80 Jahre Terry Riley

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80 Jahre Terry Riley DIFFERENZ DIFFERENZ DIFFERENZ DIFFERENZ DIFFERENZ DIFFERENZ DIFFERENZ DIFFERENZ DIFFERENZ DIFFERENZ DIFFERENZ DIFFERENZ 80 JAHRE TERRY RILEY Musikalische Leitung: André de Ridder Africa Express präsentiert Terry Rileys „In C Mali“ Balafon: Aly Keita, Lansiné Kouyaté, Dembelé Harouna / DJ, Samples: Andi Toma / MD, Violine: André de Ridder / Flöte: Cheick Diallo / Kora: Bao Sissoko, Djelifily Sako /Gitarre: Jeff Wootton, Nick Zinner /Talking Drum: Kaw Secka / Ngoni: Malick Pathé Sow / Perkussion: Mamadou Sarr, Musa Mboob / Delta Harp, Kalimba: Marlies van Gangelen / Gesang: Olugbenga Adelekan, Mamani Keita / Imzad: Juldeh Camara Koreless & s t a r g a z e Electronics: Lewis Roberts 80 Jahre Terry Riley Cello: Joe Zeitlin (Gast) s t a r g a z e: Violine: Geerte De Koe, Isa Goldschmeding, Africa Express präsentiert Terry Rileys „In C Mali“ Yumi Onda, Kalliopi Mitropoulou / Viola: Thora Sveinsdottir, Adriaan Breunis, Lidwine Dam / Cello: Juliette Froissart, Pause Alistair Sung Koreless & s t a r g a z e präsentieren „Cycles I“ Tyondai Braxton & Mouse on Mars featuring Sonic Robots Electronics: Andi Toma, Jan St. Werner, Tyondai Braxton Pause Sonic Robots: Moritz Simon Geist Tyondai Braxton & Mouse on Mars feat. Sonic Robots Kuratiert von: Tobias Staab performen Terry Rileys „In C“ Künstlerische Produktionsleitung: Branimir Peco, Maxi Menja Lehmann Technische Produktionsleitung: Georg Bugiel 29. August 2015, 19.30 Uhr: Jahrhunderthalle Bochum Produktion und Technik: Team der Ruhrtriennale 3 h 10 min, zwei Pausen Eine Produktion der Ruhrtriennale. Wiederholung und Differenz Von Tobias Staab Als der Dirigent André de Ridder 2014 nach Afrika reiste, dachte er nicht daran, Terry Rileys „In C“ dort aufzunehmen. Er hatte noch keine konkrete Idee, welche Musik er in Mali spielen wollte. Er war von Pop-Tausendsassa Damon Albarn (Blur, Gorillaz etc.) eingela- den worden, ein Projekt gemeinsam mit Africa Express zu realisie- ren, jenem offenen Kollektiv afrikanischer Musiker, mit dem Albarn bereits gearbeitet hatte. Das Ziel der Reise war lediglich grob formu liert: die Begegnung zwischen afrikanischen und westlichen Musikern, eine Carte Blanche für André de Ridder mit ungewissem Ausgang. Heraus kam ein Album, das unter dem Titel „Maison des Jeunes“ releast wurde. Aber in André de Ridders Geigen koffer lag darüber hinaus auch eher zufällig der Score von „In C“ herum, weil er direkt zuvor mit dem Stück beschäftigt gewesen war. Genauer gesagt wurde das Stück beim ersten s t a r g a z e Festival an der Berliner Volksbühne an drei aufeinanderfolgenden Tagen in drei unterschiedlichen Versionen aufgeführt, u. a. in einer Interpretation von Tyondai Braxton & Mouse on Mars. Weil das Stück ein „Com- munity Piece“ ist, schlägt de Ridder (der auch künstlerischer Leiter des Instrumentenkollektivs s t a r g a z e ist) vor, das Stück als kollek tive Arbeit „mit allen Musikern, die zu dem Zeitpunkt da waren“ zu realisieren. Gerade da waren Nick Zinner, der Gitarrist von Yeah Yeah Yeahs, Olugbenga Adelekan, der Bassist von Metro- nomy, Damon Albarn und ein gewisser Brian Eno. „Ich spielte das Pattern auf der Violine und die