Bei Konzert 12 gab es ein Problem mit dem Live-Stream. Daher muss dieses Video erst noch aufwändig aufbereitet und geschnitten werden. Dies wird leider noch etwas Zeit in Anspruch nehmen. Sobald das On-Demand-Video bereitsteht, werden Sie es auch online finden. Wir bitten um Ihr Verständnis.

 

There was a problem with the live stream of concert 12. Therefore, this video still has to be edited and prepared. Unfortunately, this will take some time. As soon as the on-demand video is available, you will find it online. We ask for your understanding.

Ensemble Ascolta

Ensemble Ascolta

Since 2003, Ensemble Ascolta has enriched the new music landscape in Germany and Europe with its special sound and unusual projects. In the meantime, Ascolta has inspired and premiered over 250 works for its special instrumentation, including works by Pierluigi Billone, Chaya Czernowin, Beat Furrer, Isabel Mundry, Olga Neuwirth and Hans Thomalla. The ensemble has performed at nearly all important festivals for new music (including Donaueschinger Musiktage, Wittener Tage für neue Kammermusik, Festival Eclat Stuttgart, Lucerne Festival, Ultima Oslo, Wien Modern) and has followed international concert invitations to places such as the USA, Singapore and Israel.
CLOSING
The possibilities of scenic concert formats interest the seven musicians just as much as border areas between new, old and popular music. In collaboration with artists from the fields of video, performance and multimedia, projects such as »Der absolute Film« and »Schatten« (in cooperation with ZDF/arte), Jennifer Walshe’s »meanwhile, back at the ranch«, Simon Steen-Andersen’s »Staged Night« or the music-theatrical production »Vor dem Gesetz« by Martin Smolka and Jiří Adámek were created.

FiguraFragment 1

FiguraFragment 1

Figura is a composition about how the one shows itself in the other, how it is an inkling or trace or renewed form.

It is a piece that emerges in fragments, that grows slowly, also as a work in progress together with the two performers.

Significant impulses came from my exploration of music from oral cultures, including especially Gregorian chants and their echo chambers in later, notated works, all the way to the early Renaissance. In musical traditions that continue through an interplay of listening, remembering, and performing, sound gestures are not merely expressions, but equally imprints of something. They are gestures of absorption and transmission, passive and active at the same time. For a few years I have been working on techniques to stimulate comparable processes and forms in composing as well. With them I create gestures and shapes that return in other places and thereby reverberate, have a new effect or are first realized. At one moment they flow out of my hand, at another they become a strange counterpart to myself, because a mood from which gestures emerge is never repeatable. They oscillate between reaction and opening. In this piece, gestures and shapes unfold between two trumpet players who stand facing or facing away from each other in different constellations. Thus two complementary states are created, between a synchronized counting and a listening reaction.

»Archetype, image, simulacrum, mirage are meanings that always remain linked to figura,« writes Erich Auerbach and sees the formalization of this figure of thought above all in the works of Lucretius and Ovid.
Isabel Mundry

Isabel Mundry

Biographiesincluding mineusually read in a linear fashion. After studies come the master classes, after the classes come the concerts, after shorter pieces come longer ones, and after them operas. From the inside, it feels different. My biography goes in loops. It goes forward diagonally, then back again diagonally, and so on. New things are added, others disappear. For a few years now I’ve been studying again: techniques from oral cultures, especially the Gregorian chants, theories about gesture, for example by Jean Luc Nancy, the late texts of Samuel Beckett or the conceptual procedures of Paul Cézanne to paint the same thing over and over again. And I am interested in a shift from the active to the passive in composing, how a figure is not only an expression but also an imprint of something, and how listening is not only oriented to what is coming but also to what was. I’m looking for new techniques for that. So I’m slowing down again, pieces are getting shorter again, remain fragments, like in the beginning.

 

Also, I’m very much involved right now with the question of how postcolonial debates can be conducted without becoming a show that repeats the problem in a different way. Again, I’m interested in other forms of listening. This is also slow. Bénédicte Savoy recently said that in Europe, cultural objects displayed in museums would be called objects. In Africa, it would be different. There they would be subjects. I am very moved by this thought. And it connects with questions in my composing.

Isabel Mundry

Anonyme Bestattungen

Anonyme Bestattungen

The composition was born from the need to write a music that leaves you alone with everything, without having to feel lonely. A music for funeralsin memory of those who have withdrawn from memory. Not music that expresses mourning, not music that creates or intensifies moods, but music that is distant from the ego, that steps back behind sensibility to leave room for the sensibilities of those present and finally gives them the opportunity to »turn their wandering listening to themselves« (Ernst Bloch).

