Liebe Freunde, geschätzte Kolleg*Innen und Neue-Musik-Interessierte
!/***UPCOMING***/!
Akademie der Künste, - Studio, Hanseatenweg
English: https://www.adk.de/en/projects/2021/gedaechtnis/individual_projects/memories_in_music.htm German: https://www.adk.de/de/projekte/2021/gedaechtnis/einzelprojekte/memories_in_music.htmVan Magazine: Interview transcription (German) with Walter Zimmermann and myself conducted by Martina Seeber
**?/what's this all about?/**
This Saturday ensemble mosaik will be premiering something I began working on in 2017 as a music theatre piece under the title of "Listening to Vuntut Gwitchin". The improvisations I did together with Ernst Surberg (turntables) and Chatschatur Kanajan (Violin) allowed me to experiment with material and ideas from this piece, and this has led to the work still listening II.
In this piece an ensemble of classically trained European musicians are confronted with a fiddling tradition,brought to northern Canada and Alaska by European traders/missionaries/settlers. This music is the result of a complex cultural exchange ridden with conflict. Craig Mishler, the author of an extensive study of this tradition (The Crooked Stovepipe- Athapaskan Fiddle Music and Square Dancing in Northern and Northwest Canada), once asked me: why bring this music- a tradition which is still thriving, and bound to a specific place and culture - into a European concert hall?
In previous attempts to compose this piece, I have felt a need to to justify or explain this. The need to defend my motives prevented multiple options of interpretation or different layers to experience. Over the years, the closer I became to the material, the more I trusted myself to distance myself from these questions. The music moved from depicting, to being... living in cultural conflict. Instead of a reflection of medial distancing, the new concert interpretation lives as a new media, a new face-to-face encounter in the here and now. It is not an attempt to represent these people, and does not wish to imitate or make a statement about their culture. It is a quest to remain open and never stop questioning, and, as the Gwich’in say, Ch’oodhadhohch’eii — to listen.
14.October, 2021 - Donaueschingen, Germany - "abgefackelte wackelkontakte" (2021). Double concerto for No-Input Mixer and Lupophone. world premiere - SWR Symphony Orchestra, dir: Brad Lubman. Soloists: Mark Kysela (No-Input Mixer), Peter Veale (Lupophone). 100 Jahre Donaueschinger Musiktage.
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mit herzlichen Grüßen/ warm regards
Annesley Black
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