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Ring Ring festival, broj 19

Festival Ring Ring, Beograd, 15-28.maj, 2014.

Uz podrsku Ministarsva kulture i medija

 

15.maj u 20.00, Galerija ARTGET KCBa
ImprovE 2.17 kao promo koncerti

Ring Ring Festivala
Ana Sofrenović/ Milana Zarić/Joel Grip (Srb/Swe)
Sten Sandell/Joel Grip/Mezei Szilard (Swe/Srb)

 Zbog dana zalosti  koncerti koji je trebalo da se odrze 22. i 23. maja su odlozeni za jesen!

 

 


24. maj u 20.00, KC Rex
Kim Myhr (N)                                                                                                                                                                                                                                                                                                                                                                                                                              Milana Zarić & Richard Barrett & Zsolt Sores (Srb/UK/Hu)
Joe Sachse trio (D/UK)

25. maj u 20.00, KC Rex
Tudosok (Hu)                                                                                                                                                                                                                                                                                                                                                                                                                                  Žoambo Žoet Workestrao (Si)

26. maj u 20.00, KC Rex
Buran (Srb)                                                                                                                                                                                                                                                                                                                                                                                                                  Ensemble]H[iatus (Fr/D/I)

28. maj u 21.00, Studio 6 Radio Beograda
East Rodeo Septet (I/Cr)

15/05 u 20.00 Galerija Artget Kulturnog Centra Beograda

Ana Sofrenović /Milana Zarić/Joel Grip (Srbija,Svedska/Serbia/Sweden)

Ana Sofrenović - glas/voice
Milana Zarić - harfa/harp
Joel Grip - kontrabas/doublebass

Ana Sofrenović je završila Fakultet dramskih umetnosti u Beogradu, na odseku za glumu. Nakon fakulteta uporedo razvija svoju glumačku i muzičku karijeru. U januaru 2006. godine nastupala je na koncertu u Karnegi holu u Njujorku, u okviru majstorskog kursa kultne američke avangardne kompozitorke i pevačice, Meredit Monk na koji je pozvana sa još 18 pevača iz celog sveta. I dalje aktivna kao filmska i pozorišna glumica, poslednjih 8 godina se posvetila istraživanju ljudskog glasa i njegovoj upotrebi u performansu koja izlazi iz okvira tradicionalnih vokalnih tehnika.
Beogradska harfistkinja Milana Zarić je zaposlena u Beogradskoj filharmoniji na mestu prve harfe. Takođe je aktivna kao solo muzičar, improvizator i član ili osnivač različitih kamernih sastava u Srbiji i Holandiji. Kompozitori Hugo Morales Murguia, Falk Huebner, Teodora Stepančić, Jasna Velicković i Ana Gnjatović su joj posvetili dela. U periodu od 2009. do 2011. godine Milana Zarić se usavršavala na Kraljevskom konzervatorijumu u Hagu u oblasti savremene muzike za harfu i improvizacije. Po povratku u Beograd, osnovala je kolektiv i ansambl za novu muzikuStudio 6. Član je No borders orchestra, trija Timbre, Ansambla Žebeljan.  Jedan je od osnivača kolektiva ImprovE, koji od 2012. godine redovno organizuje koncerte i performanse u Beogradu.

 

Ana Sofrenović graduated from the Academy of Dramatic arts in Belgrade. After the Academy she has been building a career both as an actress and a musician. She was vocally trained by Mary Hammond the founder of the music theatre department at the Royal Academy of Music in London. In January 2006, she took part in the master-class and concert held by the legendary American avant-garde vocalist and composer Meredith Monk, at Carnegie Hall.
While still active as an actress and a singer, the last 8 years she spent exploring the abilities of human voice and it’s use in performance outside the frame of traditional vocal techniques.
She took part in numerous workshops held by artists such as Shelley Hirsch, Jaap Blonk, Joan La Barbara, John Giorno, Phil Minton, Tran QuangHai, Maria Hussman and many others.

Belgrade born harpist Milana Zarić holds a position as principal harpist in the Belgrade Philharmonic Orchestra. She is also active as a soloist, improviser and chamber musician, often as the founding member of groups based in Serbia and Holland. Milana has commissioned new works for solo harp from composers Hugo Morales Murguia, Falk Huebner, Teodora Stepančić, Jasna Velicković and Ana Gnjatović. She formed a collective and ensemble for new music Studio 6. She is also a member of No borders orchestra, Trio TimbreŽebeljan ensemble and the founding member of improvisers’ collective ImprovE. In improvised settings, Milana has so far performed with Chris Cutler, Butch Morris, Peter van Bergen, Augusti Fernandez, Annie Gosfield, Yedo Gibson, Anne la Berge, Zsolt Sores.

