Sa, 26.04.2008, 21:00 Uhr

blurred edges – PGAM - Aktuelle Musik 1

Trio NEXUS/ Helena Gough/ Christine Sehnaoui+Sharif Sehnaoui/ Pe Lang+Zimoun/ Ein Abend mit komponierter, elektronischer und improvisierter Musik zusammengestellt von der Projektgruppe Aktuelle Musik 1. Trio NEXUS: -Nicolaus A Huber, leggiero mit weißglut (2007), 17 min -Michael Maierhof, ZONEN 3, 2007, 13 min -Dodo Schielein "to forward" für Klavier, Querflöte und grosse Trommel, ca. 10 min -Hauke Harder, 320 BPM “Why Paterns” (1991) Flöte, Klavier und Glockenspiel 4 min. 2. Helena Gough, electronic piece 3. Duo Improvisation Christine Sehnaoui, saxofon / Sharif Sehnaoui, gitarre 4. Pe Lang & Zimoun, untitled sound objects Über die MusikerInnen: Helena Gough: Helena Gough is a Birmingham (UK) based sound artist. Her work involves the collection and manipulation of 'real world' sound material and the exploration of its abstract properties. Each new sound-space is created by taking everything possible from the tiniest element - working to make something from nearly nothing. Her live sets are intended for dark spaces and involve recombining and improvising with her sound materials in order to create a unique environment for each new performance. Initially trained in violin and composition at the Royal Academy of Music, Junior Academy, Helena went on to complete a music degree at Birmingham University. She has now found her way as a live (laptop) performer, working under her own name for solo improvisations and in frequent collaboration with Lee Patterson and Benedict Drew. She is also a member of Migrant and Photon Hex, electroacoustic ensembles that include regulars Hilary Jeffery, Simon Mabbott and Nicholas Bullen (ex Napalm Death). Numerous other collaborative projects are currently underway. Her debut solo album was released at the beginning of 2007 by Entr’acte, and an e.p. is due out on Con-V in 2008. https://www.helenagough.net Pe Lang & Zimoun (Bern, Schweiz): «pe lang and zimoun developed a comprehensiveinstrument which combines image and sound to a unique experience of space, where the audience is invited to discover acoustic and optical micro structures of their untitled sound objects. a fascinating collective art work.» kevin taylorin the «untitled sound objects», physical materialsare made to generate sound by vibrating them using computer controlled machines and robots. pe lang and zimoun focus on creating acoustic architecture with an organic feel, investigatingthe properties of sound, materials, resonance and generative systems. the work is presented as sound installations (exhibitions) and as live performances (audio/visual concerts).over the last several years, an interest in the organic vitality of sounds has led pe lang and zimoun to intensively explore new methods of generating sound. in this project, they have mainly focused on the effects of natural algorithmson sound structures and developments – algorithms such as those found in swarms of insects, the diffusion and displacement patternsof liquids, or the movement structures of flames.«we are interested in a selective mix between, on the one hand, living structures continuously generated or evolving by chance and chain reactions,and, on the other, a specifically delimited and contained space in which these events are allowed to happen. our compositional intentions are manifested through deliberate containment and cautious monitoring. thus, we are not preoccupyingourselves with chance factors and generativesystems simply to discover unexpected results, but rather so that the compositions can attain a higher level of vitality.» zimounthe result is a music evolved from digital, electroacousticalpossibilities that is less involved with internal relations than with exploring questionsof how sound can be shaped, space can be engineered and textured, and new dynamics,frequencies and tone colors can be produced.thus pe lang and zimoun create sound architecture that can be entered and explored like a building.their first performances were simple laptop presentations – but the two artists, sitting behindtheir computers and control buttons, began to be irritated by the limitations of this approach. unlike the music of a guitarist, which is immediatelyvisually comprehensible and directly enhancedby a live situation, they felt that the visually uninteresting presence of laptop musicians is more likely to distract from the sound experiencerather than enhance it. pe lang and zimoun therefore started looking to create sound in a visuallyinteresting way, and to develop methods by which generative sounds could be produced without the aid of digital processes. they thus created a unique, high-quality instrument that,in spite of its outward simplicity, can produce just as many complex organic sounds as was possible with their computers.vibrating motors cause glass plates, on which various materials are placed, to oscillate. the vibrations move the materials, and the friction caused by this generates sounds, which are amplified via contact microphones and modified through dsp (digital signal processing). using a multiple channel speaker system, amplified sounds are projected and reassembled into a new sound architectures. the glass plates are equipped with cameras which project images of the vibrating materials live through several projectors. the software used to control the vibratingmotors and sound processes is programmedwith max msp.