARCHIPEL (2020/21)

for 13 musicians, choir, 10 dancers, live-electronics and tape

Bilderschlachten – Batailles d’Image (2019)

for dancers, string quartet, orchestra and live electronics | Stephanie Thiersch

WAH-WAH (2016)

dance performance for 7 dancers and quadrophonic tape | Anna Konjetzky

City Dance Köln (2016)

12 hours community project in Cologne with about 500 participans | Stephanie Thiersch

back to work list muntendorf

Kategorien
audio visual performance installation multimediale werke performances

Transmedial compositions

THEATRE OF ECHO / THEATER DES NACHHALLS

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

ARABESQUE (2020) / Ensemble Modern

video installation based on „ballet for eleven“

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

performance scene for singer, video and electronics

Public Privacy # instant – voices I’ve heard (2016)

The piano player | audio visual installation

Public Privacy #5 Aria (2016)

für synthesizer und live video

Public Privacy #shift_ctr | audio visual surveillance sculpture (2016)

video, tape and 1-5 live-performer

play me back and forth (2015)

for soprano, clarinet, cello, sampler, drumset, e-zither, video and electronics

LIVING THESIS (2015)

audio visual installation

Public Privacy #4 Leap in the dark (2015)

for e-guitar, video and tape

Public Privacy #1 Flute Cover (2013)

for flute, video and tape

Public Privacy #2 Piano Cover (2013)

for synthesizer, video and tape

Public Privacy #3 Trumpet Cover (2014/trombone version 2016)

for trumpet/alto trombone, video, tape and live-electronic

Hello Body! (2012)

video in collaboration with Jürgen Palmer and Nicola Gründel

Wer zum Teufel ist Gerty (2011)

pocket opera for 12 instruments, soprano, tenor and two actors

abschminken (2012)

for mezzo-soprano, flute, percussion, viola, cello and video

Überhall (2009)

for clarinet, saxophone, trombone, percusiion, violin, double bass, tape and video

Hinterhall (2009)

for saxophone, percussion and live video