Felix Nussbaumer (ita/ch) / AIRKEYCHAINS (lit)
11. Februar, 20:00
Felix Nussbaumer (ita/ch) / AIRKEYCHAINS (lit)
Felix Nussbaumer macht Musik mit Blasinstrumenten, Schaltkreisen, Mikrofonen und Lautsprechern. In seiner aktuellen Arbeit spielt er auf seiner selbstgebauten Reed-Trumpet (Rohrblatt-Trompete), die aus Versatzstücken alter Trompeten und einem Saxophon-Mundstück besteht.
airkeychains are:
Gregory Horoneko, s/a Saxophon
Francesca Fantini, a/t Saxophon
Danielius Daubaras, Euphonium
Francesca Fantini, a/t Saxophon
Danielius Daubaras, Euphonium
Sound and form exploration and connection with the audience
Our ideal of sound, musical form, harmony and musical content is the result of a deep research that
goes through pushing the boundaries of our instruments and our musical backgrounds. We try to
surprise ourselves and therefore the listener, while connecting distant and contrasting musical
paradigms, resulting in new musical forms, in which the common hierarchy is dissolved. We explore
counterpoint in an extended way, trying to intertwine contrasting lines.
Noise is incremented in the performance as a musical element that allows us to explore new
soundscapes and emotions.
Spectralism is explored on various layers, through the specific use of extended techniques of our
instruments (such as multiphonics, the use of a sax mouthpiece on the euphonium and playing the saxophone without mouthpiece, the use of microtones, ecc).
We strongly believe in a deep connection between us and the audience, considering it as a source of
inspiration. Our concert usually starts with silence, taking advantage of the subtle noises of the hall
and its audience, in order to dive in gradually at the side of the listener. It is our mission to make the listeners feel engaged in what we play.
Our ideal of sound, musical form, harmony and musical content is the result of a deep research that
goes through pushing the boundaries of our instruments and our musical backgrounds. We try to
surprise ourselves and therefore the listener, while connecting distant and contrasting musical
paradigms, resulting in new musical forms, in which the common hierarchy is dissolved. We explore
counterpoint in an extended way, trying to intertwine contrasting lines.
Noise is incremented in the performance as a musical element that allows us to explore new
soundscapes and emotions.
Spectralism is explored on various layers, through the specific use of extended techniques of our
instruments (such as multiphonics, the use of a sax mouthpiece on the euphonium and playing the saxophone without mouthpiece, the use of microtones, ecc).
We strongly believe in a deep connection between us and the audience, considering it as a source of
inspiration. Our concert usually starts with silence, taking advantage of the subtle noises of the hall
and its audience, in order to dive in gradually at the side of the listener. It is our mission to make the listeners feel engaged in what we play.
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