Theremin ~ Modular synthesizer ~ Haken Continuum ~ Crazy stuff…
I am excited to return to Weimar again so soon to improvise together with Michael von Hintzenstern on June 24 at the village church (Dorfkirche) in Denstedt.
The instrument that Franz Liszt played on has a wide range of timbres and, together with the air pressure control (Winddrossel) enables inventive performers to construct amazing sound scapes.
More information here.
As part of the “Day of the Open Monument” (Tag des offenen Denkmals) light artist Katrin Bethe, bass player John Eckhardt and electronic artist Andrew Levine will perform as a trio on Friday, September 08, 2023 at Kapelle 6.
Freitag, 02. Juni 2023 | Friday, June 2nd, 2023
20:00 Uhr / 8 PM @ Kirche Maria-Magdalenen Klein-Borstel: Stübeheide 175, 22337 Hamburg.
Kriton Beyer ist ein griechisch-deutscher Musiker und Komponist, der als Performer und Improvisator hauptsächlich mit dem Harmonium und dem Daxophon arbeitet. Er studierte Musikwissenschaft in Griechenland, wo er mit verschiedenen lokalen Musikgruppen sowie mit Musikern wie Sakis Papadimitriou und Floros Floridis zusammenarbeitete. Im Jahr 2004 zog er nach Berlin, wo er sich intensiv in der improvisierten Musikszene der Stadt engagierte. Kritons Daxophonspiel zeichnet sich durch eine sehr persönliche musikalische und klangliche Ästhetik und eine unkonventionelle Technik aus, die manchmal auch durch den subtilen Einsatz von Elektronik unterstützt wird.
Roy Carroll ist ein irischer Musiker und Komponist, der in Berlin lebt. Er arbeitet vor allem mit elektroakustischen Medien; dazu gehören Schallwandler, Synthese, Rückkopplung, Audioaufnahmen, Verstärkung, Software und sogar auditive und psychoakustische Phänomene. Mit diesen Materialien stößt Carroll Prozesse an, die rücksichtslos Klangfarbe, Artikulation, Gestik, Form usw. untersuchen. Rückkopplung, der Schrecken eines Instruments, das sich selbst hört, ist ein wiederkehrender Bestandteil von Carrolls Arbeit, der vielschichtige Formen schafft, die die Transformation von elektrischen Audiosignalen in gestörte Luft immer wieder neu verhandeln.
Andrew Levine, geboren 1968 in NYC, begann mit 6 Jahren Geige zu spielen; später studierte er Gesang. Seit 2010 spielt Andrew das Moog Theremin in frei improvisierenden Konfigurationen. US-Tournee und 4-tägiges Theremin-Festival im Jahr 2020. Von 2021-23 erlauben ihm mehrere Stipendien, seine Klangpalette zu erweitern: flexible Manipulation vom Theremin-Timbre und im Rahmen von “in-ORGAN-ic” das Studium der Kombination von Orgeln und Elektronik. Aufnahmen und Konzerte in Berlin, Weimar und Trier, Tournee mit Quatuor BRAC und Katrin Bethge, Residenz mit Eric Cordier in Paris, Portugal-Tournee und eine Konzertreihe mit Michael von Hintzenstern.
http://theremin.andrewlevine.info/
Das Konzert ist ein Teil des “blurred edges” Festivals Hamburg. 02.-18.06.2023
blurred edges 2023 wird gefördert von der Behörde für Kultur und Medien der Freien und Hansestadt Hamburg, der Hamburgischen Kulturstiftung und dem Musikfonds e.V.
After having been able to work intensively on the interaction of electronics and organs in the course of my last two scholarships, I am very pleased to have been invited by Prof. Martin Sturm to participate in the series “Experimentalstudio Orgel” at the HfM Franz Liszt in Weimar.
It has been a blast playing in Lisboa and Porto, at Cossoul, Sonoscopia, Sistema SMOP and Cosmos Campolide. I’ll write up my experiences soon, but here are some images from my stay.
Thomas Noll from Organworks and me finally got back together, and we were joined by the percussionist Samuel Hall. For this meeting he also brought some electronics, feedback, a Make Noise Strega and 0-Control. And it did get crazy!
We used the opportunity to test drive two spcmic‘s: Svein’s 84-channel 3D-audio recording devices that plug straight into a laptop via USB-C. Just point it towards the sound source and you are good to go–no gain staging needed! All tweaking (beamforming and such) can be done in post processing, but of course you can monitor in realtime, e.g. using binaural rendering.
This is April’s final in-ORGAN-ic session, kindly supported by Musikfonds e.V. with funds from the culture ministry of the German government.
The first of three locations in and around Weimar that the organist Jakob Schönborn -Dietz and me recorded at was St. Peter und Paul / Herderkirche.
I did several time consuming impulse response measurements on the ground floor and on the balcony.
This is the performance space underneath the organ–and one of the spots where I placed the amp playing back the frequency sweep. After that Jakob and I climbed inside and explored the organ and selected two microphone positions.
Not an optimal spot as the motors injected a lot of unwanted content into the dynamic mic. We found a working and interesting sounding alternative nearby though.
After the late night recording session we visited location #2 on the next morning: St. Ursula in Taubach.
In the afternoon Jakob and me went back to Weimar and did some exploratory recording of the action and inside of the body of the Wegscheider-organ at Musikhochschule Franz Liszt.
On June 24 and August 02 I will perform with organist Michael von Hintzenstern.
06/24, 16:30 at Dorfkirche Denstedt near Weimar. During the recording session in August 2022 I had a lot of fun improvising with Michael playing the Liszt organ.
08/02, 19:30 at St. Marien in Bad Berka. I look forward to experiencing the organ built in 1991 by Gerhard Böhm (Gotha).
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I can already say that I am excited to revisit Portugal and play in Lisbon and Porto between April 27 and May 04. The schedule so far…
04/27 – 21:00 / 9 PM @ Cossoul
Rua Nova da Piedade 66, 1200-299 Lisboa
04/29 – 17:00 / 5 PM @ Sonoscopia
Rua de Silva Porto 217, 4250-469 Porto
04/30 – 20:00 / 8 PM @ Sistema SMOP
Rua do Conde 77, 1200-776 Lisboa
05/03 – 21:00 / 9 PM @ Cosmos Campolide
Rua Marquês de Fronteira 163, 1070-294 Lisboa
05/04 – 21:30 / 9:30 PM @ Sistema SMOP
Rua do Conde 77, 1200-776 Lisboa
I will be playing solo on the first three gigs, with my appearance at the birthday party of Sonoscopia being part of a four gig set: in Porto you can also hear and see Marcia Basset and Ursula Scherrer, a French duo called Arlt (Eloïse Decazes and Bulbul Tarang) as well as a trio composed of Frantz Loriot, Marina Tantanozi and Phillip Eden.
At Cosmos Campolide there will be three sets, with [1] a trio composed of Ernesto Rodrigues (viola), Bruno Parrinha (bass clarinet) and Flak (electric guitar), [2] João Madeira (double bass solo) and [3] me playing in a trio formation.
On my second appearance at Sistema SMOP I will be playing with Abdul Moimême (Rui Horta Santos).
This is an opportunity to practice “listening to today’s music” as is the key topic of the Nova contemporary music meeting (NCMM), opening that same day. We cordially invite all participants to join us 🙂