Collaboration with Organon and the University of Music and Performing Arts Graz

On December 15-16, 2023, Zeitschleife co-hosted and supported a symposium featuring concerts, presentations, and a demonstration of a newly-create instrument, the Frescobaldi². 

Featuring: Marc Sabat, Klaus Lang, Alyssa Aska, Pablo Mariña, Martin Ritter, Forrest Moody, Aleksey Vylegzhanin, Maria Iaiza, Barbara Konrad, Atousa Falamarzian, Sepehr Karbassian

Detailed program can be found here.

The symposium featured a number of talks, each exploring a different aspect related to microtonality and intonation on keyboard instruments.

Collaboration between ensemble 2K+ (Novi Sad) and Zeitschleife (Graz).

Featuring the 2k+ ensemble in their international debut:

Jelena Trabaticki, flute

Marija Pilipović, flute

Manuela Villiger, saxophones

Marko Džomba, saxophones

Branko Džinović, accordion

Program:

Sepehr Karbassian – shades I (2023) for ensemble

Tamara Basaric Quadroni – Euthymia vespertina (2023) for flute and accordion

Pablo Mariña – uN (2023) for ensemble

Svetozar Nesic – Air Condition (2023) for ensemble

Martin Ritter – Controlled Panic (2023) for ensemble

Djordje Markovic – “Whereof one cannot speak…” (2023) for flute, saxophone, and accordion

Alyssa Aska – exaltation (2023) for ensemble

Margarethe Maierhofer-Lischka (double bass) and Manuel Alcaraz Clemente (percussion) in various constellations of solo and duo, in an intimate and resonate setting

Performed June 22, 2023 at Herz-Jesu Kirche, Graz

Program:

Liza Lim, An Elemental Thing (2017) for percussion solo

Martin Ritter, Feigenbaum (2021-2023) for double bass solo

Alyssa Aska, Boio’s Hymn (2023) for double bass and prayer bowls

Martin Ritter, Hörwinkel IV (2023) for double bass and percussion

Daniela Fantechi, dentro una stanza (2014) for double bass solo

Martin Ritter, Hörwinkel II (2023)

This project was conceived based on the seed idea of “garden”, with growth being a primary component. The final work consists of four pieces for various constellations of the ensemble and electronics. The performance guides the audience through the space in the similar way that a garden contains paths and enclosures, with musical pieces existing in both fixed spaces as well as while on the move. The complete work represents the cyclical nature of growth, beginning in its initial stages, progressing through maturity and deterioration, and finally being reborn. We chose to have this work performed in the Bruseum in Graz because it had many rooms and could provide an experience for the audience that was not limited to sitting in a singular space and listening; rather, they were allowed and even encouraged to explore the performance space during the concert.

Collaboration with and supported and sponsored by singer Helena Sorokina and Kulturverein StimmKubator

Performances May 6, 2023 at the SONify! Festival of Music and Artistic Research and May 26, 2023 at the Hundertwasserkirche in Bärnbach, Steiermark, Austria.

It is not always easy to stay true to oneself and maintain inner peace in times of external unrest, whether due to political circumstances, existential concerns, or personal issues. In such situations the world and, most importantly, our perception of it, undergoes a vast transformation. With the sight of the environment around us, where the cathedrals of our dreams collapse and walls are erected to isolate people from each other, our self-definition also changes. It is only natural that the human voice, the most expressive natural instrument, plays a crucial role in the search for one’s own identity.

Therefore, this contemporary music project was developed around the important question: ”Where does the human voice begin and end?” Is it still our own voice if it is modified by electronics? What role does language play in the development of the voice and the definition of an individual? Are the syllables we understand more important than those we do not understand? The music of Graz-based composers Alyssa Aska, Martin Ritter, Pablo Mariña, and Sepehr Karbassian, as well as Gülçin Yüksel, all of which is based exclusively on phonemes without semantic content, guides the listener through reflections and various phases of the natural and electronically transformed human voice of singer Helena Sorokina.

