PHACE - ForMoreEars - Aksusmata-waves © Markus Bruckner
PHACE / Cantando Admont / Bürgi
»Akusmata«
Sunday
4
May
2025
19:30 – ca. 20:30
Mozart-Saal
Performers
PHACE
Cantando Admont
Cordula Bürgi, Dirigentin
Programme
Sarah Nemtsov
from shore to shore (2024–2025)
Kompositionsauftrag von PHACE, in Kooperation mit Osterfestival Tirol, gefördert durch die Ernst von Siemens Musikstiftung
Beat Furrer
ακούσματα – akusmata (Erweiterte Fassung) (2019–2024)
Note
Freie Platzwahl
Subscription series
Nouvelles Aventures
PHACE
Links
https://www.phace.at
https://www.cantando-admont.com
Presented by
Wiener Konzerthausgesellschaft
Fragments of Pythagoras
Beat Furrer's extensive vocal cycle »Akusmata« is inspired by those enigmatic aural sayings and words of wisdom attributed to Pythagoras, which appear like an inhomogeneous set of rules of a fantastic society: some are clearly understandable, others are reminiscent of da Vinci's riddles, and some are strangely grotesque. In a newly expanded part of the series of works, Furrer makes contact with Pythagorean mysticism and not only symbolically deconstructs the relationships, but also breaks down the harmonic spectrum. The density of vocals and instruments together with the constant transformation and mutability of the vocal sound create a new reality, a new space in which music can echo and exist for itself. An enigmatic world that exists only in the ear.
Far-reaching, finely branched sound structures, peppered with countless signs, metaphors, phrases, symbols and influences from every conceivable genre and music can be found in the works of Sarah Nemtsov, and yet deep roots in the European musical tradition cannot be ignored. Her new work »from shore to shore« is as enigmatic as Furrer's »Akusmata« and delves into the flowing alternating currents between individual and collective consciousness in Virginia Woolf's 1931 novel »The Waves«. Six voices, together, next to each other and against each other. Moving in space - sometimes individually, sometimes as a group - embedded in an extended instrumental-electronic sound space, in search of the way in which multiple selves and multiple perspectives can weave together a pluralistic truth.
Supported by
