PHACE - ForMoreEars accessing-pleasure © Markus Bruckner
PHACE / Chlebus / Dienz / Mlekusch
»Accessing pleasure«
Monday
25
November
2024
21:00 – ca. 22:45
Berio-Saal
Performers
PHACE
Maria Chlebus, Schlagwerk
Alexandra Dienz, Kontrabass
Lars Mlekusch, Dirigent
Programme
Annesley Black
Scrap (2019) (EA)
Bernhard Gander
Take Five for Nine (2024)
Kompositionsauftrag von PHACE und Klangspuren Schwaz mit Unterstützung der SKE der Austro Mechana und von Stadt Wien Kultur
***
Georgia Koumará
I wonder if I should start accessing pleasure a whole lot (2022) (EA)
Alessandro Baticci
Luminal Mirage (2024)
Kompositionsauftrag von PHACE und Radio Österreich 1 in Kooperation mit ORF musikprotokoll mit Unterstützung der SKE der Austro Mechana und von Stadt Wien Kultur
Note
Produktion Wien Modern in Koproduktion mit PHACE
Kooperation Wiener Konzerthaus
Freie Platzwahl
Dieses Konzert wird im Rahmen einer Kooperation zwischen der Wiener Konzerthausgesellschaft und Wien Modern, Verein für neue Musik veranstaltet. Weitere Informationen zur Datenverarbeitung bei Kooperationsveranstaltungen, Speicherdauer und Ihren Rechten finden Sie in unserer
Datenschutzerklärung.
Subscription series
PHACE
Festival
Wien Modern 37
Links
https://www.phace.at
Presented by
Wiener Konzerthausgesellschaft
»... should I start enjoying myself more often?«
Short, fragmented and concise, the sounds leap into our consciousness. In »Scrap« by Annesley Black, it is an unrounded dance of sonic particles that becomes music. The smallest possible distinguishable fragments vie for supremacy over hearing and memory, each striving to displace the previous one. However, they cannot help but communicate with each other and transform each other in constant interaction.
You might look in vain for this kind of spectral-temporal economy in Bernhard Gander's new work. In his work, the sounds often come into close contact without any great distance and come together to form dense, physically perceptible structures.
In Alessandro Baticci's »Luminal Mirage«, natural and virtual sounds merge. The instruments imitate the sound of electronics, doubling rhythm and timbre until it is no longer possible to distinguish between what is played and what is generated in the hyper-fast, machine-like atmosphere, in which endlessly ascending and descending lines wind their way as if through a staircase by M.C. Escher.
With »I wonder if I should start accessing pleasure a whole lot«, Giorgia Koumará poses the question of identity and belonging in the distorted mirror of social norms and values. The flat, smouldering electronics, repeatedly interrupted by wild rhythmic escalations and incisive sound events, serve as a reinforcing basis for a series of alienated text passages by Audrey Lorde, Gillian Flynn and others, which address the role models of women in society.