Whether highly philosophical, experimental or everyday: Space has always fascinated us humans. And musicians have an ear for it anyway. Be it celebratory sounds from all directions in Venice's St. Mark's Basilica, a sophisticated orchestra pit for mystical sounds in Bayreuth or a concert with distributed loudspeaker groups: the room also makes the music.
Composer Mark Andre employs a space-filling technique in the truest sense of the word. He eavesdrops on something in a room: its acoustic signature. It starts with a »sweep«, a rising frequency that runs through the entire range of the sound spectrum that we can hear and elicits a response from the room, a resonance. This is absolutely unique and can be analyzed using audio measurement technology. This adventure for the ears is called echographing - and serves as the starting point for Mark Andre's musical creativity.
They exist, these works that simply go beyond all available frames. Gigantic, overwhelming, unmanageable, sounding far beyond previous borders. In his 8th symphony, Anton Bruckner simply seems to be on the move in completely new dimensions. In the cinema, one would probably speak of an overlength blockbuster, a sounding giant that Bruckner wrested from himself over the years and several revisions. No wonder that so many labels have been tried to be found for this monumental work: the »apocalyptic«, a »mystery«. A symphonic Mount Everest on an extra large screen - and for the first time with Bruckner, a symphony with harps. Three, of course.
