…as time goes by… Divertimento im kulturellen Brachland PARTITA RADICALE
Fotografie : Marc Strunz-Michels
Kulturelle Ödnis breitet sich aus – aber: mit Musik geht alles besser. Partita Radicale amüsiert sich hartnäckig. In ihrem Divertimento begegnet Nostalgisches dem Wundersamen, Feinsinniges dem Anarchischen. Visuell begleitet von Fotografien des Wuppertalers Marc Strunz-Michels. ... as time goes by... : eine Poetik des Niedergangs.
BeiTrissonum/ITRIssonumBE Partita Radicale spielt Werke von Octavian Nemescu Das Wuppertaler Ensemble für Neue Musik spielt zwei Werke des rumänischen Komponisten Octavian Nemescu, in denen sich elektronische Klänge und live-Musik zu einem meditativen Klangkosmos verbinden.
In their explorations in the wide border areas between composition and improvisation, Partitia Radicale moves towards the limits of pure improvised music.
Deriving from rough sound attacks and tender interactions at the limits of audibility, ecstatic sound spaces and transparent polyphonic chamber music, between polyphony and radical reductionism, a rich sound vocabulary and melodic quotations, there evolves a music which relates to the sound picture of New Music and at the same time it forms the basis of a lively musical communication.
Wasiliki Noulesa and the ensemble Partita Radicale dedicate their Video- and Music-improvisations to the organic process of growth and decay. The artists do a live - research about interaction between music and picture.
Constructions of Ornaments dissociate to new forms, colours of sounds crystallize in picture and music, mix up, become invisible.
The situation of a live performing present musician is called into question because sometimes the body becomes just a projection screen, but still keeps the living focus.
The performance „waves“deals with the contrast of individual identity and the annulment of selfhood.
Pianist Sabine Roderburg will interpret selected piano works from the 20th century: Arnold Schoenberg’s Sechs kleine Klavierstücke, op. 19, Bagatelles by Béla Bartók, Arc-en-ciel from György Ligeti’s Etudes and John Cage’s Amores I for Prepared Piano. Hyperchromatic aphorisms, liberated mechanical energy and compositions full of tonal colour; every piece a work which influenced the direction of modern music.
The improvisation ensemble Partita Radicale translates the fundamental principles of the piano pieces into its own, individual musical language. The soloist and the ensemble create a dialogue: the historical mask and its current reflection combine to create chamber music that is not bound by a particular stylistic direction.
Sabine Roderburg, born in 1953, is a pianist, chamber musician as well as a music, chamber music and dispokinesis educationalist. She studied at the Robert-Schumann-Hochschule in Düsseldorf under Professor Max Martin Stein where she completed her studies with the concert examination, after successfully passing the state examination for music teachers and the final artistic examination with honours. Sabine Roderburg then undertook various master classes, for example with Gaby Casadesus (in France) and Menahem Pressler (of the Beaux-Arts-Trio). In 1981, she was awarded the Förderpreis für Musik der Stadt Düsseldorf (Düsseldorf Sponsorship Prize for Music). Since then, she has performed regularly as a soloist and chamber-musician with a variety of ensembles in Germany and abroad. Her repertoire ranges from the Baroque to the avant-garde. Sabine Roderburg has performed solo and in chamber music both on radio and television and has recorded a number of CDs. Her main emphasis is on the music of Robert Schumann and female composers, which have been the subject of several solo CDs.
Ir müsset alle in diß dantzhus!
A project for the dance of the dead by Partita Radicale
The dance of death, the late Middle Ages subject, inspired Partitia Radicale, the ensemble for improvised and contemporary music, to develop a project which spans a fantastic arc between the sounds of the Middle Ages and their own musical interpretation of purgatory.
The mercilessness of death and ecstasy in the face of doom, through which an almost joyful undertone often resonates…
One can expect an unusual and fascinating evening
For the last twenty years the Brazillian composer Chico Mello has led a transatlantic existence. He commutes constantly backwards and forwards between Spree and Copacobana and has himself become something of a cultural translator.
At the request of the ensemble for improvised and New Music Partita Radicale and on behalf of the Kunststiftung NRW he has composed “Tropeço – a transatlantic stumble”. It is a composition which dramatizes the irreconcilable in the meeting of different music traditions.
Chico Mello creates a clear direction of play, a clear matrix for the music and scenes which leads the musicians to “tropeço” (portugese: stumble). On the left side of the stage Bossa Novas are superimposed over each other, on the right resound stacked songs by Schubert and Bach chorals.
The actual “true” music emerges through the constant backwards and forwards between the interpretation of the forged originals and the authentic free improvisation.
The chasm between the individual musical cultures can be experienced – not as a catastrophe, but rather as a humorous drama.
Myriam Lucia Marbe The Inevitable Time (1994) for piano and improvisation ensemble
Guests: Alexandru Hrisanide, piano
Christian Roderburg, percussion
Ulpiu Vlad Dincolo de Vise
(Beyond the Dreams) (1995)
for improvisation ensemble
Octavian Nemescu Combinaison en cercles V
(Combination in Circle) (1995)
for flute, bass flute, violin, viola, accordion, various sound sources and tape
Irinel Anghel Le quasi infini (2001) for improvisation ensemble
Doina Rotaru Uroboros II (2001)
for 2 flutes, violin, viola and accordion
Since 1993, Partita Radicale has been in close contact with composers in Bucharest. Initially, that contact was with composers of the so-called “golden generation” who met at the Bucharest conservatory during their studies in the 50s and whose works are highly original and diverse, bringing about a synthesis of old Romanian musical traditions and adaptations of contemporary techniques.
This contact has, over the course of time, been extended to younger composers. Numerous reciprocal invitations (for instance, to contemporary music festivals in both Romania and Germany) have furthered this cooperation.
This program shows the diversity and originality of several selected Romanian composers who can certainly offer important musical impulses at the international level.
