Stimme und Posaune - Synästhesie - Wölfe und viele andere Themen werden im Altchemie-live Podcast mit Lea Lu, Nils Wogram und Kathrin Brunner besprochen. Dazu immer wieder Ausschnitte aus der Musik und spannende Einblicke in das musikalische Schaffen dieses ungewöhnlichen Duos.
mehr Informationen und das Konzert in voller Länge findet man ab dem 10. Mai hier: https://www.altchemie.live/konzerte/lealu

Lea Lu & Nils Wogram im Altchemie-live Podcast

Much could be said about the state of music and culture in the spring of 2021. The pandemic has spawned a competition about alternative forms of liveness in streaming and game formats. One medium that has always maintained an intimate relationship with theater and has always been able to create a ghostly co-presence in listeners' living rooms is the radio. This kinship is explored by the Schauspielhaus together with the concert venue Bad Bonn and GDS.FM. "Graveyard Shift" refers to the slot at the edges of the radio program between 1 a.m. and the wee hours of the morning - during the time when an eclectic community of insomniacs, nerds, and those whose work schedules are counter-cyclical gather in front of the radios. The slot gives the radio makers the freedom to create a show without regard to mass tastes. In this tradition, Bad Bonn and Schauspielhaus Zürich have awarded five Cartes Blanches to musicians, both from the theater's ensemble and beyond, to produce a one-hour radio show - with the only formal stipulation that it must include a report on the current weather situation. So in five shows, "Graveyard Shift" assembles a current weather map of the musical landscape, which will be heard live on GDS.FM every second Sunday of the month, and then be available on the Schauspielhaus' Soundcloud account. Eartheater kicked things off, followed by Asma Maroof, Bonaventure, who invited BOBBY KOLADE to collaborate, and Laurel Halo. This contribution by Ludwig Abraham, who is part of the theatre's ensemble, is the last entry for season 2020/2021.

Graveyard Shift: Ludwig Abraham

"Weightlessness" for flute(s), bass clarinet, violin, cello and piano
Premiere: 20.11.2021, Neimënster, rainy days festival, Luxembourg
Composed for the participation at the Luxembourg Composition Academy
Performers: the United Instruments of Lucilin, Julien Leroy - conductor

"Weightlessness" for chamber ensemble is inspired by the works of Stanisław Lem and celebrates the centenary of his birth in 2021. The piece takes up the theme of weightlessness and specific thinking about the relationship between the pressures described in music - "heaviness of composed sounds" and their dispersion in the acoustic space. The composer is inspired in particular by the descriptions of space and gravitations that occurred on the surface of Venus in Stanisław Lem's book" Astronauts ", which are the subject to personal musical interpretation and reflection.

Live-recorded during the Luxembourg Composition Academy 2021, 20.11.2021.

Weightlessness (2021) for ensemble

Dedicated to Idin Samimi Mofakham.

First performance:
Lutosławski Moderni Orchestra
Błażej Wincenty Kozłowski - conductor

13.12.2013
Music Academy in Cracow, Poland

Ápeiros (2013) for chamber orchestra

Ourobóros for ensemble
Written in 2018 and revised in 2022
Premiere: 8.04.2022, Collegium Novum Zürich, Yalda Zamani – conductor
Live-recorded during the premiere

Ourobóros explores the time looping and devouring of musical material within itself, reaching to a perfect circular form. Ourobóros was written as an inspiration by the same-titled creature, described in "The Book of Imaginary Beings" by Jorge Luis Borges. It is a symbol of continuity and continuous transformation, not only of life, but also of the sound and time passing by. Those elements are bound inevitably in a fate of a composer and every person that approaches the music at the very moment. How the relation with sound and time is able to enrich and transform a person? Is it able to purify one and add something new to life? Are we ready to rebirth in Ourobóros of our world?

Ourobóros

Ourobóros (2018, rev. 2022) for ensemble

game theory

Homāio
Written in 2022-2023
for Persian ney(flute), santur, percussion, string trio and electronics

Premiere: 15. Festival of Traditional and Avantgarde Music Codes
25.05.2023, Lublin, Poland
Farnaz Modarresifar – santur, [flow unit] Ewa Liebchen – flute,
Magdalena Kordylasińska – percussion, Anna Kwiatkowska – violin,
Mikołaj Pałosz – cello, Paweł Czarny – viola, Idin Samimi Mofakham - electronics, Martyna Kosecka - conductor

Recording from the concert at the Museum of Asia & Pacific in Warsaw, Poland, 26.05.2023.

Program note:
Homāio stands for a legendary mythical bird from the Iranian legends and Sufi fables. It is said that it never lands and spends its entire life in flight. It flies invisibly high above the earth, impossible to detect with human eyes. If its shadow falls upon you, you will be blessed with good fortune. Moreover, the Persian modal scale homāyoun, used in traditional Iranian music, shares the same core as the word homāio - meaning happiness, joy or promise. Soaring with wings spread wide, the musical construct of the world of light and shadow is brought to life. The promise of happiness becomes the great unknown.

Homāio (2023) for ensemble and electronics

Marina Baranova - Piano
www.marinabaranova.net
Recorded @Teldex Studio Berlin, 2015
Recording Producer: Martin Sauer

Couperin/Baranova - I. Le Tic-Toc-Choc

FARZIA FALLAH
Lalayi – ein Schlaflied für Sohrab (2017)
for violin, viola and cello

KOMMAS ENSEMBLE
at the Bavarian Academy of Fine Arts in Munich

Johannes Haase, Violine
Alba González Becerra, Viola
Kyubin Hwang, Violoncello

Live recording, 05th March 2020

FARZIA FALLAH: Lalayi – ein Schlaflied für Sohrab (2017) for violin, viola and cello

Mapping Debris Twin

Dj Bey at Kok Kamp (Fethiye) 19.07.2020

I share my passion for sound design, classical and contemporary music with podcasts about concerts, composers, musicians and performers - in German and/ or English.

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