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AUDIO

VIDEO

frag mich 2 mal
55:40

frag mich 2 mal

This project is supported by Musikfonds, Beauftragte der Bundesregierung für Kultur und Medien, Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen. ----------- frag mich 2 mal intro(1) I. Georges Aperghis - À bout de bras a. text out of association game b. Gonfia Palloncino Rosso(2) ll. SukJu Na - Sngw c. count down d. sounds out of everyday life(3) e. kung fu(4) f. Neue Musik als Muttersprache/ New Music as a mother tongue (translation see below) written by Dimitry Stavrianidi g. Johann Sebastian Bach - Alle Menschen müssen sterben/Everybody must die lll. Francesco Filidei - Esercizio do pazzia I h. Aperghis heavy metal composed by Tamon Yashima and Ensemble S201 i. burst red balloon lV. Roman Pfeifer - to freeze the sound in action outro ----------- (1) the composition is sampled from: Ensemble S201 - to freeze the sound in action; Roman Pfeifer, Katy Perry - I Kissed A Girl, Helene Fischer - Atemlos durch die Nacht, Elina Garanca - L'amour est un oiseau rebelle; Georges Bizet, Charles Aznavour et Mireille Mathieu - Une vie d'amour, Harry Styles - Watermelon Sugar, Ensemble S201 - À bout de bras; Georges Aperghis, Luciano Pavarotti - La Donna È Mobile; Giuseppe Verdi, Paramore - Misery Business, Lady Gaga - Poker Face, Judas Priest - Painkiller, Lang Lang - Suite bergamasque, L.75_ III. Clair de lune; Debussy, Metallica - Enter Sandman, Ensemble S201 - Sngw; SukJu Na, Taylor Swift - Shake It Off, Julien Salemkour & Staatskapelle Berlin - Symphony No. 40 in G minor, K. 550; Mozart, Ennio Morricone - Main Theme of The Good the Bad and the Ugly, Celine Dion - My Heart Will Go On, AC_DC - Thunderstruck, Avi Avital - Mandolin Concerto In C Major; Vivaldi, Ensemble S201 - Esercizio do pazzia I; Francesco Filidei All rights reserved for original records, producers, composers and artists. (2) playing instruction from Esercizio do pazzia I; Francesco Filidei (3) the composition sampled from: Messenger/Facebook Inc., Hermes Europe GmbH, Carglass® GmbH, Skype™/Microsoft Corporation, WhatsApp Inc., Netflix, Inc., Real GmbH, Media-Saturn-Holding GmbH, Bayer AG, Spotify® AB, and many other sounds of everyday life All rights reserved for original producers, companies. (4) click track and excerpt of "pure bloom" by Francisco Uberto and playing instruction from Esercizio do pazzia I; Francesco Filidei (translation) New Music as a mother tongue... Mother tongue is the language you learn first in order to be able to communicate with your closest relatives. "Music has been a natural element for me since my earliest childhood," recalled Pablo Casals, "an activity as natural as breathing. I sang before I could speak clearly. Thanks to my father, I learned to understand sounds and words equally.” This is how music can become a mother tongue. But how about contemporary music? Many listeners perceive contemporary music as completely alien. Like a “foreign language” and not like a “mother tongue”. At best, some say “Unfortunately I didn't understand anything”. Contemporary music can even summon anger or be made fun of. How do you bring contemporary music closer to people so that they feel more "at home" while listening? Is the composer of new music able to communicate with the audience about his or her work? The question is posed: what is required? Maybe a young child growing up in a contemporary music mother tongue? For this child, all common noises, sounds and urban rhythms are meaningful both in terms of content and on an emotional level. They convey feelings, thoughts and images. He perceives his (musical) surroundings completely freely. Without prejudice, with curiosity, playfully. Everything is explored, examined, touched, listened to without ulterior motives. Predetermined patterns no longer play a role. Many adults, on the other hand, are biased by their expectations and their assumed experiences. Sometimes this prevents one from embarking on something new. The word “new” in New Music, however, suggests this. The listener embarks on a journey of discovery without the goal in sight: let himself be surprised without prejudice, cheerful surrender. The true means of communication, language is dead, isn't it? Or can such music itself be a partner in conversation? Perhaps we adults can become children again while listening to new music? ----------- If it isn’t noted particularly, all written, composed or performed by Ensemble S201; Filip Eraković (accordion) , Heni Hyunjung Kim (clarinet) , Dimitry Stavrianidi (flute) , Robert Wheatley (cello) , Tamon Yashima (oboe) , and Kanade Hamawaki. All scenes are taken and edited by Kanade Hamawaki, Younggoo Chang as an additional camera in the heavy metal scene. All sounds are mixed by Tamon Yashima. Special Thanks goes to: Rü Bühne e.V., Alexandra, Tim, Christian & Anna, Leonie, all the people who supported us to make it possible
Festival NOW! 2020 - Ensemble S 201 - "Inguz"
01:36:15

Festival NOW! 2020 - Ensemble S 201 - "Inguz"

Konzert-Livestream aus der Philharmonie Essen Das in Essen beheimatete und aus sechs Multiinstrumentalisten bestehende Ensemble S201 hat sich die enge Zusammenarbeit mit der jüngeren Komponistengeneration auf die Fahnen geschrieben. Dabei kommt es auch zu Begegnungen mit Komponistinnen und Komponisten aus aller Herren Länder. So erklingen jetzt neue Werke des aus der Türkei stammenden Komponisten Enver Yalçin Özdiker und vom Brasilianer Ricardo Eizirik. Mit seiner Auftragsarbeit "…I can breathe…" erinnert der aus Ecuador stammende Komponist Mesias Maiguashca zudem an die tödliche Festnahme von George Floyd. "Mir wurde bewusst, welch unschätzbares Privileg es ist, frei atmen zu können", so Macahis. Dimitry Stavrianidi, Flöte Tamon Yashima, Oboe Heni Hyunjung Kim, Klarinette Robert Alan Wheatley, Violoncello Filip Erakovic, Akkordeon Emmanuel Wittersheim, Klangregie Patricia Martins, Klavier Günter Steinke, Moderation Programm: Ricardo Eizirik "Junkyard Piece III b" für Ensemble und Sampler (Uraufführung, Auftragswerk der Philharmonie Essen) Liza Lim "Inguz" für Klarinette und Violoncello Enver Yalcin Özdiker "Fragmente" für Flöte, Oboe, Klarinette, Akkordeon, Klavier und Violoncello (Uraufführung, Auftragswerk der Philharmonie Essen, gefördert vom Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen) Farzia Fallah "Ausgedehnter Augenblick" für Bassklarinette, Violoncello, Akkordeon und Video Mesias Maiguashca "... I can breathe ..." für Ensemble und Elektronik (Uraufführung, Auftragswerk der Philharmonie Essen, gefördert vom Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen) www.theater-essen.de Gefördert von der Kunststiftung NRW
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