Splitter Orchester – MärzMusik 2014

17h March 2014
19h00, Museum für Naturkunde
22h00 Langenbeck-Virchow-Haus

What is nature, what is culture and what is the difference between the two?

Composer Øyvind Torvund, a guest of the DAAD Artists-in-Berlin Program in 2013, focuses on one of the most primal sound categories, exploring phrases and melodies of animal voices. During his stay in Berlin, Torvund worked with the 24 composer/performers of Berlin-based Splitter Orchester for his new work, “Constructing Jungle Books”. The work emerging from this close collaboration will have its world premiere at the Museum für Naturkunde as part of the MaerzMusik festival. For his composition, Torvund uses recordings from the comprehensive animal sounds archive at the Museum für Naturkunde as well as recordings from the everyday world surrounding us. Together with musicians from the Splitter Orchester, he explores the principle of imitation. On a trail through the Museum’s exhibition rooms, the concert visitors encounter sounds that play with the fascinating and bemusing dialectic of nature and culture.

In the second part of the evening’s programme the Splitter Orchester presents a collective original composition with free improvisation at its base. Specifically developed during rehearsals, Splitter Orchester’s compositions are structured improvisations with compositional elements. In addition to modifications that evolve organically, surprising musical turns always take place that are collectively captured and further developed. The title of the “Splitters and Lumpers” composition is borrowed from classification schemes in the natural sciences and refers symbolically to the categorization, examination and (re)production of sounds and sound objects. The musical structure of “Splitters and Lumpers” allows the audience to hear how a large ensemble without a conductor seems effortlessly to succeed in bundling 23 different artistic positions into a complete organic sound, which, in turn, represents a sonic category that is difficult to define. The diversity of sounds to be heard would delight any musical taxonomist and keep him/her busy for a long time.

Splitter Orchester is:  Liz Allbee, Boris Baltschun, Burkhard Beins, Anthea Caddy, Anat Cohavi, Werner Dafeldecker, Mario de Vega, Axel Dörner, Kai Fagaschinski, Robin Hayward, Steve Heather, Chris Heenan, Hilary Jeffery, Matthias Müller, Andrea Neuman, Morten J. Olsen, Simon James Phillips, Ignaz Schick, Michael Thieke, Clayton Thomas, Sabine Vogel, Biliana Voutchkova, Marta Zapparoli.

A production of ausland / projekt archiv e.V., Berliner Künstlerprogramm des DAAD, Berliner Festspiele / MaerzMusik and Borealis Festival Bergen. In collaboration with Museum für Naturkunde Berlin. Funded by means of the Capital Cultural Fund. With the support of Technical University Berlin – Audio Communication Group – Electronic Studio

Splitter Orchester

Official Website + Soundcloud

The Splitter Orchester, founded in 2010, is a Berlin-based collection of internationally respected Composer-Performers which draws inspiration from many genres, most noticibly contemporary/improvised music. Splitter Orchester originates from the “Echtzeitmusik” scene, which emerged in Berlin in the mid-1990s – a locally based and globally networked experimental music scene and long-term platform for the exchange of artistic ideas.

All members of the orchestra are simultaneously composers, interpreters and improvisers that collectively elude clear classification – an ensemble most comfortable in the creative borderland between composed and improvised music. They utilize a broad variety of extended techniques on traditional, electronic, and especially constructed/tailored instruments. The main focus in their artistic practice is the production of sound (as opposed to musical material) and on how to diffuse it in space. The collaborative nature of musical creation within a Composer-Performer context is integral – from the first sketch to the performance.

Photo: Kai Beinert

Splitter Orchester – MärzMusik 2014

17h March 2014
19h00, Museum für Naturkunde
22h00 Langenbeck-Virchow-Haus

What is nature, what is culture and what is the difference between the two?

Composer Øyvind Torvund, a guest of the DAAD Artists-in-Berlin Program in 2013, focuses on one of the most primal sound categories, exploring phrases and melodies of animal voices. During his stay in Berlin, Torvund worked with the 24 composer/performers of Berlin-based Splitter Orchester for his new work, “Constructing Jungle Books”. The work emerging from this close collaboration will have its world premiere at the Museum für Naturkunde as part of the MaerzMusik festival. For his composition, Torvund uses recordings from the comprehensive animal sounds archive at the Museum für Naturkunde as well as recordings from the everyday world surrounding us. Together with musicians from the Splitter Orchester, he explores the principle of imitation. On a trail through the Museum’s exhibition rooms, the concert visitors encounter sounds that play with the fascinating and bemusing dialectic of nature and culture.