 

Sten Sandell/Joel Grip/Mezei Szilard vedska,Srbija/Sweden,Serbia)

 

Sten Sandell – klavir/piano

Joel Grip – kontrabas/doublebass

Mezei Szilard – viola

 

Pijanista, kompozitor i izvođač Sten Sandel je doktorirao 2013. godine na Univerzitetu u Geteburgu temom O sadržaju tišine. Sarađivao je sa velikim imenima savremenog džeza (sastav GUSH – Mats Gustafsson, Raymond Stridom; Sofia Jernberg, Fredrik Ljungkvist, John Berthling, Sven-Ake Johansson, Evan Parker, David Moss, Barry Guy, Sainkho Namchylak, Paal Nilssen-Love). Komponovao je i izvodio muzičke drame.

Energični švedski kontrabasista i producent Joel Grip dugi niz godina ima važnu ulogu na sceni improvizovane muzike u Evropi. Kao osnivač izdavačke kuće Umlaut Records, otvoren je za kreativne forme organizovanja grupa muzičara i promociju njihove muzike. U grupama kao što su Peeping Tom, Kege Snö, Je Suis! i SNUS, Gripov intenzivan i ličan način sviranja daje muzičku osnovu koja se ističe, ali ipak ostavlja mesta istinskom muzičkom dijalogu.

Szilard Mezei je studirao violinu u Subotici i Senti, a kompoziciju je diplomirao na FMU u Beogradu u klasi profesora Zorana Erića. Predstavljao se širom Evrope kao izvođač i kao kompozitor, a u svojim delima lucidno spaja elemente mađarske narodne muzike, fri džeza, pozorišne i savremene muzike. Jedan je od retkih autora džeza sa ovih prostora koji izdaje albume za strane izdavače kao što su prestižna poljska kuća Not Two ili britanski Slam Productions, koji je objavio aktuelni Mezeijev album.

 A pianist, composer and performer Sten Sandell has PhD in Music at Gotheburg University – On the Inside of Silence, 2013. Sandell coloborated with many great names of contemporary jazz from Swedish Mats Gustafsson and Raymond Strid in GUSH, with Sofia Jernberg, Fredrik Ljungkvist, John Berthling, Sven-Ake Johansson, as well as with international artists such as Evan Parker, David Moss, Barry Guy, Sainkho Namchylak, Paal Nilssen-Love… He composed and performed the Music Drama.

For a number of years now, energetic double bassist and producer Joel Grip has played an important role for the new scenes of improvised music in Europe. As founder of Umlaut Records, he opened up for creative forms of organizing collectives of musicians and promoting their music internationally. In groups like Peeping Tom, Kege Snö, Je Suis!, and SNUS Grip’s intense and personal bass-playing provides a musical foundation which commands attention in its own right, yet leaves room for genuine musical dialogue.

Szilard Mezei completed his violin studies in Senta and Subotica and studied composition for four years. As violinist, violist, double bass player and composer and in various formations held many concerts in Europe.  As a composer, Mezei is interested in exploring the relationship between improvisation and composition, incorporating elements of jazz and authentic folk music as well. Since 2001, he is closely collaborating with choreographer Josef Nadj.

Koncert je ostvaren uz podrsku Ambasade Švedske u Beogradu/with the support of Embassy of Sweden in Belgrade.

24/05  u 20.00  Kulturni centar Rex

 

Kim Myhr (Norveška/Norway)

Kim Myhr – gitara/guitar

Kim Myhr (rođen 1981.) kompozitor i gitarista, predstavlja aktivan glas kreativne norveške muzičke scene, sa čestim nastupima širom Evrope, Australije, Azije i celog američkog kontinenta.

Svoj prvi album je izdao u martu 2014. godine. Njegova muzika istražuje akustične mogućnosti gitare sa dvanaest žica i može podsetiti slušaoca na muziku Ligetija i Mortona Feldmana, ali takođe sadrži i energiju i jednostavnost sličnu američkoj folk muzici.

Kao kompozitor, Myhr je 2009. napisao delo stabiljke i nosači za džez orkestar Trondhajma, mnogobrojni ansambl u čijem sastavu su, između ostalih, Sidsel Endersen, Kristijan Valumrod, Džim Denli. Myhr često piše kompozicije za ples, najčešće sarađujući sa italijanskim koreografom Frančeskom Skavetijem.

