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my kingdom for a lullaby  text

 
 



Basically, this is an effort in linking improvised electronic music and abstract live visuals to the highest degree possible, making this neither a standard ‚concert‘ nor a ‚music video performance‘ – the object is to interact in a improvisational way with no hierachy between the visual artists on the one side and the musicians on the other. Both in conceptual as well as in a technical way there is an immediate impact on whatever any person or subgroup within the ensemble ‚does‘ on what the others do. From the visual point of view, my kingdom for a lullaby is a combination of pre-prepared video material (which had its source in basic sounds created by the musicians) and live visuals/video treatments of music you hear in this very performance. The video to sound transformation is realized by feeding video mixing desks with audio information via a multichannel setup, which enables the videoartists to choose which or how many of the 3 sound sources they use to generate their visuals.



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Spurenlos verläuft die Arbeit an etwas, wenn die Arbeit, die Spur und das Etwas deckungsgleich werden. Es mag vorerst paradox erscheinen, aber diese Art von Spurenlosigkeit ist die Voraussetzung für jene Entgrenzung, die in künstlerischem Sinn das Rauschen und das Rauschhafte erst ermöglicht: Erst wenn die Grenzen einbrechen zwischen der Absicht des Bearbeitens, der Nachvollziehbarkeit einer Spur und dem Erkennen eines begrenzten, ganzheitlichen Etwas ist die Annäherung an das so Verführerische wie Bedrohliche eines grenzenlos scheinenden Rausche(n)s anvisierbar. „No input“ ist ein Begriff der jüngeren Vergangenheit, der diesen Arbeitsschritt präzise nachzeichnet und – in weniger rigorosen Formen – sowohl akustisch wie auch optisch an entscheidenden Kreuzungspunkten jüngerer Kunst auftritt. No input in musikalischer Hinsicht heißt, sowohl das Etwas – die Musik – als auch die Arbeit – das Musizieren, Komponieren – auf ganz bestimme Weise an die Maschinerie und ihre Schaltkreise zu delegieren. Das läßt Spuren erst gar nicht enstehen. Die Geräusche und das (akustische oder optische) Rauschen, zu denen die Künstler ihr Instrumentarium verführen, sind nämlich keine Statthalter mehr von etwas. Es ist das Ende der Repräsentation. Die Arbeit, die das Instrumentarium verrichtet, ist das Etwas, das erzählt wird. Jene Spur, die eine künstlerische Arbeit notwendigerweise hinterlässt, wenn sie zur Darstellung einer außerhalb ihrer selbst gelegenen Expression eingesetzt wird, geht in diesem Fall auf in der Arbeit und ihrem deckunsgleichen Etwas. Die Künstler fungieren als Konstrukteure von (musikalischen, optischen, sozialen) Versuchsanordnungen und Schaltkreisen, deren Selbst-Darstellung das Reale als Ahnung des Imaginären (unter Umgehung des Symbolischen) zur Kunst transformiert. Ein berauschendes Rauschen nicht zu produzieren wie die individuelle Ausdruckssubjektivität eines (Jazz)solisten, sondern produzieren zu lassen von einer künstlerischen Versuchsanordnung, das ist jenes so hochgesteckte wie zugleich einfache Ziel, für deren Erreichung Königreiche am Spielen stehen: „My Kingdom for a Lullaby“.
(Christian Scheib)



