Ludwigshafen am Rhein, Germany


Vladimir Gorlinksy: „Bramputapsel #2“ (2011)

Simon Steen-Andersen: „Im Rauschen 1: Im Rauschen“ (2012)

Jonas Baes: „forArlyn“ (2020)

Natacha Diels: „2.5 nightmares“ (2015)

Simon Steen-Andersen: „Im Rauschen 3: in sich hinein“ (2012)

Lisa Streich: „ASCHE“ (2012)

Francesco Filidei: „I Funerali dell’Anarchico Serantini“

hand werk

Daniel Agi, Flöte

Heni Hyunjung Kim, Klarinette

Niklas Seidl, Violoncello

The piece “ASCHE” lives from “O head full of blood and wounds”, writes Lisa Streich about her duo. It runs inaudibly through the entire work until, towards the end, it is screamingly quoted in the highest register of the clarinet.

In “forArlyn” by Jonas Baes, the question of how to “hear the old through the new” takes on a socio-political dimension that also refers to the composer’s homeland in the Philippines and the phenomenon of globalization. “forArlyn” is designed as a suite, and allows the baroque form and the dance-like gestures to shine through the noisy surface of the work again and again.

Simon Steen-Andersen arranged songs by Robert Schumann for his cycle “In the Noise.” In doing so, he did not intervene in the pitches and only very little in the rhythm of the originals. The nevertheless remarkable alienation effect arises from the fact that the pitches are made audible solely by filtering electronic signals with the help of the flute, clarinet, and oral cavity.

In his “Bramputapsel” #2, which is as complex as wild, Vladimir Gorlinsky uses material from various improvisations. Finally, “2.5 Nightmares” and “I Funerali dell’Anarchico Serantini” deal with the gesture as musical material. While “2.5 Nightmares” explores the different relationships between musical and physical gestures, Francesco Filidei puts gestures at the service of a program. In “I Funerali dell’Anarchico Serantini,” he describes a funeral scene that he did not witness himself but which, as the play shows, he can vividly imagine.