Kim je član australijskog tria pod nazivom MURAL, zajedno sa Džim Denlijem za duvačkim instrumentima i perkusionistom Ingarom Zakom. Njihova saradnja krenula je 2007., i od tada su izdali dva CD-a, poslednji pod nazivom Live at the Rothko Chapel.
Kim Myhr is an active voice of the creative music scene in Norway, both as a composer and as a guitarist, with frequent performances throughout Europe, Australia, Asia and North- as well as South-America.

Myhr’s first solo record was released March 2014. His solo music explores the acoustic possibilities of the 12-string guitar, and can remind the listener of early music of Ligeti and of Morton Feldman, but it also contains an energy and simplicity similar to American folk music.

As a composer, Myhr wrote “stems and cages” for the Trondheim Jazz Orchestra in 2009, a large ensemble including Sidsel Endresen, Christian Wallumrød, Jim Denley among others. Myhr works frequently with dance, notably writing music for productions by italian choreographer Francesco Scavetta, and in 2014 a new collaboration with dancer Orfee Schuijt.

Kim is one third of MURAL, a trio with australian wind player Jim Denley and percussionist Ingar Zach. They have worked together since 2007, and have released two CDs; the last one “Live at the Rothko Chapel”, is a documentation of a continuing relationship with the Rothko Chapel in Houston.

Koncert je ostvaren uz pomoć/with kind support of INDI Center For Development And Promotion & Music Norway

Milana Zarić/Richard Barrett/Zsolt Sores

(Srbija,Velika Britanija,Madjarska/Serbia, Great Britain, Hungary)

 

Milana Zaric – harfa/harp

Richard Barrrett – elektronika/electronic

Zsolt Sores – viola, elektronika, objekti/viola, electronics, objects

 

 

Beogradska harfistkinja Milana Zarić je zaposlena u Beogradskoj filharmoniji na mestu prve harfe. Takođe je aktivna kao solo muzičar, improvizator i član ili osnivač različitih kamernih sastava u Srbiji i Holandiji. Kompozitori Hugo Morales Murguia, Falk Huebner, Teodora Stepančić, Jasna Velicković i Ana Gnjatović su joj posvetili dela. U periodu od 2009. do 2011. godine Milana Zarić se usavršavala na Kraljevskom konzervatorijumu u Hagu u oblasti savremene muzike za harfu i improvizacije. Po povratku u Beograd, osnovala je kolektiv i ansambl za novu muzikuStudio 6. Član je No borders orchestra, trija Timbre, Ansambla Žebeljan.  Jedan je od osnivača kolektiva ImprovE, koji od 2012. godine redovno organizuje koncerte i performanse u Beogradu. Na ovom koncertu će zajedno sa Richard Barrettom izvesti njegovou kompoziciju “Tendril”.

Richard Barrett je aktivan na međunarodnoj sceni i kao kompozitor i kao izvođač muzike improvizacije, a sarađivao je sa mnogim poznatim muzičarima iz obe oblasti, razvijajući radove i ideje koje ostavljaju iza sebe razlike između ova dva muzička žanra. Neke od višegodišnjih saradnji sa drugim muzičarima predstavljaju duo Furt koji je osnovao sa Paulom Obermajerom (a u skorije vreme je postao i član okteta Forch), zatim komponovanje i izvođenje dela sa grupom Elision, kao i redovni nastupi sa elektroakustičnim ansamblom Evana Parkera. Nedavni projekti uključuju i dvočasovni projekat za dvadeset tri izvođača i 3D ozvučenjem nazvan Construction, koji je premijerno izveo Elision 2011. godine, kao i jednosatnu life-form kompoziciju za violončelo i elektronske instrumente, u premijernom izvođenju Arne Deforse 2012. godine. Neki od aktuelnih projekata su novo delo komponovano za Simfonijski orkestar Štutgartskog radija, kao i dugoročni projekat sa ansamblom Studio6. Studirao je kompoziciju, a trenutno radi kao profesor na institutu za akustiku u Hagu.

Tendril za harfu i elektroniku napisao je 2013. za Milanu Zarić. U ovoj kompoziciji primećuje se konstantno preplitanje akustičnog i elektronskog zvuka, kao i prožimanje napisane i spontano izvedene muzike. Takođe predstavlja uvod u dužu kompoziciju koju Baret trenutno priprema za ansambl Studio6 i koja će biti premijerno izvedena 2015.

