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Janet Cardiff © Bernhard Müller Janet Cardiff The Forty Part Motet 9. bis 25. Juni 10:00-19:00 Kollegienkirche Janet Cardiff The Forty Part Motet Eine Bearbeitung von Spem in Alium Nunquam Habui, 1573 von Thomas Tallis Die kanadische Künstlerin Janet Cardiff hat Die in British Columbia lebende Janet Forty Part Motet wurde ursprünglich produziert mit ihrem international gefeierten Projekt Cardiff entwickelt, meist zusammen mit von Field Art Projects . The Forty Part Motet eine der emotionals- George Bures Miller, seit Jahren Installatio- In Kooperation mit: Arts Council of England, Cana- ten und poetischsten Klanginstallation der nen, Audio- und Video-Walks, die regelmä- da House, Salisbury Festival and Salisbury Cathedral letzten Jahre geschaffen. Die Sommersze- ßig mit Preisen ausgezeichnet werden. Ihre Choir, Baltic Gateshead, The New Art Galerie Walsall, ne 2021 bringt dieses berührende Hörerleb- Einzelausstellungen, die zwischen Wien Now Festival Nottingham nis erstmals nach Salzburg und installiert es und Washington zu sehen waren, sind Er- Gesungen von: Salisbury Cathedral Choir im sakralen Raum der Kollegienkirche. lebnisse für alle Sinne. The Forty Part Mo- Aufnahme & Postproduction: SoundMoves Die Grundlage der Arbeit bildet ein 40-stim- tet hat bereits Besucher*innen von der Tate Editiert von: Georges Bures Miller miges Chorstück, das aus vierzig Lautspre- Gallery bis zum MOMA begeistert. Eine Produktion von: Field Art Projects chern, die kreisförmig angeordnet sind, ab- gespielt wird. Janet Cardiff hat die Stimmen „While listening to a concert you are nor- Mit Unterstützung von der Motette Spem in Alium des englischen mally seated in front of the choir, in tradi- Renaissance-Komponisten Thomas Tallis tional audience position. (…) Enabling the aus dem 16. Jahrhundert einzeln aufge- audience to move throughout the space nommen und die Lautsprecher so im Raum allows them to be intimately connected platziert, dass die Besucher*innen sich with the voices. It also reveals the piece of zwischen den einzelnen Stimmen bewe- music as a changing construct. As well I gen können, sich ihnen nähern und wieder am interested in how sound may physically entfernen können und auf diese Weise den construct a space in a sculptural way and komplexen, mehrschichtigen Chorgesang how a viewer may choose a path through unmittelbar erfahren. Aus der scheinbar this physical yet virtual space.“ simplen Anordnung entsteht ein virtueller architektonischer Klangraum, der das Pu- I placed the speakers around the room in blikum akustisch mitreißt und emotional an oval so that the listener would be able überwältigt. to really feel the sculptural construction of the piece by Tallis. You can hear the sound „Egal ob man Cardiffs Audio-Touren in ei- move from one choir to another, jumping Mi 9.6. bis nem Museum oder in der Stadt erlebt, im- back and forth, echoing each other and mer verschaffen sie einem das Hörerlebnis then experience the overwhelming feeling Fr 25.6. einer unheimlichen akustischen Sensation.“ as the sound waves hit you when all of the Art in America singers are singing.” 10:00–19:00 Uhr Janett Cardiff Kollegienkirche, 14 min Loop cardiffmiller.com Eintritt frei Background on the Recording of Janet Cardiff The Forty Part Motet Thomas Tallis was the most influential Eng- Since Cardiff preferred the versions of the Based in rural British Columbia, Janet’s lish composer of his generation and is one piece that use children’s, rather than wo- work has included media such as film, vi- of the most popular renaissance compo- men’s, voices for the soprano parts, twen- deo and photography. She participated sers of today. He served as an organist to ty-seven boys and girls joined the thirty-two in the Munster Skulptur Projekte in 1997, four English monarchs - Henry VIII, Edward adult male choristers to provide the sopra- exhibiting in the Carnegie International in VI, Queens Mary and