Performances – THE BIG PICTURE

Big Concertnight

Michael Knoll — Thu, 16 Aug 2012 08:31:08 +0000

Resonant Bridges
So/Sun 2. 9. 19:30
Lentos Kunstmuseum Linz, Freiraum
Klangpark
Brucknerhaus, Großer Saal, Mittlerer Saal
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Lentos Kunstmuseum Linz, Freiraum
19:30 HEAVYLISTENING (DE): Tiefdruckgebiet

Brucknerhaus, Großer Saal
20:30 Bruckner Orchester Linz (AT), Dennis Russell Davies (Dirigent / US/AT), Martin Achrainer (Bassbariton / AT)
Philip Glass (US): Songs of Milarepa
Celine Desrumaux (FR): Countdown
Bruckner Orchester Linz (AT), Dennis Russell Davies (Dirigent US/AT)
Johannes Berauer (AT): Echoes of the Miraculous
Dirk Koy (DE): The City

Klangpark
21:25 Klangwolkenminiaturen Live

Brucknerhaus, Großer Saal
22:00 Bruckner Orchester Linz (AT), Dennis Russell Davies (Dirigent / US/AT)
Misato Moshizuki (JP): Ima Koko
Daniel Franke, Cedric Kiefer (DE): unnamed soundsculpture
Bruckner Orchester Linz (AT), Dennis Russell Davies (Dirigent / US/AT)
Amr Okba (EG/AT): Etappe
Jean-Thomas Bédard, Alain Clavier (CA): This is a Recorded Message

Brucknerhaus, Mittlerer Saal
23:00 Ö1 Kunstradio

GX Jupitter-Larsen
Klammer & Gründler Duo
Kunstradio All Stars

This is the 10th anniversary of the Big Concert Night. Ars Electronica launched this collaboration with the Brucknerhaus and the Bruckner Orchestra in 2002 to present an invigorating blend of orchestral music, digital sounds, live electronics and visualizations. In the spirit of this year’s festival theme, THE BIG PICTURE, concertgoers will be treated to wide-angle glimpses of a modern world that is globally networked acoustically as well, whereby this broad musical spectrum is impressionistically reflected by the array of performers—up-and-coming virtuosos and old masters alike. The narrative arc extends from the composure of the Buddhist way to the unruly events of Arab Spring.

Fans of auditory creativity can partake of a full-throttle prelude to the evening’s presentations from the Lentos Art Museum’s plaza. In Tiefdruckgebiet (low pressure area) by HEAVYLISTENING (DE), high-performance autos pimped out with mega-bass sound systems are the instruments of a concerto at the low end of the human hearing range.

Works by a Tibetan yogi inspired Philip Glass (US) to compose his Songs of Milarepa. A version for piano and baritone will open the evening’s musical proceedings in the Brucknerhaus. The visualizations are the work of Michael Mayr (AT) and Tom Lorenz (AT).

A visualization by Leonard Wegscheider (AT) will accompany some jazzy Echoes of the Miraculous by Johannes Berauer (AT). Written during a period of political upheaval in 2011, the four-part composition is meant to evoke an ingenuous, childlike view of the world and to eschew all logical objections in clinging to hope for better times to come.

In her composition Ima Koko (Japanese: here and now), Misato Mochizuki (JP) proceeds in accordance with the teachings of Buddhism that the cosmos is contained in a mote of dust and eternity in the blink of an eye. The sound made by striking a gong is elongated in the extension of time and space until all the individual parts of this intonation are revealed. Conny Zenk (AT) complements the tonal universe with a visual one.

Amr Okba’s (EG/AT) work Etappe is an effort to come to terms with the Arab Spring. The rhythm of the daily grind is acoustically put to an end by an inner voice that cries out for rebellion against the prevailing despotism. Austrian artist Anna Blume has created a highly appropriate visualization.

