Als Gründungsmitglied des Ensemble CRUSH darf ich bei zahlreichen spannenden interdisziplinären Projekten mitgestalten und mitwirken. Einige der Werke, die ich dabei interpretiert habe, habe ich besonders ins Herz geschlossen wie z. B.
Flute: Pia Marei Hauser
Clarinet: Kyusang Jeong
Accordion: Slavi Grigorov
Piano: Marin Petrov
Violin: Karin Nakayama
Cello: Andrei Simion
Electronics: Lukas Tobiassen
Peter Kerkelov’s „Coordinates of a Temple“
commissioned by and written for Ensemble CRUSH (Germany):
Pia Marei Hauser – flute
Kyusang Jeong – clarinet
Marin Petrov – piano with amplification
Slavi Grigorov – accordion
Andrei Simion – violoncello
Karin Nakayama – violin/conducting
Florian Hartlieb – sound direction (Lukas Tobiassen – electronics preparation)
„My very first memory is from my baptizing. I must have been about 2-3 years old. I clearly remember the large hand of the priest, the soft but bright light from above my left and the touch of the cold water, which made me cry. It took place in “St. Ivan Rilsky” Church in my neighborhood in my hometown of Plovdiv. The memory has popped in and out of my mind through all my life like a shadow. Lately, I have been experiencing the strange sensation of an immense difference and an immense likeness with that small-baptized baby. Somehow, this memory merges two distant moments in time, thus making them into a single small point.
For me music is the only other medium that could bring two moments into one. Therefore, I chose the musical sound to describe this peculiar sensation. In addition, to build and to rebuild my own inner temple through acoustical means – vibration, antiphonic textures, timbre; to write a map with ever-changing dimensions of a sound-space, that one can bathe his own soul in just for the beauty of the process.“
Recorded live on 5 June, 2017 @ Moers Festival, Moers, Germany
***** Watch the full concert here: https://youtu.be/N7Gw2Q1tIB0
***** „The Heart’s Filthy Lesson“
written by Bowie/Eno/Gabrels/Kizilcay/Campbell
Originally recorded by David Bowie
Dorian Wood: vocal, piano
Karin Nakayama – violin
Sungkum Yang – violin
Kyungwon Lee – viola
Hugo Smit – cello
Slavi Grigorov – accordion
Reza Askari – contrabass
Thorsten Töpp – guitar/arrangements
Lukas Tobiassen – Die ultimative Annularfusion des Exponats mit seinem Käfig (2014)
for ensemble and live electronics
performed by Ensemble CRUSH with Svea Schenkel (voice)
„A couple of years ago I sat in a contemporary music concert in an acoustically bad room where you could here a lot of the things going on outside: ambulance siren, squeaking car tires, rain, birds etc.
The interesting thing was that these otherwise disturbing sounds fitted extremely well into the music.
At some moments they even seemed to be prepared by the music or the music seemed to comment on them, for instance a siren outside followed by a glissando inside or vice versa.
Based on this experience I realised this piece (the title „The ultimate annular fusion: that of an exhibit and its cage“ is cited from „Infinte Jest“ by David Foster Wallace) for ensemble and live electronics with surround loudspeakers and additional loudspeakers under the seats and outside oft the concert room in the year 2014.
In the beginning I develop a very tense atmosphere with a fragile musical layer performed in a manner of being contemporary music virtuosity which gets more and more disturbed by increasingly obvious incidents such as musicians coughing, dropping something, a singer doing warm-up outside, mobile phone alarm etc. up to the unlikely event of a marching band outside.
All these things reflect in different kinds in the music, blurring the boundaries of outside and inside, music and non-music, resulting in the fusion of the ensemble with it’s ‚natural’ environment.“
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