Elementary counterpoint is used. In its regularity it cools the shattered mind in a friendly way. The starting point is formed by scales of two irregular interval sequences obtained by splitting the chromatic total and between which, after multiple shifts against each other, intersections of pitches of different sizes are created. On the basis of such a harmonic disposition, an oversized collection of two-part harmonies was elaborated, in which incessant variations, in manifold derivations, always different and yet similar, the given tonal space is traversed. Nothing repeats itself, but nothing changes either.

The time of the composition’s creation covers very precisely the period of the Corona pandemic, which has now lasted two years. At the beginning there was a cooperative project with the Music School Bietigheim-Bissingen on behalf of the New Music Network Baden-Württemberg. The idea was to offer a musical contribution by students of the music school at funerals held in the municipality of Bietigheim for those who either do not want to be named or who cannot financially afford another funeral.

Between December 2019 and February 2020, meetings, walk-throughs, appointments occurred to find a framework for the new music to be designed. Not planned for was the subsequent first lockdown, which, as in so many cases, threw the planning into disarray. The compositional intention remained, but the place and the people moved away, the area-wide standstill dug into the conception of the piece. The low ranges, but also the continuous developmentless circling around itself may have contributed considerably to the idea of creating a piece of music that cannot be grasped at all in its entirety.
Robin Hoffmann

 

Note for the concert visit
How comprehensible is a duration of 4½ hours of thoroughly arranged musical time? This question may be answered individually. The piece is long, but it does not want to force either. That is why it is possible to enter and leave the hall at any time. In such a case, it is recommended not to interrupt the concert visit, but only to return a second or third time at a later time. The length of stay should not be less than 30 minutes in order to develop a feeling for the transformations in the uniform.
R.H.

Robin Hoffmann

Robin Hoffmann (*1970 in Bielefeld) composes for solo instruments, chamber music, ensemble, orchestra and vocal instrumentation, and also works in the fields of electroacoustic composition and experimental improvisation. In numerous collaborations, transmedial hybrid forms with neighboring disciplines such as dance, theater, film, and visual arts emerge beyond music-immanent projects.

In addition to his freelance work as a composer, he has also been a lecturer for composition/music theory at the Musikhochschule in Frankfurt Main since 2005, at the musicological institute of the Philipps-Universität Marburg from 2013-2020, and at the Institute of Music at the Osnabrück University of Applied Sciences since 2020. In the summer semester of 2022, he will replace Martin Schüttler in the composition class at the Musikhochschule Stuttgart.

Robin Hoffmann’s artistic work is equally characterized by continuity and non-linearity. Breaking styles is a matter of honor! The personal signature proves itself in the insistence on a subjectively felt necessity. The more diverse this is, the better.

Robin Hoffmann has received several awards for his compositions, including a 1st prize at the German Study Prize of the Körber Foundation in 2002, the Stuttgart Composition Prize in 2005, the Kranichstein Composition Prize in 2006 and the Hans Werner Henze Prize (formerly the Westphalian Music Prize) of the Landschaftsverband Westfalen-Lippe in 2019.

Anonyme Bestattungen

12
05.02.
12:00
Theaterhaus, T1
Marco Blaauw trumpet Markus Schwind trumpet Ensemble Ascolta

Isabel Mundry: FiguraFragment 1

for two B trumpets (2022) ᵁᴬ

Robin Hoffmann: Anonyme Bestattungen

Version for chamber ensemble (Ascolta version) (2020/21) ᵁᴬ

Performance time 13:0017:30

»The composition arose from the need to write music that leaves you alone with everything without having to feel lonely. A music for funeralsin memory of those who have withdrawn from memory. Not music that expresses grief, not music that creates or amplifies moods, but music that is distant fromt the ego, that steps back behind sensibility to leave room for the sensation of those present…«.

 

Based on two scales shifting against each other, a large-scale collection of 225 pieces was created, in which the given tonal space is incessantly varied and traversed in manifold derivations, always different and yet similar. Nothing repeats itself, but nothing changes either.

 

The piece is long but does not want to force either. It is possible to enter and leave the hall at any time, possibly to reappear a second or third time at a later time. To perceive the transformations in the same form, a certain length of stay is certainly advisable.