Zsolt Sőrés (Ahad) je muzičar improvizacije kroz elektroakustiku i noise muziku. Njegov glavni instrument je viola sa pet žica. Ahadova muzika je karakteristična po formacijskoj strategiji i naglim prelazima, upotrebom nestabilnih, promenljivih akustičnih sistema i konstantnim slojevima zvuka,  kao i jedinstvenim elektronskim instrumentima (muzičke igračke, crackle box, ručno radjeni oscilatori, lo-fi sistemi, objekti koji odzvanjaju i sl.). U poslednjih dvadeset godina nastupao je sa brojnim muzičarima i kompozitorima improvizacije, free jazz- a i elektronske muzike na različitim festivalima širom sveta, brojnim događajima, performansima i klupskim koncertima širom Evrope i SAD-a.

Projekti na kojima trenutno radi: član tria zajedno uz Franz Hautzingera i Isabelle Duthoit, duo sa Jean Herve Peronom Art-Erririst (iz legendarnog krautrok benda Faust)…
Belgrade born harpist Milana Zarić holds a position as principal harpist in the Belgrade Philharmonic Orchestra. She is also active as a soloist, improviser and chamber musician, often as the founding member of groups based in Serbia and Holland. Milana has commissioned new works for solo harp from composers Hugo Morales Murguia, Falk Huebner, Teodora Stepančić, Jasna Velicković and Ana Gnjatović. She formed a collective and ensemble for new music Studio 6. She is also a member of No borders orchestra, Trio TimbreŽebeljan ensemble and the founding member of improvisers’ collective ImprovE. In improvised settings, Milana has so far performed with Chris Cutler, Butch Morris, Peter van Bergen, Augusti Fernandez, Annie Gosfield, Yedo Gibson, Anne la Berge, Zsolt Sores.
Richard Barrett is internationally active as both composer and improvising performer, and has collaborated with many leading performers in both areas, while developing works and ideas which increasingly leave behind the distinctions between them. His long-term collaborations include the electronic duo FURT which he formed with Paul Obermayer in 1986 (and its more recent octet version fORCH), composing for and performing with the ELISION contemporary music group since 1990, and regular appearances with the Evan Parker Electro-Acoustic Ensemble since 2003. Recent projects include CONSTRUCTION, a two-hour work for twenty-three performers and three-dimensional sound system, premiered by ELISION in 2011, and the hour-long life-form for cello and electronics, premiered by Arne Deforce in 2012. Current projects include world-line for electric lap steel guitar, trumpet, percussion and electronics, commissioned by Daryl Buckley, and a new work for the Radio-Symphonie-Orchester Stuttgart, as well as a long-term project with Ensemble Studio6. He studied composition principally with Peter Wiegold, and currently teaches at the Institute of Sonology in The Hague.

Tendril for harp and electronics was written in 2013 for Milana Zarić. It creates a constant intertwining between acoustic and electronic sounds as well as between pre-composed and spontaneous musical activity. It also forms the first part of an extended composition I am currently working on for Ensemble Studio6 which will be presented in its entirety in 2015.

Zsolt Sőrés (Ahad) is an improvised/electroacoustic and noise musician, sound artist. His main instrument is 5 string viola. Ahad’s music characterised by formation strategy and immediate transitions, the use of unstable acoustic systems and continuous sound layers, unique electronic instruments (circuit bent toys, crackle box, home-made oscillators, lo-fi systems, resonating objects etc.). Within the last 20 years he has performed with a number of improvised, free jazz and experimental musicians and composers around the world in festivals, events, intermedia organizations and club concerts in Europe and USA.

His current projects: trio with Franz Hautzinger and Isabelle Duthoit, duo with Jean-Hervé Péron Art-Errorist (from the legendary krautrock band Faust), Inconsolable Ghost (with Hilary Jeffery, Gideon Kiers), Ahad & ChrS, IBelong to the Band, Noise Flowers, duo with Christian Kobi, collaboration with the experimental rock group Theme, Spiritus Noister , Positive Noise Trio, duo with Balázs Pándi.

. . In 2012 he was the Hungarian curator of the international ”Sound Exchange” project, a special research the long traditions of experimental music cultures in Central and Eastern Europe featuring Ernő Király from Novi Sad among others

 

JOE SACHSE TRIO (Nemačka/Germany)

 

John Marshall – bubnjevi/drums

Fred T. Baker – bas/bass guitar

Helmut ‘Joe’ Sachse – električna gitara, udaraljke/electric guitar, percussion

 

Helmut Joe Sachse je počeo svoju karijeru na jazz sceni Istočne Nemacke, svirajući sa najboljim tamošnjim muzičarima (braća Bauer, Kropinski…), da bi kasnije nastupao sa medjunarodno poznatim jazz sviračima. Nisu mu strani ni jazz standardi, ni rok uticaji, a prozvali su ga Jimi Hendriksom jazz gitare, dok je Frankfurter Rundschau za njega napisao da je najveći nepoznati nemački gitarista.

