Berliner Festspiele MaerzMusik – Festival for Time Issues table of contents MaerzMusik – Festival for Time Issues 20. – 29. march 2015 — press information — biography Berno Odo Polzer — timetable and overview — venues opening at Haus der Berliner Festspiele: LIQUID ROOM time discourse: THINKING TOGETHER focus: GEORGES APERGHIS premiere: ZEENA PARKINS musical theatre: KREDIT + RECHT THE LONG NOW at Kraftwerk Mitte Querklang sponsors and partners Berliner Festspiele NEW essays, discussion, film, look behind the scenes and much more you can find MaerzMusik – Festival for Time Issues on the new Berliner Festspiele Blog http://blog.berlinerfestspiele.de/ and the brand new Facebook-Page facebook.com/MaerzMusik press information: www.berlinerfestspiele.de/presse press photos for download: www.berlinerfestspiele.de/pressefotos ticket information: www.berlinerfestspiele.de/tickets press contact Patricia Hofmann Tel.: +49 30 254 89 -223, E-Mail: [email protected] Berliner Festspiele press contact: Schaperstrasse 24, 10719 Berlin, T +49 (0)30 254 89–223, F +49 (0)30 254 89–155 [email protected], www.berlinerfestspiele.de Berliner Festspiele MaerzMusik – Festival for Time Issues PRESS INFORMATION Press information MaerzMusik – Festival for Time Issues — With his first edition, Berno Odo Polzer, the new artistic director of the Berliner Festspiele’s “MaerzMusik” festival, has given the festival a new subheading: “MaerzMusik – Festival for Time Issues”. With this, he launches a conceptual reorientation and central theme that the festival will pursue in the coming years: our relationship to time. “Time”, says Polzer, “is understood here as a central category of the political, as a phenomenon that fundamentally determines our lifestyles and working and production patterns – including those that guide contemporary music.” “MaerzMusik – Festival for Time Issues” takes place from 20 to 29 March 2015 and devotes itself to contemporary time issues with concerts, installations, performances, film projects and discourse sessions. The festival offers a public forum over 10 days that is concerned with prevailing concepts, structures and experiences of time that go beyond chronological and efficiency-oriented temporal regimes. The concrete temporal experiences in music, performances and films are associated with discourses and theories and offer the visitors various ways of accessing the phenomenon of time. With this, the festival delivers a comprehensive contribution to the debate about how we manage time. The festival will be launched on 20 March at the Haus der Berliner Festspiele with the large-scale “Liquid Room” project, a four-hour concert format involving both performance and installation, developed by Belgian Ensemble Ictus. This format breaks up the conventional concert timeframe, and replaces the fourth wall of the concert hall with an ensemble of four stages between which both audience and sounds can move freely. Participating artists include: Ictus, ensemble mosaik, Eva Reiter, Cédric Dambrain, Bruce McClure and Caspar Langhoff. The oeuvre of composer and dramaturge Georges Aperghis is another focal point of this year’s festival edition. His last large-scale production, “Situations” for 23 soloists, will be performed by Klangforum Wien. The programme includes further concerts with solo works for various instruments, conversations with the composer and presentations of his films. Also on the programme are a world premiere by Zeena Parkins, pieces for string quartet by Chaya Czernowin and Georg Friedrich Haas, “Longitude” by Davíð Brynjar Franzson and the musictheatre projects “KREDIT” and “RECHT” by Daniel Kötter and Hannes Seidl at various venues throughout Berlin. The Querklang project Wrapping up the festival is “The Long Now”, a monumental, 30-hour project at Kraftwerk Berlin that is a temporal and spatial composition consisting of sound installations, film projections, performances, concerts and electronic live acts by Phill Niblock, Morton Feldman and Leif Inge, among others. Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues BIOGRAPHY Berno Odo Polzer — Berno Odo Polzer is a curator, dramaturge and researcher in the fields of sound-related art, performance and theory. His interdisciplinary work combines theory-related, dramaturgical, artistic and curatorial perspectives and practices. He has been developing interdisciplinary formats and projects relating to political theory, architecture, media history, neuroscience, dance and performance as well as visual arts. Berno Odo Polzer was born in 1974 in Bregenz, Austria. He studied archaeology, musicology, philosophy and German literature at the University of Vienna. From 2000 to 2006 he was curator, and from 2007 to 2009 Artistic Director of the international contemporary