Program – new works by:

Martin Ritter (*1982 Austria)
Alyssa Aska (*1985 USA/Austria)
Pablo Mariña (*1989 Mexico/Austria)
Sepehr Karbassian (*1990 Iran/Austria)
Gülcin Yüksel (*2001 Turkey/Austria)

Collaboration between Zeitschleife Verein and Organon, featuring Aleksey Vylegzhanin and Klaus Lang

Performed December 14, 2022 at Herz-Jesu Kirche in Graz, Austria. 

Throughout the concert, the audience was invited to listen and explore in different areas of the church, and it concluded with an interactive performance at the organ itself.

Program:

Unterkirche

the ugly house. V – Klaus Lang (composer/organist)

replication.instantiation – Alyssa Aska (composer) Aleksey Vylegzhanin (organist)

d.b.a. No 2 – Pablo Mariña (composer) Aleksey Vylegzhanin (organist)

Kirche

el sonido luminoso – Klaus Lang (composer/organist)

Nexus 2 – Martin Ritter (composer) Aleksey Vylegzhanin (organist)

the world spins – Alyssa Aska (composer) Klaus Lang (organist) Barbara Konrad (organ assistant)

infinite superposition #3, Iteration 1 – Boris Filanovsky (composer) Aleksey Vylegzhanin (organist) Martin Ritter (organ assistant) 

d.b.a. No 1 – Pablo Mariña (composer) Aleksey Vylegzhanin (organist) + audience participation

Unterkirche (loudspeaker installation)

(4:8:16)*3 – Alyssa Aska

Every Nexus^2 – Martin Ritter

a.b.d. No 0.2 – Pablo Mariña

Collaboration with Organon and the University of Music and Performing Arts Graz

On December 10, 2022, Zeitschleife co-hosted and supported a symposium featuring concerts, presentations, and a demonstration of a newly-create instrument, the Frescobaldi². 

Featuring: Forrest Moody, Klaus Lang, Atousa Falamarzian, Laura Hanetseder, Zuzana Gulová, Alyssa Aska, Girolamo Frescobaldi, Carlo Gesualdo, Sepehr Karbassian, Matthias S. Krüger, Pablo Mariña, Ercole Pasquini, Martin Ritter

Detailed program can be found here.

The symposium featured a number of talks, each exploring a different aspect related to microtonality and intonation on keyboard instruments.

Ockeghem’s Missa Prolationum (15th c.) arranged for Renaissance Recorder Consort, presented with alongside newly composed works against a backdrop of live electronics that extend and provide counterpoint to the space and resonance of the performed music.

Sféra Ensemble, recorders:
Laura Dümplemann
Laura Hanetseder
Tzu-chi Kuo
Zuzana Gulová

Johannes Ockeghem ( ? – 1497) Missa Prolationum
aus MS Chigi C.VIII.234 “Chigi Codex”

Kyrie

Alyssa Aska (*1985) Gloria.0

Gloria

Pablo Mariña (*1989) y&y

Credo 

Sanctus

Martin Ritter (*1982) Benedictus.0

Agnus Dei

Collaboration with Organon, featuring Aleksey Vylegzhanin 

recorded in February 2022 at the Kunstuniversität Graz (concert-recording due to current Covid-19 audience restrictions)

This project was designed around the Rodgers Organ/Schwarze Orgel at the Institute for Church and Organ Music at the Kunstuniversität Graz. The impetus behind this recording was a research project by Pablo Mariña, in which he modified the timbre of the organ with access and modulation at the sampling rate of the organ. Subsequent works were then conceived to create a concert-length performance, including a piece by Alyssa Aska that requires prerecording sections of MIDI in order to perform (as well as a specific tuning system) and by Martin Ritter that makes use of different tuning presets to demonstrate the difference in sound. Aleksey also performed a piece by Boris Filanovsky that contained several complicated stop changes.

Program:

Boris Filanovsky – Infinite Superposition #3, iteration 1

Alyssa Aska – every star. every planet.

Martin Ritter – Nexus 2

Pablo Mariña – d.b.a. No. 2