Fred Thelonious Baker  je svirao u grupi John Etheridge/Ric Sanders početkom 80-tih, vodio svoj sastav i svirao sa Maggie Nicols, Elton Dean, Etheridge, Miller, Alex Maguire, Horace Parlan, Brian Abrahams, Shell Baker, Ric Sanders und Vicky Clayton i Simon Dinnigan

John Stanley Marshall je osnivač jazz rock sastava Nucleus, a od 1999. saradjuje sa ex-članovima Soft Machine u projektima SoftWhere”, “SoftWorks” i “Soft Machine Legacy”.

 

Helmut Joe Sachse started out in the East German jazz scene, with whose representatives he almost without exception played. Later he also performed with other international musicians: Carmell Jones, Leo Wright, Mighty Flea Conners, Charlie Mariano, John Tchicai, John Marshall,

David Moss, Peter Brötzmann, Tony Oxley, Jack Bruce, Han Bennink and Albert Mangelsdorff. From the nineties onwards he began to incorporate standards – including those from rock music – into his repertoire. His characteristic art of playing has brought him labels such as the Jimi Hendrix of jazz guitar or the high priest and wizard of electric guitar. The Frankfurter Rundschau

news paper eventually named him as Germany’s greatest unknown guitarist. In 1990, his two solo records were awarded the “Goldene Amiga.

Fred Thelonious Baker  played the guitar until his mid-teens, at which point he switched to the bass. He played in The John Etheridge/Ric Sanders Group in the early 1980s. He has also worked with his own group, the Fred Thelonious Baker Group who recorded a self-titled album

in 1984. Baker has recorded three albums with Harry Beckett. He played with Maggie Nicols, Elton Dean, Etheridge, Miller, Alex Maguire, Horace Parlan, Brian Abrahams, Shell Baker, Ric Sanders and Vicky Clayton and Simon Dinnigan. Baker also works as a teacher at Birmingham Conservatoire.

John Stanley Marshall better known as John Marshall, was a founding member of the jazz rock band Nucleus and has worked with various other jazz and rock bands and musicians, among

them J. J. Jackson, Barney Kessel, Alexis Korner, Graham Collier, Michael Gibbs, Arthur Brown, Keith Tippett, Centipede, Jack Bruce, John McLaughlin, Soft Machine, Dick Morrissey, Hugh Hopper, Elton Dean, John Surman, Charlie Mariano, John Abercrombie, Arild Andersen, and Eberhard Weber‘s Colours. Since 1999, he has worked with former Soft Machine co-musicians in several Soft Machine related projects like “SoftWhere”, “SoftWorks” and “Soft Machine Legacy”.

Ovaj koncert je ostvaren u saradnji sa/with kind support from Goethe Institut Belgrade.

25/05  u 20.00  Kulturni centar Rex

ŽOAMBO ŽOET WORKESTRAO (Slovenija/Slovenia)

Ivo Poderžaj – bas, glas/bass & vocals

Marjan Stanić – bubnjevi/drums

Gregor Belušič – gitara, glas/guitar & vocals

Andrej Fon – saksofon, klavijatura, zurla/sax, keyboard, zurla

Aldo Ivančić – efekti, zvuk/effects, sound

Ako govorimo o avangardnom roku jugoistočne Evrope, ne može se zaobići bend, čije ime je reakcija na apsurdnost latino-američkih sapunica, a koji je kao trio osnovan pre više od 20 godina. Gledano iz današnje perspektive, jasno je da su Žoambo Žoet Workestrao nastavak Rock in Opposition puta, na koje se gledalo kao na čudake, u sredini nevelike tradicije eksperimentalne muzike. Kao deo “Druga liga scene” saradjivali su sa bendovima bivše Yuge i okolnih zemalja, svirajući po evropskim klubovima. Danas postoje kao kvintet, kojima se nedavno prikjlučio Aldo Ivančić.

When contemplating avant-rock from South-East Europe (Is there such a thing?, Why would one do so?), one cannot ignore a band whose name was a reaction to the absurdity of Latin-American soap operas starting to appear in the newly commoditised country. The then power trio of Ljubljana (Slovenia, halfway between Venice and Vienna, ¾ woodlands, population 2 million) was founded in 1992. In the context of the nation’s search for a new capitalist identity, it stuck out as an experimental/improvised/free luddite rock band. Twenty years later, it is clear that the ŽŽW were merely an original RIO band posing as a freak in the environment lacking both experiment and improvisation scene. In the years to follow, ŽŽW were part of the Druga liga scene (“weird” bands from ex-Yugoslavia), and later collaborated in a similarly offish Slovene pack Paket angažma. The band has toured western and south European clubs, had flickering moments of international acknowledgement (The Rennes Moo festival, the Budapest Big Ear and Pepsi Sziget festivals, Terraneo, etc) but does not wish to talk about the past much. The music is, say, modern while, how anachronistically, encouraging smoking in public places. It is imbued with profound contempt for the now. The now that attempts to entertain and please but appears to be no more than soap for smelly armpits from underground workshops or an Apple for the famished Africans. With a smile of an old barman, Žoambo is sprinkling salt into your wounds while reminding you of the time and the place.

