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 NemtsovInternational Contemporary EnsembleKaspar 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 AmmannAndreas Eduardo Frank, Ensemble Batida, Kaspar König

‘partage de l’écoute’ – shared listening

Archipel, Geneva’s Contemporary Music Festival, will take place live and stream online from 16 to 25 April. Archipel sous surveillance, the festival web TV, brings the performances live into the audience’s homes 

Benoît Renaudin, 1000 flûtes, installation sonore, maison communale de plainpalais ©zVg Festival Archipel

 

Gabrielle Weber
2020 was a special year and this in many ways for the legendary Geneva Festival. After many years of directorship by musicologist Marc Texier, a new duo of directors took over. Marie Jeanson who has a background in experimental and improvised music- and Denis Schuler – composer and artistic director of Geneva’s Ensemble Vide – want to turn the festival upside down.   

The new artistic director duo explained their vision of the ideal festival to me last spring, shortly before the planned launch. Their vision was to be implemented in an exemplary way through a one-day Carte Blanche.   

The festival was one of the first victims of the first lockdown.  
This year it takes place online.   

Marie Jeanson und Denis Schuler present themselves before the Carte blanche, planned for Archipel 2020. Video Geneva März 2020 ©neo.mx3

Jeanson and Schuler’s vision sounded like a five-point plan: what has become of it and what has been accomplished – despite the pandemic and streaming? I dug out our earlier conversation to compare their pre-pandemic vision with today’s reality 

The 2020 five-point plan <> the 2021 festival: a comparison

La musique c’est fait pour être vécue ensemble

2020: All is one – music and life belong together. The Carte Blanche should last an entire day and all take place in one place PlainpalaisMaison Communale -, focusing primarily on hospitality, with shared meals and as well as dialogue and interaction opportunities. Because: “The purpose of music is to share and experience it together,” says Schuler.     

2021: The unity of life and music will be achieved through Archipel sous surveillance. The experimental festival web TV covers the festival – backstage on site – and brings it into the audience’s living rooms, daily between noon and midnight. The audience gets the opportunity to live with the festival.  

  

Archipel sous surveillance ©zVg Festival Archipel

 

‘cohérence poétique’

2020: In the future, the festival wants to focus less on the music makers and more on the audience. “We wish to establish the right framework so that people are touched by a poetic coherence. We tell stories and want to create a desire to come back,” says Jeanson 

2021: Four sound installations occupy four rooms of Plainpalais’ Maison Communale and can be walked through online throughout the festival. The festival’s characteristic and historic headquarters are reborn online, creating a continuous poetic space between fiction and reality….
 

 

Benoît Renaudin, 1000 flûtes, installation sonore, maison communale de plainpalais ©zVg Festival Archipel

‘faire exister la création’

2020: Archipel does not want to be involved (any more) in the festival competition for the most and best world premieres. “Many people are only interested in being the first ones to do or show something,” says Schuler. But the artistic director duo is all about “keeping the creation alive”. “What we’re mainly interested in, is the combination of composition with what is created during the very moment.   

2021: Composition and improvisation meet at many concerts, the improviser Shuyue Zhao and the Basel ensemble neuverBand are only a few examples. In her performances, Zhao questions the interpreter’s role and works with live electronics, noise and improvisation. While works by Sofia Gubaidulina or Junghae Lee, among others, interpreted by the ensemble neuverBand, create a new kind of unity with Zhao’s improvisations.  

 


Shuyue Zhao: noise fragments, 2019

 

‘partage de l’écoute’

2020: Transdisciplinarity won’t be the future festival’s focus neither. It is rather about ‘pure listening’. “We want to create a special setting in which concentrated listening takes centre stage,” says Jeanson. Concentration creates a special presence that paradoxically comes close to silence. “At the Carte Blanche, for example, there are ‘salons d’écoute‘, rooms dedicated to pure listening, with a sound diffusion system (Acousmonium) and sound engineer. Those who want can bring their own CDs to listen and discuss them together”.    

2021: the “salons d’écoute” will take place in a slightly different way: You can’t bring your own CDs. But every noon there will be so-called ‘partages d’écoute’ where a composer will share his/her listening treasures. For example, you can discover composer’s Jürg Frey or composer-singer’s Cassandra Miller favourite records.  