afrikanischen Musiker, denen das Nachspielen in dieser rhythmischen Genauigkeit sehr fremd war, improvisierten sehr frei dazu“, erinnert sich der Dirigent. „Lustiger- weise sind das auch die Stellen, die Terry Riley später am besten gefallen haben, nämlich die Kora-Solos, der Gesang, selbst die Spo- ken Word Passage“. Aus der spontanen Jam-Session entstand eine ungewöhnliche „In C“-Interpre tation, die Terry Rileys ursprüngliche Inspiration durch afrikanische Musikkulturen zu reflektieren scheint. „Es ist, als ob das Stück zu einem Flug mit der afrikanischen Seele ansetzt“, hatte Riley dazu bemerkt. Terry Riley Neben der Mali Version bringt s t a r g a z e im Rahmen des „80 Interview anlässlich der Aufführung des Stückes im Amsterdamer Jahre Terry Riley“-Abends auch eine weitere Interpretation des Muziekgebouw, „dabei entsteht ein augenscheinliches, aber inter- Stückes auf die Bühne der Jahrhunderthalle. Dabei kommen die essantes Chaos, in dem sich Patterns erkennen lassen. Es ist ein Elektronik-Avantgardisten von Mouse on Mars mit dem ehemaligen wirklich schönes System, weil es für immer so weitergehen könnte. Battles-Frontmann Tyondai Braxton zusammen. Mouse on Mars Über meinen Rechner steuere ich vier Violinen, drei Bratschen, drei bewegen sich seit ihrer Gründung 1993 in einem Koordinatenfeld Celli und zehn Glühlampen, die auch Teil der Komposition sind. zwischen elktro-akustischer Komposition, abstrakten Club-Sounds Die Lampen bilden eine Art Verlängerung des Computers. Auf diese und installativer Kunst. Braxtons Band-Projekt Battles, das 2007 Weise kann das Publikum die ‚pendulum waves‘ nicht nur hören, mit dem Album „Mirrored“ auf Aphex Twins Warp-Label sein Debüt sondern auch sehen.“ gab, klang laut Pitchfork, als ob „eine Metal-Band Steve Reichs Das britische Magazin Guardian beschreibt 2014 Rileys „In C“ aus ‚Music for 18 musicians‘ spielen würde“, allerdings gepaart mit Ele- einer heutigen Perspektive: „Für moderne Ohren klingt das ein wenig menten der elektronischen Avantgarde. Tyondai Braxton verließ die nach der Streichersektion der Dusch-Szene in ‚Psycho‘, gespielt Band 2010 um sich nunmehr ausschließlich seiner Solo-Karriere zu von einer Horde bekiffter Beatniks; oder nach den Londoner Philhar- widmen. Seitdem arbeitete Braxton verstärkt mit unterschiedlichen monikern, die sich an Krautrock versuchen“. In diesen Worten Orchestern und Ensembles wie dem BBC Symphony Orchestra, wird offensichtlich, wie sehr Terry Rileys Kompositionen eine dem Los Angeles Philharmonic oder auch dem Kronos Quartet Schnitt stelle zwischen klassischer Tradition und Pop-Musik markie- zusammen. Die „In C“-Interpretation, die Braxton gemeinsam mit ren. Psychedelische Rockmusik und die zahlreichen Stil- und Spiel- Mouse on Mars 2014 in der Volksbühne präsentierte, unterscheidet arten zeitgenössischer elektronischer Musik sind stark vom Gestus sich radikal von bisherigen Versionen des Stückes, da die ein- der Stücke Rileys beeinflusst – Musik also, die es sich zum Ziel zelnen Patterns hier dekonstruiert und erweitert werden. Hinzu gemacht hat, den Körper zu aktivieren und den Geist zu öffnen. kommt eine Sound-Roboter-Installation des Künstlerkollektivs Rileys musikalisches Werk erscheint in einem Spannungsfeld