Soundbridges-Improv-Series, fluc_mensa

Das Musikfestival »Soundbridges« versteht sich programmatisch: Brücken herzustellen, Verweise aufzuzeigen, Referenzen einzugehen. Dabei wird an der Schnittstelle aus Historie, ideologischen Systemen und verschiedenen Wirtschaftskonzepten ein neuer Raum aufgezogen, der sich zwischen Budapest, Bratislava und Wien kartografiert.

Soundbridges-Improv-Series, fluc_mensa

COMPANY 1 – Mi. 23. März, 19-21 Uhr

Manfred Hofer (bass) – AT
Andrew Sharpley (electronics) – UK
Noël Akchoté (guitar) – FR
Raphael Lostak (laptop) – HU
Daniel Matej (cd-player, turntables, obj.) – SK
COMPANY 2 – Do. 24. März, 19-21 Uhr
Fabian Pollack (guitar) – AT
Andrew Sharpley (electronics) – UK
Noël Akchoté (guitar) – FR
Raphael Lostak (laptop) – HU
Attila Dora (saxophone) – HU
Julo Fujak (prepared Piano & bowed & prepared bassguitar, synth) – SK
COMPANY 3 – Fr. 25. März, 19-21 Uhr
Bernhard Breuer (drums) – AT
Andrew Sharpley (electronics) – UK
Noël Akchoté (guitar) – ­FR
Attila Dora (sax) – HU
Helge Hinteregger (tenor sax) – AT
+ Guests: Augsburger Tafelconfect

Improv-Manifest of Andrew Sharpley (Paris)

I was asked to write a few lines on how I see improvising. It’s initial attraction for me was the opportunity to respond directly to how someone else plays without right of revision, as a sort of mutual research or dialogue in which it possible, sometimes, to stray into areas you would perhaps not arrive at in the context of a composed or rehearsed performance, in practice, I find it’s interest to be in reaction rather than statement, a process where individual and distinct musicans try to establish or to resist »common ground«, an informal articulation of ideas on the fly, and above all, an artisanal wish to engage hands on with the possibilities of the tools at my disposal to PRODUCE SOUND, to make a thing in the moment without justification, or framing.
I believe that as a genre or process improvising only comes fully into focus in a public performance, or some other formal context, in which there is involved the risk of things going wrong, or it simply is »not working«. As such, it has always a slightly cabaret or circus aspect for me, like pulling off a stunt where it is possible to fall flat on your face, or a conjuring tick where. you take off thei hat and maybe, just maybe, the rabbit will be absent, or dead. It follows from this that it is also a genre marked by unusual techniques or, adapted/unusual instruments, where most regular players develop exaggerated individual signature styles or
Gestures. The self awareness that this can for the public simply appear as novel or bizarre often seems to polarize the musician not roles, serious artist, showman, sidekick, agent provocateur, lord of the manor, whatever … I suppose what I am leading towards is that improvisation is primarily about character, the character of the individual performer & the character of the sound, and how he or she or it relates (or not) to each other and to the audience … in these terms it presupposes dialogue rather than monologue as it???s model, and will never be the voice from the pulpit of the musical world but always rather a heckler on the ground, or an interesting sideshow. Thank fuck for that.

Andrew Sharpley ist Co-Kurator der COMPANY 1-3 \"top.gif\"

Improv-Manifest von Manfred Hofer (Wien)

Ich erneuere von Zeit zu Zeit meinen Zugang zum Kontrabass um das mir bekannte klangliche Spektrum des Instruments zu erweitern. Die Idee ist ein musikalisches Vokabular zu schaffen, das mir Freude macht es zu spielen. Anwendung hat das gefunden in den Veröffentlichungen »I-Wolf presents Soul Strata (Klein Records – bester Alternative Act 2004) von Wolfgang Schlögl, und meiner eigenen Aufnahme »Nuors« (ARR09/CHA031 aRtonal & Charhizma).
Sichtweise in Bezug auf Improvisation: Beim Improvisieren gebe ich mich bewusst der Tatsache hin, dass alles im ständigen Wandel ist. Wobei ich das Hauptgewicht auf die Intuition lege. Denn selbst bei geschriebenen Stücken ist es die Intuition, die der Musik das Leben verleiht. Intuitiv zu agieren und zu reagieren ist was mich interessiert.

