Specter of the Gardenia oder Der Tag wird kommen
Fr 25/09 & Sa 26/09, 19.30 Helmut List Halle
Johannes Maria Staud / Josef Winkler (AT) / ensemble modern / Emilio Pomàrico / Sofia Simitzis
steirischer herbst 2015 opens with an installation-based concert performance. Composer Johannes Maria Staud and poet Josef Winkler venture a contemporary music theatre experiment together with Ensemble Modern.
“Specter of the Gardenia oder Der Tag wird kommen” – surrealist Marcel Jean’s sculpture inspired Josef Winkler to create an unusual surrealist monologue. Formally, his text consists of three elements: litany-style invocations of animaginary vis-à-vis alternate with retrospective views of a Catholic childhood in Carinthia and powerful plaints on contemporary society. “You petroleum society, you watchers of our tragedy, with the tattooed model of a gallows in the jumpy hollows of your knees, the plagiarised plastic roses on your threadbare wreaths, you who take the sepulchral smile at its word with the smell of fresh ink mixed with human heart blood – oily hand on heart! – how many axes does your heaven need anyway?” The Austrian Johannes Maria Staud is one of the most internationally renowned composers of his generation. In close collaboration with the Büchner Prize winner Josef Winkler he developed the composition for twenty-two instrumentalists of Ensemble Modern. The main speaking part of the evening is played by the actor Johannes Silberschneider, who has received several prizes for his numerous film and television roles, winning the Grand Diagonale Acting Award in 2012. The artistic team headed by the young director Sofia Simitzis translates the artistic montage into three dimensions, into a kind of image or world machine. Large format projections, unusual objects, light, images, and the actions of the speaker and the ensemble interweave – engaging all the senses.
Commissioned by: steirischer herbst. Project sponsor: AVL Cultural Foundation.
08/10 – 11/10 Kunsthaus Graz
Marco Donnarumma (IT/UK) in collaboration with Marije Baalman (NL)
“Nigredo” is an experience of altered self-perception by means of biophysical media – throwing visitors back on bare humanity.
“Nigredo is not for the faint of heart”, say some. “Nigredo is totally relaxing”, say others. Nigredo is an experience of altered self-perception for one visitor at a time by means of biophysical media, created by Marco Donnarumma in collaboration with Marije Baalman. Carefully but resolutely, the work pushes visitors to their individual physical and perceptual limits. Completely cut off from the hustle and bustle of the outside world, wired and connected up with all manner of sensors and technological devices, visitors become cyborgs for eight minutes while being thrown back on bare humanity.
Intense auditory, visual and tactile stimuli performed by a machine with pinpoint precision are initiated by the pulsation of one’s own body. It is a feedback process that engages equally the human body and the machine, triggering perceptions of one's own body that can only be rationally classified with hindsight. Nigredo is equally reminiscent of our uniformity and uniqueness – for all the immediacy of this self-experience trip, perceived now as too short, now as too long, may take us to the realm of both perceptual expanse and constraint.
Registration start 25.9.2015 at: http://musikprotokoll.orf.at/en/2015/service/nigredo
Co-produced by ORF musikprotokoll & Kunsthaus Graz. In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe Marco Donnarumma is SHAPE artist. Supported by the “Creative Europe” programme of the European Union. Nigredo has been originally created with the support of STEIM, Amsterdam.
08/10 – 18/10/2015 Murinsel / Lesliehof im Joanneumsviertel
Peter Ablinger (AT), Stanislav Abraham (CZ), Peter Brandlmayr (AT), die audiotapete (AT), Josef Klammer (AT), Marcus Maeder (CH), Mateu Malondra (ES), Christine Schörkhuber (AT), Valentina Vuksic (CH), Jana Winderen (NO), Mazen Kerbaj (LB), ...
Mediterranean Measures – Science, Research, and the Arts
Homage to Ludwig Salvator in science, research and art
Researcher of the Mediterranean, Ludwig Salvator was a traveller all his life. A homage with contributions from the domain of sound, art and science sets out to do justice to this free thinker.
He has the makings of an icon of free science, beyond academia and yet full of passionate precision: researcher of the Mediterranean, Ludwig Salvator travelled all his life, going from island to island, and finally from continent to continent. From aboard the “Nixe”, his steam-driven yacht, he set his research radar on unexplored, as yet largely unknown Mediterranean islands and their original, indeed – in terms of civilisation – primeval flora and fauna, habits, customs and living circumstances. For decades, he published dozens of highly regarded specialist publications.
The Archduke from the Tuscan line of the Habsburg family, who died one hundred years ago in October 1915, was as much an ardent practising conservationist as a bohemian and pacifist. A homage featuring several artistic contributions from the fertile borderland of sound, art and science is dedicated to this free thinker. Venues and, at the same time, instruments of this undertaking are ORF correspondent booths in the Lesliehof im Joanneumsviertel and the Murinsel as the fictitiously resurrected research vessel Nixe – along with the appropriate background sound.