Koncert je ostvaren u saradnji sa/in collaboration with Zavod Sploh, Ljubljana.

  

TUDOSOK  (Madjarska/Hungary)

drMáriás – glas, alt saksofon, truba/vocals, alto sax, trumpet

Ambrus Tövisházi – klavijature/organ

Dávid Endrei – bas/bass

Gergely Jeli – bubnjevi/drums

Tudósok je jedan od glavnih predstavnika mađarske  i centralno evropske nezavisne muzičke scene, stoji na granicama andergraunda, popa, džeza i progresivne muzike, spajajući poeziju, muziku i performans u posebno jak, originalan i specifičan umetnički izraz. Njihova muzika u sebi sadrži fluktuaciju bubnjeva sa sedam elemenata, topli bas koji steže grlo, saksofon i trubu koji prolaze pravo kroz srce, organ koji se poigrava sa plucima i vodi do neba, kao i tekstove koji raspamećuju. Njihov zvuk je spoj popa i fanka, uticaja Zapada i Istoka koji se oseća u snažnoj atavističkoj improvizaciji, dekonstruisanog pop roka i džeza u jedinstvenom veselom vrisku koju je uživanje čuti. Njihovi koncerti vas vode u svet koji je na pola puta između Talking Heads-a i Aleksandra Skriabina, Nirvane i Mocarta, Captain Beefheart-a i Teolonijus Monka, Skrileksa i Bele Bartok.

 

Tudósok is a major representative of the independent music scene in Hungary and Central urope ont he borders of underground, pop, jazz and progressive music, who mix poetry, music and performance into a uniquely powerful, original and special artistic language. Their music is a seven-handed drum fluctuation, a warm bass that pumps up the throat, a sax and trumpet that pierce the heart, an organ that teases your lungs and takes you to the sky and lyrics that shuttle away the brain. Their sound is a true synthesis of pop and punk, influences of East and West through powerful atavistic improvisation, deconstructed pop rock and no wave jazz into a uniquely original scream joyful to hear. Their concerts bring you to a world halfway between the Talking Heads and Alexander Scriabin, Nirvana and Mozart, Captain Beefheart and Theolonius Monk, Scrillex and Béla Bartók.

26/05  u 20.00  Kulturni centar Rex

BURAN (Srbija/Serbia)

Pavle Jovanovski – bubnjevi/drums

Pavle Medan – bubnjevi/drums

Aleksandar Hristić – bubnjevi/drums

Marko Jelić – gitara/guitar

Stefan Krzić – gitara/ guitar

Vukašin Djelić – gitara /guitar

Nemanja Lilić – sintisajzeri/ synthesizers

Bojan Blagojević  -  elektronika/analogue electronic devices

BURAN je formiran krajem 2013. godine u Beogradu, od strane 8 muzičara, okupljenih oko zajedničke ideje izvodjenja zvučnih ceremonija.

Simbiozom različitih zvučnih formi kao sto su plemenska muzika, sound mass kompozicije 20. veka, heavy metal, drone, ambient i sound art, muzika grupe se kreće od jednog do drugog kraja zvučnog spektra. Koristeći rezonantnu i ritmičku prirodu instrumenata, grupa stvara intenzivnu zvučnu masu, repetativne i cirkularne ritmove satkane od buke i tišine.
Sa tri bubnja, tri gitare, sintisajzerima i analognim elektronskim uredjajima, BURAN je posvećen pretvaranju prostora u zvučni vir koji vodi posetioce u jedan čudan i lep zvučni svet.

BURAN was formed at the end of 2013. in Belgrade, by eight musicians, gathered around the idea of performing sound ceremonies.

Synthesizing different sound forms such as tribal music, sound mass compositions of 20th century, heavy metal, drone, ambient and sound art, music of BURAN is shifting from one end of the spectrum to another, often within the same piece. Using both the resonating and rhythmical nature of their instruments, group takes time to develop intensity and volume, creating clusters of sound, repetitive and trance inducing rhythms, noise and silence. With three drums, three guitars, synthesizers and analogue electronic devices, BURAN is bound to make any space swirl in shifting sounds and rhythms, creating timbral vortex that takes visitors to a strange and beautiful sound world.

