Name: Cantus Ensemble & MBZ
Start: 2023-04-17T00:00:00.000Z
End: 2023-04-17T00:00:00.000Z
Location: Pogon Jedinstvo

Admin

Music Biennale Zagreb

Others

Cantus Ensemble

Conductor

Berislav Šipuš

Pianist

Viktor Čižić

Sampler

Srebrenka Poljak

Electronics

Višeslav Laboš

Pogon Jedinstvo

Instrumentalist

Hrvoje Sekovanić

Percussion

Marko Mihajlović

Viktor Rafajlovski

Piano

Cantus Ensemble & MBZ

Zagreb

Croatia

Cantus Ensemble & MBZ: Musik Für Judith Kelemen (+3 More)

Public

Private

Musik Für Judith

Möbius Strip

Cosmic Landscape

Locus...doublure...solus

Samabedona Majumder

Approved

In addition to announcing the first performance of Olja Jelaska’s piece, it is worth mentioning other composers who, like her, have moved away from the composing tradition as well as from traditional listening and critical strictures by using a more organic approach, that is by returning to the classical chamber ensemble, sometimes together with electronics. The common denominator of their new musical features is the deconstruction of composing techniques or the broadening of the standard perception of timbre, tonality and, historically speaking, musical rhetoric. On the one hand, Olga Neuwirth in her piece - the piano concerto explores different aspects of the pianistic style in her composition while introducing a sampler as a double that extends the piano’s range with microtones, as well as the attempts of the ensemble to challenge its own instruments in order to create some kind of expanded musical space.

On the other hand, Gadenstätter, who is nearly as important both as a thinker and a composer, starts from the hypothesis that listening is not just a biological and physiological fact, but a learned behavior, so he chooses the new music as the most reliable musical umbrella under which one can practice “the perceiving of a perception,” and then its expansion. So, in the composition Iconosonics he disassembles and reassembles historically codified musical-rhetorical figures, iconic signs (such as the storm and the battle) originally found in the history of Western music in madrigals, and then in oratorios, operas and program music of the 19th and 20th centuries. Playing with human perception, Gadenstätter works to accentuate the enlightening discomfort created by the tension between the recognition of a codified meaning of the figure and its gradual shift from the traditional context in the presence of the listener. A performance in the Jedinstvo Plant, an incubator of alternative artistic activities will no doubt contribute to this shift from the traditional listening context, i.e. the concert.

English

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