Posted on

20 Years Konus Quartet

The Bernese saxophone quartet celebrates its 20th anniversary with contemporary music celebration.

To produce every possible sound on the saxophone – that is the craft of the Konus Quartet. The four musicians specialise in contemporary and experimental music, showing – as an ensemble – all the kinds of different sound worlds the saxophone is capable of. This year, the Konus Quartet celebrates its 20th anniversary with a festival week full of collaborations – for example with the Gori Women’s Choir from Georgia.

Florence Baeriswyl
Many saxophone quartets want to sound as virtuosic and full as possible, almost like an organ, but not the Konus Quartet: they play precisely and minimalistically, exploring the boundaries of saxophone music. Christian Kobi, Fabio Oehrli, Jonas Tschanz and Stefan Rolli: these are the musicians forming the Quartet, which celebrates its 20th anniversary this year. The four artists are all versatile, with backgrounds ranging from free improvisation, sound mixing and label management to big band and festival management. What they share is a passion for the saxophone and the love for musical experimentation.

 

Konus Quartett: from left to right: Christian Kobi, Fabio Oehrli, Stefan Rolli, Jonas Tschanz © Livio Baumgartner

 

Minimalism and precision

Christian Kobi, for example, has already created music with the saxophone’s silence. To achieve this, he mounted microphones very close to the blowpipe and recorded the instrument’s resonance without blowing into it. He amplified the silence recorded with this procedure until feedback occurred. The result is a sustained, inconspicuous sound that is easy to overhear if you don’t pay attention.

 


In rawlines 1, Christian Kobi lets silence become sound through feedback of resonances inside the saxophone.

 

Modular and forward-looking

While traditional saxophone quartets usually consist of the four main instruments of the saxophone family – baritone, tenor, alto and soprano – the Konus Quartet is modular and remains flexible in its instrumentation. Depending on the piece, they play in the traditional line-up, but sometimes also with two alto saxophones, one tenor and one baritone, or even with two tenor and two baritones.

This flexibility is also something the quartet seeks, when compositions are commissioned,  working primarily with composers who have explored sound in depth and are not limited by traditional expectations of saxophone quartets. Among the pieces they perform are compositions by important names on the international contemporary music scene such as Chiyoko Szlavnics, Jürg Frey, Barry Guy, Makiko Nishikaze, Phill Niblock, Urs Peter Schneider, Martin Brandlmayr or Klaus Lang.

 

FORWARD & REWIND: A celebration of contemporary music

To celebrate its 20th anniversary, Konus Quartet is holding a festival weekend in Bern entitled Foward & Rewind. The two words Forward & Rewind are meant literally, as the four saxophonists revisit past collaborations and strive for new ones, showing themselves to be both thoughtful and forward-looking.

One of the already existing collaborations is, for example, with the string quartet Quatuor Bozzini. In 2021, the Konus Quartet premiered the piece Continuité, fragilité, resonance by Swiss composer Jürg Frey with them. For the festival’s opening concert, Konus Quartet and Quatuor Bozzini will revisit this piece, together with another work by composer Chiyoko Szlavnics. The musicians give themselves plenty of time and space – and patiently and precisely unfold the various sound surfaces that are hidden in the compositions.

 


During a Lifetime (excerpt): The Konus Quartet interprets a piece by Canadian composer Chiyoko Szlavnics.

 

Powerful voices from Georgia

A new collaboration is scheduled with the renowned Georgian Gori Women’s Choir, which has been presenting traditional Georgian choral singing since 1970. This polyphonic singing technique is hundreds of years old and distantly related to the yodelling we know. It is characterised in particular by the almost physically perceptible power in the voice. The women sing partly in unison, partly in microtonal ranges, mixing harmony and dissonance.

Since 2013, the choir has been led by Teona Tsiramuna and has reinvented itself, so to speak. It is very important to the director to always discover new things and to combine the vocal tradition with modern and international music. “In 1970, the choir sang for a specific, fairly homogeneous audience. It performed mainly melancholic and sustained Georgian music. Now that has expanded. We also sing Mexican, Turkish or African folk music,” says Tsiramuna in an interview for SRF 2 Kultur.

After a collaboration with Georgian-British pop and blues singer Katie Melua, the Gori Women’s Choir gained fame beyond the borders of Georgia and now performs on European stages in various constellations. The conductor’s love of experimentation also draws her to collaborations with contemporary musicians, for example at the Stanser Musiktage.

 

At the Stanser Musiktage 2022, they performed with four young electronic artists, merging voices with synthesiser sounds.

