New Music meets Bio Art – an experimental life cycle in three parts
Experimental MithThrough thin opaque sheets of plastic it was possible to make out faint glimpses of a piano, various microphones, and musical and technical equipment. It was clear from first glance that this would be no normal concert experience. […] While the character of the evening was experimental and inquisitive, each piece also exhibited a cheerful playfulness. […] Further installments in the series take place in June and September. Then everything will be new and different. Very exciting.Katharina Granzin, taz, 26. March 2019
Kreation: 21./22. March 2019
Helmut Lachenmann Toccatina (1985) Study for violin solo
Alvin Lucier Music for Piano with Magnetic Strings (1995) for piano with e-bows
Neo Hülcker unboxing transmitter (2019, world premiere) for bass clarinet, violin, piano and video projections
Florian Bergmann Schall und Rauch (2018/19, world premiere) for bass clarinet (demi-clarinet), viola, piano, water cooker and samples
Margherita Pevere Interstitial (performance, installation)
Rezeption: 6./7. June 2019
Hanna Hartman Apricots (2015) for bass clarinet, violin, piano with wooden apricots, playback and bricks
Damian Scholl Intimacy (2014) for violin and piano
Christian Pedro Vasquez Miranda El árbol y el viento (2019, world premiere) for bass clarinet, violin and piano
Benedikt Bindewald piece of mind (2019, world premiere) for bass clarinet, violin and piano
Fara Peluso Unbodies I (performance, installation)
Dekonstruktion: 19./20. September 2019
Florian Bergmann Filterskizzen (2019, world premiere) for solo prepared piano
Peter Ablinger Ohne Titel (2019, world premiere) for bass clarinet, violin and piano
Benedikt Bindewald eins zwei drei – Stück herbei (2010/16) for violin and piano
Peter Ablinger WEISS / WEISSLICH 11c: Sitzen und schreiben (2000, world premiere) Performance with keypad and text projection
Fara Peluso Unbodies II (installation)
In a three part concert series the Trio Transmitter for new music along with Bio Artists Fara Peluso and Margherita Pevere explore the life cycle of an artwork: its creation, reception, and deconstruction. In Cells, Sounds & breeding Soulsthese three stages of being are represented in different forms of expression, growing out of connections built between contemporary music and the artistic-scientific exploration of living materials.
Fara Peluso presents a breathing Bio-Art-installation while musicians Florian Bergmann (bass clarinet), Benedikt Bindewald (violin/viola) and Alba Gentili-Tedesci (piano) give life to compositions that birth in March, become in Summer, and finally embrace the time of reshaping in the Autumn. In addition to existing works that fit into the three cycles, Cells, Sounds & breeding Souls features new works by Neo Hülcker, Christian Vasquez, Peter Ablinger, Florian Bergmann, and Benedikt Bindewald.
Through the inclusion of everyday objects such as water cookers and bricks, as well as electro-acoustic sounds and video projections, the music’s boundaries open and exchange in dialogue with the Bio Art installation.
Bio Art is an art form that, working with living materials and organisms, unavoidably is affected by life cycles. It is dedicated to the observation and production of living processes and moves along the border of art, science, and technology. To create Cells, Sounds & breeding Souls Fara Peluso focused her artistic research on materials based on algae which come to life interacting with the music.
An integral part of this interdisciplinary work is also the process of exchange between all of the artists, and the life cycle that the artistic process itself has undergone.
What debates and disputes between the artists have shaped the form of this work and lead to its final form as three evening concert installations?
A production by Trio Transmitter, funded by the Hauptstadtkulturfonds.