Dates

September 15, 2024 – Doubleconcert Noid / Lorenzo Abattoir

Noid /aka Arnold Haberl

https://noid.klingt.org

Composition for cello – solo: “Vorschläge für ein erweitertes Zentrum”

Noid, 2024

The sound of the cello has something immediate that touches many people.

Noid communicates with his instrument in a fundamental way and makes the essence of the instrument be experienced beyond nostalgic associations in this solo program.

His knowledge of the instrument that has gained over the years, its physical functioning and the fragility and complexity of sound generation shape his style of play as well as years of experience as an instrumentalist in classic, improvisatory and experimental context.

This solo program for cello leads to the center of the sound and suggests to the listener to discover new thorough views in an apparently familiar musical environment.

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Arnold Haberl, alias Noid (born 1970), studied cello and mathematics and teaches MultiMediaArt at the Salzburg University of Applied Sciences.

As a composer, sound artist and performer, his work includes cello solos, ensemble pieces, electronic music and sound installations.

His approach is basic research that questions the ideas of music and performance.

He works with different artists from different genres and performs modern at international festivals such as Musik Protokoll Graz, Tuned City Messene and Wien Modern.

He is a member of the Künstlerhaus Vienna and organizes the concert/performance series ‘DerBlödeDritteMittwoch’.

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Lorenzo Abattoir is a sound artist based in Torino (IT). A key element of his work is the relationship between spiritual practices and unusual methods of audio processing, 

mainly focusing on the use of microphones as a medium for the amplification of an act. He explores the boundaries between sound and noise using breathing techniques and different kinds of objects as instruments to structure his performances. 

During past years he recorded and released collaborative works with: Hermann Kopp, Alexey Tegin (Phurpa), Giovanni Lami, Freddie Muprhy, Francisco Meirino. His performances has been presented in various venues and festival like: Cafe OTO (London), Instant Chavirès (Paris), A4 (Bratislava), DOM cultural center (Moscow), Unsafe+sound Festival (Wien), LUFF festival (Lausanne).

He also works in the contemporary art field creating sound installations and composing soundtracks for theatre shows presented at Venice Biennale college year 2020 and Roma Europa Festival 2022. 

Latest studio album: Mess (aktIV) Vinyl LP released by Planam on 31 May 2024 

link: https://www.soundohm.com/product/mess-akt-iv

noid | Cello and Composition

Lorenzo Abattoir | body- / breathing- / movements and audioprocessing 

October 13, 2024 – WARP

WARP builds an intricate setup for their music. They play with, and balance, waves and feedback 

phenomena that are produced and nourished with different sources. They work with vibrating glass and air, with airy columns inside the wooden tubes of a bass recorder, and inside the concertina, with pulsing reeds made from steel, with analog and digital electronic sources, with microphones and speakers, while every sound is being reflected by the old stone walls and the wooden booths inside the church, by the bodies of the audience present. The reflections nourish and unbalance the music and vice versa. For the musicians including the sound designer, sonic fragility is not a quality or a fixed state of being, it is a process between materialities. It is about becoming active as a performer, it is about doing things. 

„We recognize fragility as an activity and relationship: intra-acting, penetrating, interfering, blocking, directing, sharing. Is it false or is it true? A semi-stable, always-evolving material interaction which is audible. It is an ongoing victorious love affair of making, and listening to, waves and vibrations.“ 

WARP envisions Ruprechtskirche as a crucial collaborator, activating and enlivening the sound in ways that are by turns predictable or spontaneous. As both the oldest church in Vienna and a unique acoustic atmosphere that is both reverberant and warm, this space is ideal for exploring the temporal and cumulative character of analog feedback. In collaboration with Ruprechtskirche as a spatiotemporal instrument, WARP aims to explore the unexpected sonic potentials of both stability and fragility, including the conflicting yet balanced tendencies for accumulation and adaptation, for continuity or abrupt change. 

Pina Rücker | quartz glass bowls in microtonal tunings
Pia Palme | bass recorder (Kueng) as an analog feedback aerophone 

Kristina Warren | electronics, concertina, feedback

November 17, 2024 – KNUSP

in Cooperation with WIEN MODERN

With KNUSP we – the curatorial team of Neue Musik St.Ruprecht – would like to establish a new format for encounters. Once a season we invite esteemed musicians of real-time music to exchange musical ideas with us.

At this gathering, different forms of synergies are to be cultivated and cultivated: The social networking, a commitment to each other, a handing out and recognition among colleagues and fellow campaigners. But even more important, creating and experiencing together, meeting each other in an open-minded manner, paying attention and respecting one another.

We have chosen a place of gathering for this, a sacred place, a place of silence and prayer and, appropriately.

Cordula Bösze | Flutes

Martin Gut | trumpet marine, electric trumpet marine

Gobi Drab | Recorders

Klaus Haidl | String instruments

March 30, 2025 – Pachová / Gartmayer / Kern

The trio of Lucie Páchová, Susanne Gartmayer and Didi Kern was formed during the residency at AiR in Krems in December 23 and January 2024. That time the trio centered their attention around the topic of „breath“ in wide conception. 

„We have been mainly researching the possibilities of in-breath and out-breath (length, intensity, regularity, tempo, sound) in connection to our instrument or voice. We examined how the focus on regularity /irregularity of breath cycle influences our improvisation and how it gives us different directions on where to follow our music languages and „unblock“ our improvisational habits. We would like to continue this „breath“ research, this time in relation to the topic of „stability/fragility“. What sort of stability can breath provide with us? Can we rely on breath and to what level?  What is the meaning of breath to life stability/fragility or music stability/fragility. If more people breathe „together“, can that make the collective more stable? Do we need to think of the breath to be aware of its stability? Is the air fragile? Is the false breath enough to survive? How can we support each other’s stability through focus on breath? What is fragile about existence and how is that related to breath? Can we hear each other’s breath or is it just a false notion that the other is breathing? We want to examine these questions during our improvised music set.“

www.luciepachova.com

Lucie Pachova | objects

Susanna Gartmayer | bass clarinet

Didi Kern | drums

April 27, 2025 – González & Minten

This duo starts from the desire to create a common language beyond any aesthetic line or tradition, as well as from the conviction that musical understanding goes beyond these categories. In this project Luz González (live electronics) and Rebecca Minten (bass clarinet) provoke and support each other in equal parts by the use of multiphonics, live processing, sinus tones and pure noise. 

Rebecca Minten | bass clarinette

Luz Gonzalez | live elektronisch

https://luzgonzalez.art/ 

https://minten.art/