blurred edges

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.

Pe Lang & Zimoun (Bern, Schweiz):
«pe lang and zimoun developed a comprehensive instrument 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 taylor in the «untitled sound objects», physical materials are 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, investigating the 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 algorithms on sound structures and developments – algorithms such as those found in swarms of insects, the diffusion and displacement patterns of 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 preoccupying ourselves with chance factors and generative systems simply to discover unexpected results, but rather so that the compositions can attain a higher level of vitality.» zimoun the result is a music evolved from digital, electroacoustical possibilities that is less involved with internal relations than with exploring questions of 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 behind their computers and control buttons, began to be irritated by the limitations of this approach. unlike the music of a guitarist, which is immediately visually comprehensible and directly enhanced by a live situation, they felt that the visually uninteresting presence of laptop musicians is more likely to distract from the sound experience rather than enhance it. pe lang and zimoun therefore started looking to create sound in a visually interesting 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 vibrating motors and sound processes is programmed with 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 simplicity in 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). 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 : 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 : 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 :
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 Tomas Bächli. Ausgehend von der Morton Feldman´schen Besetzung seiner späten Trios für Flöte, Klavier und Schlagzeug (Why Patterns?, Crippled Symmetry, For Philip Guston) hat NEXUS das Repertoire entschieden erweitert, indem es Komponisten beauftragt hat und neue Werke nach intensiver Zusammenarbeit zur Uraufführung gebracht hat. Unter anderem entstanden neue Werke von Martin Supper, Juliane Klein, Michael Hirsch, Helmut Zapf. Zukünftig sind Komponisten beauftragt wie Klaus Lang, Alvin Lucier, James Tenney, Nicolaus A. Huber, Cornelius Schwehr, Michael Maierhof, Chico Mello, um nur einige zu nennen. NEXUS konzertierte im In- (z.B. Konzerthaus Berlin, Deutsche Guggenheim Berlin, Randspiele Zepernick, Akademie der Künste Berlin, Festival für Elektronische Musik Bremen, Romanischer Sommer Köln, Hessischer Rundfunk Frankfurt) und im Ausland (z.B. Goethe Institut Rom, Hochschule für Musik Zürich). Um das Trio formiert sich ein „Gästestamm“, der es NEXUS erlaubt, in seinen Programmen intermedial und interdisziplinär zu agieren.

organisiert von:
PGAM – Projektgruppe akuelle Musik:
Dodo Schielein, Birgit Ulher, Gregory Büttner, Sascha Lino Lemke, Michael Maierhof, Heiner Metzger

Ort: Westwerk | Admiralitätstraße 74

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