Kategorien
voice and ensemble werke werke für ensemble

Sweetheart, Goodbye!

für Stimme, Klarinette, Trompete, Horn, Posaune, Klavier, Schlagwerk, Violoncello, Kontrabass, Monolautsprecher & Samplepad

Sweetheart Goodby für Stimme und Ensemble
foto: Stefan Pieper

 

UA: 27.04.2012 Wittener Tage für Neue Kammermusik
Stimme: Nicola Gründel
Ensemble: Asko/Schönberg Ensemble
Dirigent: Reinbert de Leeuw
Dauer der Originalfassung: 12:20 min
Dauer der Neufassung (noch nicht aufgeführt): 14:00 min

Über Sweetheart, Goodbye!

In Sweetheart, Goodbye! habe ich meine Idee, Emotion als musikalisches Material zu verwenden, noch radikaler angewendet als bei „Wer zum Teufel ist Gerty?“ und zur Grundlage eines neuen Stückes gemacht.
Basierend auf einem Kapitel des Ulysses von James Joyce, in dem Erzählstrang und Figuren nach musikalischen Formen angeordnet sind entstand in Zusammenarbeit mit dem Regisseur Thierry Bruehl ein Text, der von der Schauspielerin Nicola Gründel gesprochen und gespielt wurde. Zudem entwickelte ich als Resultat der Sprache ein emotionales Material (Laute, die parallel zur Sprache aus dem Monolautsprecher erklingen) und ein Ensemblepart, der als drittes Glied in dieser Kette die isolierte Emotion auf verschiedenste Weisen transkribiert.

Dass ich dabei auf jede Form von melodischer Linie verzichten musste entdeckte ich erst, als ich sie bewusst einsetzte. Das Spiel mit Emotionen als Material, ist wie ein Spiel mit dem Feuer. Und ebendies ist die Geschichte von Sweetheart Goodbye!

Auszug der Kritik von Petra Hedler, Positionen:

„[…] Einprägsame Kontrapunkte setzten zwei Komponistinnen aus dem Umkreis der Kölner Musikhochschule. Der Wittener Debütantin Brigitta Muntendorf geht es nur vordergründig um Abbildung, wenn sie in Sweetheart, Goodbye! die Schauspielerin Nicola Gründel mit mal verruchter, mal spöttischer, mald fordernder, mal lockender Stimme Texte aus dem Ulysses vortragen lässt. Indem sie Gefühl und Inhalt entkoppelt und die Instrumente Emotionen als musikalisches Material aufgreifen, umspielen und weiterspinnen lässt, gelingt ihr ein fesselndes doppelbödiges Spiel aus unmittelbarer Erotik und musikalischer Eigengesetzlichkeit[…].

 

Kategorien
Frau Musica nova Frau Musica nova köln social composing voice and ensemble werke für ensemble zeitgenössische Musik und Club

Frau Musica (nova) 2013: Bloody Cherries

Mit dem Konzert BLOODY CHERRIES richtet Frau Musica (nova) ihren Blick auf Kompositionen für Ensemble und Elektronik der jungen polnischen Komponistin Jagoda Szmytka (*1982) und stellt zwei Verbindungslinien zu den Komponistinnen Malin Bång (*1974) und Clara Iannotta (*1983) her. Szmytka vereint in ihren Werken akustische, visuelle, räumliche, textuelle und szenische Elemente als integrale Bestandteile ihrer Musik und komponiert somit am Puls heutiger Neudefinitionen des Begriffs der Neuen Musik.

Das 2013 vom Ensemble Garage uraufgeführte Greetings from a Doppelgänger setzt sich anhand von Kontaktlautsprechern mit akustischen Doppelidentitäten auseinander. Einen Zoom auf diese Identitäten zeigt hand saw WeltAll-Stars. generously, das die Verbindung zwischen Klangerzeugung und Körperbewegung hinterfragt. Die performative Hommage sky-me type-me setzt das Individuum in einen Bezug zur virtuellen Realität während for(UN)fall und die Reminiszenz electrified memories of bloody cherries. extended Landschaft von Musik mit verstärkten Instrumenten und Gegenständen den Begriff des heutigen Komponierens und Interpretierens öffnet. In Malin Bångs urbanen Field Recorings in structures of molten light und Clara Iannottas körperlich-theatralen Al di lá del bianco finden sich Themen aus Szmytkas Musik wider, die jedoch von den beiden Komponistinnen künstlerisch und ästhetisch ganz anders behandelt werden.

Sonntag, 15.12.2013
19.00h Deutschlandfunk Köln Kammermusiksaal
Raderberggürtel 40
50968 Köln

Programm

Jagoda Szmytka
Greetings from a Doppelgänger (2013)
[UA: 08.05.2013 Ensemble Garage, Acht Brücken Festival Köln]
für Vl., Vla., Vc., Pno., Sz.+ Kontaktmikrophone und Kontaktlautsprecher

Jagoda Szmytka
sky me, type me (2011)
für vier Spieler und Megaphone

Jagoda Szmytka
for(UN)fall (2009/11)
für Kl./Bass-Klar., Vl., Pno., Sz. (Verstärkung und Zuspiel)

Clara Iannotta
Al di là del bianco (2009)
für Bass-Klar., Vl., Vla., Vc. und Elektronik

Malin Bång
Structures of molten light (2009)
für Bass-Fl., Bass-Klar., Sz., Pno., Vl., Vc. und Verstärkung

Jagoda Szmytka
hand saw WeltAll-Stars. generously (2011)
für Fl., Vl., Vla., Vc., Kb., Pno., (+Verstärkung) Dauer: 12 min

Jagoda Szmytka
electrified memories of bloody cherries. extended Landschaft von Musik (2011)
[clarinet/bass clarinet, E-guitar, cello, double bass, piano, percussion]

 

Wir danken für die freundliche Unterstützung dem Deutschlandfunk, dem Konzert des Deutschen Musikrates, der Alfred Töpfer Stiftung sowie der Stiftung für Deutsch-Polnische Zusammenarbeit.

