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© Jörg Brüggemann

Organicum

Quick Info

Time and again, the fascination with physical phenomena inspires artistic research. In the ensemble piece Fire Fragile Flight by the practically forgotten American composer Lucia Dlugoszewski, one might think one can actually see the sun’s reflection shimmering on the falling leaves. Sarah Nemtsov evokes the soft yet firm feeling of „treading on moss” in her composition MOOS by using an unusually indirect method of producing sound. Márton Illés attempts to adapt the most varied instruments to the human voice, especially those primitive noises that it produces, aside from words and song. Meanwhile, the Greek-French composer, engineer and architect Iannis Xenakis based almost all his works on specific systems of reference from the natural sciences – an unprecedented practice in musical history, which also comes to fruition in his ensemble piece „Thalleïn” (Greek for „to sprout”):  he applies sieve theory, allowing the most varied small motifs to grow and proliferate, transform and become enmeshed in organic textures of sound. A hundred years after Xenakis’ birth, composer Michael Pelzel, in his new work „Urgewalt Xenakis – Im Sog der Transformation”, reflects „the raw and archaic power” of the music that has grown out of such rigorous processes.

Web
www.ruhrtriennale.de/en/programme/organicum/74 https://www.ruhrtriennale.de/en/programme/organicum/74
to the schedule

Staff

Klangforum Wien
Conductor
Patrick Hahn
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