 

“Air Vibrations”

Air vibrations, the collaboration between the Konus Quartet and the Gori Women’s Choir, can relate on one hand to the vibration of the “air “, on the other hand in can be interpreted as “song vibrations”, from the Italian “aria”. The Gori Women’s Choir brings its voices to vibrate together with two other big names of contemporary music: Georgian-Swiss pianist Tamriko Kordzaia and Austrian composer and concert organist Klaus Lang.

 

Die neue Kollaboration knüpft an die erste Zusammenarbeit zwischen Klaus Lang und dem Konus Quartett, dem Stück Drei Allmenden, an.

Lang conceived and composed the concert and is featured on the organ. His works are characterised by the way he explores sound. Music is “time made audible”, says Lang. On his instrument, the concert organ, this side of sound can be explored particularly well, as one can hold the notes for any length of time.

In the Air Vibrations concert, Lang interweaves his organ playing with the Konus Quartet’s saxophones and Tamriko Kordzaia’s piano playing, laying the ground for the traditional singing of the Gori Women’s Choir. This creates music that mixes the old and the new and is thus fully in the spirit of the festival: Forward & Rewind.
Florence Baeriswyl

 

Konus Quartett © Livio Baumgartner

 

FORWARD & REWIND Bern
3.5.23, 18:30: concert «Continuité, fragilité, resonance» Jürg Frey, with Quator Bozzini, les Concerts de musique Contemporaine (CMC) La Chaux-de-Fonds
5.5.-7.5.23: Fest für neue Musik , Bern
5.5. 19:30: Interlaced Resonances, Aula PROGR Bern
6.5. 19:30: Voltage Cracklings, Aula PROGR Bern
7.5. 19:30: Air Vibrations, Kirche St Peter & Paul Bern

concert: Moods Zürich
8.5.23, 20:30:  «Air Vibrations»

Fabio Oehrli, Jonas Tschanz, Chiyoko Szlavnics, Barry Guy, Makiko Nishikaze, Phill Niblock, Martin Brandlmayr, Klaus Lang, Quatuor Bozzini

broadcasts SRF 2 Kultur:
Neue Musik im Konzert, 19.7.2023: Konzert Konus Quartett und Gori Women’s Choir, Bern: Air vibrations
Neue Musik im Konzert, 12.1.22: Jürg Frey: Stehende Schwärme
Musik unserer Zeit, 13.11.13: «zoom in» – der Saxophonist und Veranstalter Christian Kobi
Online-Artikel, 13.11.13: Das Rauschen des Nichts: Der Saxophonist Christian Kobi
Musik unserer Zeit, 17.07.2019: Saxophonzauber mit dem Konus Quartett
Musikmagazin, 21.5.22: Chorleiterin Teona Tsiramua: «Wir singen nicht nur Wiegenlieder»


neo-profiles:
Konus Quartett, Tamriko Kordzaia, Christian Kobi, Jürg Frey, Urs Peter Schneider, Jonas Tschanz

Posted on

Poetic North, Electronic Night

Friedemann Dupelius
“You really have to be a poet to live in the north,” says Cosima Weiter and laughs out loud. She must know what she’s talking about, having travelled to the far north of Europe several times with enjoyment. No wonder, she is also a poet, a sound poet to be precise, “I don’t want to idealise it though” she points out. She still identified a special mindset when travelling to the northern regions of Finland and Norway to prepare the scenic Kaija Saariaho evening Nord with Ensemble Contrechamps. Together with video artist Alexandre Simon, Cosima Weiter captured not only images and sounds, but also impressions of the people living where Nord will be set. “If you live in a big city and meet someone you don’t like, you just move on to the next person. But finding yourself where so few people live, you have to make an effort and try understand the others. Thus, being far away from everything means being open,” she explains.

 

Four pieces by Kaija Saariaho are part of the production “North” by Cosima Weiter & Alexandre Simon © Andrew Campbell

 

Nord is about a woman who sets out to wander from Finland to the very place where one is far away from everything: the north. During this thoroughly romantic undertaking, she meets different people who react differently to her. Some are envious, others admire her and one is even heartbroken. “I actually wanted to tell the story in a feminist way,” says Cosima Weiter, “pointing out that it’s not easy for a woman to wander alone. But when I was in the north, I had to discard that as everyone is the same there. Nobody cares if you are a woman, you can do whatever you want. This is something we’re not familiar with here in Central Europe.”

