Vier Musiker*innen, an vier Punkten im Raum verteilt, zwei Parabol-Lautsprecher mit je zwei Quellen setzen weitere vier Punkte in den Raum, verändern die akustische Projektion der Instrumente und der Projektionsorte also die Wahrnehmung des Gesamtraumes. Die von den Parabolen ausgesendeten fokussierten akustischen Strahlen ermöglichen eine vollkommene Neuzusammensetzung des gespielten Ausgangsmaterials in seiner räumlichen Gestalt und führt zur Möglichkeit eines einzigartigen Eintauchens in die klanglich/musikalisch/architektonischen Gegebenheiten des Kirchenraumes der Ruprechtskirche. Die angestrebte differenzierte Wahrnehmung der acht unterschiedlich projizierten Punkte im Raum kann nur durch subtiles, raumbezogenes musikalisches Material erzielt werden. Das heißt, die Musiker*innen sind dazu angehalten sich vollkommen auf den gegebenen Raum und seine texturale Entfaltung einzulassen.

Alexander Babikov | (E-) Gitarre, Elektronik
Michael Moser | Cello, Elektronik
Wolfgang Musil | Live-Elektronik
Marina Poleukhina | Objekte, Stimme, Elektronik

babikov.klingt.org

polwechsel.com

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Four musicians, distributed at four points in the space, two parabolic loudspeakers, each with two sources, place another four points in the space, changing the acoustic projection of the instruments and the projection locations, thus altering the perception of the entire space. The focused acoustic beams emitted by the parabolic speakers enable a complete recomposition of the played source material in its spatial form and lead to the possibility of a unique immersion in the sonic/musical/architectural realities of the church space of St. Rupert’s Church. The desired differentiated perception of the eight differently projected points in the space can only be achieved through subtle, spatially related musical material. This means that the musicians are encouraged to fully engage with the given space and its textural unfolding.

Alexander Babikov | (Electric) Guitar, Electronics
Michael Moser | Cello, Electronics
Wolfgang Musil | Live Electronics
Marina Poleukhina | Objects, Voice, Electronics

babikov.klingt.org

polwechsel.com

Die BRRRDS (Gnigler, Osojnik, Zlanabitnig) schwärmen seit 2022 durch die endlosen Biotope von Improvisation, Konzept und Komposition. In ihrer flötenden Feldforschung erkunden sie kollektive Bewegungen, sowohl in der Gesellschaft als auch in der Natur und übersetzen diese in flirrenden Klang. Mitunter befinden sie sich in einem Gewächshaus und vertonen dieses frei nach ihrem inneren Blick, sei es durch eine Lupe oder auch mal im Zeitraffer.
2023 wurde Milena Georgieva aka yuzu (Live-Elektronik und Synthesizer) an Bord geholt und damit zur Formation brrrds + y mutiert.

In den Kompositionskonzepten geht es insbesondere um die Interaktion zwischen verschiedenen (Block-)Flöten, aber auch um jene mit den vielseitigen Möglichkeiten der Elektronik. Kompositorische Experimente wir mit neue Spieltechniken, Interferenztöne, geräuschhafte Klangerzeugung und komplexe rhythmische Strukturen, die akribisch verfolgt werden.

Am Punkt – mit drei (Block-)Flöten – das will in all der Vogelfreiheit gut exerziert sein. Genau das, was es ist, und nichts anderes, nämlich (Block-)Flöten mit Elektronik, keine Angst vor Höhen und Tiefen, keine Angst vor schrill-schönen Tönen, Flötendes auf den Punkt gebracht.

Sara Zlanabitnig | Block- und Querflöten
Maja Osojnik | Block- und Querflöten
Christine Gnigler | Block- und Querflöten
Milena Georgieva | Elektronik und Synthesizer

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

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The BRRRDS (Gnigler, Osojnik, Zlanabitnig) have been swarming through the endless biotopes of improvisation, concept, and composition since 2022. In their flute-playing field research, they explore collective movements, both in society and in nature, and translate them into shimmering sound. Sometimes they find themselves in a greenhouse, setting it to music freely according to their inner gaze, whether through a magnifying glass or in time-lapse. In 2023, Milena Georgieva aka yuzu (live electronics and synthesizer) was brought on board, thus mutating into the formation brrrds + y.

Their compositional concepts focus primarily on the interaction between different (recorder) flutes, but also on the versatile possibilities of electronics. Compositional experiments are carried out with new playing techniques, interference tones, noisy sound production, and complex rhythmic structures, all meticulously pursued.

On point – with three (recorder) flutes – this requires careful practice in all its birdlike freedom. Exactly what it is, and nothing else: (recorder) flutes with electronics, unafraid of highs and lows, unafraid of shrill, beautiful tones, fluting brought to the point.

Sara Zlanabitnig | Block- und Querflöten
Maja Osojnik | Block- und Querflöten
Christine Gnigler | Block- und Querflöten
Milena Georgieva | Elektronik und Synthesizer

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

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

— — —

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/