„The SFIEMA Improvised Music Club April 2024“

SFIEMA – SOCIETY FOR SOUND ART, FREE IMPROVISATION AND EXPERIMENTAL MUSIC AUSTRIA
lädt zum nächsten Konzert:

„The SFIEMA Improvised Music Club April 2024“
curated by MIA ZABELKA

DAS LINE UP - umfangreich wie nie zuvor!
"SIEMA European Tour Spring 2024" meets "Schülande Engaling":

ZABELKA / LISK:
... free improvisation from two highly individual musicians with backgrounds spanning a wide variety of musical experiences, the duo’s music both captures and enthralls with its immediacy and a shared, almost telepathic intimacy. Every performance is a unique event, specific to time and place, relying on a shared trust between the musicians, a common knowledge and respect of each other’s music and a desire to share the surprise and delight of the moment. From a stylistic canvas that moves between the smallest sounds to grand gesture the energy is palpable. This attention to all aspects of sound production being treated as possible musical material adds to the multidimensionality of the music. The duo presents the audience a direct and uncompromising involvement in the music they create.

MIA ZABELKA:
... violin and electronics, is a musician and composer known for her experimental use of the violin and electronic music. She has performed at various festivals and venues around the world. Zabelka is known for her innovative and boundary-pushing approach to music, incorporating elements of noise, drone and improvisation into her work. She has played with a variety of artists, including John Zorn and Zeitkratzer. Mia Zabelka was awarded the Austrian Art Prize 2021 in the category “music” by the Federal Ministry for Arts, Culture, Civil Service and Sport.

TRACY LISK:
... drums, is a percussionist based in Philadelphia, Pennsylvania. Ms. Lisk’s history as a painter informs the substance of her improvisations which contain references to rhythmic structures while maintaining a fluid, suspended continuity. She has lead percussion ensembles, and regularly tours as a drummer in the US and Europe. She has collaborated with Mia Zabelka, William Parker, saxophonist Gary Hassay, Maggie Nicols, Andrea Pensado (electronics/voice), dancer Ryuzo Fukuhara, and cellist Helena Espvall, among others.

LARS BRÖNDUM PhD:
... is a composer and a musician. He is currently a professor in music at the University of Skövde in Sweden. Lars composes electroacoustic music as well as chamber music and orchestral music. He often performs improvised live electronics as a solo performer and in ensembles. Three of Bröndum's albums, Fallout (2015) and Phaethon - Music for Instruments and Electronics (2019) and Aleatoric Anthems and Palindromes (2021) were awarded ”best experimental album” by Swedish Independent Music Producers (SOM).

WALTER WRIGHT:
... Board Weevil, contact mic, objects is an interdisciplinary artist, his practice includes computer programming, music, and video performance. His focus is on “improvisation as a way of being present in the world.”

SCHÜLANDE ENGALING:
Sarah Jung (Stimme), Judith Schwarz (Erweitertes Schlagzeug) und Anna Widauer (Gesang/ Effekte sind) "Schülande Engaling".
Im Trio interpretieren sie Texte aus Christine Nöstlingers im Wiener Dialekt verfassten Gedichtband "Iba die gaunz oamen Leit".

Die drei in den 70er und 80er Jahren erschienenen Gedichtbände "Iba die gaunz oamen Kinda", "Iba die gaunz oamen Fraun", und "Iba die gaunz oamen Mauna" wurden 1996 zusammengefasst unter dem Titel "Iba die gaunz oamen Leit" veröffentlicht.

Christine Nöstlinger lässt ihre Figuren strahlen – in einer außergewöhnlichen Direktheit. Sie scheut die Hässlichkeit nicht, wendet ihren Blick nicht ab, sondern schaut hinein in die Leben derer die gerne vergessen werden. Nöstlinger beschreibt persönliche Abgründe, Gewalt, Suizid, Elend etc. auf vollkommen unerschrockene Art und Weise. Trotz der prekären Situationen in denen sie sich befinden, in Abhängigkeit, in Armut, suchtkrank, ausgegrenzt, strahlen Nöstlingers Figuren eine unglaubliche Stärke und Anziehung aus.

Die Texte berühren tief, hinterlassen Spuren und lassen trotz aller Tragik Platz für den für das Wienerische so typischen schwarzen Humor und Schmäh.

"Wir möchten Nöstlingers Gedanken und Geschichten ins melodiöse führen und haben von den Texten inspirierte Klangräume entwickelt, mit denen wir versuchen das Innenleben, oder die emotionale Kraft der Texte durch die Musik teilweise nach außen zu kehren. Dabei kann die Musik den Text nur umrahmen oder aufmachen, in unterschiedlichsten musikalische Formen - Improvisation neben fixierten Songstrukturen und rein Instrumentalem- Ausgangspunkt für jedwede interpretatorische Entscheidung bleibt aber der Text."