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Wood, Mouth, Ritual – Storytelling at Geneva’s Archipel Festival

Gabrielle Weber
‘Wood, mouth, ritual, possession’ and ‘multiple speakers’. This year’s edition of Geneva’s traditional contemporary music Festival Archipel does not focus on one main theme only, but on several individual motifs. The artistic directors, Marie Jeanson and Denis Schuler, wish to tell stories and create unexpected encounters, with a playful, light-hearted approach and special focus on shared experiences.

Jeanson, organiser of experimental and improvised music, together with Schuler, composer, curated their first joint festival edition in 2021. Although online because of the pandemic, the edition was successful and able to offer plenty of concerts and encounters between musicians, despite the lack of an actual live audience. This year, the festival’s main venue – ‘Maison communale de Plainpalais‘ – will feature music around the clock during ten days and also become a meeting place. In addition to the extensive concert programme – with composer-in-residence Clara Jannotta or a series on Alvin Lucier –  sound installations, shared meals prepared by musicians, nightly salons d’écoute with performers presenting their favourite works in Dolby Surround, or pannels as well as mediation workshops will be featured. In addition, a festival radio programme will broadcast around the clock daily and the programme offers numerous other events spread throughout the city.

The motifs are a hidden thread running through the entire festival, with various composers closely involved and spinning their own stories. Geneva composer Olga Kokcharova is one of them and I spoke with her about her multi-part festival project ‘sculpter la voûte‘ – shaping the vault.

 

Portrait Olga Kokcharova, zVg. Festival Archipel

 

“We have lost our connection to the environment and sound can restore it,” says Kokcharova. The delicate, almost shy composer of powerful natural soundscapes dedicates her central festival project to wood.

Sculpter la voûte is based on several years of research in which Kokcharova studied the growth of trees in Ticino forests. In the process, she examines wood as a sound producer as well as the forest as condition for human culture.

In spring 2021, Kokcharova recorded sounds in a natural reserve in the south of Switzerland. “One can hear the physiological activity of the trees. These are almost brutal, raw sounds – deep sonorities, cracking. You sense that there are forces at play that go far beyond human,” she explains.

Kokcharova is originally from Siberia and emigrated to Switzerland at the age of 16. She experienced a real cultural shock, but also a boost of inspiration. In Siberia, she grew up surrounded by nature, far away from cities and did not know anything about European culture.

In Geneva, she first studied architecture, design and fine arts, then piano and composition. Sound has been important to her from the very beginning. Today she works especially with natural sounds and field recordings, integrating them into compositions, installations, soundwalks, sound performances or film music, for festivals and institutions at home and abroad.

 


Olga Kokcharova and Antoine Läng, Venera, 2018

 

Kokcharova’s work is always concerned with larger connections and the relationship between people and their environment.

 

Trees cracking as they grow – raw, brutal sounds

 

In the premiere of Sculpter la voûte- ‘altération’ for amplified loudspeakers, a composition commissioned by the festival and at the same time the first part of her project, she presents the sounds recorded in Ticino through an orchestra of loudspeakers. The forest sound is realistically spatialised by an ambisonic system, a space-spanning ‘dome of loudspeakers’, created in collaboration with ZHdK Zurich, which will also be used for other performances during the festival, such as the Swiss premiere of Luis Naón’s string quartet with électronique ambisonique, performed by Quatuor Diotima on the previous evening.

Kokcharova, on the other hand, supplements these ambisonics with an Akusmonium, a system of additional loudspeakers, whereby she strongly alienates the sound with ‘altérations’.

“It’s like resurrecting the forest. One is directly in touch with the sound of life that inhabits it: you feel you are in the midst of it.”

For Kokcharova, the forest is not a place of relaxation, on the contrary it triggers highest concentration, creating connections with things we do not understand and she draws attention to this through alienations in her piece.

 


Olga Kokcharova, Mixotricha Paradoxa – part II, 2019

 

Performance installatique et sensorielle 

The second part of Sculpter la voûte – ‘auscultation‘, is a collaboration with Geneva’s Ensemble Contrechamps, as a performance installatique et sensorielle. In her installation, Kokcharova traces the sound path of wood: from the living tree, vibrating through the circulation of its sap, to the tonewood, which becomes an instrument in the hands of the violin maker and then comes to life with the musician. This happens tangibly, in the truest sense of the word, as one of Ensemble Contrechamps’ musicians will play for each individual member of the audience. The latter can truly feel the instrument, trace its sound and vibration, and thus experience his or her own expérience vibratoire.

 

Pour entendre le son on a besoin de la matière...

Sound is vibration: it is our connection to the world, says Kokcharova. In order to hear sound, a material, for example wood, is needed. For Kokcharova, this connection also creates a larger context that secretly shapes us: “When we talk about the history of mankind, the focus is always on humans, tools or animals. Plants are never mentioned – but without plants, mankind wouldn’t exist”. She is interested in showing how other life forms – in this case trees – influence all aspects of our lives as well as our cultural production.

Man and nature have always had a relationship, says Kokcharova, so for her festival project she chose to tell a somewhat different, very personal story of wood and man.
Gabrielle Weber

 

Olga Kokcharova, Lutherie Guidetti, Locarno

 

Festival Archipel Genève: april, 1-10th Geneva

Clara Ianotta, Italian composer is artist in residence and present at the festival.

Alvin Lucier, dem 2021 verstorbenen US-Elektropionier ist eine Hommage mit drei Performance-Installationen gewidmet.

Antoine Läng, Quatuor Diotima, Denis Schuler, Marie Jeanson

mentioned events:
Saturday, 2.4.: world premiere Olga Kokcharova ‘Sculpter la voûte– altération’, and ‘Mycenae Alpha‘ by Iannis Xenakis (1978), in honour of his 100th birthday, Olga Kokcharova at ‘système ambisonique‘.

3.-10. April: Olga Koksharova: Sculpter la voûte –  ‘auscultation‘:

Saturday, 9.4., 14h: Gespräch ‘arbre, bois, vibration, transmission‘ with Ernst Zürcher, writer, and Christian Guidetti, lute.

radiofeatures SRF 2 Kultur:
in: Musikmagazin, Sa, 2.4.22, 10h /So, 3.4.20h, by Benjamin Herzog: Café with Olga Kokcharova, editor Gabrielle Weber
Musik unserer Zeit, Mi, 22.6.22, 20h/Sa, 25.6.22, 21h: storytelling at Festival Archipel Genève 2022, editor Gabrielle Weber

profiles neo-mx3:
Festival Archipel, Olga Kokcharova, Contrechamps, Luis Naon

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The world’s madness

Cécile Olshausen
“Sometimes I feel like I’m living on a train,” says Helga Arias and she laughs. The Basque composer was born in Bilbao in 1984 and now lives in Switzerland. She describes herself as a nomad, because she has been on the move since her childhood and lived in many different places. In the spring of 2020, however, everything suddenly had to stop because of Corona.

 

Portrait Helga Arias zVg Helga Arias

 

Hours of video calls

Helga Arias had actually planned a longer stay in the USA; the International Contemporary Ensemble (ICE), an artists’ collective from New York, having invited her as composer in residence. But she had to stay in Europe because of the pandemic and the ICE‘s musicians in New York were also isolated and could not rehearse because of the lockdown. This standstill triggeerd creative energies in Helga Arias though and so the work I see you for amplified string quartet and live video was created and premiered at the opening concert of the SONIC MATTER Festival in Zurich in December 2021.

As real encounters as well as planned collective forms of work were not possible, Helga Arias brought the ensemble together through video call. First connecting individually with each member, recording sounds and tones for hours, but also having conversations about art, taste, music and mental states. She assembled audio-visual material and then distributed it among the quartet’s members. Bringing them together, even though everyone was stuck at home. An artificial, but also artful form of communication.