Three animated films honored by the Prix Ars Electronica will be the intermezzi punctuating the orchestral pieces. In Countdown, Céline Desrumaux (FR) takes us on a trip through the cosmos to the music of Apparat. The City by Dirk Koy / Equipo was made as a music video for the band Five Year Older. unnamed soundsculpture by Daniel Franke and Cédric Kiefer (both DE) features an impressive symbiosis of dance, computer animation and sounds from Machinefabriek’s piece Kreukeltape.

Marco Palewicz (AT), Chris Bruckmayr (AT), Maximilian Walch (AT) and Michael Kaczorowski (AT) take on the Klangwolkeminiatures, mix them up live and shape soundscapes and tracks. Atmospherical or straight to the beat, the inspiration is following the mood of the moment, rhythms, melodies, voices and more are being combined and torn up. The musical result reflects the background of all the protagonists involved, ranging from Doom Techno through noise right into electropop.

This is a Recorded Message is still a highly relevant statement made in 1973 by filmmaker Jean-Thomas Bédard (CA) and composer Alain Clavier (CA), a critique of the consumption orientation of our times in the form of a huge montage of hundreds of advertising images.

To round things out, Ars Electronica and radio station Ö1 are congregating to celebrate Kunstradio’s 25th anniversary. Some special acts are offering congratulatory greetings. High-decibel radio artist and author GX Jupitter-Larsen is presenting his Loud Luggage/Booming Baggage

teardrops – Concerts

Michael Knoll — Wed, 15 Aug 2012 08:42:17 +0000

Sa 1. 9.
Klanginstallation: 14:00 – 17:00; 20:00 – 24:00
Konzert: 23:00 – 24:00
Mariendom

Another bright light in the 2012 Klangwolke cosmos is “teardrops,” a sound installation and concert for piano, noise gates, sonic feeds and church organ by Rupert Huber (AT).

Huber creates a causal relationship between the piano, its electronic extension and the church organ. Imitation and counter-movement are two parameters to which the two scales upon which the tonal space is based correspond. Beginning at 11 PM, the sound installation is then simultaneously the cantus firmus of a concert for piano, noise gates, nine loudspeakers and church organ that arises from the installation like a person awaking from slumber.

Tiefdruckgebiet. A Heavylistening Experience

Michael Knoll — Tue, 14 Aug 2012 08:25:49 +0000

HEAVYLISTENING (DE)
So/Sun 2. 9. 19:30
Lentos Kunstmuseum Linz, Freifläche

https://vimeo.com/25299973

Heavylistening duo Carl Schilde and Anselm Venezian Nehls (DE) use high-output subwoofers to morph cars into mobile musical instruments. They’ll be played by motorheads from the Upper Austrian auto powersound scene, who’ll be piloting their pimped-out rides to Ars Electronica. They emit ultra-deep sine waves at the very edge of the human hearing range. The sound produced by a single car is nothing special. But as soon as several of these soundmobiles gather for a traffic jam, the result is a “Tiefdruckgebiet” (low pressure area) you can really feel. The ultra-bass vibrations from the respective cars modify or amplify one another, or cancel each other out. Complex rhythms emerge in the space between the cars and the adjacent building façades. For onlookers, speaking suddenly becomes difficult, and the air seems to liquefy.

Tiefdruckgebiet Subbass-Test

Voice Box (that thing in your throat)

Michael Knoll — Sun, 12 Aug 2012 08:01:53 +0000

Damian Rebgetz (AU)
Fr/Fri 31. 8. 19:00
Sa/Sat 1. 9. 19:00
So/Su 2. 9. 16:00
Tabakfabrik Linz, Ostblock, Entrance Untere Donaulände 74

To gather material for his one-man-show “Voice Box,” Damian Rebgetz (AU), an undergrad in the UdK’s Sound Studies program, went on an acoustic excursion in the world of comics. This is the turf of heroes and heroines with the power to deploy superhuman vibes—so-called sonic screams—that enable them to fly at will, blow stuff up, rescue somebody or mutilate them. In a highly personal way, Rebgetz contrasts the comic heroes to his own biography and his own efforts to become a sonic superhero.

Thomas Koch (Sound / DE), Jessica Páez (Dramaturgie / FR/ES), Alexander Sieber (Sound / DE)