91 / 5000 Übersetzungsergebnisse This concert by the Klangforum Wien and its students is all about vocal music.

Das weltweit einzigartige Studium „Performance Practice in Contemporary Music“ (PPCM) erhält ab diesem Wintersemester mit „PPCM Vocal“ ein von der Kunst Universität Graz entwickeltes Schwesterstudium, geleitet von Professor Holger Falk.

Über das Studium: PPCM (Performance Practice in Contemporary Music)

A master’s program, which is managed by the renowned Klangforum Wien by its own KUG professorship.

Under the supervision of members of the specialist ensembles Klangforum Wien Students learn both the new solo works, chamber music and relevant ensemble works, as well as a sound knowledge of aesthetics, history and repertory survey of today’s music.

The study is complemented by exciting special projects. From opera to performance in collaboration with renowned composers and the IEM Graz.

The extremely lively festival and music scene in Graz and at the KUG offer an inspiring environment for the implementation of innovative collaborations and experimental projects.

PPCM Extended
Live stream on December 21, 2020 at 7.30 p.m.

Salvatore Sciarrino – Quaderno di Strada

To play this music means, above all, to rediscover the power of suggestion. Of course, their formal perfection, the search for the timbre, the originality also count. Yet what I mean here goes far beyond the normal expressiveness of the notes. We are led by the music to the threshold of silence, where our ear sharpens and the mind opens to any sound event as if it were hearing it for the first time. The perception is thus renewed and listening becomes an emotional event.

Should we call such an experience direct (or deep) communication?

Without going back to Orpheus and the mythical origins of music, one must consider disciplines that are currently far removed from musicology: psychoacoustics, music therapy or studies of the language of animals.

The aim of a notebook is also its purpose: to be filled with words and characters. Or: When you have discovered the world and have decided to keep a small part of it for yourself, the notebook is closed and set aside.

From the ruins of a lost entirety, further connections and other paths are formed. From this I get the means to create my music and these titles that amaze so many people. I own numerous magazines with texts, magazines with titles. What I collect does not only have literary origins, but it also comes from orality, as well as from inscriptions or graffiti on walls.

The magazine accompanies me every day and complements itself in the metaphor of travel. We could be mistaken if we believed that this metaphor would follow us everywhere; no, we are, maybe, their shadow.

quaderno di strada is dedicated to Otto Katzameier and the Klangforum Wien.

Salvatore Sciarrino

(Translation from Italian: Mirella Stefani)

From: Konzerthaus program cycle Klangforum Wien, 3rd concert. 8.12.2003.

Olga Neuwirths stage work Lost Highway

(Libretto by Elfriede Jelinek and the composer based on a script by David Lynch and Barry Gifford) was premiered on the occasion of steirischer herbst on October 31, 2003 in Graz. As in other works by Neuwirth, the focus here is on dealing with the questionable reality of perception: The approach of deconstructing images and sounds through a discourse of perception in order to demonstrate the logic of their functioning at the same time as their manipulability makes essential aspects of the original script – so the replacement of the purposeful narrative style with a logically inexplicable course of action interspersed with time loops – usable for the stage and further thinks about their implications on a musical level For her suite , the composer has removed a few distinctive passages from the stage work and connected them with newly composed transitional passages. The sequence of the individual excerpts is based on the course of the stage action and is even bracketed with the opening and closing scenes of the music theater; but beyond that, the plot no longer plays a role. It is replaced by the multi-layered game with the perspectives of differentiated sounds: the music played live is interwoven with sampled and live-electronically processed sounds to create a constantly changing soundscape, the enormous plasticity of which can be perceived as a sequence of suggestive sound images.

(Stefan Drees)