It was only a few hours before the premiere in Zurich that the composer and the quartet finally met in person and were able to assemble the virtually created video and score of I see you on. During the pandemic, a creative and different model of collaboration emerged, one in which all participants, both composer and players, are artistically involved on an equal level.

 

Helga Arias, I see you, International Contemporary Ensemble, UA Festival Sonic Matter Zürich, 2.12.2021 / Sound-recording: Eigenproduktion SRG/SSR

 

Intoxicated by stimuli

Helga Arias is sensitive and modern, observing everything without ever ignoring the world, including the virtual world of digital media, when composing: Hatespeech, Me Too debates and Fake News are elements of her music. “Contact with society is very important to me,” she explains, “it’s called contemporary music, so it has to be contemporary. What happens in the world also has an effect on my musical ideas.”

In her performance Hate-follow me – world premiered during the Bern Music Festival in September 2021 – Arias mixes the vocal sounds of four sopranos with intrusive signals of mobile phones and social media rush images on video: spiteful insults alternate with intrusive body poses, a mixture of senseless seduction and hatred, accompanied by incessant vibrating, ringing, tweeting and beeping.

 

Helga Arias: Hate-follow me, UA Musikfestival Bern, UA 5.9.2021

 

This oppressive excess of acoustic as well as visual inputs ist the composer’s goas though which Helga Arias draws our attention to the waterfall of messages that pours in on us every day. Even if we could read one message, it is immediately replaced by the next. The individual piece of information losing its meaning. In the process, the composer condenses sound and image in a scary, fascinating way and one begins to suspect why hate news in particular spreads so quickly and so widely.

 

“So sorry”

Hate-follow me drastically shows that the unlimited space of the World Wide Web is not used for maximum openness and diversity. Rather, the perspective narrows when influencers and bloggers spread standardised clichés and cement old role models. Instead of celebrating differentiated polyphony, uninhibited hate speech silences many on the internet. Hate-follow me ends – after a mediatic collapse – in a torrent of apologies. But this is not conciliatory, for the thousands of them “sorrys” seem tacky and hypocritical. This piece is an astonishing paradox: Helga Arias composes music that won’t let us go, by asking us to turn it off. If we do, we withdraw from the madness of the world; if we don’t, we submit to it.

 

For Helga Arias, works like Hate-follow me or I see you are opportunities to reflect on her role as composer as well as her relationship with performers and audiences: “The performers of my music are not playing machines and I am not their boss telling them what to do! It’s about complex interactions.” Also with the audience. Thus Helga Arias does not and doesn’t want to convey a message. We listeners have to find out for ourselves how to cope with the contradictions and craziness.
Cécile Olshausen

 

Portrait Helga Arias zVg Helga Arias

 

International Contemporary Ensemble

On March 26, Helga Arias will be in Ascona for a conferenza-concerto as part of the Festival Ticino Musica.

Radio programs SRF 2 Kultur:
Musik unserer Zeit: I see you – die Komponistin Helga Arias, editor Cécile Olshausen, Wednesday, 9.2.22, 20:00h / Saturday, 12.2.22, 21:00h
SRF-online, 14.2.22: Komponistin Helga Arias – Sie macht auch Hate Speech zu Musik, Text Cécile Olshausen

neo-profiles:
Helga Arias, Festival Sonic Matter, Musikfestival Bern, Ticino Musica

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No catchy tunes! Festival ear we are

Cécile Olshausen: earweare @ Alte Juragarage Biel 3-5.2 2022

Cécile Olshausen
ear we are is bold and innovative. A festival for new listening experiences beyond the mainstream. Founded in 1999 in Biel as a stage for free improvisation, it has become internationally renowned for improvised contemporary music. The audience trusts the festival’s curators as well as the risks they take and numerously shows up at the Alte Juragarage on the edge of Biel’s old town. People come with open ears and minds: ear we are!

 

Christine Abdelnour & Magda Mayas participate at Festival ear we are 2022 ©zVg Festival ear we are

 

The festival is like a well-stocked bookshop, where – in addition to bestsellers – one can find literature by unknown writers and trut the shop owner’s choices. This is also what the curators propose in Biel every two years, sometimes well-known names, but often insider tips. The four artistic directors of the festival – Martin Schütz, Hans Koch, Christian Müller and Gaudenz Badrutt – are all proven artists in the realm of free improvisation, they contributed in developing this genre in recent years and are leading it into the future with their own performances.

 

Martin Schütz, Cellist and one of the co-curators of the festival: solo, live december 2019, zVg. Martin Schütz

 

Their programming procedure for the ear we are festival is an essential and valuable process: a lot of music is listened to, discussed, discarded and re-evaluated together. The curatorship is looking for creative musicians who take risks, play with risk, improvise in the best sense of the word, i.e. do not always know in advance where exactly the path they have chosen will lead, the notes show and disclose the way. ear we are offers such artists a creative space and allows them to experiment and work across musical stylistic boundaries during three days. All of this in an appropriate location, the Alte Juragarage, a Bauhaus factory building, built in 1928 and cleared out especially for the festival. A special place for special music, for improvisation, but also for concept and composition. In other words: for present day music.   

It is no coincidence that such an innovative music festival has flourished so successfully in Biel, as the free improvisation scene is particularly lively there. In fact, so-called “free improvisation” has a long tradition in Switzerland. It was in the early 1970s that a group of young likeminded musicians invented a new way of making music. Those who came from jazz no longer wanted to play standards and grooves and even free jazz started to feel like a golden cage to them. Those who came from classical music no longer wanted to practise and perform scores full of noises and special effects for hours on end, they wanted to become inventive themselves. This is how free improvised music came into being, and it developed faster in Switzerland than elsewhere. Subsidies and new festivals helped the musicians to organise themselves and soon they were invited to major international festivals. Free improvisation has long since become part of the institutional training programme of the music schools and conservatories.  

 

Improvisation – collectively shaped art

Free improvisation is a collective art, where people play together and the joint performances are not only musical, but also social encounters, with musicians paying attention to each other, lending each other an ear. This art of listening to each other is definitely a quality criterion, as anyone who cannot hear what the others are playing or singing, who exclusively follows his own score in his head, ultimately proves to be a poor improviser. From all these musical-aesthetic and psychosocial premises, a specific musical genre has emerged that can be described as musical bridges from nothing to nothing, eruptive moments, the avoidance of “normal” singing or playing, instead many sounds that are explored out of the voice and invented on the instruments, with surprising playing devices such as knitting needles, brushes or wires, often also numerous electronic aids; and above all: the music is developed in the very moment, nothing is pre-set and yet these are all arrangements that are also rehearsed, taught and learned. As a result, the intended innovations and departures of improvised music can sometimes become somewhat predictable and free improvisation limits itself in its own freedom.  

But in the city of Biel, renowned for its watches and watchmakers, the clock hands are always on the present time, also in free improvisation. The ear we are festival contributes a lot to this, not least because it invites musicians from all over the world to contribute with their specific experiences and backgrounds. The 2022 edition in particular, which should have taken place last year but was postponed because of the pandemic, clearly shows how much genre boundaries are dissolving and individually shaped questions and experiments are taking centre stage.  

Swiss vocalist Dorothea Schürch for example uses her voice as her centre, sound laboratory as well as research tool; she creates her soundscapes without electronic transformations and recently wrote a dissertation on voice experiments of the 1950s.

