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Am Anfang war das Wort
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Music pieces that investigate the circumstances in which speech, or other forms of oral language, are considered music. Working at the point where one thing happens to be the other, without having the intention to define when we are talking about language or music, but the opposite.
We propose works around the voice, not in search of a creative extension of it´s expressive possibilities or color, but of the origin of the link between voice and language, between oral language and the origin of the musical experience.
Antoine Beuger Solo set. ”Keine Fernen mehr“.
The Co- founder and mentor of the recognised group of composers “Wandelweiser” performs his unique piece for
whistling solo performer.
Audrey Chen performs Rishin Singh.
„Possibly Anna Magdalena“ – for solo cello (2018) WP.
A reflection on memory and sound: How varying scales of memory – from historical records to contemporary private diaries –
affect the embodied positions from which we listen to music.
Evelyn Saylor- Rebecca Lane. Voices. Sacred Harp Singing.
Sacred Harp Singing is a tradition of community singing that originated in colonial New England, and, while nearly having died out at the beginning of the 20th century, has been preserved for generations in the South of the United States.
The name is derived from The Sacred harp, a tunebook printed in shape notes first published in 1844. The book is a rich collection of shape note songs from various sources, from the 1770s to the present day. Modal polyphonic music built with unexpected harmony and counterpoint techniques. Evenly Saylor and Rebecca Lane will offer also a composition of their own, resonant of their experience performing this unique music.
Margareth Kammerer- Joe Kudirka. Voices, electric guitars.
Kudirka´ s composition for Kammerer takes as departing point the way language is related to how we actually learn music and describe it, and how this can’t really be separated from the music itself. The piece works as a form in dialog with Margareth´s own songs and music experiences oral sharing as main contents, as well as duo readings of Nanni Balestrini.´s poetry.
Rasha Ragab : Voice, texts selection- Christoph Nicolaus: Stone Harp- Lucio Capece: Bass Clarinet. I lost Myself in Finding you.
Collective Composition .Texts by Rabia of Basra ( Rabi’a al-Adawiyya ) ( رابعة العدوية القيسية) (714/717/718 — 801 CE)[. Muslim Saint and Sufi Mystic.
Rasha Ragab´s enigmatic presence is joined by the the unbelievable sounds of the Stone Harp. An Indian stone that rubbed with wet hands sounds like acoustic sine waves, as well as the deep wood sounds of the bass clarinet.
Rabia of Basra is often noted as having been the single most famous and influential renunciant women of Islamic history. The stories detailing her life and practices show a countercultural understanding of the role of gender in society.
Her texts are exposed by Rasha, in the ambiguous zone between speech and singing.