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Der Rausch - das ist zunächst ein leises, eindringlich hohes Summen, das scheinbar ziellos durch den Raum torkelt und dabei über ebenso verloren aus den Lautsprechern tropfende, piepende und knisternde Töne stolpert. Haben sich die Klänge erst einmal gefunden, überlagern sie sich, verdichten sich zu einem Rauschen, das in flimmernden Bildern auf einer Leinwand sein visuelles Pendant findet, kreisen um sich selbst, verschwinden wieder. "Der Rausch der Wirklichkeit" heißt das Thema der diesjährigen "Short Cuts & Music Talks", die das Jazzfestival Saalfelden am Donnerstag eröffneten. In seinem Projekt "My Kingdom for a Lullaby", einem Auftragswerk für das Festival, setzte der östereichische Gitarrist und Elektroniker Martin Siewert nicht auf die ekstatischen Erscheinungsformen des Rauschhaften. Mit den Elektronik-Kollegen Toshimaru Nakamura und Christof Kurzmann sowie den Video-Künstlerinnen Billy Roisz und Michaela Grill kreierte Siewert Sound- und Bildstrukturen, die über weite Strecken eher ruhig und behutsam um sich selbst kreiselten, ohne ein offensichtliches Ziel zu verfolgen: ein Beben, ein Vibrieren, flirrende Schallwellen in einem endlos ausgedehnten Raum: der Zustand der Berauschtheit, unter dem Mikroskop betrachtet.
(Clemens Planagl, Salzburger Nachrichten)



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In an ambitious collaboration between video artists and musicians, My Kingdom for a Lullaby engages feedback, various sound spectrums and a live performance of 'visual music', translated into digital images in a wide range of audiovisual forms...
What comes first, the chicken or the egg... Pre-prepared video material visually generated from basic sounds of instruments is combined live with newly produced image material, which in its turn drives the music.
This is truly live experiment... My Kingdom for a Lullaby is created and performed by video artists: Michaela Grill and Billy Roisz; and musicians: Christof Kurzmann (G3, clarinet, theremin) and Martin Siewert (guitar, lapsteel, electronics); of Vienna.
(David Nelson/minicine/Shreveport/Louisiana)



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An Electronic music/video/performance featuring video by internationally acclaimed visiting Austrian artists Michaela Grill & Billy Roisz and live music by Christof Kurzmann (G3/ Theremin) & Martin Siewert (Guitar/ Electronics).
Feedback, various sound spectrums and a live performance of "visual music", translated into digital images in a wide range of audiovisual forms. Great concentration is required of the optical and acoustic senses due to the film´s minimalist quality.
This performance is without question one of the major events in Zeitgeist´s now 17 year history.
(Rene Broussard/Zeitgeist/New Orleans/Lousiana)



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...Featuring the Austrian artists Michaela Grill, Christof Kurzmann, Billy Roisz, and Martin Siewert, My Kingdom for a Lullaby fashioned an enchanting piece of audio/visual art. Their performance blended improvised guitar, oboe, Theremin and electronics with shadowy visuals projected on a large screen.
At times, My Kingdom’s performance seemed like the broadcast of a satellite’s decaying signal, presenting flickering images and haunting sounds.
(Rob Nay/exclaim magazin/send+receive/Winnipeg)