 

Rencontres à l’improviste – unexpected encounters

2020: Musicians who did not know each other before are brought together by the curators. “We provoke make encounters happen and create the framework: the musicians can play what and where they want within a given time frame. They decide at short notice, so the audience is surprised,” says Schuler.     

2021: Insub.distances#1-8 links remote musicians. Cyril Bondy, Geneva’s Insub Meta Orchestra and d’Incise’s director, winner of a 2019 Swiss Music Prize, initiated the project for Archipel’21. During Geneva’s second lockdown, from September to December 2020, four Geneva-based and four international composers, composed each one piece for a duo. The works have proximity and distance as their theme and were rehearsed remotely, recorded and put online. Now they can all be enjoyed throughout the festival.
 

 


Insub Meta-Orchestra / Cyril Bondi & d’incise: 27times, 2016

It is astonishing how precisely Marie Jeanson’s and Denis Schuler’s festival vision, created on a small scale, is now reflected on a large scale, despite the pandemic’s and streaming restrictions 
Gabrielle Weber

Festival Archipel Teaser 2021

Archipel Festival, Geneva takes place from Friday, 16 to Sunday, 25 April. 
During ten days, international performers and ensembles such as Ensemble Ictus, Collegium Novum Zürich, ensemble Contrechamps and Eva Reiter will perform works by Clara Iannotta, Alvin Lucier, Jürg Frey, Helmuth Lachenmann, Eliane Radigue, Cassandra Miller, Morton Feldman, John Cage and Kanako Abe, among others. All concerts can be streamed free of charge.  

Archipel sous surveillance broadcasts daily between 12:00 and 24:00 from all venues, backstage and onstage, involving Geneva-based film crew Dav tv as well as the alternative television station neokinok.tv. 

Broadcasts:
RTS:
Le festival Archipel met à l’honneur les musiques experimentales
SRF 2 Kultur:

neoblog, 12.3.2020Ma rencontre avec le future – ANNULÉ, Gabrielle Weber talks with the new artistic directors Jeanson/Schuler.

Neo-Profiles: Festival Archipel, Shuyue Zhao, Jürg Frey, Insub Metha Orchestra, Ensemble Batida, Ensemble Contrechamps, Patricia Bosshard, d’Incise

Musique de creation – An insider tip from Geneva at GdN Basel

Gabrielle Weber: Interview with Jeanne Larrouturou, Ensemble Batida & Diĝita: Romandie @GdN Basel_1, 26.11.10

The instrumentation is unusual… and convincing: three percussionists and two pianos. Even more unusual is the collaboration with the cartoon collective Hécatombe. At Diĝita, Geneva-based ensemble Batida combines music with comics. On November 26, at the Gare du Nord, focus of the “Romandie” season.

Basel’s Gâre du Nord, the Station for New Music’s main focus extends over three seasons, with three times three concerts. In the long run, this will build solid bridges to the other Swiss language region, which is of high importance, especially now, as the ensembles of the French-speacking part of Switzerland cannot perform there due to the regional lockdown.

Neoblog portrays the guest ensembles and neo.mx3 accompanies the concerts’ live broadcasts together with RTS.
Episode one: Ensemble Batida Genève: A portrait

Gabrielle Weber
I met Jeanne Larrouturou, percussionist and co-artistic director, for a conversation via Zoom during the Geneva Lockdown. Larrouturou comes from France, grew up in Geneva, and after her studies at the Haute école de musique Genève (HME), she specialised in contemporary music at the Musikhochschule Basel. Since then she has been acting as bridge-builder between the two regions’ music scenes.

Ensemble Batida: Concert Le Scorpion © Pierre-William Henry

Batida’s lineup was rather accidental. Larrouturou explains that the ensemble originated as a “classic Bartok formation”, referring to Bartok’s 1937/38 sonata for two pianos and percussion. In 2010 four of the ensemble members formed for a concert at the HME and further joint performances followed. When a percussionist left for abroad, Larrouturou stepped in and stayed. The core formation has since then remained unchanged: three percussionists Jeanne Larrouturou, Alexandra Bellon and Anne Briset complement Viva Sanchez Reinoso and Raphaël Krajka on piano.

A stroke of luck, because many new works were created for this unique lineup. On one hand by composers, on the other hand by collective composition of the ensemble’s members themselves, which also began by chance. During a project with a dance company, the choreographer asked Batida to compose something. “This is how the first composition commission happened and we carried on composing together afterwards. Next came music for a project with a puppet theatre,” says Larrouturou.