 

ensemble]h[iatus  (Francuska, Italija, Nemačka/France, Italy, Germany)           

Tiziana Bertoncini – violin/violin

Thomas Lehn – analogni sintisajzer, klavir/analogue synthesizer, piano

Lê Quan Ninh – udaraljke/percussion

 

Program: 

New York School \ Brown & Wolff

Earle Brown (1926-2002)       Folio (1952/1953)                                               indeterminate length and instrumentation

Christian Wolff (*1934)         Or 4 People (1994)                                                 for any instruments

ensemble]h[iatus                     Improvisation

Earle Brown (1926-2002)       Four Systems (1954)                                                 indeterminate length and instrumentation

NEW YORK SCHOOL je nekadašnja neformalna grupa američkih pesnika, slikara, igrača i muzičara koja je bila aktivna 50-tih i 60-tih godina u Njujorku, čiji su vodeći kompozitori bili John Cage,  Morton Feldman, Earl Brown i Christian Wolff.

Uticaj Earlea Brownea na avangardnu zajednicu bio je filozofski, kao i opipljiv i praktičan. Njegove tehnike dirigovanja i eksperimenti sa grafičkom prostorno-vremenskom notacijom’ improvizacijom i otvorenom formom strukture kompozicije postali su deo savremene kompozitorske prakse. Njegov Folio & Four Systems je set od osam kratkih kompozicija koje mogu da se izvode zajedno, ili u delovima, sa bilo kakvim „medijima koji proizvode zvuk“, u bilo kojoj dužini trajanja. Niz dela nastalih iz ovog istraživanja izdati su kao Folio (1952-‘53), i Four Systems (1954), napisan kao rođendanski poklon za Davida Tudora u januaru 1954. Folio je grafički zapis otvorene forme za svaki instrument u svakom svom segmentu, sastoji se iz četiri segmenta u kojima se zvučni efekti prikazuju grafički kroz odnose visoko-nisko, duže-kraće, glasno-tiho i u različitim ritmičkim deonicama. Veoma važna dimenzija ovog dela je njegov spontani karakter, baziran na pojedinačnim i zajedničkim potezima po izboru izvođača. Svako izvođenje će tako biti drugačije i može se shvatiti kao kompozicija samih izvođača koji se oslanja na grafičke uticaje dela Four Systems“.(Earle Brown, August 1994).

 Christian Wolff je bio aktivan kao kompozitor, ali i kao izvođač i improvizator; sarađivao je sa Steveom Laceyom, Keithom Roweom, Williamom Winantom, sa legendarnom grupom AMM i drugim izvođačima. Karakteriše ga sloboda i nedeterminisanost u komponovanju, kao i raznolikost u interpretaciji dela. Ovo je zahtevalo nove načine notnog zapisa, koji su zauzvrat tražili radikalnu interpretaciju izvođača. 1964. napisao je For 1,2,3 people za čije izvođenje mogu biti upotrebljeni bilo koji instrumenti. Wolffove radove iz ovog perioda karakteriše upotreba nekonvencionalnog notnog zapisa koji stvara odnose među izvođačima slične pravilima koja propisuju uloge i ograničenja u igrama. Ali za razliku od radova Johna Cagea, neka izvođenja zavise od reakcija između muzičara.

U savremenoj umetnosti razumemo potrebu za multi-disciplinarnim pristupom. Umesto da budu specijalizovani za jednu granu muzike, neki ansambli i individualni umetnici uključuju u svoj rad širi umetnički spektar, što je svakako karakteristika ansambla ]h[iatus.

Ono što izdvaja ovaj sastav je to što su njegovi članovi u isto vreme i iskusni izvođači, i improvizatori. Projekti koje je izveo ensemble]h[iatus potpuno su time obeleženi: umesto da jednostavno izvode repertoarska dela 20-og i 21-og veka, ovaj ansambl nas vodi na muzičko putovanje, izvodeći kombinaciju zapisanih kompozicija i improvizacija. Ovo susretanje interpretacije i improvizacije i njihovo integrisanje u celovito, neisprekidano izvođenje je srž delovanja ensemble]h[iatusa.