 


ensemble 6ix with Dorothea Schürch, improvisations to Dieter Roth, Kunsthaus Zug 27.11.2014, in house-production SRG/SSR

 

British trumpeter, flugelhorn player and composer Charlotte Keeffe also focuses on her instrument. Fascinated about how painters create their work on canvas, she too explores colours and shapes in her pointed improvisations and sees her instrument as a kind of “sound brush”. Another example is the beguiling sounds of the Australian Oren Ambarchi. The Sydney-born musician, originally a brilliant drummer in numerous free jazz bands, questions the so-called professional “mastery” of an instrument: without ever having enjoyed a lesson, he takes the liberty of unfolding his surreal musical world on the guitar with various utensils. Last but not least the American poet, musician, artist and activist Moore Mother counters Eurocentric traditions with Afro-American culture and socially critical rap, where very concrete political positions – which are rarely heard so explicitly in free improvisation – are voiced.
So open you ears for ear we are 2022!
Cécile Olshausen

 

Zu erleben am ear we are 2022: die amerikanische Dichterin, Musikerin, Künstlerin und Aktivistin Moor Mother

 

earweare 2022 -The current programme may can undergo short notice changes due to the pandemic situation, 3.-5.2.22.

Hans Koch, Christian Müller, Gaudenz Badrutt, Charlotte Keeffe, Oren Ambarchi, Moor Mother

broadcasts SRF2 Kultur:
Musik unserer Zeit / Neue Musik im Konzert 2.3.2022:
Ohne Ohrwürmer! Das Bieler Festival earweare, autor Cécile Olshausen

Musik unserer Zeit, 13.10.2021: Vinyl – Hype, Retro Kult, talk with Oren Ambarchy, autor Gabrielle Weber

neo-profiles:
Martin Schütz, Dorothea Schürch, Florian Stoffner

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Portrait of our time

Gabrielle Weber: Ensemble Vortex @Start of season GdN Basel 24.2.2022

Vortex – the one inside the hurricane, the overpowering one from which one cannot escape. The name says it all: whirling up and remixing – that’s what the Geneva Ensemble Vortex is all about.  

In Geneva, in French-speaking Switzerland and abroad, the Ensemble Vortex is an institution – in German-speaking Switzerland it has hardly ever performed. It will now be featured as part of „Focus Romandie“, the French-speaking Switzerland series of Basel’s Gare du Nord opening season.  

I spoke with Daniel Zea, composer, co-founder and director, about the ensemble’s perception and direction as well as the upcoming season.

 

Portrait Daniel Zea © zVg Daniel Zea

 

In the beginning, there was a common interest in exploring interfaces: improvisation, jazz, dance, theatre, installation, radiophony and visual arts. “We were united by curiosity for experimentation and fascination for the new,” says Daniel Zea. This led a handful of graduates from the Geneva Conservatoire to join forces and form the ensemble. That was in 2005 and the ensemble decided electroacoustics would always be present which “was not an obvous thing at all at the time,” says Zea.  

They come from Switzerland, Europe and South America and most of the founders are still part of the ensemble. In addition to Zea – who grew up in Colombia before moving to Geneva – its members are composers Fernando Garnero, Arturo Corrales and John Menoud, and performers Anne Gillot and Mauricio Carrasco. “We were all still studying and very young: we wanted to hear and play our pieces and those of other young composers. We wanted to work on them as freely as possible, together with the performers,” says Zea. The members – the permanent core counts about ten – often take on both roles.  

Vortex exclusively performs new pieces commissioned for the ensemble, they are premiered and then added to the repertoire. Some 150 new works have already been written by a large circle of composers.  

An important pioneer was Geneva composer and lecturer Eric Gaudibert, who supported the ensemble’s founding and stood by its side until his death in 2012. “Eric Gaudibert was an important personality for the new music scene in French-speaking Switzerland and for Vortex. He had a great network, inspired and advised us and made many things happen” says Zea. To close the season, Vortex is therefore organising a mini-festival in Geneva in order to commemorate the 10th anniversary of his death. This will take place in December, as – unlike those of other actors – Vortex’s seasons are based on the calendar year.


Eric Gaudibert, Gong pour pianofort concertante et ensemble, Lemanic Modern Ensemble, conductor William Blank,  2011/12, inhouse-production SRG/SSR

 

They always have a main theme. In season 17, the motto is ‘Resonance comes between notes and noise’ and the focus ison society after the pandemic, which reshuffled the parameters of our dealings with each other and shifted many things towards digital. Present times face a lot of pressure, which is what they want to express, says Zea.  

Good examples are the two pieces to be performed in Basel at the opening of the season: The Love letters? by Zea (premiere 2019), and Fabulae by Fernando Garnero (premiere 2016). “Both pieces reflect today’s society in different ways and paired they form a portrait of our time,” says Zea.

 

“Staging the weakening of the human being through technology”.

 

In The Love letters? two performers – a man and a woman – sit opposite to each other, both at the computer. Movements, facial expressions and glances are recorded and shown on a large video screen – live, delayed, superimposed, alienated – and translated into electronic music and text.

 

Daniel Zea: The Love Letters?, Ensemble Vortex: Anne Gillot, Mauricio Carrasco, world creation 2019

 

Zea questions communication in digital space through facial recognition. In search engines, smartphones, social media or state surveillance, it is used by algorithms, usually without us being aware of it. The title carries a question mark: Is what is recorded/shown real or is it the real actors on stage? Can feelings exchanged via digital devices be ‘real’?  

“Love Letters? is a love dialogue that shows how absurd today’s communication has become. Social media are taking over, the work stages weakening of the human being through technology,” says Zea.  

For Zea, the piece, which was written in 2018, is almost prophetic as during the pandemic, digital communication became omnipresent.

 

Alienate the supposedly familiar

 

Fernando Garnera’s Fabulae also alienates the supposedly familiar through additional perspectives. Video, electronics and additional texts add further narrative levels to well-known Grimm fairy tale Cinderella and expose outdated moral concepts. Thus, it is transposed into a bizarre digitally transformed present-day future.  

“Behind this lurks a hidden critique of today’s capitalist society, intensified by the pandemic,” says Zea.

 

Fernando Garnero, Fabulae, Ensemble Vortex, world creation 2016

 

A radically different approach to our society is conveyed by the season’s following project: Suma, a collaboration with the Cologne’s Ensemble Garage. Starting from the question of how music could be made differently today, together and in the present, now that working together from different places became a habit. The result is a kind of answer to the pandemic, says Zea. “We are collectively creating a common contemporary ritual through which music reconnects with the ‘sacred’, with nature, based on memory, ritual and shamanism. In doing so, we question today’s role of technology and communication.”  

 

Composer’s next generation

 

Vortex also regularly focusses on the next generation – not least to remain ‘young’ itself. Its biennial interdisciplinary laboratory Composer’s next generation promotes young talents. In 2021, it took place for the fourth time with five young composers or sound artists selected through a call for projects. Vortex then works closely with them for a season, the result is a carte blanche at the Archipel Genève new music festival and follow-up commissions at l’Abri, a venue for visual and sound art in the heart of Geneva. In this way, Vortex continues to bind participants to the ensemble and the Geneva scene. “Participants included Cloé Bieri, Barblina Meierhans and Helga Arias – all of them were still kind of beginners at the time and are now travelling internationally and continue to be closely associated with Vortex,” says Zea.

 

Ensemble Vortex / Composer’s next generation

 

Vortex is stirring things and shaking them up – also in Geneva, as most of the region’s contributors are associated with the ensemble through joint projects by now, plus of course the Vortexians have also made a name for themselves individually at home and abroad.  
Gabrielle Weber

 
Ensemble Vortex, Daniel Zea, Chloé Bieri, Anne Gillot, Mauricio Carrasco, Ensemble Garage, Festival Archipel, L’Abri, Festival acht Brücken Köln

upcoming concerts Ensemble Vortex:
23.2.22, 20h, Gare du Nord Basel: The Love letters? / Fabulae, after concert talk with the participants

Suma: Ensemble Vortex & Ensemble Garage:
6.4.22 Archipel; 2.5.22 Köln: Festival acht Brücken

remember Eric Gaudibert – Mini-Festival: 10./17.Dezember 22, Genf

neo-profiles:
Daniel Zea, Ensemble Vortex, Eric Gaudibert, Arturo Corrales, Fernando Garnero, John Menoud, Barblina Meierhans, Helga Arias, William Blank, Lemanic Modern Ensemble

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Robert Walser’s composers

Silvan Moosmüller: Monograph Robert Walser Vertonungen – book vernissage GdN 27.1.22

In his new volume, musicologist Roman Brotbeck traces the history of Robert Walser’s works set to music and simultaneously sketches a fascinating panorama of 20th and 21st century music away from dominant trends.
On January 27, the book vernissage will take place at the GdN in Basel – Silvan Moosmüller, with a performance of Georges Aperghis’ Zeugen, based on texts by Walser.