Elizabeth - as a gent- no voices. Pittsburgh, 1999. She also represented leman of the Chapel Royal. One of his grea- The recording took place in a hall on the Canada at the Venice Biennale in 2001 in test works was this composition for forty grounds of the cathedral that was lined with collaboration with George Bures Miller. parts – eight choirs of five voices. There is blankets and curtains to create an acous- Major surveys of Cardiff and Miller’s works some debate as to whether the composi- tically “dead” sounding environment. Du- have toured to PS1 in New York, The Mu- tion was authored in 1573 in celebration ring the recording session, the adult singers sée d’Art Contemporain, Montreal, The As- of Queen Elizabeth I’s or in 1556 to honour stood about five feet apart from one anot- trop Fearnley Museum, Oslo, the Castello Queen Mary’s 40th birthday. her in order to keep their voices separate, Rivoli in Turin, MACBA in Barcelona, Institut but the children were grouped together to Mathildenhöhe in Darmstadt the Miami Art In 1998 Janet Cardiff was given a CD of sing the soprano parts of the composition. Centre in Miami, the Art Gallery of Ontario Thomas Tallis’s great forty-part motet Spem Each of the fifty-nine singers wore an in- in Toronto, the Vancouver Art Gallery and in alium. She was enthralled listening to it dividual high-quality lavaliere microphone the ARoS Kunstmuseum in Arhus, Den- on a simple stereo system but was also with a special mount to ensure that the mi- mark. She is currently represented by Luh- frustrated at not being able to hear each crophone was right in front of him or her. All ring Augustine Gallery in NYC and Gallery part of the forty-part harmony separately. fifty-nine cables were run from the singers Koyanagi in Tokyo. At the time, Cardiff envisioned creating a to a mobile truck outside—in effect, the sound installation of Spem in alium using recording studio—where fifty-nine tracks forty loudspeakers; the listeners would play were laid and then (mixing the sopranos an active part in the mixing and blending of together) reduced to forty. When the sin- voices according to where they chose to gers took a break during the three-hour stand, to listen, and to navigate the space. session, Cardiff and the editor, George Bu- When Theresa Bergne (Field Art Projects) res Miller, had decided to keep recording; invited her to participate in the Salisbu- the singers talking and other sounds can be ry Festival in 2000, Cardiff suggested the heard as a three-minute interlude in the fi- idea of the piece as a sound sculpture in nal mix, creating an intimate, direct connec- a large venue. After a year of research and tion between the singers and the listeners. organization, they were able to create the It was necessary to edit out each singer’s work, recording Spem in alium as part of track when they were not singing so that the festival with singers from the Salisbury the “cross talk” of the other singers would Cathedral Choir and elsewhere in England. not interfere with the spatial quality of the The sound installation involved a complex final presentation. recording process. Written for forty parts— or distinct musical lines—the motet is di- vided into eight choirs of five parts each (soprano, alto, tenor, baritone, and bass). szene-salzburg.net CieLAROQUE/helene weinzierl Rhythmus und Rausch 8., 9., 10. & 11. Juni 19:00 Museum der Moderne Salzburg Mönchsberg Skulpturenterrasse, 70 min Eintritt frei (Registrierung unter szene-salzburg.net erfoderlich) gold extra BORDER GRID 9. bis 12. Juni 16:00, 18:00 & 20:00 14. bis 16. Juni 16:00, 18:00 & 20:00 ARGEkultur, 70 min, in englischer Sprache 16/8 € ermäßigt (Karten bei unter argekultur.at erhältlich) theaternyx* über.morgen SALZBURG 10.,14.,17.,19.,22.,23.,24. Juni 18:00 12.,18.,25. Juni 16:30 Start: Dr.-Hans-Lechner Park 80 min, in deutscher Sprache 20/10 € (Karten bei unter szene-salzburg.net erhältlich).
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