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Olga Neuwirth, Enfant Terrible Van De Nieuwe Muziek 27 Info & Programma Focus on Olga Neuwirth, New Music Info & Programme 03 Enfant Terrible 29

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Olga Neuwirth, Enfant Terrible Van De Nieuwe Muziek 27 Info & Programma Focus on Olga Neuwirth, New Music Info & Programme 03 Enfant Terrible 29 OlgAFOCUS neuwirth KLOING! LE ENCANTADAS O LE AVVENTURE NEL MARE DELLE MERAVIGLIE PASCAL GALLOIS INHOUD CONTENT KLOING! FOCUS OLGA NEUWIRTH, ENFANT TERRIBLE VAN DE NIEUWE MUZIEK 27 INFO & PROGRAMMA FOCUS ON OLGA NEUWIRTH, NEW MUSIC INFO & PROGRAMME 03 ENFANT TERRIBLE 29 CREDITS 04 MUZIKAAL PORTRET 31 MUSICAL PORTRAIT 35 TOELICHTING 06 PROGRAMME NOTES 08 OLGA NEUWIRTH OVER HAAR COMPOSITIE LE ENCANTADAS 38 * OLGA NEUWIRTH ON HER COMPOSITION LE ENCANTADAS 42 LE ENCANTADAS O LE AVVENTURE NEL MARE DEL MERAVIGLIE BIOGRAFIEËN 46 BIOGRAPHIES 48 INFO & PROGRAMMA INFO & PROGRAMME 11 HOLLAND FESTIVAL 2016 52 CREDITS 12 WORD VRIEND BECOME A FRIEND 54 TOELICHTING 14 PROGRAMME NOTES 16 COLOFON COLOPHON 56 * PASCAL GALLOIS INFO, CREDITS & PROGRAMMA INFO, CREDITS & PROGRAMME 19 TOELICHTING 20 PROGRAMME NOTES 22 1 KLOING! NADAR ENSEMBLE MARINO FORMENTI 2 INFO PROGRAMMA ZO 5.6 PROGRAMME SUN 5.6 Stefan Prins (1979) aanvang starting time Mirror Box Extensions (2014/15) 15:00 3 pm ensemble, live-video en live electronics Nederlandse première locatie venue Dutch premiere Stadsschouwburg Amsterdam, Rabozaal pauze interval duur running time 2 uur 20 minuten, inclusief twee pauzes Olga Neuwirth (1968) 2 hours 20 minutes, including two Kloing! (2008) intervals Nederlandse première Dutch premiere inleiding introduction door by Michel Khalifa pauze interval 14:15 2.15 pm Michael Beil (1963)/Thierry Bruehl (1968) Bluff (2014/15) context scènische compositie voor ensemble met do 9.6, 12:30 & 13:30 live video en audio Thu 9.6, 12.30 pm & 1.30 pm scenic composition for ensemble with live Rijksmuseum, passage video and audio Lunchconcert: Vice Verses Nederlandse première Dutch premiere za 11.6, 14:00 Sat 11.6, 2 pm Festivalcentrum Stadsschouwburg Amsterdam Workshop Spielbar: speel eigentijdse muziek play contemporary music di 14.6, 20:00 Tue 14.6, 8 pm Festivalcentrum Stadsschouwburg Amsterdam Tijdens de voorstelling wordt gefilmd. De gefilmde De kunst van het luisteren beelden van het publiek worden alleen tijdens de voorstelling gebruikt en daarna vernietigd. During The Art of Listening the performance the company uses images of the audience. These images will be destroyed after the performance. 3 CREDITS KLOING! MIRROR BOX EXTENSIONS muziek music muziek music Olga Neuwirth Stefan Prins piano piano uitvoering performed by Marino Formenti Nadar Ensemble klankregie sound direction scenografie scenography Peter Plessas Marieke Berendsen, Stefan Prins sonificatieadvies sonification advice video video Gerhard Eckel (IEM Graz) Kobe Wens met steun van with support by licht light FiEMA en IEM Graz Marieke Berendsen met dank aan with thanks to productie production neoScores SWR Donaueschinger Musiktage, Muziekcentrum De Bijloke Gent wereldpremière world premiere Weimar, 27 augustus 2008 wereldpremière world premiere Donaueschingen, 17 oktober 2015 4 BLUFF Nadar Ensemble Marieke Berendsen, viool violin, muziek, live video music, live video Culture Crew (Vincent Jacobs), video Michael Beil software video software, Rebecca Diependaele, zakelijk leiding dramaturgie, podiumregie dramaturgy, managing director stage direction Katrien Gaelens, fluit flute Thierry Bruehl Yves Goemaere, percussie percussion Wannes Gonnissen, geluid, electronics uitvoering performed by sound, electronics Nadar Ensemble Pieter Matthynssens, cello, artistieke leiding cello, artistic direction productie production Elisa Medinilla, piano piano SWR Donaueschinger Musiktage, Thomas Moore, trombone, stage Muziekcentrum De Bijloke Gent manager, productie trombone, stage manager, production wereldpremière world premiere Johannes Vochten, stage manager Donaueschingen, 17 oktober 2015 Stefan Prins, artistieke leiding artistic direction Bertel Schollaert, saxofoon saxophone Dries Tack, klarinet clarinet Kobe Van Cauwenberghe, e-gitaar e-guitar video operator Daan Hazendonk 5 KLOING! voor zelfspelende piano, live pianist en live film (2008), Nederlandse première klankregie en programmering: Peter Plessas en Gerhard Eckel (Institut für Elektronische Musik Graz) live film: Lillevan Zoals in veel van haar werken speelt Olga Neuwirth ook in Kloing! een subtiel spel met verwachtingspatronen. Live geproduceerde klanken, elektronica en videobeelden smelten samen tot één geheel, waarin de grens tussen ‘echt’ en ‘onecht’ vervaagt. Datzelfde geldt voor de tijdens dit concert door het Nadar Ensemble uitgevoerde Mirror Box Extensions van Stefan Prins en Bluff van Michael Beil/Thierry Bruehl. Door fysieke en virtuele werkelijkheid door elkaar te laten lopen, plaatsen de makers kanttekeningen bij de rol die technologie speelt in onze samenleving: