Jakob Ullmannsolo I (1992/93-2010) und Solo IV (2013/14) – Simultane Realisation
Viertel-Ton-Flöten, Kontrabass und Zuspielung

A rare evening-length simultaneous performance of Jakob Ullmann’s ‘Solo I’ and ‘Solo IV’. In Ullmann’s music, subtle gradations of sound and noise are located on the periphery of perception. His complex, palimpsest-like scores, played softly, encourage delicate and inward-looking performances which draw on subtlety and fragility.

“For me, it is a central point in my work that the performer and the listener are both free to play and hear the music without backgrounds, environments, or other ideas outside of music […] The piece should become so alien to me that the performance is of sound and not of ideas or, even worse, ideology […] The decision should be a decision of the ear, but it is also important for me to embed traditions of faith, of culture, of thinking and acting in a time shaped by the political circumstances of oppression and wars that result in a great loss of cultural heritage […] The listener is confronted with the fragility of memory so that they can reconstruct their own memories and their own traditions.” (Jakob Ullmann, 2018)

The duo project of Berlin-based Australian musicians Rebecca Lane (quarter-tone flutes) and Jon Heilbron (double bass and organ), features two instrumentalists at the forefront of microtonal and Just Intonation music renowned for their “precision, concentration and sympathy” (Gramophone). Their recording of Catherine Lamb’s Muto Infinitas (Another Timbre, 2021) was named as one of WIRE Magazine’s “Top Ten Contemporary Classical Albums”, and the duo has premiered new works for their unusual instrumentation at festivals and venues across Australia and Europe. Recent and current collaborators include Catherine Lamb, Cenk Ergun, Thomas Nicholson, Alyssa Aska, and James Rushford. Both are members of the Berlin-based Harmonic Space Orchestra, a performance and research collective focusing on extended Just Intonation and the quartet ‘Asterales’ with Leo Dupleix and Fredrik Rasten.

Rebecca Lane | Viertel-Ton Alt- und Bass-Flöten
Jon Heilbron | Kontrabass

www.sacredrealism.org/Rebeccalane
www.jonheilbronmusic.com

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Jakob Ullmann
Solo I (1992/93-2010) and Solo IV (2013/14) – simultaneous realisation
quarter-tone flutes, double bass and playback

A rare evening-length simultaneous performance of Jakob Ullmann’s ‘Solo I’ and ‘Solo IV’. In Ullmann’s music, subtle gradations of sound and noise are located on the periphery of perception. His complex, palimpsest-like scores, played softly, encourage delicate and inward-looking performances which draw on subtlety and fragility.

“For me, it is a central point in my work that the performer and the listener are both free to play and hear the music without backgrounds, environments, or other ideas outside of music […] The piece should become so alien to me that the performance is of sound and not of ideas or, even worse, ideology […] The decision should be a decision of the ear, but it is also important for me to embed traditions of faith, of culture, of thinking and acting in a time shaped by the political circumstances of oppression and wars that result in a great loss of cultural heritage […] The listener is confronted with the fragility of memory so that they can reconstruct their own memories and their own traditions.” (Jakob Ullmann, 2018)

The duo project of Berlin-based Australian musicians Rebecca Lane (quarter-tone flutes) and Jon Heilbron (double bass and organ), features two instrumentalists at the forefront of microtonal and Just Intonation music renowned for their “precision, concentration and sympathy” (Gramophone). Their recording of Catherine Lamb’s Muto Infinitas (Another Timbre, 2021) was named as one of WIRE Magazine’s “Top Ten Contemporary Classical Albums”, and the duo has premiered new works for their unusual instrumentation at festivals and venues across Australia and Europe. Recent and current collaborators include Catherine Lamb, Cenk Ergun, Thomas Nicholson, Alyssa Aska, and James Rushford. Both are members of the Berlin-based Harmonic Space Orchestra, a performance and research collective focusing on extended Just Intonation and the quartet ‘Asterales’ with Leo Dupleix and Fredrik Rasten.

Rebecca Lane | Viertel-Ton Alt- und Bass-Flöten
Jon Heilbron | Kontrabass

www.sacredrealism.org/Rebeccalane
www.jonheilbronmusic.com

https://sarazlanabitnig.com/
https://maja.klingt.org/ 
https://www.christinegnigler.com/
https://milenageorgieva.xyz/

Eine musikalische Reise in drei Abschnitten für Solobratsche. Das Programm entfaltet sich wie ein Lebenszyklus und erforscht menschliche Rituale. Es geht um die Suche nach Sinn und Gleichgewicht, wobei der Schwerpunkt auf Originalkompositionen und Arrangements liegt.