music festival Wien Modern. From 2007 to 2011 he curated the festival series “Dialoge” of the International Foundation Mozarteum Salzburg.Since 2010 he is tutor at the Darmstadt International Summer Course for New Music, where he initiated the self-organised educational platform “Open Space”. Additionally, he has been working with institutions such as Kunstenfestivaldesarts, Kaaitheater Brussels, Tanzquartier Wien, World Venice Forum, steirischer herbst, Wiener Konzerthaus and Alte Oper Frankfurt. Since its inception in 2006 he is in close relation to the Performing Arts Forum PAF, an autonomous, self-organized production space for arts, theory and activism in St Erme, France (www.pa-f.net). His artistic and dramaturgical collaborations comprise works with Jérôme Bel, Xavier Le Roy, Philipp Gehmacher, Eszter Salamon, Jan Ritsema and Sarah Vanhee. © Lucie Jansch Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues Berliner Festspiele press kit MaerzMusik – Festival for Time Issues TIMETABLE Berliner Festspiele MaerzMusik – Festival for Time Issues OVERVIEW Overview — FRI 20 to SAT 28 March 2015, 12:00 - 18:00 Opening: FRI 20 March 2015, 09.38:42 (beginning of the partial solar eclipse) Haus der Berliner Festspiele / Kassenhalle & Foyers THINKING TOGETHER | The Politics of Time conference, sessions, work groups & projects with Antonio Negri, Maurizio Lazzarato, Pascal Michon, Helga de la Motte-Haber, Amelia Groom, Rene Gabri i.a. FRI 20 MAR 2015, 20:00 Haus der Berliner Festspiele Opening: LIQUID ROOM music by Michael Gordon, Kaj Duncan David, François Sarhan, Bernhard Gander, Pierluigi Billone, Alvin Lucier, Peter Ablinger, Cédric Dambrain, Eva Reiter i.a. with Ictus Ensemble, ensemble mosaik Cédric Dambrain electronics Eva Reiter viola da gamba, voice Bruce McClure modified projector performance Alex Fostier direction, sound direction Daniel Plewe sound direction Caspar Langhoff lighting design SAT 21 MAR 2015, 18:00 Haus der Berliner Festspiele / main stage TIME STANDS STILL Ensemble Unidas music by John Dowland, Tobias Hume, Thomas Campian, Francesco Filidei, Bernhard Gander, Wolfgang Mitterer, Peter Jacober Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues OVERVIEW SAT 21 MAR 2015, 19:30 Haus der Berliner Festspiele / main stage CIACCONA music by Johann Sebastian Bach und Ole-Henrik Moe Kari Rønnekleiv violin SAT 21 MAR 2015, 21:00 Haus der Berliner Festspiele / main stage HAAS: In iij. Noct Georg Friedrich Haas String Quartet No. 3 In iij. Noct. (2001) Ensemble KNM Berlin SAT 21 MAR 2015, 22:30 Haus der Berliner Festspiele / main stage GORDON: Timber Michael Gordon Timber (2009) for six percussionists Ictus Ensemble SUN 22 MAR 2015, 19:00 & 21:00 Haus der Berliner Festspiele / main stage ZEENA PARKINS Zeena Parkins J’ai plus de souvenirs que (2014) WP with Laurent Bruttin clarinet, Tony Buck percussion, Magda Mayas piano/keyboard, Zeena Parkins harp, Christian Kesten recorded voice, Sebastian Roux electronics, Matthew Ostrowski sound direction / electronics Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues OVERVIEW MON 23 MAR 2015, 15:30 - 23:30 LIQUIDROM John Cage Diary: How To Improve The World (You Will Only Make Matters Worse) (1991) 6 h Sound projection MON 23 MAR 2015, 18:00 Haus der Berliner Festspiele / back stage WED 25 MAR 2015, 18:00 Kammermusiksaal der Philharmonie/Foyer SCHULE MACHEN: QUERKLANG Experimental Composing at School MON 23 MAR 2015, 19:30 Haus der Berliner Festspiele / side stage APERGHIS I: Récitations Georges Aperghis 14 Récitations (1977/78) for voice solo Donatienne Michel-Dansac voice MON 23 MAR 2015, 21:00 Haus der Berliner Festspiele / side stage PROTOTYPES music by Fausto Romitelli, Eva Reiter, Cédric Dambrain Eva Reiter viola da gamba, Paetzold contrabass recorder Cédric Dambrain electronics Alfred Reiter sound direction TUE 24 MAR 2015, 18:00 Haus der Berliner Festspiele / gallery APERGHIS II: Film Énumérations (1990) music film by Georges Aperghis Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues TUE 24 MAR 2015, 19:30 Haus der Berliner Festspiele / side stage APERGHIS III: A.T.E.M. solo oeuvres by Georges Aperghis Christian Dierstein percussion Geneviève Strosser viola Ernesto Molinari double bass clarinet Uli Fussenegger double bass TUE 24 MAR 2015, 22:00 Heimathafen Neukölln / hall HIDDEN Chaya Czernowin Hidden (2014) for string quartet and electronics JACK Quartet WED 25 MAR 2015, 19:30 Kammermusiksaal der Philharmonie GEORGES APERGHIS IV: Situations Georges Aperghis Situations (2013) for 23 soloists Klangforum Wien Emilio Pomàrico conductor WED 25 MAR 2015, 21:00 Hermann-Wolff-Saal, Philharmonie GEORGES APERGHIS V: Film& Talk talk with Georges Aperghis Georges Aperghis Machinations (2012) film by Anna-Celia Kendall (F 2012) Berliner Festspiele press kit