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AVANT AVANTGARDE IV: introduction

06.11.13, N.K. Elsenstr. 52/ 2. Hinterhaus Etage 2, 12059 Berlin Neukölln

20:00
LECTURE by Michal Libera about music experiments before XXth century and introduction to the issues of the concerts next day at Berghain.

Marion Wörle and Maciej Sledziecki introduce the instruments build during the project
www.gamut-ensemble.de

21:00

Burkhard Beins performs "The Chladni Project" prepared and developed by Burkhard Beins & Michael Vorfeld

AVANT AVANTGARDE IV: concerts

07.11.13, Berghain, Am Wriezener Bahnhof, 10243 Berlin

doors open 20:00, concerts start at 21:00 sharp
21:00-00:00

Karolina Ossowska, Mikołaj Pałosz & Ralf Meinz: performance of 18th Century Giuseppe Tartini pieces informed by his theory of combination tones



Spat'Sonore (FR): sound installation / performance by 8 musicians (Nicolas Chedmail, Philippe Bord, Olivier Germain-Noureux, Joris Rühl, tba) for natural experiments with sound projection of acoustic instruments.



Gamut Ensemble: compositions by Marion Wörle and Maciej Sledziecki for self-constructed computerdriven music machines, built and developed over the last year together with Gerhard Kern.
gamut-ensemble.de




Razen (BE): performance by Brecht Ameel (detuned santur, psaltery, bouzouki & bombus), Kim Delcour (bagpipes, shawm, recorders), Paul Garriau (hurdy gurdy) and Pieter Lenaerts (double-bass) following computational figures of 13th Century aelatoric arts of Raymond Llull.

Razen will perform ‘Mount Randa’, a single longform piece for hurdy gurdy, bagpipes, 5 string double bass and bombus, in which they will use some of Ramon Llull’s aleatoric principles in order to establish a connection between Llullism as an art of memory, and their own instruments’ memory of tuning and intervals.




Carl Michael von Hausswolff (SE):
sound exploration of ideas of 18th Century Swedish scientist Emanuel Swedenborg.





 

AVANT AVANTGARDE III

27.09.2013, CCA, Zamek Ujazdowski, Warsaw

20.00 - 21.00

Lectures and presentations by Michał Libera, Jan Topolski and Magda Mayas on pre-20th Century electronic music and microtonality.

21.30 - 0.30

Magda Mayas & Tisha Mukarji: solo piano performance combining early piano preparations and old tuning systems prepared especially for this performance by Tisha Mukarji

Gamut Ensemble: compositions for self-constructed instrument by Gerhard Kern for antique and medieval tuning systems

Francesco Cavaliere: performance rooted in 18th and 19th experiments with fire, electricity and other methods of displaying music

Steven Stapelton & Andrew Liles (Nurse With Wound) 

AVANT AVANTGARDE II

21.06.2013, Bazylika Bożego Ciała, Krakau / PL

19°°- 20°° Vorträge
von:
Michał Libera
Andrzej Kłosak

ab 20°° Konzerte
mit:
<⁄> Jean-Luc Guionnet & Thomas Tilly
<⁄> Burkhard Beins & Michael Vorfeld
<⁄> Gamut ensemble: Frau W & Maciej Sledziecki
<⁄> Change Ringing Performance

Ralf Meinz: Klangregie & Aufnahme
 

AVANT AVANTGARDE I

30.05.2013, Stadtgarten, Köln

19°°- 20°° Panel
mit:
<⁄> Michał Libera, Aleks Kolkowski & D˛enana Aganspahić

20°°- 23°° Konzerte
mit:
<⁄> Max Eastly & Aleks Kolkowski
<⁄> Arturas Bumsteinas
<⁄> D˛enana Aganspahić & Lucio Capece
<⁄> Gamut ensemble:
Frau W, Maciej Sledziecki, Philip Zoubek, Radek Stawarz

Ralf Meinz: Klangregie


 

AVANT AVANTGARDE

An anachronistic journey through time to music experiments before XXth century.


There is no such thing as new music. And there has never been one. Otherwise, when did it start? Was it in 1778 when the futurist intonarumori were first designed by the engineers of Ekhof-Theater? Thirty years before that, when minimalist idea of combination tones were first theorized by Giuseppe Tartini? Or was it in XIII Century when Schoenberg's “Reihe” were presupposed by Raymond Llull in his computation techniques? Or earlier?