 

Silvan Moosmüller
“Robert Walser – sein eigener Komponist” (Robert Walser – his own composer) is the title used to introduce Roman Brotbeck’s Töne und Schälle. Robert Walser set to music 1912 to 2021.

 

Robert Walser Berlin 1909 © Keystone SDA / Robert Walser-Stiftung Bern

 

Walser as literary composer

Indeed, many prose pieces and even more so poems of notorious “chatterer” Walser resemble a musical composition with their elaborate sound structure: every syllable, every letter contributes to the poetry of the whole. “To set Walser to music is a difficult, perhaps even insoluble task, because many of Walser’s texts are already music and therefore no longer need music,” says Brotbeck, summing up the delicate starting point.

 

200 works by over 100 composers

Nevertheless – or rather precisely because of the musicality of his writing – Walser has inspired a large number of composers to set his works to music. Along with Hölderlin, Walser is one of the most frequently set writers of the 20th century. Roman Brotbeck unfolds this sounding Walser cosmos on almost 500 pages. His book is the first comprehensive and systematic study of the musical reception of Walser’s literary works.

And as curator of last year’s Rümlingen Festival, Brotbeck himself added a new chapter to the history of Walser settings. 15 world premieres with works on Robert Walser were launched in September; among them, the revised new version of the théâtre musical Zeugen by Georges Aperghis for example, which will be performed together with the book vernissage at the GdN in Basel. Or the performative exhibition Patient Nr. 3561 by composer and performer HannaH Walter and her collective Mycelium.

 

From the beginning

But let’s start chronologically with James Simon. According to Brotbeck’s research, this Berlin musicologist and composer was the first to approach Robert Walser. More precisely, it is the two poems Gebet (Prayer) and Gelassenheit (Serenity), that Simon presented as songs in 1912 and 1914 in a romantic manner.

James Simon’s figure is groundbreaking for the further history of Robert Walser musical settings in two respects: Firstly, he is not one of the great, well-known composers, he has even been almost forgotten today and secondly, with his ‘belated’ romantic compositional technique, he stands at odds with the dominant trends of his time.

 

Music historiography on this side of the ridge

These two qualities form the DNA for everything that follows, as in general, the now 110-year old history of Walser’s musical settings does not align with established music historiography. Rather, it reads – in Roman Brotbeck’s own words – as a “history, or better stories of attempts to break out of the avant-garde”.

It is fitting that Walser’s musical reception started very gently. In the fifty years after James Simon’s first musical realisations, there are only two further records; in the next 25 years until 1987, according to Brotbeck’s research, one can count 13 composers with 20 works. Among them further song settings are to be found, but also the twelve-tone dramma-oratorio Flucht by Wladimir Vogel, which exhausts the rhythmic polyphonic possibilities of the speech choir.

 


Wladimir Vogel, Flucht, Dramma-Oratorio (1964), Zurich Tonhalle-Orchestra 1966, in-house production SRG/SSR

 

The calm…

Of these “early” Walser composers, to whom the first part of the volume is devoted, the Swiss Urs Peter Schneider has been particularly persistent and versatile in his engagement with Walser’s body of work. Over almost sixty years, Schneider has created an entire Walser laboratory – from the “extreme stereophony” of his radiophonic portrait Spazieren mit Robert Walser to the polyphonisations of text material in Chorbuch.

 


Urs Peter Schneider, Chorbuch, 12 songs 12 texts by Robert Walser for 8 voices, UA 2013 Basler Madrigalisten, Musikfestival Bern, in-house production SRG/SSR

 

According to Brotbeck, most of Walser’s musical settings, only came into being in the last 34 years, but at an exponentially increasing rate. Initiated by Heinz Holliger’s Beiseit cycle and the great Schneewittchen (Snow White) opera, a veritable Walser boom began in the 1990s.

 

…before the storm

It is no coincidence that this boom corresponds with the trend towards new forms of music and theatre under the sign of post-dramatic theatre. Thus, the piano song loses its dominant position and Walser becomes man of the hour. But according to Brotbeck, socio-political changes also favoured Walser’s reception in the 1990s: “Arts were at that time characterised by an ambivalent mixture of an urge for freedom and disorientation, deconstruction of grand narratives in the wake of post-modernism and fascination with new media and technologies”. Not much has changed in this respect to this day.

In order to clearly present the wealth of material in the second part of his book, Brotbeck divides the works primarily according to genre, namely various forms of music theatre, song and song cycles as well as melodramas. The range is enormous, from improvisational forms with actors of the new Swiss folk music scene (e.g. Oberwalliser Spillit) to scenic music such as Michel Roth’s music theatre Meta-Räuber to new contextualisations such as in ‘Der Teich‘ by multinational composer Ezko Kikoutchi, with a French-Swiss-German libretto in a Japanese setting.

 


Ezko Kikoutchi, Der Teich after a text by Robert Walser, Laure-Anne Payot, Mezzosopran and Lemanic Modern Ensemble, 2012

 

Deviation as norm

In this regard, the history of Robert Walser set to music resembles Walser’s twisted and constantly digressing narratives. Or as Roman Brotbeck puts it: “The Common Ground of Walser’s musical settings is, in a way, the absence of Common Ground”. The fact that Brotbeck points out precisely this “dissection of individualistic Walser approaches” and resists the temptation for a grand narrative is a great merit of his book. Since the works discussed are always contextualised in terms of social history and cultural politics, the chapters nevertheless present a detailed picture of the (Swiss) cultural landscape along with its currents and institutions in the 20th and 21st centuries.

Thus, over 500 pages, what emerges is the fascinating panorama of a “different music history of the 20th and 21st centuries” and the best thing is that this history will go on for a long time.
Silvan Moosmüller

 

Do 27.1.22, 21h GdN Basel: book-launch Töne und Schälle. Robert Walser-Vertonungen 1912 bis 2021 / 20h Concert: Georges Aperghis, Zeugen

Sa 29.1.22, 20h / So, 30.1.22, 17h GdN Basel: Roland Moser, Die Europäerin auf Mikrogramme von Robert Walser

Roman Brotbeck, Silvan Moosmüller, Georges Aperghis, James Simon

broadcasts SRF 2 Kultur:
Musik unserer Zeit, 8.9.2021: Klingender Autor – Walser-Vertonungen am Festival Rümlingen, Redaktion Silvan Moosmüller
neoblog, 13.7.2021: Alles was unser Menschengeschlecht ausmacht – Roland Moser erhält einen BAK-Musikpreis 2021, u.a. zur UA von ‘Die Europäerin’ nach Robert Walser, Autor Burkhard Kinzler

neo-profiles:
Robert Walser, Urs Peter Schneider, Heinz Holliger, Michel Roth, Ezko Kikoutchi, Kollektiv Mycelium, Neue Musik Rümlingen, Gare du Nord, Basler Madrigalisten, Musikfestival Bern, Roland Moser, Lemanic Modern Ensemble

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Wave after wave

Friedemann Dupelius: 40+1 years of Basel Sinfonietta

Friedemann Dupelius
“An orchestra, unlike a chamber ensemble, has a certain inertia that one must first overcome in order to activate all its instruments and sounds,” says Kevin Juillerat. Although the Franco-Swiss composer is not a physicist, he is quite familiar with both properties and treatment of sound waves. Proof is the grey acoustic treatment on the walls of his current Paris residence at IRCAM, the electronic paradise. From there he discusses Waves, his first composition for the large orchestra that will be premiered on January 16, 2022 as 3rd concert of the Basel Sinfonietta’s anniversary season.  