 

Time, Space, Sound

A Finnish woman who has been doing and composing what she wants for decades is Kaija Saariaho. Her music is at the centre of the scenic narrative, embodied by three actors in front of a large screen. “It was very important for us to respect Saariaho’s music and give a large space, not cutting it short.” Four of Saariaho compositions form the musical basis for the plot, Nocturne (1994) in the version for solo viola, Aure (2011) for cello and viola, Petals (1988) for cello and electronics and Fleurs de neige (1998) in its version for string quartet. Around the slow, cautious music, a soundscape opens that Weiter and Simon, together with Lau Nau and Bertrand Siffert, have created from their own recordings and sparks of other music. “There are three things that interest me in music and poetry: Time, space and sound,” says Cosima Weiter, “and in Saariaho’s music I find them all.” In Nord, the sound poet lends her voice to the protagonist, rendered disembodied through loudspeakers.
You really have to be a poet to tell stories about the North.

 


Kaija Saariaho, Graal Théâtre, Contrechamps, In-house production SRG/SSR 2009

 

Nuit de l’électroacoustique

Contrechamps will spin a completely different tale on March 19, when the ensemble invites to its first Nuit de l’électroacoustique. It was almost cancelled due to supply issues, as the renovation of the post-industrial premises, where Contrechamps is due to move to, could not be completed in time. Les 6 Toits on the Geneva ZIC site was supposed to be inaugurated with the Nuit. Luckyly, exile was found at short notice in Pavillon ADC, a centre for contemporary dance in Geneva. The Geneva subculture club Cave 12, which presents the Nuit de l’électroacoustique together with Contrechamps, was also involved its curation and organisation from the beginning. The fact that Pavillon ADC is now also part of the event, will most probably lead to a more diverse audience.

 


Heinz Holliger, Cardiophonie, Contrechamps, Oboe: Béatrice Laplante, In-house production SRG/SSR 2018

 

“Parts of our regular audience will certainly be more familiar with Heinz Holliger,” is what Serge Vuille, artistic director of Contrechamps, supposes. Holliger is represented with Cardiophonie for oboe and electronics. “Other people from the electronic music realm, will rather come for Phill Niblock, Jessica Ekomane or Beatriz Ferreyra, for example.” These two last-mentioned names, already cover a wide range. On one hand, a young artist who has been drawing attention since a few years with astute performances, for example recently at the MaerzMusik Berlin festival – on the other hand, the 84-year-old pioneer who already worked with Pierre Schaeffer in the 1960s. “We want to make connections,” says Serge Vuille, “for example between purely electronic music and organic instruments in combination with electronics, or between new and old tools, who knows, maybe Beatriz Ferreyra will bring old tape machines?”

 

Jessica Ekomane plays at the Nuit de l’électroacoustique © Camille Blake

 

Casualness and Focus

For the curatorial collective of Contrechamps and Cave 12, the goal is not only to mix old and young, but also international headliners with local acts from the independent Geneva scene. The latter is represented with performances by Salômé Guillemin and d’incise. In addition, three new pieces have been commissioned to a smaller version of the Contrechamps Ensemble plus live electronics, a reminiscence of the IRCAM school, as Serge Vuille points out.

 

 

d’incise, Le désir certain, 2019 (Insub.records & Moving Furniture Records)

 

The Nuit de l’électroacoustique is intended to casually generate a focused listening experience. The audience can walk around freely, “we want to prove that – whether sitting or not – one can enjoy electronic music in a focused way.” The public can even take a break from the five-hour programme at the bar, or walk around the virtual reality installation by Raphaël Raccuia and Nicolas Carrel, which invites to discover the future, because that is what electronic music has been about since the beginning.
Friedemann Dupelius

 

Contrechamps in spring 2022:
Nord: 7.-20.2., Le Grütli, Geneva
Nuit de l’électroacoustique: 19.3., 19-24 Uhr, Pavillon ADC, Geneva

Contrechamps, Cosima Weiter & Alexandre Simon, Kaija Saariaho, Beatriz Ferreyra, Jessica Ekomane, Phill Niblock, Le Grütli, Pavillon ADC, Cave 12

radio-features SRF 2 Kultur:
Musik unserer Zeit, 9.10.2019: Johannes Knapp und Serge Vuille – zwei junge Querdenker am Ruder, editors: Theresa Beyer / Moritz Weber (in German)
neoblog, 19.6.19: Ensemble Contrechamps Genève, expérimentation et héritage, Interview with Serge Vuille by Gabrielle Weber

neo-profiles:
Contrechamps, Heinz Holliger, d’incise, Serge Vuille