MaerzMusik – Festival for Time Issues OVERVIEW Berliner Festspiele MaerzMusik – Festival for Time Issues OVERVIEW THU 26 MAR 2015, 19:00 FRI 27 MAR 2015, 19:00 HAU – Hebbel am Ufer (HAU 2) Ökonomien des Handelns: I. KREDIT (2013) musical theatre by Daniel Kötter and Hannes Seidl THU 26 MAR 2015, 21:00 FRI 27 MAR 2015, 21:00 HAU – Hebbel am Ufer (HAU 2) Ökonomien des Handelns: II. RECHT (2015) musical theatre by Daniel Kötter and Hannes Seidl FRI 27 Mar 2015, 20:30 & 22:00 ExRotaprint LONGITUDE Davíð Brynjar Franzson Longitude (2014) for flute, contrabass clarinet, cello, piano, percussion and electronics Ensemble Adapter SAT 28 Mar 2015, 18:00 to SUN 29 Mar 2015, 24:00 Kraftwerk Mitte THE LONG NOW music by Phill Niblock, Morton Feldman, Georg Friedrich Haas, Davíd Brynjar Franzson, Ralo Mayer Pierluigi Billone, Leif Inge i.a. with Minguet Quartett, Ensemble Adapter, Quartett KNM BERLIN, Phill Niblock, Yaron Deutsch i.a. Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues Haus der Berliner Festspiele ExRotaprint HAU – Hebbel am Ufer (HAU 2) Heimathafen Neukölln Kammermusiksaal der Philharmonie Kraftwerk Berlin Liquidrom Berliner Festspiele press kit MaerzMusik – Festival for Time Issues VENUES Berliner Festspiele MaerzMusik – Festival for Time Issues Opening: LIQUID ROOM Liquid Room © Ictus FRI 20 MAR 2015, 20:00 Haus der Berliner Festspiele LIQUID ROOM Music by PETER ABLINGER, MICHAEL BEIL, PIERLUIGI BILLONE, MARKO CICILIANI, CÉDRIC DAMBRAIN, KAJ DUNCAN DAVID, MANON DE BOER & GEORGE VAN DAM, JÜRG FREY, BERNHARD GANDER, MICHAEL GORDON, CLARA IANNOTTA, ALVIN LUCIER, BRUCE MCCLURE, ENNO POPPE, ELIANE RADIGUE, EVA REITER, FRANÇOIS SARHAN and others ICTUS ENSEMBLE ENSEMBLE MOSAIK CÉDRIC DAMBRAIN electronics EVA REITER viola da gamba, voice BRUCE MCCLURE modified projector performance ALEX FOSTIER direction, sound direction DANIEL PLEWE sound direction CASPAR LANGHOFF lighting design Berliner Festspiele press kit MaerzMusik – Festival for Time Issues LIQUID ROOM Berliner Festspiele MaerzMusik – Festival for Time Issues LIQUID ROOM Liquid Room VI — “The nomadology of movement becomes the natural order of thought.” Nigel Thrift “Liquid Room” is a special concert format that Belgian ensemble Ictus developed and now presents in its six edition: a format that shakes up concert conventions and starts up a kind of live streaming of music. Over time a handpicked repertoire mostly of chamber music gradually unfolds. The instrumental music and its performative quality, interdisciplinary ventures across the boundaries between acoustic and electronic forms, the fusion of sound and light, audio and video are equally important and come together to create a precisely planned composition in both time and space, enabling the visitors to move around freely within it. The concert hall’s “fourth wall” gives way to four stages, with the energies unleashed by sounds and bodies newly reconfiguring and freely unfolding between them. A setting that enables self-determined listening and various listening positions: from the meditative immersion into sound landscapes or the analytical listening of a composition, a stroller incidentally listening while passing by yet maintaining a certain distance to the events on the stage, to being completely absorbed in the virtuosity and presence of the musicians and a selfselected pause. “Liquid Room” refers to: the liquefied space, a concert as a complete experience between installation and performance, a hybrid that seems to correspond more to the nomadic and hectic pace of life and its logic of permanent change than sitting still in the darkened container space of a concert hall. The Berlin edition of “Liquid Room” expands this approach for the first time towards a collaboration of two leading ensembles for contemporary music: invited by the festival, Ictus and Ensemble Mosaik have put together this highly energetic evening along with special guests such as Eva Reiter, Cédric Dambrain and Bruce McClure. Further informationi http://www.ictus.be/ensemble/biography http://www.ictus.be/berlin http://www.ensemble-mosaik.de/ http://www.evareiter.com/ http://cedricdambrain.tumblr.com/ Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues THINKING TOGETHERTHE POLITICS OF TIME © Christian Riis-Ruggaber FRI 20 to SUN 22 March: conference MON 23 to SAT 28 March: sessions, work groups & projects Haus der Berliner Festspiele THINKING TOGETHER | THE POLITICS OF TIME Opening 09:38:42 (beginning of the partial solar eclipse) Curated by Berno Odo Polzer With AYREEN ANASTAS, ALEIDA ASSMANN, DANIEL BLANGA GUBBAY, VICTORIA BROWNE, VALENTINA DESIDERI, METTE EDVARDSEN, RENÉ GABRI, AMELIA GROOM, LUTZ HENKE, GREGOR HERZFELD, SODA JERK, MAURIZIO LAZZARATO, SVEN LÜTTICKEN, PASCAL MICHON, HELGA DE LA MOTTE-HABER, ANTONIO NEGRI, PATRICIA