The Sinfonietta’s history has little to do with inertia though. In 1980, enthusiastic musicians founded an orchestra that remained unique to this day with its exclusive focus on contemporary music. The Basel Sinfonietta is still self-governing and democratic with a board consisting of orchestra members and elected from within the ensemble, as is the programme commission. Daniela Martin, its managing director since September 2020 states: “Starting from its free spirit, the orchestra grew to become firmly anchored in the professional music scene”.

 

The Basel Sinfonietta likes to present thematic concerts, like the legendary “Sport and Music” programme, directed by Mark Fitz-Gerald in September 1989.

 

Without a doubt, its 40th year was also Basel Sinfonietta’s most difficult one, marked by uncertainty and distance both from the audience as well as between the musicians, instead of great anniversary celebrations. Suddenly, distances had to be kept, which also brought acoustic consequences – the much-cited distancing takes on an audible quality when the musicians are far apart in the room. With the no less difficult return to a normal line-up, the audience has also been welcomed back and with great news: the number of subscribers having increased during lockdown and times of streaming concerts. This means that the slightly belated anniversary “40+1” can now be celebrated in front of a growing pool of fans and curious people. Daniela Martin speaks highly re the Basel audience: “People get involved and there is a dense atmosphere during the concerts, a palpable enthusiasm. People are not there to criticise, but to listen with open ears to the new and newest music.”

 


Isabel Klaus, Dried – Für Orchester, UA Basel Sinfonietta 2007, in-house production SRG/SSR: One of Basel Sinfonietta’s main goals is to provide a platform for young Swiss composers. Many others have benefited from this before Kevin Juillerat, such as Isabel Klaus with her work Dried.

 
Does a contemporary music orchestra tend to look back or forward when it celebrates an anniversary? “Both.” Daniela Martin says “But mainly we look to the present and the future. What social perspectives and utopias can we illuminate in our programmes?” In this special season, the Sinfonietta is addressing issues such as migration and relationships between Western and non-European music. In October, for example, the Bolivian “Orquestra Experimental de Instrumentos Nativos” was invited to perform an intercontinental programme together with the Basel Sinfonietta, featuring music by South American and Swiss composers.

 


Roberto Gerhard, Sinfonie Nr. 4 „New York“ (UA 1967), Basel Sinfonietta 2003, in-house prodduction SRG/SSR: Migration shaped the life of the Olten-born composer Roberto Gerhard. The Basel Sinfonietta already recorded his 4th Symphony with Johannes Kalitzke in 2003; the first will be performed during the January 16 concert.

 

The concert on the 16th of January at Stadtcasino Basel runs under the motto “Gravity Migration”, implying both external and internal migratory movements – the former, for example, in Roberto Gerhard’s work. This Catalonia born composer, who died in 1970, had family roots in Olten and wrote music from his British exile. He is represented with his 1st Symphony, dating from 1952/53. With Hèctor Parra, the journey goes inwards and at the same time into the widest distances – his 2011 work InFALL is about gravity and cosmological meditations on human existence.  

 

With Waves, commissioned to Kevin Juillerat, the Basel Sinfonietta continues its mission to offer a platform to young Swiss composers – especially those who, like Juillerat, have never written for orchestra before. Does he feel pressured by the task? “Rather challenged, even though I work a lot with electronic as well as rock music influences, I always felt connected to the symphonic tradition. It doesn’t scare me. The orchestra is a great instrument.”

 

Portrait Kevin Juillerat © Didier Jordan / Archiv Basel Sinfonietta

 

The 1987 born composer and saxophonist, thereby reveals his approach to the symphonic entity, which he sees it as a great meta-instrument able to create new timbres through combination and slow processes. He also incorporates techniques from electronic music, such as ring modulation – a simple form of sound synthesis in which two sound signals can be manipulated to create a third and new one.

 

Kevin Juillerat, Le vent d’orages lointains – for piano and strings, Camerata Ataremac / Gilles Grimaitre 2018, in-house production SRG/SSR: Layers of timbre and slowly changing textures can also be found in Kevin Juillerat’s “Le vent d’orages lointains” (2018) for piano and strings.

“In my last electroacoustic pieces, I worked a lot with slowly evolving textures. I wanted to implement that with the orchestra as well, so towards the end of the piece there’s a drone, that is a very long held tone, which is changed in its spectrum through ring modulation.” Specifically, Juillerat puts tones on the drone to go with this modulation, derived from the core cell of his piece: six notes obtained from the letters B-A-S-E-L and SI for Sinfonietta. “I worked a lot on ever changing timbres, trying to disguise the individual instruments in terms of their identification. It’s all about colours,” Juillerat emphasises.  

 

It was this quality of his music that impressed Baldur Brönnimann when he performed a piece by Juillerat with the Orchestre de Chambre de Lausanne. That’s why the Basel Sinfonietta main conductor suggested Juillerat for the commissioned work, which will make its first waves before the Basel audience on 16 January. As slowly as an orchestra needs to really get going – and, once it is moving, as gracefully as the Basel Sinfonietta would like to tackle the next 40+1 years.
Friedemann Dupelius

You can enjoy a large selection of the Basel Sinfonietta audio and video archive on its neo.mx3 profile.

 

Basel Sinfonietta: Saison 40+1:
upcoming season

IRCAM, Roberto Gerhard, Daniela Martin, Hèctor Parra, Baldur Brönnimann, Orquestra Experimental de Instrumentos Nativos, Orchestre de Chambre de Lausanne

neo-profiles:
Kevin Juillerat, Basel Sinfonietta, Isabel Klaus, Gilles Grimaitre

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Nature’s superiority

Eiger, a new opera by Fabian Müller, will be premiered by Theater Orchester Biel Solothurn on December 17. Christian Fluri spoke to the composer before the premiere about his relationship with this mountain, which fascinated him for a long time. 

Christian Fluri
“The story of the second attempt to scale the Eiger’s north face can hardly be topped drama wise,” says composer Fabian Müller enthusiastically about his work. In 1936, two German climbers, Toni Kurz and Andreas Hinterstoisser, along with two Austrian colleagues, were the first to attempt to scale the mountain’s mighty north face. They failed and all four died. The film and opera director Philipp Stölzl already devoted himself to this story in his 2008 film Nordwand, now writer and librettist Tim Krohn and Fabian Müller are giving it another go. When asked if they had been influenced by the movie, Müller denies. “We tell the drama from a completely different angle and although the historical framework is the same, the story allows a lot of freedom.”

 

Portrait Fabian Müller rehearsing Eiger zVg SOBS 2021

 

 

The story of the Eiger opera tells the initial enthusiasm with which the climbing tour began, through the looming failure, all the way to the battle against death, which even expert Toni Kurz loses in the end. “The opera is about powerlessness of men against nature’s superiority.” Müller gives the mountain a voice – a woman’s voice. “As it were the song of the mountain, which, towards the end of the opera, gazes in bird’s-eye view over the storm, the drama and the weather’s wildness. The dying man is torn between last attempts to save his life and the mountain’s seductive song, which makes him slip more and more into a surreal, otherworldly state.”

 

At the foot of the Eiger

 
16 years before the premiere of the opera, Fabian Müller had already been dealing with the Eiger and its north face. In 2004, he was commissioned by the Interlaken Music Festival to write Symphonische Skizze Eiger – and did so in his composer’s cottage, a chalet in Grindelwald, at the foot of the mountain, where he had spent his holidays with his parents as a child and teenager.