Avant Avant Garde is an anachronistic chase for experimental practices in scores, prints and treatises way before terms such as "new", "contemporary", "experimental" or "avant garde" music were conceived. We dig in the history not in search of schools and trends of music making. We dig to find maverick who could not wait until XXth century to see themselves becoming silent patrons of most thrilling adventures in sound making. What we find is people working with what they had at hands - objects, burning flames, spilling waters and blowing wind studying the mechanics at the heart of music and heralding sound art.

The material researched for Avant Avant Garde forms a body of commissions for four nights of music in Cologne, Krakow, Warsaw, Berlin. Each will contain exclusively world premiers. Dzenana Aganspahic, Burkhard Beins, Arturas Bumsteinas, Max Eastley, Lucio Capece, Francesco Cavaliere, Tomek Chołoniewski, Jean-Luc Guionnet, Frau W, CM von Hausswolff, Gerhard Kern, Aleks Kolkowski, Michał Libera, Andrew Liles, Magda Mayas, Ralf Meinz, Mikołaj Pałosz, Karolina Ossowska, Razen, Spat'Sonore, Maciej Sledziecki, Steven Stapleton, Thomas Tilly, Jan Topolski, Michael Vorfeld and many more will be there to deliver concerts, lectures and presentations on Avant Avant Garde. Over the course of the project gamut ensemble will be developing a growing automated orchestra of specifically designed music-machines referring to its Renaissance predecessors but expanded with computer controls. 

eine anachronistische Zeitreise zu musikalischen Experimenten vergangener Epochen


Claude Debussy, die Futuristen, Edgar Varèse und John Cage läuteten die Auflösung der traditionellen Musikkultur im 20.Jahrhundert ein. Wie sieht es aber mit der Avantgarde und dem Experiment vor dieser Zeit aus? Pythagoras‘ Experimente mit Schmiedehämmern, Tonvasen und dem Monochord führten zur Entwicklung des tonalen Systems. Die Ideen von Anastasius Kircher im 17. Jahrhundert umfassten sehr ungewöhnliche Instrumente und Klangideen wie die (pneumatische) kosmische Orgel, oder das legendäre Katzenklavier - in dem lebendige Katzen als miauende Klangkörper gedient haben sollen. Die Experimente des Friedrich Chladni mit resonierenden sandbestreuten Metallplatten visualisierten im 18. Jahrhundert Schallwellen und führten schließlich zum Verständnis der Akustik.

In exklusiv vorbereiteten Premieren stellt das Programm von Avant Avantgarde eine Auswahl vielerlei Entdeckungen vor: D˛enana Aganspahic, Burkhard Beins, Arturas Bumsteinas, Max Eastley, Lucio Capece, Francesco Cavaliere, Tomek Chołoniewski, Jean-Luc Guionnet, Frau W, CM von Hausswolff, Gerhard Kern, Aleks Kolkowski, Michał Libera, Andrew Liles, Magda Mayas, Ralf Meinz, Mikołlaj Pałosz, Karolina Ossowska, Razen, Paweł Romanczuk, Spat‘Sonore, Maciej Sledziecki, Steven Stapleton, Thomas Tilly, Jan Topolski, Michael Vorfeld und weitere mehr stellen für Avant Avantgarde in Konzerten, Vorträgen und Performances an vier Terminen in Köln, Krakau, Warschau und Berlin ihre Ergebnisse vor.

Das Gamut ensemble entwickelt über den gesamten Projektzeitraum ein wachsendes Sortiment an computergesteuerten Musikmaschinen auf Grundlage von jahrhundertealten Ideen und Skizzen.

AVANT AVANTGARDE wird gefördert von der Kulturstiftung des Bundes, dem Kultursekretariat Wuppertal, der Bezirksregierung Köln sowie ON - Neue Musik Köln.

In Zusammenarbeit mit fundacja 4.99

Gefördert durch die

Some pictures from last edition of the festival on the 07.11.13 at Berghain. (all photos Roland Owsnitzky)
 
Gamut-5.jpg

gamut inc

Spat-18.jpg

spat sonore

Gamut-6.jpg

gamut inc

Hausswolff-5.jpg

Carl-Michael von Hausswolff

Hausswolff-7.jpg

Carl-Michael von Hausswolff

Razen.jpg

razen

Tartini-7.jpg

tartini project

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