REED, LYDIA RILLING, RANABIR SAMADDAR, NICOLAS SIEPEN, NICK SRNICEK and others In collaboration with the University Potsdam / Chair of Musicology and research network “Ästhetische Eigenzeiten” Funded by the German Federal Cultural Foundation Detailed programme [pdf, 86 KB] Berliner Festspiele press kit MaerzMusik – Festival for Time Issues THINKING TOGETHER The Politics of Time Berliner Festspiele MaerzMusik – Festival for Time Issues THINKING TOGETHER The Politics of Time Thinking Together – The Politics of Time — “Thinking Together” is a transdisciplinary platform devoted to investigating our relation to time – time, understood as an important political category that determines the ways we live, work and produce. The project pursues diagnoses of current time regimes, time structures, and the experience of time in late capitalist societies, from political, scientific, philosophical and artistic perspectives, in search of new political imaginaries concerning our relation to time. The nine-day format consists of informal seminars, lectureperformances, presentations, discussions, work groups, film screenings, listening sessions and other experimental discursive formats – all publicly accessible during the whole period of the festival, and free of charge. “Thinking Together” develops the conceptual core of the new Festival for Time Issues: a space for thought and reflexion vis à vis the manifold experiences of time provided by life and the festival program. “Thinking Together” aims at setting up the necessary conditions for exchanging thoughts and experiences beyond common forms of knowledge performance, following the conviction that what it needs is time, space, concentration, generosity, disobedience, experimentation and care. The foyers of the Haus der Berliner Festspiele will serve as an infrastructure and shelter for the public, invited guests and artists of the festival to spend time thinking together about the politics of time. Further information: http://time-pieces.tumblr.com/ http://www.netzwerk-kulturwissenschaft.de/beteiligte/universitaetkonstanz/prof-dr-aleida-assmann http://www.zeit.de/2014/13/aleida-assmann-zeit-aus-den-fugensachbuch http://www.theguardian.com/commentisfree/2014/dec/19/why-wepainted-over-berlin-graffiti-kreuzberg-murals http://tanyaleighton.com/index.php?pageId=189&l=en https://www.phil-fak.uni-duesseldorf.de/materialitaet-und- produktion/ mitglieder/postdoktoranden/daniel-blanga-gubbay/ Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues Focus: GEORGES APERGHIS © Xavier Lambours Aperghis I: Récitations Donatienne Michel-Dansac Haus der Berliner Festspiele / side stage MON 23 MAR 2015, 19:30 Aperghis II: Film Énumérations music fil by Georges Aperghis Haus der Berliner Festspiele / main stage TUE 24 MAR 2015, 18:00 Aperghis III: A.T.E.M. Dierstein, Strosser, Fussenegger, Molinari Haus der Berliner Festspiele / side stage TUE 24 MAR 2015, 19:30 Aperghis IV: Situations Klangforum Wien, Emilio Pomàrico Kammermusiksaal der Philharmonie WED 25 MAR 2015, 19:30 Aperghis V: Film & Talk Machinations Philharmonie, Hermann-Wolff-Saal WED 25 MAR 2015, 21:00 Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Focus: GEORGES APERGHIS Berliner Festspiele MaerzMusik – Festival for Time Issues Focus: GEORGES APERGHIS Aperghis I: Récitations for voice solo (1977/78) — Over 35 years after it was composed, Georges Aperghis’ “Récitations” can be heard for the first time in Berlin in Donatienne Michel-Dansac’s decisive interpretation – a breath-taking experience of vocal art that unites compository imaginative precision and interpretory virtuosity in a work in which theatre emerges from music. Donatienne Michel-Dansac about the working process: “For four months I studied four short pieces of the cycle only in my mind. Singing the score right away was impossible, too much for the mind and for the voice. So I started reading the score, then hearing the notes and pitches, then hearing the syllables together with the notes, then hearing the way Georges wanted this music to sound, then imagining the performance – all of this took place solely in my imagination. Working that way ten centimetres of music takes maybe fifteen days … One day I realised that there were only three weeks until the concert, so I put the score on a music stand and started to sing – and it worked, just like that! This was an amazing experience. It was the first time that I worked like that. And I have to say that coping with this music is a very hard task, mentally and physically. You start from nothing, in bottomless space, and you have to find your personal way to get into and to deal with it. But once you do, the music becomes engrained in your body and in your brain. The music has to come from very deep inside, like a native way