 

Fabian Müller, Eiger – Eine symphonische Skizze, UA 2004, Latvian Symphony Orchestra, Dirigent Andris Nelsons: Müller integrates music history in his compositions. In his Symphonische Skizze Eiger (2004), he partly used serial techniques.

 

 

“Since my childhood I have been connected with the mountain landscapes around Grindelwald” says Müller about this place of inspiration. After his training, the chalet became a retreat where his creativity could flourish. When he wrote his symphonic sketch in 2004, “the Eiger looked down on me, watching me scribble my notes on the paper,” he says.  

 
Even at that time, he thought that the 1936 drama would make excellent operatic material. “Now, starting from the sketch, I have developed the music into the opera and used everything that is in the sketch in some way – although rarely identically,” he explains.  
“I encounter many of my former pieces like a stranger and in general, it’s often quite hard for me to dive back into an older composition of mine. The Symphonische Skizze Eiger, on the other hand, has always remained present. Perhaps because the opera was still to be written.” However, the opera’s composition hardly ever took place at the foot of the Eiger, but mostly at home in Zurich.
 

The lyrics’ musicality


Müller began his composing work with Tim Krohn’s libretto on his table. He has great confidence in the musicality of his librettist, with whom he is already working for the third time: “Tim Krohn has an affinity for music and a great understanding of the musicality that a libretto must have. There was nothing in his text for which a musical solution could not be found.”  Even tricky passages became a delightful challenge. Of course, he maintained an intensive exchange with Tim Krohn; but “in the end, we didn’t make a single change to the libretto.”

 
Both German and the Austrian alpinists of that period showed closeness to National Socialism in their thinking and often in their acts as well which is also a subject of Tim Krohn’s libretto. It draws the characters in their ambivalence, Müller notes. “Their political stance resonates in the drawing of their characters. It also becomes a problem when it comes to trust each other, which is essential in climbing. This characters’ ambivalence also finds expression in my music.”

 

Portrait Tim Krohn zVg SOBS

 

While Müller was still in the composing process – for the opera with a large orchestra – he received a commission for Eiger from Theater Orchester Biel Solothurn (TOBS). After completing the score, he therefore wrote an additional version for chamber orchestra, which will now be premiered in Biel in a production by Barbara-David Brüesch and directed by  Kaspar Zehnder.

 

Letting music happen 

But what does Müller’s music sound like? He is certainly not one of the experimental composers, nor does he want to be. He is convinced that the tonal possibilities of a symphony orchestra are exhausted today. But something new can arise in the combination and the connection of sounds and sound figures.  
 
In his compositions, Müller always keeps music history in mind: he is not afraid to use traditional harmonies or sound structures. His points of reference are Gustav Mahler, young Arnold Schönberg, Alban Berg, as well as the French music of the early 20th century and feels related to today’s Scandinavian, Eastern European and Anglo-American composers, to name but a few.

 


Fabian Müller, Munch’s Traum(a) für Violine Solo, UA 2010:Müller’s music is about emotional expression. He cites Gustav Mahler, young Arnold Schönberg or Alban Berg, but also György Ligeti and Olivier Messiaen as music points of reference.

 

Of course, he has intensively studied the German and French avant-garde of the post-war period and its history – such as the serial technique, which for him, however, clearly belongs to the past. “György Ligeti already overcame it in 1961 with his grandiose work Atmosphères, and the same goes for others of his contemporaries.” Ligeti and Olivier Messiaen are important pillars for him. but he also greatly appreciates the composers “who broke new ground in the 1970s” – away from experimental paths, such as the Finn Einojuhani Rautavaara (1928-2016), with whom he was linked by a long correspondence.  

Müller describes himself as an intuitive composer who is always concerned with emotional expression. “Once the composition process has begun, I let myself be guided by the music itself. As to why my music sounds the way it does, all I can really say is that it’s the music I perceive internally when I’m doing what interests me most, namely composing.”
Christian Fluri

 


Composer Fabian Müller introduces his opera Eiger

 

Theater Orchester Biel Solothurn, opera Eiger
Premiere on December 17, 2021 at Theater Biel, further performances during season 21/22

Toni Kurz, Andreas Hinterstoisser, Philipp Stölzl, Tim Krohn, Gustav Mahler, Arnold Schönberg, Alban Berg, György Ligeti, Olivier Messiaen, Einojuhani Rautavaara

neo-profiles:
Fabian Müller, Sinfonie Orchester Biel Solothurn

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Into the Future with experimental Music

SONIC MATTER Festival to start in Zurich
What does the city sound like underground? Does music sound different when it’s played for a single person? Can it help to survive in a damaged ecosystem? December 2 to 5 2021, artists and festival organisers of SONIC MATTER Festival in Zurich will be looking for answers to these and other questions of our time.

 

George Lewis Soundlines Skirball © Digitice Media Team

 

Friederike Kenneweg
This year’s festival motto is TURN. Different formats, like of course concerts, but also exhibitions and round tables, address such moments of change in music, but also in environment and society.

The Walcheturm art space, for example, will be transformed into a 48-hour listening and video lounge during the festival under the title “weichekissenheisseohren”.

 

Danceable music, anticipating the catastrophe

 

At the same venue, Andreas Eduardo Frank explores the relationship between „Musik&Katastrophen“ (“music & catastrophes”) in the “border line club culture”. Being electrified, expecting the inevitable, tense and on the verge of discharge – Frank translates this pandemic era attitude to life into electronic music with his synthesiser. The tense audience can let the steam out by dancing. At the end of the festival, the GLENN will loudly invite the Walcheturm art space audience to dance.

 

Process-oriented and sustainable

 

The festival should be process-oriented and sustainable, as artistic director Katharina Rosenberger put it in an interview with SRF 2 Kultur in May 2021. The composer has founded a collective with artist and director Julie Beauvais and cultural manager as well as music journalist Lisa Nolte to manage the festival. The three women attach great importance to long-term cooperation with artists and the continuous development of contact with the audience. That’s why they also have a SONIC MATTER website, serving as platform for artistic exchange, research and encounters. Some of the results of this collaboration will be presented during the festival.

SONIC MATTER_OPENLAB, for example will feature works by artists, scientists and activists from Bolivia, Canada, Ecuador, the USA, Brazil and Switzerland in a joint performance. From very different places in the world, all these actors use their respective means to draw attention to the threats facing our planet. In a deep listening experiment, these different voices, approaches and perspectives are made accessible to the audience.

The SONIC MATTER_village explores the sound of Zurich’s city districts together with its residents. Audio pieces have been created during workshops with residents and will be presented in the festival programme.

The opening concert at the Schauspielhaus Zurich will feature the International Contemporary Ensemble from New York under the title CONNECTIVITY. The programme includes compositions by George Lewis, Nicole Mitchell, Helga Arias and Murat Çolak. A work by the Swiss composer Jessie Cox from Biel, but currently studying in New York and very recently premiered at Lucerne Festival Forward, will also be performed.

 


Jessie Cox’s Black as a Hack for Cyborgification, world creation 2020 online (concert recording october 7th 2021 with International Contemporary Ensemble, Target Margin Theatre in Brooklyn) will be performed at concert CONNECTIVITY.

 

The orchestra’s sensuality

Entirely in the spirit of the festival’s motto, the orchestra concert in the Tonhalle Zurich will feature Dieter Ammann’s 2010 work TURN, which traces the transformation from one state of things to another with the means of the orchestra. “Exactly where the music becomes quite clear, easily graspable for the listener, the turn happens, a turning point at which the previous sonority completely implodes and abruptly changes into another sound image,” says Dieter Ammann about his work. “It’s comparable to a scene on a stage, where lighting and technology suddenly create a new atmosphere.”