Ensemble Batida, Haïku, collective composition 2013

“The way we compose strongly draws on experimentation. We start from an idea of general structure, a concept and then we “go”: we play, we listen to each other, record ourselves, listen to the recordings together. We structure, organise and record “. A kind of creation that combines improvisation and notation. Generally, the improvisational elements are retained.

musique de création

Batida does not want to get stuck in a set musical genre. “We see ourselves in contemporary music, but don’t like what’s behind that label very much” says Larrouturou. In France there are several more fitting designations: ‘Musique de création’ is the most appropriate for her: “it’s sufficiently open, but at the same time excludes traditional ‘contemporary music’.”

Ensemble Batida: Mean E, kollektive Komposition 2013

The ensemble has hardly had performances in German-speaking Switzerland so far. After the Concours Nicati in Bern 2014, performances at the festival Zeiträume Basel and in Andermatt followed. Quite the opposite to the Romandie , as well as abroad, where the ensemble performed at many festivals, toured France, Russia, Portugal and Cyprus. Another tour – with Diĝita – was planned in the USA (but had to be postponed due to the pandemic).

Larrouturou explains the meagre exchanges between language regions as follows: “I have been living in Basel for about four years now and my network is in Basel, Geneva and Lausanne. It never ceases to amaze me how little the scenes know each other. At the university in Basel, I noticed that there were fundamental differences in aesthetic orientation. Certain very highly considered musicians in Basel, are hardly known in the French-speaking part Switzerland. The French-speaking part is more closely linked to France, while the German-speaking part is to Germany,”.

Larrouturou curates the Lausanne concert series Fracanaüm together with composer Kevin Juillerat, a fellow student from Basel, based in Lausanne. They try to transcend such divisions. “We don’t even ask ourselves where someone comes from and invite musicians from our network from both regions. I’m convinced that these small initiatives create and develop long term relationships”.

But Batida is also about building bridges between divisions. Most projects are transdisciplinary and developed in collaboration with other artists, with dance, puppet theatre, architecture, video or comic artists.

The collaboration with the Geneva-based drawing collective Hécatombe is ongoing, since their first joint project in 2016.

Ensemble Batida & Hécatombe: Oblikvaj, collective composition 2016-2018

“In our first project Oblikvaj (2016-2018), it immediately became apparent, that we were on the same wavelength. Each of the five members of Hécatombe created a graphic score, in form of a 24-page black and white comic strip and Batida reacted with collective compositions. It worked brilliantly”. Concerts with live encounters followed.

Diĝita is primarily about the joint creation process. “In the summer of 2019 we took a 14-day retreat in an old farmhouse in the middle of nowhere. We didn’t bring any instruments, but collected and recorded existing sounds, for example big machines, tractors and engines.

Diĝita, Trailer ©Gare du Nord, Batida & Hécatombe

The title Diĝita stands on one hand for the ‘fingers’, on the other hand for digital vs. analogue. The recorded and sampled sounds refer to the digital realm, while the music performers work with their fingers. The musicians perform within a transparent cube, with screen-display walls onto which 3D videos by the drawing collective are projected: life-size comic figures on the videos overlap and thus alienate the real bodies of the musicians in the cube.

Diĝita was able to give a concert in Lausanne on 31 October: “It was an extreme experience as we all knew that we wouldn’t be playing live again for a while, so we enjoyed the moment even more,” says Larrouturou. The Diĝita tour with follow-up concerts in Geneva was unfortunately interrupted by the lockdown.

During our conversation, it turned out that Batida is celebrating its tenth anniversary this year. A party with partners and audience is planned in Geneva, but due to the pandemic it will not take place before 2021.
Gabrielle Weber

Ensemble Batida Portrait ©Batida

Ensemble Batida: Klaviere: Viva Sanchez Reinoso, Raphaël Krajka
Percussion; Jeanne Larrouturou, Alexandra Bellon, Anne Briset
Diĝita: Video: Giuseppe Greco, Ton: David Poissonnier

Gare du Nord: Batida & Hécatombe: Diĝita, 26.11.20, 20h
(because of lockdown in Basel, they played twice for 15 persons, combined with a Livestream for everybody else)

