Oh, it was. So full of nostalgic return moments looks and Oh -. Oh, the Xenakis – none composed more today. Oh, the synth sounds of the last century, generations of then, melting the heart in the audience. You’d have thought, given the announcements, the “Ultraschall”Festival would be this year, even a narcissistic monument and a review of yourself to the Twentieth as a gift. Who does on birthdays? But fortunately, ultrasound has remained “” his idea was arrested and has performances with fourteen and a half great – and only, but quite a bit of relevance to the Present day can muster.
And, fortunately, it has celebrated also the review extensively. Given the historical Background could develop the New one as a counterpoint. And on several levels. For example, on the compositional: In the run-up to the festival, head Pöllmann had noticed that there was a tendency on the part of young composers, the performers more freedom to give and to understand the composition as a social and political practice, at the same time, exactly the written-out expression to renounce. Example, Laure Leander: The Zafraan Ensemble has not received the completed score, the composer, but merely a draft, to whose development it was instrumental. In addition, in the score, many choice are built-in options available to the musician during the performance to decide.
The instruments are spectrally decomposed
Really interesting this is, when you listen to about Enno Poppe in the final discussion of his piece, “radio”, claims that the exact score, free the musician, by relieving him from the burden of decisions. But as the social game makes the sound noticeable? Hard to say, the sounds of the instruments are removed at maiden with microphones and so heavily distorted that they are not only identify the sound of hard to come by. You have to be spectral decomposed, chopped, delayed, and in brachial mechanistic loop repeatedly – what the eye sees, the hearing of the ear. Oh, once sounded the harp so innocent.
You can think of it this way: On their classical instruments, the musicians of a century-old drag Gestures, sometimes very quietly, as you would play at night, intimate and private. However, you do that in a world in which the privacy of technology is penetrated, you strengthen, enlarge, distort, and make it public. A wooden painted viola as a space-filling booming, piercing high frequencies, hammering construction site. As a media hype, a naive typed Tweet that suddenly goes around the world, and soon no one will escape. What is the share this impression of the collaborative composition process is not to be seen. It doesn’t have to.
Old Synths new
interpreted Instead something else comes to the fore – the instruments, or the technology. You can hear in Leander old instruments with new technology staged, the Trio Berweck/ Long/ Lorenz relatively new instruments under the Banner of the historical performance practice – a completely different Note, Oh, Nostalgic. For modern Synthesizer music written is historically just as quickly as the instruments comes from the fashion, disappear the pieces. So, too, “Stries” by Bernard Parmegiani. It begins with a long tape tape, in which the musicians sit there, arms crossed. In the second part of the movement comes on the stage, the light changes, musician view build contact. Soon, the piece picks up speed, really loud, and stresses the rhythmic, but not in the sense of a simple measure. After the increase in the back rest, presumably, of the third part – the piece is a triptych. Filter now drive by noise areas in between percussive sounds, metallic rattles, but not frequency modulations – to understand simple sounds, in which one thinks how they are made, if you a little bit about synthesizers-and-white. At least, until you give yourself to such a reconstruction.
Again a different approach then in the case of Enno Poppe’s piece of “broadcasting”. The composer sits as a performer, alongside his teammates from Ensemble Mosaik at one of nine Keyboards, where Laptops serve as a tone generator. The reproduce now use the original sounds of old synths like Minimoog or Hammond organ-but in Ways that would not be with the original instruments. It reminds initially far to naive, early synthesizer music, maybe with the “harmless” (to quote Poppe) some of the motifs of the power plant, it is soon a dynamic that goes far beyond what previously would have been with these instruments and a structure that goes with the sounds, as it was in the times of Tangerine Dream and co. to be the case. Impossible to improvise this, says Poppe. A single Time, with a little imagination, touches the piece of the four-quarter sector, with a driving Beat, some other time, when suddenly a long-held tone in the Bass grounding the on him-player Chaos, you might feel reminiscent of John Carpenter. Allusions in a total but very different sound-world, with the exact score by the way and old-the modern sounds, but not old sounding. The applause is appropriately justified, properly and absolutely.
freedom
the sound of The final concert of the “ultrasonic” beyond the Festival – as a continuation of the legendary series of concerts “music of the present”, in the once-Ligeti-listen to the premieres, and as a return to the birthplace of the Modern, the Large broadcasting hall in broadcasting house. In the evening, in which a courageous, can-do Simone Young conducts the Deutsches Symphonie-orchestra, but also the Dilemma of current composing: world premieres want to a lot of Festivals, and then the attention goes out abruptly, as if the reception of a work, no one will care. Most contract work, you could burn after a single performance, also to great effect, because they lay a hand on no one any more.”Ultrasound” is trying, with its modest means to counteract.
in addition to a posthumous world premiere by Michael Hirsch, the second performance of “rituals” by Samir Odeh-Tamimi sounds since 2008, and the third for Chaya czernowin’s “Guardian” since 2017. The Israeli composer shows moved from the demand for her cello concert, the Dedicatee Séverine Ballon plays. Electrical amplification ensures that even the finest Whisper of your instrument is heard in the middle of the orchestra, whose sound impact only sets in motion. The sawing escalation renounces the singing cello charm. Odeh-Taminis factory, filled with the echoes of young Sufi-experience, is an elliptical rotary movement under the percussion of thunder and sirrenden strings. Not a Meditation, more of a on the point of stepping force of the outbreak, a rite of Spring without the spring. Deer “…somehow a kind of narrative…” listen to the sound-space deep and audible treasures embeds in a playful way in an oscillating large-scale structure. Beauty and willfulness can feel safe from being ideologically on track. Freedom that you can hear.
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DSO Festival ultrasonic opened light dispels the shadows
Sybill Mahlke
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