of expressing oneself.” From a conversation between Georges Aperghis, Donatienne MichelDansac and Berno Odo Polzer, Paris 2006 Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues Focus: GEORGES APERGHIS Aperghis II: Énumérations (1990) — In 1976 Greek-French composer Georges Aperghis founded the theatre group “Atelier Théâtre et Musique” (ATEM), which deliberately settled in a banlieue on the outskirts of Paris and devoted itself to the development of new music theatre forms with participation from musicians, actors and residents. For Aperghis, this step meant a completely new invention of his compository approach. ATEM performances were inspired by ordinary life and social issues transposed into an often absurd, satirical and poetic world. These works were progressively built up through successive rehearsals. All the ingredients (vocal, instrumental, gestural, theatrical ...) are treated equally and contribute, along with the pre-existing text, to the drama of the shows. From 1976 with “La bouteille à la mer” until 1997, when he left the ATEM, he created a total of over twenty shows, including “Conversations“ (1985) “Énumérations” (1988), “Jojo” (1990), “H” (1992), “Sextuor” (1993) and “Commentaires” (1996). One of them, “Énumérations”, which was written in 1988, was realized for television by Argentinian-French film director Hugo Santiago together with Aperghis in a derelict Parisian building. The result of this close collaboration between director and composer is a music film of unusual cinematographic quality, which evokes the approach and spirit of this time. Aperghis IV: Situations (2013) — The highlight of the homage to Georges Aperghis is the most recent large-scale instrumental work the composer wrote in 2013 for the 23 Klangforum Wien musicians and Emilio Pomàrico – a constellation of artists connected to Aperghis through their long, intense collaborations. Generally, the individual musician melts into the ensemble, stepping back in favour of the whole. In the one-hour composition, “Situations”, Georges Aperghis has given strength to the individual musicians and has tailor-made music for each one of them – the result is 23 individual portraits that nonetheless conform to a large-scale format. In “Situations”, the focus is on the relationship between the individual and the group, on the many aspects that can be assumed when an ensemble plays together. A kaleidoscope of colourful polyphonies emerges in the first section, of fragments that are strung together or overlap. In the middle part, the composition is divided into constellations of solos, duos, trios and quartets, in arrangements that play and those that don’t play but sing or speak a text. In the final part, a large, intertwined movement evolves in which the individual and the group converge. Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues Focus: GEORGES APERGHIS Aperghis writes about his working style that: “I seek out the discontinuity, the zigzag, the absurdity of many an encounter. It is this fragility, this danger that I look for. But even when all of these elements remain heterogeneous, at the end they must form a single “organism” – often contradictory, sometimes paradoxical, but a single organism. In doing so, I am interested in what is called the “large-scale format”. Georges Aperghis III: A.T.E.M. — Georges Aperghis’ artistic imagination has always focused on the concrete, material and physical; he never failed to take the time to gain a clear understanding of the specifics of the instrument and the unique qualities of his actors and to give each of them a specific form. This becomes especially clear in his solo works, which the composer has consistently developed since the beginning of his career, often in close collaboration with his interpreters. Aperghis’ solo works are not repertoire pieces in the traditional sense, which are exclusively intended for the instrument or the development of a genre, even if they also sound out each instrument’s potential in manifold ways. This is a highly intimate, personal music, emerging from a common experiment and personal dialogue, music in which both the instrument and the musician’s personality come forward in a kind of double portrait. The concert presents important solo works composed between 1978 and 2014, and follows on from the music film Énumerations, which is shown first and offers a glimpse of the work of the Atelier Théâtre et Musique (A.T.E.M.). – An evening that brings to life the various facets of Georges Aperghis’ work and phases of his artistic development. Further information: http://www.aperghis.com/ http://www.bach-cantatas.com/Lib/Aperghis-Georges.htm http://www.klangforum.at/projekt-detail/georges-aperghis-situationsune-convivialite-musicale.html