Commissioned by musikprotokoll. Concept Christian Scheib (AT), Elke Tschaikner (AT) & Fränk Zimmer (AT/LU). In cooperation with Universalmuseum Joanneum, Naturkundemuseum Joanneumsviertel & SHAPE – Sound, Heterogeneous Art and Performance in Europe. Stanislav Abraham is SHAPE artist. Supported by Pro Helvetia – Schweizer Kulturstiftung and Lambda Labs.
Reshaping Club Music
Assimilation Process (DE), Pasajera Oscura (AT), Ketev (DE), Lorenzo Senni (IT)
Reshaping Club Music is a concert evening in the dynamic context of the past and future, albeit immersed in an apocalyptic atmosphere.
It is a postapocalyptic world that Stefan Senf aka Assimilation Process spans out with his performances, in which there are only occasional flashes of all-nighters on the dance floor. The music of Pasajera Oscura merges the equally dystopian soundscapes of Christina Nemec aka chra with the beat structures of Patricia Enigl aka irradiation founded on the laws of quantum physics. Once again, the apocalyptic atmosphere that now completely pervades space is passed on when Yair Elazar Glotman aka Ketev weaves his leaden post techno, before Lorenzo Senni catapults us back to the early, jaunty days of rave culture in one of his rare AAT (Advanced Abstract Trance) performances. Reshaping Club Music is set in the dynamic context of the past and future. The title of this evening of concerts also refers to the SHAPE platform, founded by musikprotokoll at the end of last year together with fifteen other festivals of the ICAS (International Cities of Advanced Sound) network to exchange new and exciting projects in the field of music and audiovisual art.
In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe. Assimilation Process, Pasajera Oscura, Ketev and Lorenzo Senni are SHAPE artists. Supported by the “Creative Europe” programme of the European Union.
Dieter Kaufmann (AT), Wolfgang Musil (AT), Vinzenz Schwab (AT), Dieter Feichtner (AT), Katharina Klement (AT), Gottfried Martin (AT), Günther Rabl (AT), Helmut Dencker (AT), Andrzej Dobrowolski (PL/AT), Klaus Hollinetz (AT), Heinz Hönig (AT), a.o.
Vintage Concerts - The Institute of Electronic Music and Acoustics IEM celebrates its fiftieth anniversary with tape-recorded music and sound transducers with pure music on the Schloßberg.
Graz in 1965 – a city embarking on new departures in music. One of Europe’s first jazz institutes was founded at the Academy of Music and Performing Arts, as it was known back then. The same year saw the foundation of the Institute of Electronic Music and Acoustics, IEM for short, as part of today’s University of Music and Performing Arts Graz.
For five decades, the IEM – engaging in an exchange with affiliated institutions the world over in terms of its staff and artistic undertakings – was and continues to be a fascinating laboratory at the cross- and interdisciplinary intersections of art and science, technology and musical practice, electronic music, acoustics, audio engineering, sound, and media art. The IEM celebrates its anniversary in the Schloßberg Kasematten with a series of “Vintage Concerts” and a vast line-up of speakers and vintage electronics.
Legendary and extremely rare electroacoustic pieces from the 1970s to 1990s will be performed true to the original works with the aid of legacy equipment and prominent performers from back in the day. The historical performance practice with tape machines, electronics and absolute pure music with multichannel loudspeaker systems as a sound machine. Or: “Back to the Future” with tape and synthesizer.
Co-produced by steirischer herbst, musikprotokoll, Kunstuniversität Graz & IEM – Institut für Elektronische Musik Graz. In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe. The work by Vinzenz Schwab is a composition commissioned by SHAPE 2015. Supported by the “Creative Europe” programme of the European Union.
musikprotokoll to go
09/10 & 10/10/2015 Lesliehof im Joanneumsviertel
musikprotokoll is not just a festival physically located in Graz, all concerts are also broadcast on Ö1, the internet, and by the European Broadcasting Union.
musikprotokoll sends out waves. Not only in Graz, but also on the radio and the net. As such, musikprotokoll is very close in many different places – in our living rooms, cars and on our smartphones.
It is inscribed in the festival’s founding DNA that it is produced by ORF and thus, that all concerts and performances are broadcast – either live or as recordings. Since 1968, this has given rise to a vast and wonderful archive of contemporary sound, a kind of representative cross-section of almost fifty years of avant-garde, a constant flow of new musical positions from the four corners of the earth.
