ELECTRIC ORPHEUS ACADEMY Günther Rabl ••• workshop 2011

MASTER COURSES 2011

ELECTRIC ORPHEUS ACADEMY
Master Courses 2011

Artistic Direction & Lessons: Günther Rabl
Technical Direction & Lessons: Wolfgang Musil
Guest Musician: Limpe Fuchs
Organisation: Yasmina Haddad
Local Coordination: Aron Saringer, Judith Kerndl
Setup: Richard Bruzek, Felipe dos Santos, Daniel Lercher, Vinzenz Schwab
Cooking: Herta Pöhnlein
Thanks to: Cordula Boesze, Hermann Neulinger, Stefan Pöhnlein, Ulrich Saringer
Supported by: Musik Aktuell, SKE-Fond, Land Niederösterreich

July 11-19, 2011
Altes Sägewerk, Heumühle, Rappottenstein, Austria

Participants:
Martin von Allmen (CH), Richard Bruzek (A), Valeri Ebm (RU/A), Wagner Felipe dos Santos (BR/A), Klaus Gstettner (A), Peter Kollreider (A), Daniel Lercher (A), Alexander Mairhofer (A), Matthias Makowski (A), Thomas Mayr (A), Laura Mello (BR/D), Caroline Profanter (I), Per Salkowitsch (N/A), Karl Salzmann (A), Vinzenz Schwab (A), Shing-Kwei Tzeng (ROC), Michael Zacherl (A)

Topics: Where electronics encounter instrumental music today, two conflicts naturally arise: on one hand, the conflict between conservative music theory and the regularities of the electronic medium; on the other hand, the conflict between the spatiality of mechanical sound generation and the spatiality of sound that is projected over loudspeakers.
One gladly avoids the first one by subordinating the electronic means of the established aesthetic of instrumental composition.
One can wangle around the second one by also 'amplifying' the instruments so that their sound ultimately comes out of the same loudspeakers as the electronically processed or played back part, too.
We want to face these conflicts here – in the justified hope that a qualitatively other, sensual artistic level can be reached that does justice to the instruments, the electronics and the space.
We have invited a musician – Limpe Fuchs – who can optimally approach such an undertaking. For those admirers of freely improvised music void of any stylistic dependence, she is legendary. Since the beginning of the Sixties she has been devoting herself to improvisation, mainly on her own custom-built instruments that today show a high tonal degree of maturity.
"I am searching for the sound - Limpe Fuchs has already found it" (Helmut Lachenmann).
One part of her extensive, adventurous instrumentarium (pendulum strings, lithophone, frame drums with different fillings and even more) she will bring here. She fundamentally plays unamplified!