Leilehua Lanzilotti, ko’u inoa (2017)
György Ligeti, Viola Sonata, I: Hora lunga (1991-94)
Simon Steen-Andersen, Study for String Instrument #1 (2007)
Georges Aperghis, En un tournemain (1987)
Julie Michael, into the sea (2022)
Paul Hindemith, Viola Sonata Op. 25, no. 1: Rasendes Zeitmass (1922)

Julie Michael, Junk drawer #1-4 (2022)
Garth Knox, Nine fingers (2009)
Max Reger (arr. Julie Michael), Viola Sonata in g minor: Allegretto (1916)
Derek Bermel, Figure and Ground (2010)
György Kurtág, Carenza Jig from Signs, Games, and Messages (1997)

Orlando di Lassus (arr. Julie Michael) Verbum caro (1604)
Andrew Hamilton (arr. Julie Michael) Variations on Product #1 (2020)
Julie Michael, From Genesis 5:3-32 (2023)
Giacinto Scelsi, Manto III (1957)
Giorgio Musolesi, New Piece

Julie Michael | Viola

https://juliemichael.weebly.com/

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A musical journey in three sections for solo viola. The program unfolds like a life-cycle, exploring human rituals. searching for meaning and balance, with an emphasis on original compositions and arrangements.

Leilehua Lanzilotti, ko’u inoa (2017)
György Ligeti, Viola Sonata, I: Hora lunga (1991-94)
Simon Steen-Andersen, Study for String Instrument #1 (2007)
Georges Aperghis, En un tournemain (1987)
Julie Michael, into the sea (2022)
Paul Hindemith, Viola Sonata Op. 25, no. 1: Rasendes Zeitmass (1922)

Julie Michael, Junk drawer #1-4 (2022)
Garth Knox, Nine fingers (2009)
Max Reger (arr. Julie Michael), Viola Sonata in g minor: Allegretto (1916)
Derek Bermel, Figure and Ground (2010)
György Kurtág, Carenza Jig from Signs, Games, and Messages (1997)

Orlando di Lassus (arr. Julie Michael) Verbum caro (1604)
Andrew Hamilton (arr. Julie Michael) Variations on Product #1 (2020)
Julie Michael, From Genesis 5:3-32 (2023)
Giacinto Scelsi, Manto III (1957)
Giorgio Musolesi, New Piece

Julie Michael | Viola

https://juliemichael.weebly.com/

IEOGM ist seit 2022 ein musikalisches Duo-Projekt von Marie Vermont und the concept horse, das sich auf wechselnde Spektren elektronischer, elektroakustischer und bandbasierter Objekte und Geräte fokussiert. IEOGM hat zahlreiche Alben und kollaborative Kompositionen auf Labels wie Molt Fluid, Philatelie, Beach Buddies Records, Chocolate Monk, Steep Gloss, eë editions, Hard Return und Breton Cassette veröffentlicht und ist bisher in verschiedenen europäischen Ländern, Großbritannien, Japan und den USA aufgetreten. Marie Vermont und the concept horse sind beide auch als Soloprojekte aktiv und sind Teil des Improvisationsquartetts BILLA ENSEMBLE.

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Basierend auf ihrer kontinuierlichen Forschung und Praxis in analoger Bearbeitung und kreativem Sound- Routing als Duo, bildet das Konzert von IEOGM ein sich entwickelndes Kommunikationsnetzwerk zwischen gesprochenen und unausgesprochenen, perkussiven und mikrotonalen Klängen, irgendwo zwischen improvisatorischer Unmittelbarkeit und Partitur-basierter Komposition. Die minutiös kontrollierbaren, resonanten Töne eines Serge Modular Synthesizers treffen auf Glockenschläge und interagieren damit über die Tonbänder und im Raum. Für die Aufführung von Serge Bells wird IEOGM von Gabriela Gordillo unterstützt.

Daniel Friedman | Elektronik
Marie Vermont | Elektronik
Gabriela Gordillo | Elektronik

theconcepthorse.com
marievermont.world
marievermont.world/ieogm/ieogm.html
steepgloss.bandcamp.com/album/tentative-price
moltfluid.bandcamp.com/album/dolphins-in-cornwall

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IEOGM is the duo project of Marie Vermont and the concept horse, founded in Vienna in 2022. Working with a shifting range of electronic, electro-acoustic and tape-based objects and devices, IEOGM has released numerous albums and collaborative compositions on labels such as Molt Fluid, Philatelie, Beach Buddies Records, Choclate Monk, Steep Gloss, eë editions, Hard Return and Breton Cassette – and has performed live across Europe, UK, Japan and the USA. Both members have active solo projects and are part of the improvisational quartet BILLA ENSEMBLE.

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Based on their ongoing research and practice in analogue processing and creative sound routing as a duo, IEOGM’s concert forms an evolving communication network between spoken and unspoken, percussive and microtonal sounds, somewhere between improvisational immediacy and score-based composition. Meticulously controllable Serge modular resonant filters interact with rich harmonics of bell tones in space and on reel to reel magnetic tape. For the performance of Serge Bells, IEOGM will also be supported by Gabriela Gordillo.

Daniel Friedman | Elektronik
Marie Vermont | Elektronik
Gabriela Gordillo | Elektronik

theconcepthorse.com
marievermont.world
marievermont.world/ieogm/ieogm.html
steepgloss.bandcamp.com/album/tentative-price
moltfluid.bandcamp.com/album/dolphins-in-cornwall