http://www.swr.de/swr2/festivals/donaueschingen/programme/2013/ werke/aperghis-georges-situations/-/id=11579120/nid=11579120/ did=12046566/1x6c9lw/index.html Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues Premiere: ZEENA PARKINS © Kai Bienert SUN 22 MAR 2015, 19:00 & 21:00 Haus der Berliner Festspiele / main stage ZEENA PARKINS Zeena Parkins J’ai plus de souvenirs que (2014) WP LAURENT BRUTTIN clarinet TONY BUCK percussion MAGDA MAYAS piano/keyboard SÉBASTIEN ROUX electronics (part III) CHRISTIAN KESTEN recorded voice ZEENA PARKINS harp MATTHEW OSTROWSKI sound direction / electronics (part I and II) tuned copper bowls by LEON SCHNEIDERMAN Co-production of Berliner Festspiele / MaerzMusik and Berliner Künstlerprogramm des DAAD Berliner Festspiele press kit MaerzMusik – Festival for Time Issues ZEENA PARKINS Berliner Festspiele MaerzMusik – Festival for Time Issues ZEENA PARKINS Zeena Parkins „J’ai plus de souvenirs que“ (2015) — Zeena Parkins is among performance composers like Elliott Sharp, John Zorn, Fred Frith, Butch Morris and Chris Cutler who easily move between different musical forms of expression, between free improvisation and contemporary composition, Noise music and advanced pop to music for film and dance. The invention of new instruments is as characteristic as the deconstruction and electrification of traditional instruments. For Zeena Parkins, it is the acoustic harp, which she converted to a “sound machine with endless possibilities”. “J’ai plus de souvenirs que” (“I have more memories than”) is the name of the new work by the composer and performer, who was a guest of the DAAD’s Berlin artists’ programme in 2014, and was designed to fill an entire evening. The starting point is Walter Benjamin’s archival legacy of letters, card indexes, images, scribbles, books, wordplays. It is the mnemonics technique used in this archive that Zeena Parkins found fascinating about Benjamin, the invisible thread that holds together and makes sense of the apparent hodgepodge. As a composer and improviser, she researches how colours, numeric games, wordplay and visual structures such as lists, colour codes, strokes can be used as a dispositive of a score in Benjamin’s manuscripts in order to initiate musical processes, develop improvisation strategies and generate an animated sound space via a set of loudspeakers. “J’ai plus de souvenirs que” consciously works with the stage space at the Haus der Berliner Festspiele, which becomes a sonic and multi-layered space of remembrance. Further information: http://www.zeenaparkins.com/ http://www.berliner-kuenstlerprogramm.de/de/gast.php?id=1255 http://de.wikipedia.org/wiki/Zeena_Parkins http://www.spiegel.de/kultur/musik/harfe-kathrin-pechlof-jonnyteupen-edmar-castaneda-a-996520.html Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues KREDIT + RECHT Kötter / Seidl © Kötter / Seidl THU 26 & FRI 27 MAR 2015, 19:30 THU 26 & FRI 27 MAR 2015, 21:00 HAU – Hebbel am Ufer (HAU 2) Ökonomien des Handelns: I. KREDIT (2013) DANIEL KÖTTER / HANNES SEIDL idea, direction, composition, video RAHEL KESSELRING scenography, assistance GERDA STROBL dramaturgy SEBASTIAN BERWECK, ANDREA NEUMANN, PETER SANDMANN music, sound DUNJA FUNKE, ANDRÉ SCHMIDT speakers CHOIR OF THE DEUTSCHE BUNDESBANK ROCHUS PAUL conductor A production by Kötter/Seidl in co-production with steirischer herbst & Künstlerhaus Mousonturm. Funded by the City of Frankfurt/Main – Department for Culture and Science. In collaboration with HAU Hebbel am Ufer Ökonomien des Handelns: II. RECHT (2015) DANIEL KÖTTER / HANNES SEIDL idea, direction, composition, video RAHEL KESSELRING artistic assistance, scenography, film, stage ENSEMBLE NADAR MARCIN LENARCZYK, MARCIN POPLAWSKI, HANNES SEIDL sound KAROL CZYZ, DANIEL KÖTTER camera Production management: ehrliche arbeit – freies Kulturbüro A production of Kötter/Seidl in co-production with Künstlerhaus Mousonturm / Frankfurter Positionen, Muziekcentrum De Bijloke Gent, Berliner Festspiele / MaerzMusik – Festival for Time Issues and the Cluster of Excellence “The Formation of Normative Orders” at Goethe University Frankfurt/Main. Funded by the Culture Board Frankfurt am Main and the Flemish Government / Belgium. In collaboration with HAU Hebbel am Ufer Berliner Festspiele press kit MaerzMusik – Festival for Time Issues KREDIT+RECHT Berliner Festspiele MaerzMusik – Festival for Time Issues KREDIT + RECHT Daniel Kötter / Hannes Seidl KREDIT + RECHT — KREDIT “Banking and credit thus become … the most potent means of driving capitalist production beyond its own limits – and one of the most effective vehicles of crisis and swindle.