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Non avrebbe potuto, forse, esserci un inizio più "rischioso" per un Festival di jazz: la spregiudicatezza mostrata dagli organizzatori della rassegna austriaca, va, secondo l'opinione di chi scrive, elogiata, quanto meno perché consente allo spettatore "medio" di ampliare le proprie conoscenze "sul campo" al di là della musica che è uso ascoltare, e quindi di scegliere ciò che gli aggrada (scartando ciò che non ama), anziché effettuare censure aprioristiche. Cos'è meno jazzistico, più - apparentemente - impoetico, più lontano dai virtuosismi e dal pathos che ci si attende abitualmente dai propri beniamini, dei feedback di un banco di missaggio senza segnali in ingresso? Che dire, poi, se a questo strumento - retaggio della ricerca di David Tudor, protesa nella direzione di una musica senza input sonori specifici? - "suonato" nell'occasione da Toshimaru Nakamura (già membro degli ottimi Repeat e titolare di due album solistici - per leggere la recensione di No-Input Mixing Board 2 clicca qui), danno man forte il laptop (dal quale venivano processati i suoni del clarinetto) di Christof Kurzmann (coautore del pregevolissimo Schnee - per leggerne la recensione clicca qui - condiviso con Burkhard Stangl e titolare dell'etichetta Charhizma), e le chitarre ("preparate" e "sdraiate") utilizzate in maniera del tutto eterodossa da Martin Siewert, già partecipe di gruppi più o meno stabili come Komfort 2000 (con Wayne Horvitz, Werner Dafeldecker, Helge Hinteregger, Tony Buck) o Kandy Korn (dove ad affiancarlo sono Briggan Krauss e Michael Sarin) ?!? Il risultato di questo incontro, per quanto non del tutto convincente, si è dimostrato comunque, a tratti, stimolante: se è vero che la lungaggine e una certa dispersività hanno, alla fine, nuociuto all'esito del concerto, la trama di suoni/rumori "alieni" si dispiegava a tratti avvincente, giocando su una duplice ambivalenza: quella delle fonti sonore e di ciò che da queste scaturisce. Degno di nota il supporto visivo fornito dalle astratte immagini curate da Billy Roisz e Michaela Grill, inesorabilmente soggette a dissoluzione non appena una qualche forma pareva essere suggerita: una sorta di guida per l'improvvisazione "musicale" (ma forse siamo, più propriamente, dalle parti della sound art), o, meglio, una componente essenziale della stessa. Un esperimento che, pur scontando un'aura di sgraziata cripticità, proprio nella deliberata (ma al tempo stesso aleatoria) de-composizione di qualsiasi struttura - prim'ancora che di questa venisse quantomeno evocato il profilo - ha mostrato motivi di suggestione e fascino.
(Ermes Rosina/All About Jazz)

It would not have been able, perhaps, to be us a beginning more "risky" for a Festival of jazz: the unscrupulousness shown from the organizers of the Austrian review, goes, according to the opinion of who writes, praised, how much except for because agrees with the onlooker "middle" of to broaden the actual knowledge "on the field" to the of there of the music that is use to listen to, and therefore of to choose what the aggrada (discarding what. Cos' is except for jazzistico, more - apparently - impoetico, more distant from the virtuosismi and from the pathos that it is awaited us usually from the actual favorites, of the feedback of a bench of missaggio without signals in entrance? That to say, then, if to this tool - heritage of the search for David Tudor, outstretched in the direction of a music without resonant input specific? - "played" in the occasion from Toshimaru Nakamura (already limb of the excellent Repeat and official of two solo album - to read the review of No-Input Mixing Board 2 clicks here), give strong man the laptop (from which came tried the sounds of the clarinetto) of Christof Kurzmann (coautore of the valuable Schnee - to read it the review clicks here - shared with Burkhard Stangl and official of the label Charhizma),You use in manner of everything eterodossa from Martin Siewert, already participating of groups more or except for stable like Komfort 2000 (with Wayne Horvitz, Werner Dafeldecker, Helge Hinteregger, Tony Buck) or Kandy Korn (where to support the I am Briggan Krauss and Michael Sarin)?!? The result of this meeting, for how much not of convincing everything, has shown however, to strokes, stimulating: if is true that the slowness and a certain dispersività have, to the end, harmed to the result of the concert, the plot of sounds/noises "you alienate" itself dispiegava to winning strokes, playing on a double ambivalenza: that of the resonant sources and of what from these springs. I honor of note the visual support supplied from the abstract treating images from Billy Roisz and Michaela Grill, inexorably subject to disintegration not just a some shape seemed to to be advised: a sort of leader for the improvisation "musical" (but perhaps we are, more properly, from the parts of the sound art), or, better, an essential component of the same one. An experiment that, simply deducting an aura of clumsy cripticità, actual in the deliberate one (but to the same time uncertain) says-composition of any structure - prim' still that of this quantomeno came evoked the profile - showed motive of suggestion and glamour.
(Ermes Rosina/All About Jazz)



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