Dates

colliding

The 2023/24 concert season of Neuen Musik in St.Ruprecht is dedicated to the topic 

colliding

We were looking for projects based on the topic of the collision.

All aspects of meeting, colliding and impacting and their effects, eruptions, blasts and resulting formations are welcome.

The concert series of New Music St.Ruprecht has been letting the sounds of the present time meet the almost oldest walls of Vienna for 20 years and is delighted with the products.

 


 

September 17, 2023 – A Place to Play

A PLACE TO PLAY is a live performance that we like to compare to a journey. A journey into a psychedelic environment of sound and light, with an eye to the visionary and lysergic aesthetics of the sixties and seventies.

Video is not a video, rather a subtle moving light design that gives form to continuously changing ambiences. Photos of abstract architectural details are projected onto the walls to create the illusion of imaginary spaces and dimensions in which to drift.

The soundscape is made of acoustic long sustained saxophone notes played in counterpoint with an electronic generated sine-wave drone. Resonances and vibrational manifestations of air arise from time to time, rendering the evidence of sound behavior in space.

Images and sounds have the same form and evolve together, landscapes follow each other in a continuous and gradual evolution while the audience is invited to forget the passing of time in favor of a contemplative enjoyment.

Antonio Della Marina | saxophone and electronics 

Alessandra Zucchi | videoprojections 

www.spazioersetti.it

www.dreamspaces.it 

www.fades.net 

www.antoniodellamarina.com

 

 

October 08, 2023 – Michael Vorfeld / GLÜHLAMPENMUSIK

GLUHLAMPENMUSIK is an audio-visual performance whose sounds are created through the use of various light bulbs and electrical controls. The use of analog light controllers such as switches, dimmers, relays, flashers, etc. leads to a wide range of variations within the lighting and the electrical current flow. This is made audible with the help of different microphones and pickups. The change in light intensity, the glowing of the filaments and the rhythmic variety of the flickering and pulsing lights is immediately translated into a microcosmic and rich electro-acoustic soundscape.

Michael Vorfeld, solo 

www.vorfeld.org

 


 

October 12, 2023 – KNUSP

ATTENTION: Begin at 21:00 (!)

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.

Gasper PIano | Guitars

Nina Polaschegg | Doublebass

Gobi Drab | Recorders

Klaus Haidl | String instruments

 


 

October 15, 2023 – AiR | Artists in Residence

between feathers – Cordula Bösze – Alexander J. Eberhard

AiR is the new networking program for New Music St.Ruprecht. For each season we bring together an existing ensemble with contemporary composers to promote exchange and expand the repertoire.

For this season we were able to win the ensemble between feathers, which will premiere new works by Cordula Bösze and Alexander J. Eberhard.

**Cordula Bösze. Vor dem Wind (2023). Text: Sylvia Treudl. Sopran, Altoflute, Marimba and Accordion. 10’

**Alexander J. Eberhard. Neues Werk (2023). Soprano, Flute, Drums, Accordion and Electronics. 10‘

*Klaus Lang. Cantica christine – confluence (2021). Soprano, Piccolo, Drums and Accordion. 16‘

*Lorenzo Troiani. La forma delle conchiglie (2021). Soprano, Bassflute, Drums und Accordion – supported by SKE, 10‘

Lisa R. Coons. Essay 1: Mater (2019, rev. 2023). Soprano, Altflute, Accordion, Drums and Projection. 10‘

Agatha Zubel. Unisono I (2003). Voice, Drums und Electronics. 5‘

Agatha Zubel. Unisono II (2004).  Voice, Accordion und Electronics. 9‘

 

Soprano | Laure-Catherine Beyers

Flute | Audrey G. Perreault

Drums | Hannes Schöggl 

Accordion | Maria Mogas Gensana 

http://www.betweenfeathers.com/

https://boesze.klingt.org/

https://eberhard.klingt.org/

 


 

November 12, 2023 – Elisabeth Flunger & Robert Mathy 

SPHÄRENMUSIK meets ORBIT

in Cooperation with WIEN MODERN

 

Elisabeth Flunger: Sphärenmusik. Musikalische Murmelbahn (2023 UA)

Robert Mathy: Orbit. kinetische Klanginstallation (2023 UA)

 

Doors open 13:00

Performances 14:00 / 16:00 / 18:00

 

SPHÄRENMUSIK

The musical marble run is an analogue improvisation machine. Different types of balls roll on an incline and hit metal objects. Depending on the size, material and number of balls, the sounds vary in dynamics, timbre and density. Melodies, clouds of sound and single beats create an unpredictable piece of music that ultimately destroys itself. Unlike most other marble runs, where the marbles have to complete a perfect run in order to reach the goal, it is not so important here to predetermine the paths of the marbles and to guarantee that they will arrive at the end of the lane. It’s not about control, but about free interaction and unpredictability. Every run is different.