In 2015, concerts are again presented to a wide audience, also beyond the bounds of the musikprotokoll venues – on the radio, the internet and by the European Broadcasting Union. In addition to concert transmissions there are also several opportunities for festival visitors to attend Ö1 live broadcasts. “Ö1 Kulturjournal” and “Spielräume” on Friday and “Ö1 Klassiktreffpunkt” on Saturday – look forward to seeing you!
RSO Wien - Fennesz / López
09/10/2015 Helmut List Halle
Christian Fennesz (AT), Jorge E. López (AT), RSO Wien (AT), Johannes Kalitzke (DE), Christoph Walder (IT)
The best of two worlds – Austrian guitarist and electronic musician Christian Fennesz transfers his music to the RSO, the Vienna Radio Symphony Orchestra.
The best of two worlds: a critic from Berliner Zeitung raved about the “genuine beauty of pure sound” when the Austrian guitarist and electronic musician Christian Fennesz published his solo album “Black Sea” in 2008. Fennesz, an international star of his genre, whose music oscillates between experiment and pop, between atmospheric and lateral, transfers his musical work to a large classical symphony orchestra for the first time at musikprotokoll.
Based on the tracks from the “Black Sea” album, he has created a piece for the RSO Vienna that transposes the atmospheric sound magic so typical of his world into the orchestral universe. A constellation that is as astonishing as it is unusual and, in fact, sensational. For one thing because one of Austria’s best orchestras will perform it – the ORF Vienna Radio Symphony Orchestra. A solo performance by Fennesz during this concert at the Helmut List Halle is also planned. The guest performance ends magnificently with the Austrian premiere of composer Jorge López’s “Symphonie fleuve”, with its vast orchestration. An evening between the elegiac sound-worlds of Christian Fennesz and the gigantic acoustic architectures of Jorge López.
“Symphonie Fleuve pour cor et orchestre” is a work commissioned by Klangspuren and ORF. The piece by Christian Fennesz is a work commissioned by RSO Vienna.
Noise Me Tender
09/10/2015 Helmut List Halle
Arturo Corrales (SV/CH), Jorge Sánchez-Chiong (VE/AT), Arturo Fuentes (MX/AT), Petra Ackermann (AT), Philipp Meier (CH), Jorge Sánchez-Chiong (VE/AT)
Violist Petra Ackermann and pianist Philipp Meier formed a duo in Zürich in 2009 with the aim of expanding the modest repertoire for viola and piano. Meanwhile a number of new pieces have been written, including premieres of Klaus Lang, Germán Toro-Pérez, Christoph Herndler, Arturo Fuentes, Martin Jaggi, and others. Together with the composer Jorge Sánchez-Chiong they developed the multimedia project “jupiter.analogs II” in 2014. The outcome of this unique project? A new formation, a trio for contemporary music: viola, piano and turntables.
Ackermann / Meier / Sánchez-Chiong present premieres of three composers with Latin American roots who have for some time provided important impetus in the local music scene: Arturo Corrales, Arturo Fuentes and Jorge Sánchez-Chiong. All three composers take unconventional, refreshing approaches to the traditional string / piano duo formation, expanding it with the aid of turntables and electronics.
Radiazione di corpo nero
09/10/2015 Helmut List Halle
Teresa Carrasco (ES)
In terms of Planck’s quantum physics, the pianist and his black instrument act and function as an “ideal black body”: this is the basis of the concept for the composition “Radiazione di corpo nero” by Teresa Carrasco. In physics, this “black-body radiation” denotes a specific emitted spectrum of radiation. But in and with “Radiazione di corpo nero”, Teresa Carrasco doesn’t engage in physics, but music. “All frequency spectra of the piece”, she writes, in which she also includes the spatial distribution of sounds, “are influenced by the pianist’s temperature, position and movement and by the experimental work with the multiple possibilities of the grand piano as a resonant body.”
A work commissioned by IEM – Institute for Electronic Music and Acoustics for its fiftieth anniversary. In cooperation with musikprotokoll.
ensemble recherche / 2015
10/10/2015 Helmut List Halle
Milica Djordjević (DE/RS), Brian Ferneyhough (GB), Johannes Maria Staud (AT), Wen Liu (AT/CN), ensemble recherche (DE)
Pure curiosity is the trademark of the Freiburg-based ensemble recherche. It bills with a sextet of British grand seigneur Brian Ferneyhough and three premiere pieces.
For thirty years now, selective sound research, persistent, focused investigation of ever new compositional modes of thought and structures, tracking down fascinating aspects – i.e. pure curiosity – has been the trademark of the Freiburg-based ensemble recherche. This year, the nine instrumental researchers visit Graz with an abundant mixture of different points of the compass and sound styles:
with a powerful sextet of British grand seigneur Brian Ferneyhough and no fewer than three premiere pieces. Along with an ensemble piece by Johannes Maria Staud, fresh off the press, who is responsible for the musical opening of this year’s steirischer herbst, there will also be premieres of pieces by two young composers – Vienna-based Chinese musician Wen Liu and Berlin-based Serb musician Milica Djordjević.
