MY SOCIAL MUSCLE for five performers will have its premiere on Dec 19 in Bangkok as part of the Thailand New Music and Arts Symposium TMAO. It will be performed by members of TACETi ensemble. The work is a co-commission with Forum Neue Musik Luzern, which will host its Swiss premiere on April 10/11, 2021.
Guided by a voice that oscillates between instructions of a yoga session, a photo shoot and a gym workout, the five performers become a flexible muscle of sound. Sometimes in the middle of the audience, sometimes widely spread around it, they distribute contracting patterns over changing distances. With the small differences triggered by the speed of sound, the tightly knight patterns start to flicker with increasing space between the performers.My Social Muscle replays the ritual of amassing social capital – through movement and pose – using a body that vibrates over the whole festival site. The muscle becomes a metaphor for the physical and mental effort of self-representation in public constellations. And amid the audience’s guided movement in between the musicians, they become part of that muscle, experiencing its activity from the inside.
Program: 8 miniatures for soprano and piano By Nik Bärtsch, Dennis Bäsecke-Beltrametti, Léo Collin, Mauro Hertig, Vera Kappeler, Linnéa Racine aka Evelinn Trouble, Julian Sartorius and Franziska Staubli
For the 2021 festival Wittener Tage für neue Kammermusik, I am contributing a chamber work for members of Ensemble Garage, Cologne. The concert will take place in Schwesternpark in the renowned festival town of Witten, Germany.
Positionen – Texte zur aktuellen Musik has published This is Now, a quarantine project developed during the lockdown in New York. Proposing a concept for music synchronisation through zoom, skype or similar, it embraces the time delay of a transmission and uses the usually undesired side effect as integral part of the rhythmical structure of the piece.
I will be participating composer at the 2020Opera Creation Workshop of the Academieof Festival D’Aix-en-Provence, which – due to the current pandemic – will take place as a shorter version, from June 22 – 26. The workshop will be under guidance of renowned Franco-Lebanese writer Amin Maalouf, who has been part of the Académie Française since 2011.
“Offered for several years to young creators from all disciplines, the Opera Creation Workshop is a place for reflection and discussion on artistic opera-related issues. This workshop seeks to define and discuss current values of opera and the tasks it will assume in the future. A process of reflection will take place, focusing equally on opera performance today and on the multidisciplinary aspects that it encompasses. Opera – as a genre, as a artistic offering and as a cultural practice – is the main subject of these discussions.”
I was in residency at the beautiful Camargo Foundation in Cassis, France, from January 31 – February 13, 2020. During the stay I was working on a new piece for Florentin Ginot and his double bass project HowNow. The commission and a generous support for the creation phase comes from the Royaumont Foundation.
A new work composed for double bassist Florentin Ginot, member of Ensemble Musikfabrik Köln. At the core of this project is a balance act between the bassist, the audience and several objects in the concert space. The objects remain in hanging balance and are connected to the bow of the bassist and to several hands of audience members. Movements by audience members will influence the playing capacity of the bassist and have a direct influence on the sounding piece. This fragile assembly becomes an exterior body for the musician on stage, presenting a narration of dependence and mutual influence.
The premiere of the new work with project title Soif Idéale / Perfect Thirst will be September 5 in the Abbey of Royaumont, Asnières-sur-Oise, France.
Jon Heilbron has given my solo piece Slope Motion its Australian premiere, as part of the finals of the Freedman Classical Fellowship Competition as one of the three remaining participants. The final took place in the Sidney Opera House and has been recorded and broadcast by ABC Classic.
Die Perfekte Passivität has been featured in a dedicated 4-page article about my opera for their Intermission Issue of Fall 2019, guest-edited by artist and curator Olympia Scarry. Co-written by Erik Lindman Mata and myself, it covers a broad range of topics the opera deals with. Among them ghosts, hypnosis, the sound of suitcases and airports.