Ensemble]h[iatus je međunarodni savremeni muzički ansambl koji su osnovali čelistkinja Martine Altenburger i perkusionista Lê Quan Ninh 2006. godine. Želja im je da podele svoju jedinstvenu viziju savremene muzike, stvorenu iz velikog iskustva u izvođenju i improvizaciji. Za ovaj ansambl, muzika ne nastaje samo od onih koji je pišu, već i od onih koji je izvode. Njihov stalni kontakt sa sa zvukom govori o osećaju i razumevanju muzičke transformacije, nečemu što može biti dostignuto samo kroz upornu bliskost sa muzičkim delima i instrumentima. U suštini, improvizatorski pristup zvuku je veoma drugačiji od onog kod muzičara koji ne improvizuju. Improvizacija znači prvenstveno preispitivanje svog prethodnog korišćenja i iskustva sa instrumentom. Tako ona postaje sredstvo stvaranja, koje dopušta muzičarima da kreiraju sopstvenu poeziju u večito promenljivoj umetničkoj produkciji i da grade odnos sa drugim medijima, kao što su ples, video, film, vizuelne umetnosti…

The NEW YORK SCHOOL was an informal group of American poets, painters, dancers, and musicians active in the 1950s, 1960s in New York City. Together with John Cage and Morton Feldman, Earle Brown and Christian Wolff have been its leading composers.

Earle Brown’s influence on the avant-garde community has been philosophical as well as tangible and practical. His conducting techniques and experiments with “time notation”, improvisation, and open-form compositional structure have become part of contemporary compositional usage. His Folio & Four Systems is a set of eight single paged compositions, which can be performed all, single or in a set of selected parts with any “sound producing media” in any time length.

Also Christian Wolff‘s music – who was (and still is) himself not only active as a composer but also as a performer and improviser (collaborating f.e. with Steve Lacey, Keith Rowe, William Winant and the legendary group AMM and others) – is characterized by freedoms and non-determinisms in the compositional process, as well as by self-determinations of the performers and the variability in the works interpretations. This made new forms of notation necessary (so-called “open scores”), which in turn demanded a radical interpretation by the performers. Written in 1994, in Or 4 people any instruments may be used to realize this composition in graphic notation. Wolff’s work is characterised by their use of unconventional notation that set up situations among the performers akin to the rules describing the functions and limits of games:

In contemporary music we realize today (again) the necessity towards a multi-disciplinary approach. Instead of being specialized in one musical practice, some ensembles and individual artists comprise a wider artistic spectrum in their work. This is indeed the case of the multi-national ensemble]h[iatus, whichs members are at the same time experienced interpreters and improvisers. The projects presented by the ensemble reflect this entirely: instead of simply performing repertory pieces from the 20th and 21st century, the ensemble takes us on a musical journey, performing a combination of both written pieces and improvisation. The meeting of interpretation and improvisation of contemporary music and their integration within one whole, non-interrupted performance is the kernel of the ensemble]h[iatus' work. Initiated in 2006 by the cello player Martine Altenburger and the percussionist Lê Quan Ninh, the ensemble]h[iatus aims for realizations of compositions in close collaboration with composers, and up today world-premiered works by composers like Peter Jakober, Steffen Krebber, Vinko Globokar, Jennifer Walshe and Anthony Pateras.

Tiziana Bertoncini graduated in classical violin at Siena Conservatory and painting at the Fine Arts’ Academy in Carrara. Her work develops from a personal research on the instrument and its sound possibilities, towards composition and collaboration with artists of other media. She performed in many international contexts and festivals and has been part of numerous dance, theatre, video and multi-media projects, contributing the musical part of them. Her “solo” work includes compositions, performances and installations.

Lê Quan Ninh won first prize in percussion at the Versailles Conservatory in Sylvio Gualda’s class in 1982 and has played with several contemporary music ensembles. He has composed and played music for the theatre, for dance and for video art. He is one of the members of the Quatuor Hêlios, a percussion ensemble which works with composers, among others with Vinko Globokar, George Lewis, Kaija Saariaho, Jean-Christophe Feldhandler and Georges Aperghis. As an improviser, he participates at numerous meetings in Europe and in the USA and plays regularly in ensembles in forms that mix improvised acoustic & electroacoustic music, ‘performance art’, dance, poetry, experimental cinema, photography and video. From 1992 to 2002 he has been a member and founder of La Flibuste – a network of artists based in the Toulouse area and engaged in the reflection, the organisation and the presentation of free improvisation practices.

Thomas Lehn studied recording engineering and piano at the Music Academies in Detmold and Cologne. Rooted in his background as an interpreting and improvising pianist in numerous ensemble and solo performances of classical, contemporary notated and improvised musics since the early 1980s, he has been developing an individual language of electronic music.

Koncert je ostvaren uz podrsku/with kind support of Institut Francais u Beogradu

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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