ORBIT

The Orbit sound installation consists of two motorized rotor blades mounted on a tripod. Loudspeakers are attached to ropes attached to the rotor blades. When the installation is set in motion, the speakers move outwards due to the rotation and the resulting centrifugal force and gain height. The loudspeakers are in a continuous circular motion above the visitors. This allows a variety of possibilities for the spatial localization of the sound material. Field recordings and synthetically generated sounds get into a whirl through constant movement, approach each other in their sound aesthetics, collide and move away. The acoustics of the Ruprechtskirche allow the found and generated tones to merge into a utopian soundscape.

http://www.eflunger.com/

https://robertmathy.com/

 


 

March 17, 2024 – Broken Ghost Consort

Interweaving live performance and immersive electro-acoustic sound environments, Broken Ghost Consort performs works that live in a hybrid world of composition, free improvisation, and sound installation. Foundational to the group is the use of “re-embodied sound” techniques, in which gongs, cymbals, and other resonant instruments are activated using small transducers attached to their surfaces and controlled via computer, causing them to sound autonomously. (In addition to the metal percussion, trombone, tuba, piano, viola and contrabass have all been used as resonant devices.) 

Alongside these “ghost instruments,” live performers interact with written, structured, and spontaneously improvised materials in an evolving series of works that explore the nature of sound, performance, materiality, and space.

 

Matthew Goodheart | electronics and transducer-activated metal percussion 

Georg Wissell | clarinet and alto saxophone
George Cremaschi | amplified and unamplified doublebass 

https://www.matthew-goodheart.com/broken-ghost-consort 

 


 

April 28, 2024 – 13 Visions for Solo Violin

after Hildegard von Bingen and Pauline Oliveros

The “13 visions” project is the imaginary meeting between two composers whose musical aesthetics share many common traits, despite the centuries separating them: Hildegarde Von Bingen and Pauline Oliveros. Their respective visions are thus confronted in a cycle of thirteen pieces for solo violin. Somewhere between composition, arrangement and quotation, the starting point of this project is the text score “13 changes” by Pauline Oliveros: it consists of thirteen poetic instructions – inspired by earthly or cosmic events. The present project preserves the structure intended by Pauline Oliveros, while her instructions determine the sound universe of each piece through various playing techniques and preparations for the instrument. The songs of Hildegard Von Bingen appear “in shadow”: the violin, playing the role of the drone, proposes a sober harmonization of the chosen melodies.

Clara Levy | Violin

www.clara-levy.com 

 


 

May 26, 2024 – Duo Katharina Gross & Fie Schouten

The duo, consisting of bass clarinettist Fie Schouten and cellist Katharina Gross, dedicates itself to contemporary, international repertoire, in which both instrumentalists take pleasure in making the low frequencies sound, all possible sounds, melting or contrasting and inserting theatrical aspects.

Working as a duo, they invite other musicians to collaborate, so far percussionist Agostinho Sequiera and soprano Keren Motseri. They premiered compositions by Seung-Won Oh, Jan van de Putte, a new version of a trio by Boudewijn Tarenskeen, and in the near future they have premieres scheduled by Rozalie Hirs (NL), Peter Jakober (A), Füsun Koksal (TR), Tolga Tüzun (TR). 

In October 2022, the duo went on tour in Austria, including performances at the Alte Schmiede in Vienna and the KunstGarten Graz. Then followed and will follow concerts in the Netherlands (Nieuwe Noten Plein Theater Amsterdam, Pletterij Haarlem, Moderne Muziek Nijmegen, Gaudeamus Festival); concerts and masterclasses in Turkey (including at the New Music Days in Izmir November 2023, teaching at Bilgi University Istanbul); in Portugal (including at the Dias de Música Electroacústica December 2023)

Katharina Gross | Violoncello

Fie Schouten | Bassclarinette

https://www.katharinagross.at/project/duo-fie-schouten-katharina-gross/

 


 

June 09, 2024 – Infra

Concept: Laura Pudelek, Theresa Dinkhauser, Veronika Mayer

The Infra trio creates an open composition from a series of pictures by Laura Pudelek: photos of power lines in front of the blue sky – poetic and beautiful, but primarily profane and functional – show us different variants of superimposition, clashes, networking and demarcation. From the strong contrasts between the boundless expanse of the sky and the artefacts of technology, the trio create compositional structures that metaphorically also reflect behaviors, patterns or clichés of social structures: the random aesthetics of a network that makes our society and its social and economic system possible today – Infrastructure.

Individual musical parameters, such as duration or pitch ranges, are sometimes fixed in advance. Everything else arises in the moment, from the spontaneous interpretation during the concert. The series of photos is projected into the church interior as a graphic score.

The program is supplemented with graphic scores by Christoph Herndler.

Laura Pudelek | violoncello 

Theresa Dinkhauser | clarinets

Veronica Mayer | electronics