Close Enough – Music and the immediate
On sewing and cooking, lying and loving, listening to radio and listening to music
We are rarely close enough, and then too close when music touches, perhaps even captivates us. “Close enough” as a musical, aesthetic category can indeed mean emotion, the directness of the effect, the immediate, and also reflection on the immediate. But it can also mean an immediacy of conception and production of music, when – in addition to the detached, sophisticated music industry machine of institutionalised orchestras – the focus is also on our own body, our immediate own action, the self-made, the private sphere, the emphatically subjective, even the intimacy of the individual.
Key musikprotokoll productions this year operate in the wide field between “close enough” and ”too close” and between the poles of a conceptual immediacy on the one hand and an emotional immediacy on the other.
Aleph Gitarrenquartett, Pierre Bastien, Friedrich Cerha, FM3 and Friends, Burkhard Friedrich, Beat Furrer, Bernhard Gander, Das Gemüseorchester, Goodiepal/Gæoudjiparl, Georg Friedrich Haas, Hanna Hartmann, Hofer/Baumgartner/Hofmüller/Hofmüller, Institut für transakustische Forschung, ensemble Intégrales, Peter Jakober, Philip Jeck, Tetsuo Kogawa, Jiri Konvrzek, Francisco Lopez, Olga Neuwirth, Owl Project, Michael Pinter, sha., Wolfgang Suppan, Staalplaat Soundsystem, RSO Wien, Ensemble Zwischentöne, ...