It may sound once brutal: When Kathleen is experimenting Tagg, is you and a toothpaste carton in the wings. Or other items that you found in your household. In search of the Sounds of the pianist and composer, tries everything, even electronics. Or she produces sounds reminiscent of string or plucked instruments.
What does exactly Tagg, while she performs with clarinetist David Krakauer on stage nine quite different pieces of Jazz, world music, Klezmer, make the video projections of the animation artist Jesse Gilbert to life. From the audience room to watch her on the Finger. She stands up, walks around the piano, or on to the front and pressed buttons and strings at the same time. Tagg, who originally comes from South Africa, livens your game area with full use of the body. “Breath and Hammer” is the name of the program, the three artists, the Refine constantly, and at every the concert hall again and again to adjust.
In Berlin feels kraków’s home
For their performances in the Pierre Boulez hall in New York were able to test the building for the first time in mid-February. Gilbert has designed for the round stage is a hexagon, consisting of semi-transparent projection surfaces, and musicians extend beyond the Meter. Six cameras the handles of Tagg and Krakow in the interior of the Hexagon ogle. The images are sent to projectors, and hide again in six interpreting booths, behind the rows of chairs. In the live transmission on the outer surfaces of the hexagon Gilbert, like Tagg and Krakow from classical music, colours and patterns: Bright spirals, as the vibrating cracks on the walls mixes. Visuals, which look like flowing water. Sometimes the images are rotating, sometimes they seem to sprout out of the ground. The entire room is set in motion, each piece in a different way.
In Berlin, because he felt at home, says Krakauer. The 62-Year-old has played from 1986 to 1994 in the Band The Klezmatics. Both in the Western as in the Eastern part of the city he had stood on many stages. If he puts his clarinet to his lips, fuses with his Instrument. “We want to work with the full range of expressive possibilities,” says Tagg. For “Breath and Hammer” have you asked a musician from your colorful New York circle to the tunes. To written-out pieces you were not interested. Your idea is to fuse music from different Parts of the world, a unit in which the sounds and rhythms of Nestle times harmoniously together, rubbing against each other. Don’t want to imitate them. “We try not to sound like we’re from Brazil. We take a beautiful melody and make it something that makes sense for us,“ explains Tagg the functioning.
form bridges and dialogue open
The melody for the first piece in the program comes from the pen of the Syrian clarinetist Kinan Azmeh. Is also involved the American composer John Zorn, formulated in the nineties, the Manifesto for the movement’s “Radical Jewish Culture”. A second piece is influenced by Jazz percussionist Roberto Juan Rodriguez, came from Havana to the United States. “It is the Job of each artist to address in this world is what connects people,” says Krakauer. “Breath and Hammer” handle thereof, to build bridges, to open dialogs, adds Tagg.
Both met at the Manhattan School of Music. You just wrote your doctor, he is there today as a lecturer. Over ten years they met sporadically, until they began to 2016, to work on the common program.
Klezmer, is for him the music of his great-grandparents, who came in the twenties, as immigrants from Belarus, Poland and the Ukraine in the United States, says Krakauer. The Generation of his parents would, however, have forgotten the home country’s Tradition. “And we were there then, have you discovered,” he says, “we thought, this is funky, this is edgy.” For him, a way to embrace the culture of his ancestors, without having to own experiences and character traits drop was Klezmer.
On the stage
“Breath and Hammer” happens to a lot of at the same time, Tagg and Krakow with many aspects of their personal stories to the stage. A composition dedicated to Tagg your home. While she uses the piano as a drum, and a self-loop, move in a delicate orange branches like a wucherndes greenhouse on the Hexagon. The next Animation looks like a Smoke, which threatens to complete the space of the musicians from above.
Sometimes, Tagg and Krakow seem oddly small in its color projection of colourful box. On the stage, too much is happening at once, too many colors mix together. Nevertheless, connects to your music not only in the transferred sense. It’s fun when you are listening. Curious you want to know where it’s going next. Then Tagg takes a new subject, Krakauer puts the clarinet to his lips, and a new adventure begins.
Pierre Boulez hall, 8. and 9. March
More about
Director of Pierre Boulez’s hall”, The audience can feel the energy”
Frederik Hanssen
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