string quartet and skyscraper
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and string quartet and skyscraper no.1 :
Here is string quartet and skyscraper no.1, recorded all the way throughout the installation by Gill Arno, Geoff Mullen, Daniel Neumann and Jane McAteer, at the Autstrian Cultural Forum NY, 9/11/2015
string quartet and skyscraper 2.0 has been premiered at Echoraum, Vienna
Last month the Rhythm Method premiered the next iteration of string quartet and skyscraper on it’s Austria Tour and to celebrate this I wanted to share with you (exclusively for now) two rough mixes I made from both pieces.
(string quartet and skyscraper 2.0 has been commissioned by the Austrian Federal Chancellery)
Today is the day! 7pm at the ACF NY!
Make sure that you RSVP at http://www.acfny.org/event/reservation/the-rhythm-method-string-quartet-and-skyscraper/
More Info at:
today The Rhythm Method had their first site-visit at traces of [dis]location;
and it was wonderful,
let the composing begin!
Work Is Up!
So, my sound installation “traces of [dis}location” has opened last Thursday and is on show Mon-Friday 10am-5pm at the Austrian Cultural Forum New York City.
Tomorrow we will have the first site visit with the Rhythm Method and explore our sonic bounderies.
DISCLAIMER: There is no string on the outside of the facade anymore, the installation has now turned inward with an outward motion.
Come by and explore!
(photo by David Plakke)
string quartet and skyscraper is a new work commissioned for Bernd Klug’s large-scale sound installation at the Austrian Cultural Forum NYC, which will be played on, in, and by The Rhythm Method string quartet in September 2015.
Bernd Klug is presenting his first large solo exhibition in New York City at the ACF in Midtown as a part of the liquid architecture / frozen music festival in August through September 2015. For this occasion, Klug turns the architectural landmark, a 22 floor high skyscraper by Raimund Abraham, into a social instrument.The publicly accessible, interactive environment extends over three floors and uses the architectural and institutional structures of the building to create different zones and layers of engagement.
The visitors play an integral role: subtle feedback traces their movements as they walk through the installation, thus altering the soundscape; strings play with the question of the public’s conscious interaction; and electro-magnetic amplification sonifies the unheard noises of their cellphones and electronic devices.
As a part of this installation and with the help of New Music USA, Klug plans to write a piece for his installation played by one of New York’s newest and most eclectic string quartets, The Rhythm Method, in which they will explore the sonic qualities of the installation, playing the strings in the gallery spaces and the building itself, as well as their usual instruments.
The compositional approach to this piece will be rather unorthodox, based on Klug’s deep roots in cutting edge musical developments and the history of American sound art, European contemporary music and relational aesthetics.
Klug will explore the as yet unheard possibilities of such an interactive social instrument on site together with the musicians, developing possibilities, positions and soundscapes based on resonances and counterbalancing this deep listening approach with the quartet’s repertoire. The members of the quartet will be asked to submit their quartet’s repertoire as well as their personal practice routines and current solo pieces to Klug, who then will cut and paste together frames of their personal artistic experiences into the composition. Just as Klug interweaves space and social content inextricably with his installations, he ensures here that the quartet itself (and its individual members) will become the material of this composition. Having known the quartet personally since its inception, Klug was always fascinated by the different characters of its members and their respective different musical qualities. Through social interaction and professionalism, the members are able to meld all their different qualities and still maintain strong personalities. By examining their individual repertoire and routines, Klug hopes to amplify these personalities as well as the building itself, making all the typically unheard aspects of a classical concert situation audible.
The public premier of this work would take place at the ACF’s Moving Sound Festival 9/11/2015 and we plan to develop site-specific ‘variations’ on this composition for different locations and installations in America and Europe.
(photo by David Plakke)
This is a recording, no more than four days old. I recorded it in my current sound installation / exhibition which I created in collaboration with the Brooklyn-based German painter Johanna Tiedtke and which is currently on view at Galerie Freihausgasse, Villach AT.
What you hear is a newly developed multichannel feedback system which will also be the main control system for the audio signals at my installation at the ACF and which will lay the acoustic ground for the proposed composition for quartet and it’s interaction with the skyscraper.
In this file you can read about the Austrian Cultural Forum’s festival liquid architecture / frozen music as well as Bernd Klug’s plans for the Sound Installation in August and September 2015.
A new string ensemble (duo/trio/quartet) project of Marina Kifferstein, Lavinia Pavlish (violins), Anne Lanzilotti (viola), and Meaghan Burke (cello). In their brief tenure thus far as a group, the Rhythm Method has given soulful, spirited performances in New York, Paris, and Lucerne, and has tackled works ranging from classics by Ligeti and Ravel to brand-new pieces by John Zorn, Andrew Norman, other living composers as well as Burke’s eclectic songs.
Start and End Dates
08/13/2015 — 09/12/2015
Manhattan, New York