The piece by Wen Liu is the 2015 musikprotokoll Emil Breisach composition commission. The work by Johannes Maria Staud is a composition commission of ensemble recherche and ORF musikprotokoll, supported by the Ernst von Siemens Music Foundation.
10/10/2015 Helmut List Halle
Uli Fussenegger (AT), Andreas Lindenbaum (DE), Ernesto Molinari (CH), Martin Siewert (DE)
On the basis of “Improvisations” by Giacinto Scelsi, musician Uli Fussenegger examines the world of the Italian composer.
“Scelsi, c’est moi” was the headline of the Italian music magazine Il Giornale della Musica in 1989, one year after the death of Giacinto Scelsi. The composer Viero Tossati, who created notations for Scelsi in the last years of his life, claimed that Scelsi’s compositions were in fact his. This sparked off a dispute about originality and authorship that enlivened the music world. Scelsi, who was for a long time little known to the general public, soon became an idol among insiders. The Italian ensemble of Ennio Morricone, the Gruppo di Improvvisazione Nuova Consonanza, published an “Ommagio a Scelsi” as early as the 1970s. The members of the ensemble pondered the utopia of a spontaneous composition while engaged in experimental music making, paying tribute in their homage to the loner Scelsi and his musical output.
These two historical events are based on Giacinto Scelsi’s very special way of moving into and within a sound, a note, of phrasing and shaping it. Even today, the “Improvisations” that Scelsi recorded on the ondiola exert a hypnotic fascination. Uli Fussenegger heard these old tapes in the archives of the Fondazione Isabella Scelsi in Rome and began carefully and respectfully approaching Scelsi’s world. Together with his fellow musicians he now finds contemporary paths through this enchanted forest of monotonous polyphony and polyphonic monotony.
10/10/2015 Helmut List Halle
Ulrich Troyer (AT), Susanna Gartmayer (AT), Jürgen Berlakovich (AT)
Ulrich Troyer’s “cinema for listening” is based on the big effect of little unsettling moments – he likes to disturb the equilibrium of his listeners without actually putting them off balance.
The big effect of little unsettling moments: following this principle, Ulrich Troyer has always found many different ways of arriving at new acoustic formulations. Be it layerings of sounds conceived as sculptures, visuals for listening, dance rhythms for the brain, or surveys of space with acoustic equipment – Troyer likes to disturb the equilibrium of his listeners without actually putting them off balance.
He does so, as one critic says, “with a nimble hand and a light heart”. His “cinema for listening” and his abstraction of dance patterns have, it says, recently become even more intimately interwoven. However, his work can also be enjoyed at a much simpler level, with his music highly reminiscent of the legendary “Iaora Thahiti” album by the electronic band Mouse on Mars. And that is just plain good fun, “ça nous fait plaisir”, as one French critic enthused about Troyer. For the 2015 musikprotokoll, Ulrich Troyer works on more superimposing and layering of bass lines and bass frequencies, with the working title of his new piece carrying hints of geomorphology: “Dolomite Dub”.
In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe. Ulrich Troyer is SHAPE artist. Supported by the “Creative Europe” programme of the European Union.
Hildur Guðnadóttir / The International Nothing
Kai Fagaschinski (DE) & Michael Thieke (DE) | Hildur Guðnadóttir (IS)
Ómar and the interanational nothing
The focus of Hildur Guðnadóttir’s music is on the unusual instrument Ómar, with clarinettists Kai Fagaschinski and Michael Thieke experimenting with microtonal structures.
Music, space, time, motion – the interplay of these elements has always held a special fascination for the cellist and composer Hildur Guðnadóttir. For some time now she has been working together with instrument maker Hans Jóhannsson on developing a new instrument: Ómar is a kind of surround cello with integrated filter chip, without a body of its own but which can be connected to a wide range of sound-boxes.
In Guðnadóttir’s music, the sound of Ómar, iridescent in ever changing colours, and her voice engage in an intense dialogue. The two clarinettists Kai Fagaschinski and Michael Thieke also conduct a musical colloquy when they present their jointly composed pieces. The vocabularies of two musician figures, each distinctively formulated, combine to form a common musical language that is as puristic as it is complex. The focus of Fagaschinski and Thieke’s research interest is on experimenting with multiphonics and microtonal structures – as with Hildur Guðnadóttir, the aim, then, is to work consciously with the movement of sound in space.
In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe. Hildur Guðnadóttir is SHAPE artist. Supported by the “Creative Europe” programme of the European Union.