zwi- Sonic Robots, die den stoischen Gestus von „In C“ in eine retro-futu- schen postmodernem Spiritismus und mechanistischem Groove. ristische Ästhetik der Maschine übersetzt. Der ursprüngliche Groove Seine stets tonalen Kompositionen scheinen den archaischen Ritua- des Stückes blitzt zwar immer wieder auf, doch die Lesart von len von Naturvölkern genauso verpflichtet wie den kollektiven Braxton und Mouse on Mars scheint weniger Bestehendes inter- Trance-Erfahrungen auf Raves der Gegenwart. In diesem Sinne pretieren zu wollen, als eine Musik für künftige Zeitalter zu erscheint der in diesem Jahr achtzig Jahre alte Terry Riley heutzu- anti zipieren. tage moderner denn je. Der große Einfluss von Terry Rileys kompositorischem Schaffen auf die zeitgenössische Popmusik zeigt sich auch in der Arbeit „ Cycles I“, die der junge Waliser Lewis Roberts anlässlich des „Hello Terry Riley“ Festivals anlässlich des achtzigsten Geburtstages von Terry Riley im Londoner Barbican Centre konzipiert hat. Roberts, der unter dem Künstlernamen Koreless Ambient- und Electronica- Stücke auf Jamie XX’s Label Young Turks releast, bringt in diesem Kontext zehn Streicher von s t a r g a z e auf die Bühne, die Rileys repetitive Scores nicht nur musikalisch, sondern auch visuell über- setzen: „Ich habe eine Komposition gemacht, das auf ‚pendulum waves‘ – Pendelbewegungen – basiert“, erzählt Koreless bei einem Africa Express, Tate Modern, London Es gibt keine falschen Interpretationen Blaupause zu verstehen ist. Das heißt, es bietet sicherlich explizite Hans Ulrich Obrist im Gespräch mit Terry Riley Anweisungen, diktiert aber keinesfalls ein bestimmtes Ergebnis. Gleichwohl wird man, wenn man mehrere Kinder hat, vielleicht HUO: Lassen Sie uns über „In C“ [1964] sprechen. Diese Kompo­ eines davon besonders bevorzugen. Ich schätze die präzise und sition ist auf einer einzigen Seite notiert und formal in 53 „Zellen“ interaktive Zusammenarbeit von Künstlern, die die langsamen har- gegliedert. mo nischen Veränderungen in der Struktur der Musik verstehen TR: Ich war auf der Suche nach einer Möglichkeit, Musiker in eine und wissen, wie eine Klangwelle nach der anderen aufgebaut Performance zu integrieren, in der sie über größtmögliche Entschei- werden kann. dungsfreiheit verfügen und genauso viel improvisieren können wie beispielsweise im Jazz, in der indischen oder nordafrikanisch - HUO: Spielt also der Begriff der Polyphonie, wie Michail Bachtin arabischen Musik. In der westlichen Musiktradition existierte kein ihn verwendet, eine Rolle in Ihrer Musik – also die Idee, dass alle vergleichbarer Ansatz – zumindest nicht in der Weise, die ich mir Stimmen eines Textes oder Musikstückes jenseits von hierar chi­ vorstellte. Ich strebte die totale Organisation an, wollte zugleich schen Strukturen gleichberechtigt sprechen? aber auch eine Beziehung zu Elementen des Folk und allem ande- TR: Ich neige dazu, viele Schichten zur gleichen Zeit übereinander ren herstellen, was mich damals interessierte. Dennoch sollte alles zu legen, was der Idee von einer fehlenden dominanten Linie ent- Improvisation bleiben. Ziel war es, eine Performance zu schaffen, spricht. Da ist kein Dirigent, kein
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