 

Dieter Ammann, Glut for orchestra, world premiere september first 2019 Lucerne Festival Academy, conductor George Benjamin, inhouse-production SRG/SSR

 

Das Stück für großes Orchester dropped.drowned von Sarah Nemtsov aus dem Jahr 2017 spielt auf feinsinnige Art mit den Klangfarben des Orchesters und macht im Gegensatz dazu Wandlungsprozesse erfahrbar, die sich eher allmählich vollziehen.

 

Chasing the sound of the city

 

Those who want to tune their ears to this kind of sensuality by listening to the sounds of the city can do so on Friday afternoon during a listening walk with sound artist Andres Bosshard, who will set out from the viaduct at the Markthalle in search of special soundscapes or tranquillity and listen, among other things, to the water murmuring of the river Limmat.

At the sound trail “Unter der Klopstockwiese” by sound artist Kaspar König, Zurich’s sound is presented from a completely different perspective: from down below. „Begehbare Hörlandschaft unter der Erde“ (“walkable listening landscape under the earth”) opens a distorted listening world, turning familiar sounds into something alien: enraptured and ghostly.
Friederike Kenneweg

 

Kaspar König let’s us listen to the sound of Zürich over/under the earth..

 

Julie Beauvais / Lisa Nolte / Katharina Rosenberger, Andres Bosshard, George Lewis, Nicole Mitchell, Helga Arias, Sarah Nemtsov, International Contemporary Ensemble, Kaspar König

 

FESTIVAL SONIC MATTER, 2.-5.12.21:
SONIC MATTER_OPENLAB
SONIC MATTER_village

 

concerts mentioned:
2.12.21, 20h, Schauspielhaus Zürich Schiffbau-Box: CONNECTIVITY,
3.12.21, 19:30h, Tonhalle Zürich: TURN
5.12.21, 19h, Alte Kaserne: DIĜITA

 

broadcasts SRF 2 Kultur:
Musik unserer Zeit, 8.12.21, 20h: Sonic matter – ein neues Festival in Zürich, Redaktion Moritz Weber
neoblog, 11.11.21: neue Hörsituationen für neue Musik – Lucerne Festival Forward / u.a. zur UA von Jessie Cox, Autorin Gabrielle Weber
neoblog, 17.11.20: musique de création – Geheimtipp aus Genf im GdN Basel: Gabrielle Weber: Interview mit Jeanne Larrouturou zum Projekt Diĝita

neo-profiles:
Festival Sonic Matter, Katharina Rosenberger, Jessie Cox, Dieter Ammann, Andreas Eduardo Frank, Ensemble Batida, Kaspar König

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New listening environments for new music

Gabrielle Weber
Lucerne Festival Forward – the festival’s name sounds like the future, which is exactly what the new Lucerne Festival for Contemporary Music stands for. Ist fisrt edition will take place from November 19 to 21. The Lucerne Festival is thus once again committing to new and cutting-edge music and creating another platform for its Lucerne Festival Contemporary Orchestra (LFCO), freshly founded this summer.  

Future means diversity, mindfulness in dealing with each other and the environment, a close dialogue with the audience and examination of essential questions of our time. Behind the intitution is not a single head, but an 18-member collective, which sets new standards, as the responsibility for an entire festival belongs to a collective of young musicians, composers and performers.

Before the opening, I spoke with Stephen Menotti, trombonist and co-curator from Basel, as well as with Swiss composer Jessie Cox, who will have his new piece “Alongside a Chorus of Voices for ensemble” premiered.

 

Portrait Jessie Cox ©Adrien-H.-Tillmann / zVg. Lucerne Festival Forward. Cox’ Musik is dealing with the Universe and our future in it.

 

The curative process behind the festival programme is elaborate. In April 2021 calls for entries in the Academy network started and the network reached some 1300 musicians, consisting of musicians from all over the world who have attended the Festival Academy at some point and played in the former Academy Orchestra and later in the Alumni Orchestra. Many of them now also play in the LFCO. On the one hand, one could apply for a ‘Leadership Programme’, on the other hand for a ‘Call for Proposals’ with own concert programmes. The many high-quality, complementary applications led to the high number of 18 curators, says Menotti. He is delighted that he can now be part of the curatorial collective as co-curator and contemporary leader.

The newly elected collective started by examining the concert proposals. Certain ‘leitmotifs’ came up again and again, Menotti explains. The future of our planet, our coexistence and our interaction with nature, but also experimentation with concert forms and listening environments. These themes became the festival’s common thread and shaped the final concert programmes.

The uniqueness about this unusually large curatorial collective and its work was that the participants came from very different corners of the world, like the USA, Asia or Canada, bringing very different perspectives. In this way, everyone could benefit from the others and a truly “democratic team” emerged, says Menotti.   

The festival starts on Friday evening with an ‘opening/happening’ in KKL and on Europaplatz with “Workers Union”, an openly interpretable piece by the recently deceased Dutch composer Louis Andriessen from 1975 – a kind of politically engaged, rhythmic and explicitly loud street music between classical music and jazz. The fact that the audience is physically involved is welcome here, unlike in the classical concert formats.

LFCO’s musicians strike quieter notes at the «Kunstmuseum im KKL», where they improvise to works by artist Viviane Suter. In doing so, they interpret Suter’s works, hanging in the middle of the room, as visual scores. The importance of creating new listening environments is once again highlighted as the audience does not sit on chairs, but moves freely through the space with the musicians.

Intimate listening situations are proposed in the realm of the so-called one-to-one performances by violinist, performer and curator Winnie Huang, who – in short solo performances for only one listener – adapts her performance, facial expressions and body language individually to her counterpart.

 

LFCO concerts

 

Four concerts in the KKL concert hall will be performed by the LFCO ensemble, directed by Mariano Chiachiarini and Elena Schwarz. The concerts bear titles such as “Water/Nature“, “From darkness to light” or “Rainfall“. A mixture of works by young and established composers, all involving the space, with the musicians moving around the concert hall, or involving the audience. One piece even takes place in the dark.

Kirsten Milenko, ‘Traho‘ for orchestra, a composition commissioned by the Roche young composer commission, was premiered at the Lucerne Festival 2021 by LFCO, directed by Lin Liao at KKL Luzern.

 

 

Water and Memory” by Annea Lockwood stands for learning from nature. The piece by the New Zealand-American electronic pioneer develops from a polyphonic humming, with the performers distributed around the room coming up with their personal memories – and finally involving the audience in the collective humming.

 

Portrait Annea Lockwood © Nicole Tavenner / zVg. Lucerne Festival Forward. Lockwood’s music deals with the balance between nature and mankind, in the piece “Water and Memory” water carries personal memories.

 

Space travelling

The new piece by Jessie Cox is also future oriented. The composer and percussionist, who grew up in Biel, is currently studying in New York and is considered an international insider tip. His music is focussing on nothing less than the universe and our future in it with an approach he describes as “space-travelling”, borrowing from Afrofuturism aesthetics, with the aim to create visionary future spaces in which black lives are definitely welcome.

“My music thrives on the exchange between different geographical, cultural and temporal spaces,” Cox says. In his new piece “Alongside a Chorus of Voices for ensemble”, Cox uses small bells, representing a stereotypical sound of Switzerland on one hand and African-American history on the other as they were used in the USA during slavery times to locate slaves by landlords. These different levels of meaning intertwine.

 


Jessie Cox has been working with bells for some time. In the string quartet conscious music, for instance they play a role that changes over the course of the piece – at first they can be localized, then they gradually become a free component of the piece.

