2023-06-26 09:41:18
The series “Klangraum Kollegienkirche” initiated by the Salzburg experimental musician and sound artist WERNER RADITSCHNIG has the composer and sound artist ARNOLD HABERL aka NOID as a guest on Thursday, July 6, 2023.
NOID – cello and tapes
Hans-Josef Knaust – Organ
The piece „Chthulu doesn’t dream“ deals with the monstrous in various aspects, which are represented by the 3 instruments or sound spaces:
Sound recordings of Enercon E-101 wind turbines from the Andau/halbturn wind farm.
The organ as the historical-ultimate music machine, which is examined in terms of its sound as a machine.
Cello sounds from the fringes of the representable spectrum.
With his sound installation “under the windmills” in 2013, noid asked the question: “what do we need to live” (what do we need to live) in the context of the technical/mechanical monsters for harvesting the kinetic energy of the wind, the widely visible landmark of a social / economic change, which should protect us from the catastrophe of the imminent uninhabitability of the earth. The piece “Chthulu doesn’t dream” takes these recordings from the wind farm as the starting point for a further investigation and takes us into a state of waking dream with the ingredients natural power / machine / human being. The title refers to Donna Harawaywho proposes in her texts to look the problems in the eye (“staying with the trouble”) and to make kinship with the tentacled beings (“making kin”) in what she calls the Chthuluzene.
This suggestion also means taking an optimistic-positive attitude towards the processes that are in progress – and getting involved with the changes as whole beings. Chthulu is also seen as a symbol of the unknown and unexplored possibilities, as a kind of cosmic dreaming, an exercise in speculative exploration.
Arnold Haberl aka NOID
The composer and sound artist sees his work more as a basic researcher, in material and form increasingly also as a design of non-musical aspects. He also appears in his works in a variety of ways. From composition to improvisation to sound installation. Depending on the requirement of the project WITCHES a floating position, but without giving up his experimental signature in the musical conception. Through the cooperation with many international musicians and his teaching activities, a cosmos of possibilities opens up to him, which is a fundus for Arnold Haberl’s creative power.
Introduction: Philip Glass – Madrush (organ alone)
This “music with repetitive structures”, originally composed for the piano, was transferred to the organ. In its structure and reduced sound material, this piece is one of the typical models that are referred to as “minimal music”.
Philip Glass
Trained as a composer in Chicago and New York, he was dissatisfied with the modern music of the time and went to Europe to get other impulses from Nadia Boulanger and Ravi Shankar. Returning to NY in 1967, he founded his own septet with keyboards and various woodwinds, which was mixed on a mixer. This marked the beginning of the rise of his music, which he described as “minimalism”. Glass wrote some operas and concertos for orchestra. The opera “Einstein on the Beach” and the music for the film “Koyaanisqatsi” are legendary.
Hans-Josef Knaust – Organist, trained by Zsigmond Szathmáry with decisive impulses for the interpretation of avant-garde organ music. Further training also with André Isoir in the French romantic and classical modern organ tradition (O. Messiaen). Recently also active as a conductor.
SOUND ROOM COLLEGE CHURCH Timelines Organum
Die collegiate church in Salzburg is used for a variety of artistic presentations as a cultural focus in the old town. The organ of the Kollegienkirche, along with the organs of the Piaristenkirche and Votivkirche in Vienna, is one of the most important romantic organs in Austria and is therefore a cultural heritage of national importance.
A previously unused and hidden situation – as well as a previously non-existent concert series in the focus of sound art and experimental music forms. Both perspectives are brought together in the series of events: sound art versus organ sound.
Artists are invited who can be assigned to the broad field of sound art/installation, who, with their aesthetics and formal language, focus on space, time, transformation, maybe even transcendence, and who seek a dialogue with the romantic Maueracher organ. Compositional sound processes and sound actions are created by means of sound generators, electronics, voice and individual instruments, which react to the cubature of the church in an installative manner and explore the specifics of the organ.
The beauty of the sound and the flexibility of the organ, especially with avant-garde music. has proved to be groundbreaking since the events in autumn 2016 with the participation of the project operators.
In addition, from our point of view, there are three focal points that need to be cultivated: the music of the avant-garde from 1950, the form and tone explosions of the 60s and 70s, as well as the current questions and answers of the present time. Under the motto “Zeitachsen Organon”, a corresponding work from the past is designed as an introit to the respective premiere process:
A cycle of the very first order with a clear focus on addressing new audiences in the city of Salzburg.
Project sponsor: Arbeitsgemeinschaft Klangraum Kollegienkirche; Christian Wallisch-Breitsching (collegiate church), Werner Raditschnig (Composer and sound artist), Hans-Josef Knaust (Organist and artistic advisor).
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Links:
WITCHES
Werner Raditschnig / Klangraum Kollegienkirche Zeitachsen Organum
1687784370
#SOUND #ROOM #COLLEGE #CHURCH #ARNOLD #HABERL #AKA #NOID #mica