In the second part of the evening’s programme the Splitter Orchester presents a collective original composition with free improvisation at its base. Specifically developed during rehearsals, Splitter Orchester’s compositions are structured improvisations with compositional elements. In addition to modifications that evolve organically, surprising musical turns always take place that are collectively captured and further developed. The title of the “Splitters and Lumpers” composition is borrowed from classification schemes in the natural sciences and refers symbolically to the categorization, examination and (re)production of sounds and sound objects. The musical structure of “Splitters and Lumpers” allows the audience to hear how a large ensemble without a conductor seems effortlessly to succeed in bundling 23 different artistic positions into a complete organic sound, which, in turn, represents a sonic category that is difficult to define. The diversity of sounds to be heard would delight any musical taxonomist and keep him/her busy for a long time.

Splitter Orchester is:  Liz Allbee, Boris Baltschun, Burkhard Beins, Anthea Caddy, Anat Cohavi, Werner Dafeldecker, Mario de Vega, Axel Dörner, Kai Fagaschinski, Robin Hayward, Steve Heather, Chris Heenan, Hilary Jeffery, Matthias Müller, Andrea Neuman, Morten J. Olsen, Simon James Phillips, Ignaz Schick, Michael Thieke, Clayton Thomas, Sabine Vogel, Biliana Voutchkova, Marta Zapparoli.

A production of ausland / projekt archiv e.V., Berliner Künstlerprogramm des DAAD, Berliner Festspiele / MaerzMusik and Borealis Festival Bergen. In collaboration with Museum für Naturkunde Berlin. Funded by means of the Capital Cultural Fund. With the support of Technical University Berlin – Audio Communication Group – Electronic Studio

Splitter Orchester

Official Website + Soundcloud

The Splitter Orchester, founded in 2010, is a Berlin-based collection of internationally respected Composer-Performers which draws inspiration from many genres, most noticibly contemporary/improvised music. Splitter Orchester originates from the “Echtzeitmusik” scene, which emerged in Berlin in the mid-1990s – a locally based and globally networked experimental music scene and long-term platform for the exchange of artistic ideas.

All members of the orchestra are simultaneously composers, interpreters and improvisers that collectively elude clear classification – an ensemble most comfortable in the creative borderland between composed and improvised music. They utilize a broad variety of extended techniques on traditional, electronic, and especially constructed/tailored instruments. The main focus in their artistic practice is the production of sound (as opposed to musical material) and on how to diffuse it in space. The collaborative nature of musical creation within a Composer-Performer context is integral – from the first sketch to the performance.

Photo: Kai Beinert

Stephan Mathieu, Jason Lescalleet, Valerio Tricoli

Stephan Mathieu, Jason Lescalleet, Valerio Tricoli
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Stephan Mathieu

Official WebsiteDiscogs + Schwebung

Stephan Mathieu is a self-taught composer and performer working in the fields of electroacoustics and abstract digitalia. His sound is largely based on early instruments, environmental sound and obsolete media, which are recorded and transformed by means of experimental microphony, re-editing techniques and software processes involving spectral analysis and convolution; it has been compared to the landscape paintings of Caspar David Friedrich, the work of Painters Mark Rothko, Barnett Newman and Ellsworth Kelly.

During the last decade, his music has been released on over 40 vinyl records and CDs, both solo and in collaboration with Akira Rabelais, Taylor Deupree, Robert Hampson, Sylvain Chauveau, David Sylvian and others on electronic music labels worldwide.

Between 2000 and 2005 Mathieu taught Digital Arts and Theory at the HBKSaar University of Art and Design in Saarbrücken and as a guest lecturer at the Royal Academy of Arts in Göteborg, the Bauhaus University Weimar and the Merz-Akademie in Stuttgart.

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Valerio Tricoli
Lives and works in Munich, Germany.

Discogs + Soundcloud

Valerio Tricoli is an Italian composer and performer of electroacoustic music, currently residing in Munich. His main instruments for live presentations are the Revox B77 reel-to-reel tape recorder, used as a completely analogue, ergonomic device for live sampling and real-time transformation, editing and mixing of pre-recorded and made-on-the-spot sound sources. On a formal level his sets focus on the impromptu creation of narrative, taking into account the multiple relations intervening between reality, virtuality and memory during the acoustic event: sounds are always hovering between the “here and now” of the concert situation and the shady domain of memory— distant but at the same time present like in a deja-vu experience.

Privileging fracture over continuity and by the use of a dynamic range that could jump suddenly from near-silence to extreme blasts of sounds, an almost tactile feeling of brooding tension is often attained. His electroacoustic studio compositions, documented on few records, are aligned to the tradition of Musique Concrète and explore themes of the internal— represented both by the psychological and the physical— and of the occult, which together, with the use of spoken text, make them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

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Jason Lescalleet

Official Website + SoundcloudDiscogs

Jason Lescalleet is a celebrated experimental electronic music artist whose influence on the contemporary avant-garde cannot be overstated. His work is distinctive, drawing from a wide variety of sonic sources, and often takes formal cues from modern musique concrete, for example in his utilisation of reel-to-reel tape machines in both live and studio settings.

His discography is striking, both for its scale and collaborative quality. He has released on notable labels such as Kye, RRR, Erstwhile, Chondritic Sound, NNA, and most recently via his own Glistening Examples imprint.

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