 

During the performance, the musicians pass the bells on to the audience in order to raise questions about how we want to live together in the future. This also involves a confrontation with racism in Switzerland. “Music is a suitable place to negotiate this matter” says Cox.
Gabrielle Weber

Louis Andriessen, Annea Lockwood, Winnie Huang, Liza Lim, Kirsten Milenko, Mariano Chiachiarini, Elena Schwarz

Lucerne Festival Forward will take place
from Friday November 19, to Sunday 21.

concerts mentioned:
Opening/Happening, Freitag, 19.11., 22h, Europlatz
Museum Concert, Samstag, 20.11., 16h, Kunstmuseum
Forward Concert 1, Samstag, 20.11.21, 19:30h: “Water/Nature”
Forward Concert 2, Samstag, 20.11.21, 22h: “From Darkness to light”

neo-blog-Lesende erhalten vergünstigte Karten für folgende Konzerte:
-Forward-Konzert 1: 20.11., 19.30h mit Werken von Annea Lockwood, George Lewis und Liza Lim unter Angabe des Codes PRO1M0AR
-Forward-Konzert 2: 20.11., 22.00h mit Werken von Pauline Oliveros, Luis Fernando Amaya, José-Luis Hurtado und Jessie Cox unter Angabe des Codes PROMA1KR.

 

Radiofeatures SRF 2 Kultur:
Kultur kompakt, Fr. 19.11.21, Redaktion Annelis Berger
MusikMagazin, Sa/So, 20./21.11.21, Café mit Winnie Huang, Redaktion Annelis Berger
Musik unserer Zeit, 1.12.21: Lucerne Festival Forward – neue Hörsituationen für neue Musik, Redaktion Gabrielle Weber

neoblogs:
Exzellenzorchester für neue Musik, Autor Benjamin Herzog, online 26.8.2021

Lucerne Festival – Engagement für neue und neuste Musik, Autorin Gabrielle Weber, online 1.8.2021

neo-profiles:
Jessie Cox, Stephen Menotti, Lucerne Festival Contemporary, Lucerne Festival Contemporary Orchestra (LFCO), Lucerne Festival Academy

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New Music nomads

Portrait Collegium Novum Zurich – Season 21/22 – starting October 30, 2021

Since summer 2019, cellist and musicologist Johannes Knapp is Collegium Novum Zürich’s new artistic director, focussing on new artistic perspectives as well as on broadening the audience for the ensemble. The previous season having to be downscaled due to pandemic reasons, now the first season curated by Knapp can finally take off. Thomas Meyer spoke to him before the second concert, which took place on October 30, under the direction of Emilio Pomàrico in the newly restored main hall of Zurich’s “Tonhalle”.

 

Portrait Collegium Novum Zürich, Konzert Tonhalle Maag Zürich, zVg Collegium Novum Zürich ©François Volpe

Thomas Meyer
New music may not be so young anymore, but it always knows how to rejuvenate itself. This becomes clear when two works written half a century apart, a classic and a newcomer, meet in the 3rd concert of Johannes Knapp’s Collegium Novum Zürich’s (CNZ) season on December 18. Éclat-Multiples will be performed together with (Re)incarnation [Yerlik]: a central work by Pierre Boulez from 1970, next to that of a 34-year-old composer whose name not many are likely to know: Kazakh Sanzhar Baiterekov who based this work on the processes of an old Tengrist myth from his homeland, dealing with the underworld and rebirth.  

Such encounters have a long tradition at the CNZ. Since its founding in 1993, it has pursued on one hand the performance of important contemporary works, which set standards and are important for the musicians’ education, but also for the audience. CNZ has so established an important role in Zurich’s musical life and some of the musicians are part of the collegium since its foundation.  

On the other hand, the ensemble is in quest of the young, the unknown, the challenge and the opening. Cellist and musicologist Johannes Knapp is also on the lookout for “music announcing and embodying of what tomorrow will bring”. He took over the artistic direction and management two years ago, but his first season had to be reduced due to corona.

 

Portrait Johannes Knapp ©Alessandra Carosi

 

Only four concerts and in front of small audiences could take place. Therefore, some performances were streamed for Idagio. In addition, the ensemble tackled three CD projects to be completed this year, one with music by Boulez and one featuring Swiss composer William Blank, as well as a series of student-teacher double portraits such as Heinz Holliger/Sándor Veress or Klaus Huber/Willy Burkhard. That’s also why Huber’s “Remember Golgotha” opened the new season.

 


Klaus Huber, Psalm of Christ, Collegium Novum Zürich, Bariton: Robert Koller, conductor Heinz Holliger, Tonhalle Zürich, in house production SRG/SSR 2015

 

Myths and legends
 

This time the focus will be on myths and legends in contemporary music, which is more to be seen as a stimulating starting idea than an ongoing motto. According to Knapp, myths have a deep connection to music because they transcend logic and words and cannot be clearly fixed. They are attempts to deal with the uncertain, even the horror.  

Therefor several famous myths will appear in the programme: Orpheus in Orpheus falling by Sarah Nemtsov, the creation myth (Day 6) in Eufaunique by Stefano Gervasoni, the Egyptian sun god Ra in Sortie vers la lumière du jour by Gérard Grisey and Cathy van Eck, who teaches in Bern, will transform the Tonhalle into a “forest through which the wind blows” for Daphne’s myth in her new performance.

 


Gérard Grisey: Sortie vers la lumière du jour (1978), Ensemble Phoenix Basel, Leitung Jürg Henneberger, in house production SRG/SSR, Gare du Nord Basel 2016

 

Finally, the season will end with animal legends by Igor Stravinsky (Renard), Ruth Crawford Seeger or Frank Zappa, who was strongly influenced by Edgard Varèse and Stravinsky in his early days.  

 

Encounter with baroque instruments
 

Such programs also question the absolutist dogmas of new music. Why should new music always have to “sound” “new”? Can it not overcome historical boundaries? Questions like these led to an encounter with baroque instruments, specifically with La Scintilla, the early music ensemble of Zurich’s Opera, with French composer Philippe Schoeller presenting his new work Kátoptron which revisits the ancient myth of Echo and Narcissus.  

This is how Collegium Novum Zurich travels down the road. “Crazy nomads of Zurich” is how somebody once wittingly phrased the acronym CNZ, as the ensemble has no fix venue and is always looking for new ones, i.e. the Grossmünster’s crypt this year. As Knapp notes in his season editorial: “Travelling as an exploration of soundscapes by ear. Art means never arriving.”
Thomas Meyer

 

Pierre Boulez, Sanzhar Baiterekov, Sarah Nemtsov, Stefano Gervasoni, Gérard Grisey, Frank Zappa, Igor Strawinsky, Ruth Crawford Seeger, Edgar Varèse, La Scintilla, Philippe Schoeller, Emilio Pomàrico, Christoph Delz, Dahae Boo, Kelley Sheehan, Michael Wendeberg

 

Portrait Collegium Novum Zürich @Tonhalle Maag Zürich, zVg Collegium Novum Zürich ©François Volpe

 

upcoming concerts CNZ:
Grosse Tonhalle Zürich, 30.10.21: And falls into the Netherworld, Dirigent: Emilio Pomàrico, Werke von Sarah Nemtsov, Aureliano Cattaneo, Rebecca Saunders, Stefano Gervasoni
Grosse Tonhalle Zürich, 4.12.21: Konzert 3, Dirigent: Johannes Schöllhorn, Stefan Wirth Klavier; Werke von Kelley Sheehan, Tobias Krebs, Dahae Boo, Christoph Delz

broadcasts SRF 2 Kultur:
Neue Musik im Konzert, 1.12.21: Konzert CNZ, Tonhalle Zürich, 30.10.21

neo-profiles:
Collegium Novum Zürich, William Blank, Heinz Holliger, Sandor Veress, Klaus Huber, Willy Burkhard, Cathy van Eck, Gare du Nord, Ensemble Phoenix Basel, Rebecca Saunders, Tobias Krebs