Ensemble Batida, FracanaümKevin Juillerat, haute école de musique genève – neuchâtel, Hochschule Musik Basel, Hécatombe,

broadcast RTS:
l’écho des pavanes, 20.11.20, rédaction Anne Gillot, Gespräch mit Désirée Meiser, Intendantin Gare du Nord
broadcast SRF 2 Kultur:
in Musik unserer Zeit zu neo.mx3, 21.10.20, Redaktion Florian Hauser / Gabrielle Weber

neo-Profiles: Ensemble Batida, Gare du NordAssociation Amalthea, Kevin Juillerat

Transdisciplinarity as search engine

In this post, Viva Sanchez Reinoso, pianist and co-founder of the Geneva based Ensemble Batida and “association Amalthea” examines certain creation processes relating to contemporary music. The text is based on her 10 years experience in the fields of interpretation, improvisation and interaction with other disciplines.

Ensemble Batida

The challenges faced by independent musicians who manage an associative structure in order to produce multidisciplinary projects are many and they require an enormous amount of skills besides the one of being high-level performers: i.e. the understanding and handling of production and distribution networks governed by their own and often times not very transparent processes, but also project management including budget matters, or building and maintaining audiences from various horizons within “contemporary” music, which unfortunately often carries a stigmatizing label.

On top of that, they have to face forms of inertia, resulting from a certain conservatism: formalisation and standardisation of knowledge, fierce defence of intellectual property, and, essentially, a division of the creative area into disciplines and genres, whose definitions are constantly being revised.

Thus the question arises: how does one manage, when the practice lies between constantly shifting boundaries and the intellectual approach relates more to comparative branches of human sciences rather than inherited models of the classical musical tradition?

To untie contemporary music from this highly specialized niche – technically but also aesthetically – musicians should keep a permanent and dynamic link between their own practice and what other actors of today’s creative world are doing.

I am not only referring to fellow contemporary artists, but also to different musical genres, scientific as well as non-scientific fields and practices, in order to gradually reach fertile perspectives by breaking the boundaries of discipline. An array of practices that would challenge each other’s evidences allowing the shift between artistic territories by dealing with questions belonging to other branches.

Brice Catherin, Numéro 2, Athenée, Viva Sanchez Reinoso

In order to give an overview of this approach, which shouldn’t be project related, but rather general and based on a series of works, I have briefly summarised the next three productions I will be involved in, between June and November 2019.

BIG – the “Biennale des arts indépendants de Genève” (June 28 to 30), rebranded to “Biennale Interstellaire de Genève” for its third edition, is an event that will gather over 70 alternative structures such as theatres, booksellers, labels, collectives, festivals, grocery stores, radios and cinemas, developing a vision that transcends disciplines.

I will work with puppeteer-astronaut Padrut Tacchella and Pierre Dunand Filliol, an experimental musician specialised in crafting electronic instruments, to create a sound installation connecting the stars to the buzzing world of the people at the “Espace du Galpon”.

Les Jardins Musicaux will feature “Welcome to the castle” in Le Locle’s “Musée des Beaux-arts” on September 1st. This monumental project by the Ensemble Batida was commissioned to Nicolas Bolens in 2017. The framework conceived by the group is a composition inspired by psychedelic rock and tailor-made for a castle, the space where the work is not only meant to be performed but also a consisting part of the composition itself, requiring redesign for each occupied space.

“Welcome to the castle”, Nicolas Bolens, Ensemble Batida, premiere 2017 @Leon Orlandi

As part of the ABC season, Circo Bello and Amalthea will present Maurizio Kagel’s “Variety” at La Chaux-de-Fonds’ “Temple Allemand” from October, 24 to November, 3. It will be the first time in Switzerland, that a professional team of circus artists and musicians will perform this repertoire piece. The performances will be intoduced by a long on stage preparation with director Fabrice Huggler.

In these interdisciplinary procedures, the exclusive relationship between musician and score is challenged; particular universes are conceived and drawn, the musician’s vision of the musical phenomenon collides with dimension of space, physicality as well as perception of other performers. It’s all about co-constructing and putting a multitude of skills – like comprehending a musical text or sound texture through improvisation, develop and set up installations or the commission and interpretation of works by creating particular contexts and settings – into perspective.

I invite you to attend these productions and look forward to discuss my research further on this blog.
Viva Sanchez Reinoso

BIG BiennaleWelcome to the castleABC

profils neo: Ensemble Batida, Les Jardins Musicaux, Association Amalthea