«in this instance, in a musical world cramped with visuals, the direct association between sound and image makes perfect sense. the untitled sound objects by pe lang and zimoun convince through their elegant and clever simplicityin an inconspicuously complex setting.» (stephen braun) Christine Sehnaoui Born in 1978 and living in France, Christine is from lebanese origins. It is with the discovering of improvised music in 1997 that Christine Sehnaoui decided to start her own autodidact study of sound experimentation on the alto saxophone. She began playing with orchestras like IVRAIE resident at Instants Chavirés in Montreuil, and in different regular formations. Her main musical partners include Michel Waisvisz, Hans Koch, Mats Gustafsson, Christian Munthe, Sharif Sehnaoui, Mazen Kerbaj. For the past few years, she has been working with the field of dance ( Buto and contemporary dance) and also she undertakes an ungoing research on musical pedagogy (concerts for children, intervention in schools). https://www.myspace.com/christinesehnaoui Besides, since 2001, she contibutes to develop impovisation in her country of origins, Lebanon, where she co-organizes the annual festival of improvised music in Lebanon, called « Irtijal ». For more infos : https://www.irtijal.com Also, she is curator with the association Thlaweg and Ess Muss Sein, of "LAPS" project, which aim is to organise one month residency of production around the sound, the sensible and the transmission. In 2007, Laps will take place in may in Mains d'Oeuves (Saint-Ouen). For more infos : https://www.lapsnet.com Apart from this, she has a BA on Sociology and she works in a independant DVD label of experimental cinema (LOWAVE), whose objective is to discover and promote contemporary film and video art. Recently, she has released two DVDs called "Résistance(s)", compilation of arab experimental videos.For more infos : https://www.lowave.com Sharif Sehnaoui is a free improvising guitarist from Beirut. He plays both electric & acoustic guitars with extended and prepared techniques focusing on expanding the intrinsic possibilities of these instruments without the use of effects or electronics. He divides his time between Paris, where he started his career as an improviser in 1999, playing at Instants Chavirés where he was a member of several orchestras (Motorchestra, Ivraie.) and shared musical relationships with french musicians such as Stéphane Rives, Quentin Dubost, Thierry Madiot or Sophie Agnel among many others, and Beirut where he has actively contributed to the emergence of a unprecedented experimental music scene. Along with Christine Sehnaoui & Mazen Kerbaj he created the "Irtijal" festival in 2001 that is at the moment the only improvised and new music festival in the arab world. He also runs the Al Maslakh label, created by Kerbaj, and devoted to "publish the unpublishable" on the Lebanese musical scene. He has so far collaborated with musicians and artists such as Michael Zerang, Wade Matthews, Axel Dörner, Jean Pallandre, Ingar Zach, Tom Chant, Le Quân Ninh, Nikos Veliotis, Gene Coleman, Masahiko Okura, or buto dancer Atsushi Takenoushi. Trio NEXUS (Berlin): Erik Drescher, Flöte Pascale Berthelot, Klavier Claudia Sgarbi, Schlagzeug Gegründet 2000 von den Musikern Claudia Sgarbi, Erik Drescher und TomasBächli. Ausgehend von der Morton Feldman´schen Besetzung seiner späten Trios fürFlöte, Klavier und Schlagzeug (Why Patterns?, Crippled Symmetry, For PhilipGuston) hat NEXUS das Repertoire entschieden erweitert, indem es Komponistenbeauftragt hat und neue Werke nach intensiver Zusammenarbeit zurUraufführung gebracht hat.Unter anderem entstanden neue Werke von Martin Supper, Juliane Klein, MichaelHirsch, Helmut Zapf.Zukünftig sind Komponisten beauftragt wie Klaus Lang, Alvin Lucier, JamesTenney, Nicolaus A. Huber, Cornelius Schwehr, Michael Maierhof, Chico Mello,um nur einige zu nennen.NEXUS konzertierte im In- (z.B. Konzerthaus Berlin, Deutsche GuggenheimBerlin, Randspiele Zepernick, Akademie der Künste Berlin, Festival fürElektronische Musik Bremen, Romanischer Sommer Köln, Hessischer RundfunkFrankfurt) und im Ausland (z.B. Goethe Institut Rom, Hochschule für MusikZürich).Um das Trio formiert sich ein „Gästestamm“, der es NEXUS erlaubt, in seinenProgrammen intermedial und interdisziplinär zu agieren. organisiert von: PGAM – Projektgruppe akuelle Musik: Dodo Schielein, Birgit Ulher, Gregory Büttner, Sascha Lino Lemke, Michael Maierhof, Heiner Metzger