The program will include a balanced mix of composition commissions/premieres, existing works and rarely performed classics. These will be adapted to the acoustic and spatial realities of the venues or even composed especially for them. The musicians invited by the two festival directors Ignaz Schick and Werner Dafeldecker all have an individual sound and formal language and are rarely heard in Berlin. Three concert parts of 30-40 minutes each will be performed per evening: two contemporary positions and one classical. You can expect established viewpoints as well as rarities and discoveries.
Philip Samartzis‘ “The Blizzard” is a multichannel composition solely comprising sound recordings of the presence and effects of high velocity katabatic wind recorded in Eastern Antarctica in 2010 and 2016. Bernard Parmegiani’s inspiration for his work “La Création du Monde” was not the biblical Genesis, which he found far too anecdotal, but scientific and parascientific books by Reeves, Sagan, Clarke and Weinberg. Thomas Ankersmit’s music combines complex sonic detail and raw electrical power with a very physical and spatial experience of sound. His live performances are characterised by a lively character and surprising twists as much as by structural stringency.
Martina Claussen “plait” (2022) The voices, sound objects and electronics appear unaltered and then masked again. Recognition. Interactions arise. Being near and being far again seem unavoidable. Luc Ferrari’s “Éphémère I” is a piece only for tape and conceived as a kind of electronic drone overlaid with fragments of multilingual whispered voices, creating the exciting effect of a “sea-like” continuum. Annette Vande Gorne’s current work focuses on various energetic and kinaesthetic archetypes. Nature and the physical world are models for an abstract and expressive musical language.
Rie Nakajima is known for her experimental kinetic works in which she sets everyday objects in motion with the help of electrical devices. Josef Anton Riedl is a pioneer of concrete and electronic music composition. The intensity and richness of his live performances in the dark, realised by Francisco López with multi-channel surround systems and blindfolds provided for visitors, have enthralled audiences for decades.
Programme REFLUX – Festival for Contemporary Electroacoustic Music – Part 2
25.10.2022 Museum Kesselhaus Herzberge, Herzbergstraße 79, Haus 29 in 10365 Lichtenberg
Philip Samartzis: »The Blizzard« (2022)
Bernard Parmegiani: »La création du monde« (1982-1984)
– First movement, “Lumière noire” 17’36
– “Métamorphose du vide” 23’03
Diffusion: Valerio Tricoli
Thomas Ankersmit: »New Work« (2022)
27.10.2022 KM28, Karl-Marx-Straße 28 in 12043 Neukölln
Martina Claussen: »plait« 30’00 (2022)
Luc Ferrari: »Éphémère I« (1974) Diffusion: Wolfgang Musil
Annette Vande Gorne: »Various Works« (2022)
29.10.2022 Spreehalle, Reinbeckstraße 16 in 12459 Oberschöneweide
Rie Nakajima: »New Work« (2022)
Josef Anton Riedl: »Landschaftsbeschreibung, Studie 62 II« (1973)
»Klangsynchronie I Studie 59» (1981) Diffusion: Ignaz Schick
Francisco Lopez: »Various Works«
Concert at 8pm, Doors 7.30pm
Tickets: 15/ 10 Euro, Festival Pass 90/ 60 Euro – Evening box office only
Reflux is a production of www.zangimusic.wordpress.com
We’re giving away 1 x 2 tickets for the concert on October 25 at the Museum Kesselhaus Herzberge and 1 x 2 tickets for the concert on October 29 at the Spreehalle. To win, email REFLUX, your full name, and the concert you’d like to see to [email protected] by Friday, October 21. Good luck!