Kilian Herold

Kilian Herold

Ensemble Musikfabrik

Ensemble Musikfabrik

Ever since its formation in 1990, Ensemble Musikfabrik has had the reputation of being one of the leading ensembles for contemporary music. Following the literal meaning of its name, Ensemble Musikfabrik is particularly dedicated to artistic innovation. New, unknown, and often personally commissioned works in unusual media are typical of their productions. The results of their extensive work, usually taking place in close collaboration with the composers, are presented by the Cologne-based international soloist ensemble in up to 80 concerts a year in both Germany and abroad, at Festivals, in their own series »Musikfabrik in WDR« and in regular radio recordings and CD productions.
Ensemble Musikfabrik is supported by the state of North Rhine-Westphalia.

5 Things That Really Matter

5 Things That Really Matter

»5 Things That Really Matter«, composed for large ensemble and electronics, is the result of an exploration of various possible relationships between the composer, the performers, the notation, and the sound. In the first part of the piece, the musicians play a traditionally written scoretreating the ensemble as one large instrument made up of many individual bodies. In the second part, the performers create living sculptures by taking silent »selfies« with instruments treated as requisites. In the third part, the performers become co-composersthey are asked to »translate« the samples provided by the composer through their sensitivity and their instruments.
Mikołaj Laskowski

Mikołaj Laskowski

Berlin-based composer Mikołaj Laskowski (*1988 in Poland) is interested in blurring borders between the performer and the listener, distance and intimacy, kitsch and sophistication, irony and seriousness.

He combines various inspirations, such as science fiction, New Age, ASMR, and plunderphonics creating concert music, participatory performances, and online pieces.

Acht Arten zu atmen

Acht Arten zu atmen

In the »Eight Ways of Breathing« sounds run in a circlefrom the human being via technique and instrument back to the human being. My first ideas are not created in writing, but as close to the body as possiblesung. Every spontaneous human utterance gets the chance to become part of the musical storythe sounds should be a direct reflection of our environment, it is not sorted out and optimized according to high aesthetic criteria. The sounding found objects are often humorous, strange and full of extra-musical associations that do not even have to be verbally named. With various toys and sound objects I try to recreate the sounds, thus approximating them to an accordion or a clarinet. The performers are involved early in the creation processI confront them with the insoluble task of imitating my toy sounds. Their alternative suggestions become samples. Through their transcription, the first written level of the composition is created; inspired by this, the score can be freely spun on. In »Querschnitt« the simultaneity of all these musical layers manifests itself. But the sounds are not subject to any hierarchy, there is no »progress«. The form does not didactically reflect the evolution of sounds, but each miniature combines the different stages of development according to its own whim. Through the occasional »singing along« of the musicians, the circle closes: they feel the basic course of tensionbut not as imagined by me at the beginning, but in their own personal way.
Benjamin Scheuer

Benjamin Scheuer

Benjamin Scheuer’s music is all about directly experienceable sensuality and humor. The joy of making music and the search for unusual sounds are a constant motivation for himin the process, abysses sometimes open up, but people are also allowed to laugh. Sounds found in everyday life are presented as objects directly on stage or played as recordings: Scheuer’s approach of »live electrics« always applies hereelectronic sounds are always created with the simplest and cheapest possible means. For it is not technology, but the human being with his voice, in his individuality and fallibility, that is the focus of his interest.
Benjamin Scheuer (*1987 in Henstedt-Ulzburg) studied in Hamburg and Karlsruhe with Dieter Mack, Fredrik Schwenk and Wolfgang Rihm. In Freiburg he is working on a dissertation project on Georges Aperghis’ théâtre musical. His compositions are performed in various countries and by renowned ensembles. Among others, »Zeitraum« (2012) was heard for 600 players in the soccer stadium of Hanover and with the »Notfallkonzerte« (Emergency Concerts), which have been performed since 2012, he makes a modest contribution to saving the world with music of today together with the Orchester im Treppenhaus. In his cycle »Impulsive Lieder« (2016) he humorously explores the limits of vocal expression.
He has received various awards and working scholarships for his work. As a founding member of Musiker ohne Grenzen e.V., he regularly traveled to Ecuador, where he gave music lessons to disadvantaged youth.
www.benjaminscheuer.de

Abstraction to the Point of

Abstraction to the Point of

The piece for oboe and ensemble is divided into three movements. The first movement, claustrofobico, is made up of a series of 71 fragments, which relentlessly follow each other, always guided by the voice of the oboe with no way out, searching for a form that can be perceived as both continuous and discreet at the same time. The second movement, geometrico e freddo, is built on and around the sound of some bichords of the oboe. These sounds, delicate and harsh and metallic at the same time, are at the centre of long chordal clusters, which appear almost as an amplification, in several directions, of the same bichords. In the third movement, in equilibrio sulle punte, the percussion-led rhythmic ostinato is maintained from the beginning to the end. The oboe keeps its function as chordal »centre«, but in the perspective of an inexorable and obsessive flow, until a sudden acceleration appears, unleashing the soloist’s virtuosity.
Francesco Ciurlo

Francesco Ciurlo

Francesco Ciurlo (*1987 in Milan) studied composition in Milan with Gabriele Manca and in Stuttgart with Marco Stroppa. In March 2022, a monographic CD recorded by Divertimento Ensemble will be released by Stradivarius Label. The focus of his recent compositional practice lies in the search for a form that stems from the rejection of the horizontal and consequently narrative, or even dramaturgical, conception of time. His interest in anti-narrative and anti-dramaturgical forms originates from his fascination with ancient music, and with certain extra-musical references, such as the films of Marco Ferreri, the novels of Roberto Bolaño and theater plays by Sarah Kane, as well as with visual art, specifically Gerhard Richter’s colour charts, whose technique of organising colours has had a deep influence on the structural organisation of his works. The goal of this approach is to achieve a sort of glance, like in the case of a painting or a sculpture from a relative distance. The horizontal flow of time does not take on the character of development, unfolding or transformation, but allows the framing of different details of the same sight, like a fabric always made of the same material, but still elastic and capable of deforming itself.

Prize Winner Concert

6
03.02.
20:00
Theaterhaus, T1
Kilian Herold clarinet Teodoro Anzellotti accordion Peter Veale oboe Ensemble Musikfabrik

Mikołaj Laskowski: 5 Things That Really Matter

for ensemble (2018)

Benjamin Scheuer: Acht Arten zu atmen

for clarinet, accordion and samples (2020)

Doppel / leichtfüßig / Stocherndes Lied / Querschnitt / Krummer Kanon / bel canto / Orgelpunkt / Geschnatter

Francesco Ciurlo: Abstraction to the Point of

for oboe and ensemble (2020) ᵁᴬ

In 2021, three conceivably different composers received the Composition Prize of the City of Stuttgart, which is traditionally awarded at the following ECLAT. The »tonal found objects« of the first prize winner Benjamin Scheuer, who attempts to recreate sounds with various toys and sound objects, are often humorous, strange, and full of extra-musical associations. Mikołaj Laskowski is interested in the blurring of boundaries between performers and listeners, distance and intimacy, kitsch and subtlety, irony and seriousness. In his work, he explores the different possible relationships between the composer, the performers, the notation, and the sound. Francesco Ciurlo refers to films by Marco Ferreri, novels by Roberto Bolaño or plays by Sarah Kane in his search for forms that derive from an anti-narrative and anti-dramaturgical conception of time. And above all, the color charts of Gerhard Richter, his technique of organizing colors, had a great influence on the structural organization of his works.

 

Sendung SWR2 JetztMusik
3. März 2022 / 21:0522:00 Uhr