niedziela, 6 października 2013


A series dedicated to experimental music before 20th century
curated by Frau W., Maciej Śledziecki (ZAM e.V.) and Michał Libera (Foundation 4.99)

Avant Avant Garde # 4
NK / Berghain, Berlin, Germany

06/11/2013, NK
- Michał Libera, lecture
- Maciej Śledziecki / Marion Worle, presentation of music machines
- Burkhard Beins plays Ernst Chladni, concert

07/11/2013, Berghain
- Karolina Ossowska, Mikołaj Pałosz & Ralf Meinz in search of combination tones in written of its first theorist, Giuseppe Tartini OR what La Monte Young did to serial, Ossowska, Pałosz and Meinz do to Tartini music 

Maciej Śledziecki & Marion Worle play music machines constructed by Gerhard Kern - an orchestra of carillon, monochord bow jow and a fisharmonia controlled by laptops

- Spat' Sonore with their wonderful extended wind instruments play what might be considered acoustic acousmonium 

- Razen play music composed by use of computational and aleatoric logic of Raymond Llull

- CM von Hauswolff plays music inspired by science of Emanuel Swedenborg

all pieces are commissions for Avant Avant Garde by ZAM e.V. & Foundation 4.99

more details about the programme - SOON


There is no such thing as new music. And there has never been one. Otherwise, when did it start? Was it in 1766 when the futurist intonarumori were first designed by Donato Stopani for Drottningholm Theatre in Stockholm? Few decades earlier, when minimalist idea of combination tones were first theorized by Giuseppe Tartini? Or was it in 13th Century when Cage's chance operations were presupposed by Raymond Llull in his figures? Earlier?

Avant Avant Garde is an anachronistic chase for experimental practices in scores, prints and treatises way before terms such as "new", "contemporary", "experimental" or "avant garde" music were conceived. We dig in the history not in search of schools and trends of music making. We dig to find maverick who could not wait until 20th century to see themselves becoming silent patrons of most thrilling adventures in sound making. What we find is people working with what they had at hands - objects, burning flames, spilling waters and blowing wind studying the mechanics at the heart of music and heralding sound art.

The material researched for Avant Avant Garde forms a body of commissions for four nights of music in Cologne, Krakow, Warsaw, Berlin. Each will contain exclusively world premiers. Dženana Aganspahić, Burkhard Beins, Arturas Bumšteinas, Max Eastley, Lucio Capece, Francesco Cavaliere, Tomek Chołoniewski, Gamut Ensemble, Jean-Luc Guionnet, Frau W, CM von Hausswolff, Gerhard Kern, Aleks Kolkowski, Michał Libera, Magda Mayas, Ralf Meinz, Tisha Mukarji, Mikołaj Pałosz, Karolina Ossowska, Razen, Paweł Romańczuk, Spat'sonore, Maciej Sledziecki, Thomas Tilly, Jan Topolski, Michael Vorfeld and many more will be there to deliver concerts, lectures and presentations on Avant Avant Garde. Over the course of the project Gamut Ensemble will be developing a growing automated orchestra of specifically designed music-machines referring to its Renaissance predecessors but expanded with computer controls.