de mens komt tegenover de machine te staan. In het geval van Neuwirth delft hij zelfs het onderspit. Als de computer aan het slot van Kloing! de controle over zijn toetsen volledig heeft overgenomen, moet de pianist zich wel gewonnen geven. Tijdens een uitvoering in Keulen wierp pianist Marino Formenti zich quasi wanhopig op de grond. Je zou Kloing! kunnen opvatten als een commentaar op het virtuozendom van de negentiende eeuw, toen duivelskunstenaars als de pianist Franz Liszt en de violist Niccolò Paganini een heldenstatus genoten en net als moderne popsterren verafgood werden. Overdonderden deze musici destijds het publiek met hun vingervlugheid, in Kloing! is het de machine die alle aandacht trekt. Op het podium staat een computergestuurde Bösendorfer CEUS-piano pontificaal opgesteld voor een achterdoek. Het stuk opent met een film waarin de geschiedenis van de pianola wordt belicht. Via een ingenieus systeem van Welte-Mignon werd nog voor de uitvinding van de schellakplaat het spel van pianisten vastgelegd op geperforeerde pianorollen. Tijdens het afspelen reproduceerden deze niet alleen de oorspronkelijke toonhoogte, maar ook tempo, frasering, pedaalgebruik en dynamiek. Wanneer in de film een door Ferruccio Busoni ingespeelde rol wordt opgelegd, gaan de toetsen van de pianola bewegen. Dan opeens klinkt de muziek wel erg dichtbij. Wanneer je je ogen zoekend naar het podium richt, zie je ook de toetsen van de Bösendorfer zelfstandig op- en neergaan: de filmpiano heeft schijnbaar de podiumpiano in gang gezet. De vervreemding is compleet als de filmbeelden blijken te zijn vervangen door live opnames van de vleugel op het toneel. Pas hierna werpt ook de pianist zich in de strijd. Dit moeten we letterlijk nemen, want aangezien zijn klavier door een externe kracht wordt aan- 6 gestuurd, kan hij slechts toetsen gebruiken die nog niet ‘bezet’ zijn. Zo ontstaat een tragikomisch spel, waarbij mens en machine elkaar te snel en te slim af proberen te zijn en vaak niet duidelijk is waar de muziek nu eigenlijk vandaan komt. De elektronisch aangedreven vleugel produceert niet alleen klanken van oude pianorollen, maar ook naar muziek vertaalde seismografische trillingen, die in 2004 werden opgetekend tijdens de tsunami op Sumatra. Deze vloedgolf aan klanken wordt doorsneden met vervormde citaten uit werken van Chopin, Liszt en Ravel, waarmee de pianist op het podium weerstand tracht te bieden aan de technologie. Op de achtergrond worden live videobeelden van het toneel afgewisseld met bestaande opnames van pianola’s, concertregistraties van historische pianisten en beelden uit cartoons. Op de achtergrond zijn afwisselend live videobeelden te zien van het toneel, bestaande opnames van pianola’s, klassieke concertopnames van bekende pianisten en fragmenten uit tekenfilms. In die fragmenten zien we figuren die iemands pianospel saboteren door het instrument van binnenuit te manipuleren – een komische noot en tegelijkertijd een mooie spiegeling van wat er op het podium gebeurt. Als een ware Sisyphus begint de pianist achter de vleugel keer op keer aan zijn bij voorbaat verloren strijd. Hij geeft pas op als de computer uiteindelijk alle toetsen van zijn vleugel heeft overgenomen. Op dat moment klinkt een stortvloed aan razendsnelle trillers en arpeggio’s, die een mens onmogelijk kan produceren. De tsunami ‘golft’ zichtbaar over het klavier en overspoelt als het ware de pianist, die slechts machteloos kan toezien. Zo verbeeldt Neuwirth ook theatraal de titel, die associaties oproept met een muzikale mokerslag. 7 KLOING! for self-playing piano, live pianist and live film (2008), Dutch premiere sound direction and programming: Peter Plessas and Gerhard Eckel (Institute of Electronic Music, Graz) live film: Lillevan As in many of her works, in Kloing! Olga Neuwirth plays a subtle game with our expectations. Sounds produced live, electronics and video images melt together to form a single mixture, in which the border between ‘real’ and ‘unreal’ becomes blurred. The same goes for Mirror Box Extensions by Stefan Prins and Bluff by Michael Beil and Thierry Bruehl, performed by the Nadar Ensemble during this concert. By allowing physical and virtual reality to intermingle, the makers provide a commentary on the role technology plays in society: man stands opposite machine. In Neuwirth’s case man even comes off worse. Once the computer has taken full control of its keys at the end of Kloing!, the pianist is forced to admit defeat. During a performance in Cologne pianist Marino Formenti threw himself to the ground as if in despair. Kloing! could be summed up as a commentary on nineteenth century virtuosity, when wizards such as pianist Franz Liszt and violinist Niccolò Paganini enjoyed heroic status and were idolised like modern popstars. These musicians may have stunned audiences with their dexterity in their day, but in Kloing! it is the machine which attracts all attention. On stage is a computer-operated
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