“ Karl Marx Experimental film-maker Daniel Kötter and composer Hannes Seidl have been working together since 2008, experimenting with forms of documentary storytelling in the film and music genres. In their “KREDIT” project − Part 1 of the “Ökonomien des Handelns” (Economies of Trade) trilogy − Kötter and Seidl focus on the principles that organize trade. Trade in the present is oriented towards the future. The most distinctive, political and economically momentous example of such a system and future-oriented entrepreneurial endeavour is the financial system. This pattern crystalizes itself in an especially succinct way in the notion of credit. For “KREDIT”, Kötter and Seidl accompanied bankers at work, but also during their leisure time and with their friends with a camera and created a film that deliberately omitted the soundtrack. In the tradition of the silent film, the soundtrack is realised live on the stage evening for evening. The precisely planned interlocking of events on the stages and the film narrative performatively charges the concert setting, turning “KREDIT” into a rare hybrid of concert, performance and film experience. Kötter and Seidl also refer to “KREDIT” as a silent film oratorio: a virtuoso noise maker, or Foley artist, has air conditioning systems buzzing, footsteps echoing and computer keyboards clattering. Two dubbing artists lend their voices to all of the film figures. And while the musicians create noise textures, credos and chorales are sung live by the choir of the Deutsche Bundesbank. Further information: http://www.mousonturm.de/web/de/veranstaltung/kredit http://nachtkritik.de/index.php?option=com_content&view=article&id=8 596:kredit-daniel-koetter-und-hannes-seidl-fragen-in-graz-multimedialnach-was-die-bank-welt-im-innersten-zusammenhaelt&catid=38:dienachtkritik&Itemid=40 Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues KREDIT + RECHT RECHT “RECHT“ is the second music theatre piece of a threepart project series in which experimental film-maker Daniel Kötter and composer Hannes Seidl focus on the general conditions of social action. The duo has been working together since 2008, experimenting with forms of documentary storytelling in the film and music genres. “RECHT” broaches the question of how spatial planning and borders shape the legal system. In an experimental set-up, two groups work on the creation of regulatory systems: in the film a group of six lawyers and NGO workers can be seen discussing, arguing, dancing and celebrating. They are situated on a Mosel region island in no-man’s land near the small town of Schengen in Luxemburg. Three decades after the first Schengen Agreement they ask themselves how law could secure justice at a global level. Their assignment: to create a new, transnational law that satisfies the requirements of traditional national legal practice and, at the same time, acknowledges new, global demands. Kötter and Seidl launched this unusual “Republic of Scholars” in the late summer of 2014 and accompanied them over 24 hours with a camera and a microphone. Soloists from the Ensemble NADAR accompanied the thinkers on the island in the form of a “festive orchestra” and sonic confrontation. Live, on stage, the group of Ensemble NADAR musicians operates – in analogy to the island − within its own system of rules spanning improvisation, screen and concert space: experimental documentary film and live concert move closer together, duplicate, accompany and comment on one another and let territorial conditions of law and music become a concrete reflexion and experience about the complex phenomenon of law in an interplay of all levels. Further information: http://www.danielkoetter.de/biography http://www.hannesseidl.de/http://www.sophiensaele.com/ produktionen.php?IDstueck=971 http://blog.zkm.de/blog/dialog/interview-mit-hannes-seidl-und-danielkotter/ http://blog.studiumdigitale.uni-frankfurt.de/theater/blog/2014/12/04/ daniel-koetter-hannes-seidl-ausgeschlossen/ http://www.schirn-magazin.de/Frankfurter_Positionen_Koetter_Seidl_ Recht_Mousonturm.html Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues THE LONG NOW © Fineartberlin SAT 28 MAR 2015, 18:00 TO SUN 29 MAR 2015, 24:00 Kraftwerk Berlin THE LONG NOW Music by Phill Niblock, Morton Feldman, Georg Friedrich Haas, Ralo Mayer Pierluigi Billone, Leif Inge i.a. With Minguet Quartett, Ensemble Adapter, Quartett KNM BERLIN, Phill Niblock, Yaron Deutsch i.a. With the support of Kraftwerk Berlin. In cooperation with Berlin Atonal. Funded by the Federal German Cultural Foundation Berliner Festspiele press kit MaerzMusik – Festival for Time Issues THE LONG NOW Berliner Festspiele MaerzMusik – Festival for Time Issues THE LONG NOW THE LONG NOW — “The Long Now” is a place for the enduring present, a space in which time itself can unfold, where the sense of time can take uncharted paths and get lost. A time bubble, separated, for an unending moment, from the clocked pace of the metropolis. A