Manfred Hofer spielt in COMPANY 1 am 23. März, 19.00-21.00 Uhr

Improv-Manifest of Daniel Matej (Bratislava)

It is a very important activity – I am not a real improviser, because I compose more than improvise, but improvisation for me gives me very important input and an impulse for living – as composer and human being … it is a reflection of John Cage’s image of indeterminacy in my heart and mind.
Daniel Matej (*1963) studied music theory and composition. Performs/performs with VENI ensemble, Vapori del Cuore, Blue Heaven, OVER4tea, John Oswald etc. Worked with visual artists and choreographers. Commissions: VENI ensemble, Arcana Ensemble, Electronic Music Foundation, Hilliard Ensemble etc. Since 2000 he focuses more on audioinstallations and improvised music.
Daniel Matej spielt in COMPANY 1 am 23. März, 19.00-21.00 Uhr \"top.gif\"

Julo Fujaks approach to imrovising (Nitra)

Combination and mutation of intuitive music and little composed parts with using simple conceptual ideas + simultaneous playing the (semi)prepared piano and other instruments bowed cimbal or bowed bassguitar).
Július Fujak (*1966) is a Slovak experimental musician, musical semiotician, writes articles about actual music. Was member
of alternative rock groups Teória Odrazu and Otras (1988-1998) … Since 1999: organizer of international cycle of contemporary music – Hermes??? Ear in Nitra.

Julo Fujak spielt in COMPANY 2 am 24. März, 19.00-21.00 Uhr

Improv-Manifest of Attila Dóra (Budapest)
I play on reeds or low-fi electronics. Some people call my style »free improvised music«, others say it???s »conceptual noise structures using chance-operations«. As in the concept of »no-self« from buddhist tradition, I say thinking of categories makes trouble. I say both notations depending on different days. I focus on stepping across a border, or standing on the borderline.
How I see improvising: Improvising is immediate experience. The improviser becomes part of an entirely living process about the way of coalescence of diversity, which is not bounded by the regnant unified narrative self. Focusing on the analysis of ancestry of improvisation has double charasteristics, occasion at the moment but entity in reflection. While parts are perpetually perishing, their compositions achieve temporal endurance.
Attila Dora spielt in COMPANY 2 & 3 am 24. & 25. März, 19.00-21.00 Uhr \"top.gif\"

Augsburger Tafelconfect Improv-Manifest (Hamburg)
Jyrgen Hall [Laptop und Malprogramme] und Sebastian Reier [Vulkangitarre und Gerätschaften] stehen in der Videoprojektion von BaronesseA. Die Musik ist frei improvisiert, arbeitet jedoch mit Elementen ehemals fest arrangierter – in Pralinenform gegossener – Stücke, die nun quasi im Shuffle-Modus in immer wieder neuen Kontexten auftauchen. Unser Vokabular ist immer begrenzt, der potenzielle Ertragswinkel jedoch unendlich. Das Video ist die einzig feststehende Arbeit, jedoch wenden ihm die beiden Musiker den Rücken zu, wodurch die Improvisation mit dem Bild, und somit eine immer andere Geschichte, erst entsteht. [Man stelle sich vor, jeden Abend den gleichen Film zu sehen, irgendwann würde man ihn so gut kennen, dass es eher zu einer musikalischen Illustration kommt, denn zu einer Improvisation. Das wollen wir nicht].
Augsburger Tafelconfect gastieren in COMPANY 3 am 25. März, 19.00-21.00 \"top.gif\"