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
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 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
werke werke für ensemble

shivers on speed (2013)

for bass flute, bass clarinet, violin, violoncello and piano

Brigitta Muntendorf - shivers on speed

 

Brigitta Muntendorf Shivers on speedPremiere: 30.03.2013 Kiew
National Philharmonic of Ukraine
composition competition by MusikFabrik
duration: 12 min

program text

Every sound, every noise incorporates a sense and sensitivity that we can find in space, resonance and in at least in us. Jean Luc Nancy describes this sense as a link to experiences and associations, as a trigger for all the images and emotions that are discovered inside our being. shivers on speed can be heard as a concentration of senses, as the idea to work with sound through a possibility of an existing sense in us, as the idea of a sense-determined musical material. All musical developments in the piece are linked to the idea of representing this phenomenon of sound. Shivering: not matter what kind of sound we have in mind, in the end this sound describes a physical and psychological moment of insecurity by it’s uncontrollable sound structure. Trembling fingers, trembling bows and trembling breath are combined with sounds of an insisting, statement-like structure and lead into a collage of an absurd play of sounds.

Kategorien
audio visual performance experimental music theatre Experimentelles Musiktheater multimediale werke performance mit musik video werke für ensemble

iScreen, YouScream!

social media opera for ensemble, actress, live-video and electronics

ECLAT 2017 | screen, YouScream | Social Media operamusic, conception: Brigitta Muntendorf
stage, conception: Vincent Mesnaritsch
dramaturgy: Michael Höppner
costume: Sita Messer

sound direction: Dominik Kleinknecht
live-video: warped type

ensemble: Ensemble Garage
actress: Constanze Passin
conductor: Mariano Chiacchiarini
premiere: 03.02.2017 ECLAT Festival Stuttgart
duration: 70 minutes

composition comissioned by ECLAT Festival, financed by Ernst von Siemens Musikstiftung 
A coproduction by Ensemble Garage & Musik der Jahrhunderte 
With the friendly support of Kunststiftung NRW & GVL

TRAILER

ABOUT

Looking at a stage set consisting of black boxes , I ask myself how I can be sure that 9 musicians, an actress and a conductor are really there. And if the aforementioned truly are hidden within these boxes, I have to ask myself how they can communicate with each other.

I can see a camera man flitting between the boxes and wonder which of the projections on the 3 screens are being filmed live and which already happened.

I see people presenting and producing themselves and hear the music they create. I hear status updates, a tutorial, a fashion haul. I see status updates, a tutorial, a fashion haul. I overhear how someone sitting next to me says to his neighbour „I can hear sounds made by pictures“. I hear a Ganguro Girl and see a kind of love, I hear self-optimisation and see an EGOrchestra, watch a Beethoven dance, see cloned classics and hear production via self-production. I begin to have an idea of how we build collectives with our digital representatives, although we are isolated from one another. I ask myself what survives in such a society and what doesn´t; who wins and who loses. I ask myself how these people in their boxes satisfy their needs for companionship, love and recognition. I wonder which feedback counts.

Are you still in love or starting to put yourself out there? Are you present enough, are you representable? Are you your own archive? Are you living in your archive? Living your life away? or WHAT??

 

 

Kategorien
community project dance and music Orchester orchestra werke für ensemble

works for orchestra and large ensembles

PROLOGUE (2019)

for orchestra, string quartet and electronics (musicians are placed in groups in the audience space)

CITY DANCE – Mensch/Maschine

(community project in an extraordinary venue, instrumentation can partly be varied)

for solo voice, choir, 7 strings, clarinet, Oboe, Saxophone, trumpet, trombone, percussion (two player) and 12 dancer

CITY DANCE – Main Station (2016)

(community project in public space, instrumentation can partly be varied)
for 2 Alphorns, brass orchestra, 7 instruments, string quartett, choir, 2 solo voices, 20 percussionists, DJ and tape

Missing T (2013)

for large ensemble (13 instruments)

IN SYNC (2012)

for two large ensembles | piece for young musicians

CRACK (2009)

for large orchestra

work list muntendorf

Kategorien
audio visual performance ensemble und video werke für ensemble

works for ensemble

Keep quiet and dance #2 (2018/19)

for 4-channel voice, flute, clarinet, saxophone, percussion, violin, viola, cello and fixed media

keep quiet and dance #3 (2018/19)

for voice, percussion, string ensemble (3.3.3.2.1), live-electronics and tape

Ballett für Eleven (2018)

for eleven musicians, live-video and fixed media

TRE’SPACIAL (2018)

for flute, clarinet, saxophone, trombone, percussion, synthesizer, violin, viola, cello and electronics | in cooperation with Electric Indigo

HandleMe (2018)

for flute, clarinet, saxophone, trombone, percussion, synthesizer, violin, viola, cello and electronics | in cooperation with Electric Indigo

Sweetheart, Goodbye! (2011/2012) 

for voice, 8 instruments and mono-loudspeaker
(voice, clarinet, trumpet, horn, trombone, piano, percussion, cello and double bass)

abschminken (2012)

for mezzo-soprano, bass flute, piano, percussion, viola, cello and video/tape

reinhören (2010)

for flute, clarinet, saxophone, percussion, violin, cello and double bass

Hörzu (2009)

for 11 instruments
(flute, clarinet, saxophone/bassoon, horn trumpet, trombone, piano, percussion, violin, cello, double bass)

list of works