chronosphere to make space for each and everyone’s proper time. With a duration of 30 hours, “The Long Now” constitutes the monumental closing event of MaerzMusik − Festival for Time Issues 2015. The project consists of concerts, performances, sounds installations, film and electronic live-acts by, amongst others, Morton Feldman, Phill Niblock, Leif Inge, Burkhard von Harder and Pierluigi Billone – a composition in space and time, sheltered by one of Berlin’s most impressive spaces: Kraftwerk Berlin. Visitors are invited to enter this time bubble, to stay overnight, sleeping or otherwise, and surrender to this artistic borderline experience. programme: 28 March | 18:00 - 23:00 | level 8 MORTON FELDMAN String Quartet No. 2 (1983) Minguet Quartett Duration: 5 hours PIERLUIGI BILLONE Sgorgo Y (2012)+ Sgorgo N (2013) 28 March | 23:30 - 29.03. | 23:30 | control centre LEIF INGE 9 Beet Stretch 24 Hour Electro-acoustic Concert (2002) F 28 March | 24:00 - 29 March | 08:00 | level 8 PHILL NIBLOCK Music and The Movement of People Working(1973–2014) film projections, concert performance and installation Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues THE LONG NOW 29 March | 04:00 - 20:00 | level 4 BURKHARD VON HARDER Narbe Deutschland (2009–2014) Experimental single shot documentary film project 29 March | 08:00 – 13:00 | level 8 MIX MUP & KASSEM MOSSE Chilling the Do Live sound performance 29 March | 13:00 - 14:30 | level 8 MORTON FELDMAN Triadic Memories for piano (1981) 29 March | 14:30 - 15:30 | level 8 PIERLUIGI BILLONE Sgorgo Y (2012)+ Sgorgo N (2013) 29 March | 15:30 - 18:30 | level 8 THOMAS KÖNER Tiento de las Nieves (2014) WP 29 March | 18:30 – 20:00 | level 8 BURKHARD VON HARDER Narbe Berlin (2009) Live sound performance by FM Einheit 29 March | 20:00 - 22:00 | level 8 ERIC HOLM Barotrauma (2015) Live audio-visual performance 29 March | 22:00 - 23:00 | level 8 MIKA VAINIO Live electronic music performance 29 March | 23:00 -24:00 | level 8 ACTRESS Live electronic music performance Berliner Festspiele Pressemappe MaerzMusik – Festival für Zeitfragen Berliner Festspiele MaerzMusik – Festival for Time Issues QUERKLANG QUERKLANG Experimentelles Komponieren in den Schulen MON 23 Mar 2015, 18:00 Haus der Berliner Festspiele, back stage WED 25 Mar 2015, 18:00 Kammermusiksaal der Philharmonie, Foyer — At QuerKlang, it’s the pupils who make the music. That sounds mundane, but it’s actually very unusual because most people have never done it before. Unusual, too, are the ways and means of making music at QuerKlang. Extensive research is undertaken and sounds are generated with all sorts of possible and impossible objects. The pupils need no instrumental lessons or a wealth of knowledge about music and its structures. What they do need is concentration, eager ears, good ideas and the courage to try out new things. And they need a sense of their own inner aesthetic compass that tells them which way their own piece, their composition is to develop. In order to master all of that, the pupils are put into a team of one composer, one teacher and two university students. The team is there to ensure that the pupils undergo a multi-layered process and arrive at a result that the entire group can identify with. What emerges is curiosity and an openness towards experimental music, as well as a fundamental understanding for the working process of composing. QuerKlang links three, generally independent working worlds: the world of school, the world of higher education, and the world of freelance musicians and composers. QuerKlang thrives off the tension resulting from these three parallel worlds – at times they can collide with a high potential for conflict. A project of the University of the Arts Berlin, klangzeitort, k&k kultkom, Kulturkontakte e.V. and Berliner Festspiele / MaerzMusik. Supported with funds from the European Union / European Social Fund / Lernort Kultur. With the support of the Berliner Philharmoniker Foundation Further information: www.querklang.eu Berliner Festspiele press kit MaerzMusik – Festival for Time Issues Berliner Festspiele MaerzMusik – Festival for Time Issues SPONSORS and PARTNER Berliner Künstlerprogramm des DAAD Berliner Projektfonds Kulturelle Bildung ehrliche arbeit – freies Kulturbüro Europäische Union/ Europäischer Sozialfonds-Lernort Kultur ExRotaprint HAU - Hebbel am Ufer impuls neue Musik Institut Français Paris klangzeitort KontraKlang Kötter/Seidl Produktion Kraftwerk Berlin Kulturstiftung des Bundes Künstlerhaus Mousonturm k&k kultkom /Kulturkontakte e.V. Liquidrom Stiftung Berliner Philharmoniker Universität Potsdam | Humanwissenschaftliche Fakultät Gefördert durch die Berliner Festspiele press kit MaerzMusik – Festival for Time Issues
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