Sagardía
Sangry (2021)
für Bassklarinette

Eine für meine Person typische Reaktionsweise, die Enttäuschung ausdrückt, verknüpft zwei Gefühle von Wut und Traurigkeit so eng miteinander, dass es für mich als Betroffenen, wie auch für Außenstehende unmöglich ist, zwischen diesen beiden Empfindungen zu unterscheiden. Im englischen gibt es für dieses Gefühl ein Wort: sangry – gebildet aus den englischen Wörtern sad und angry. Für mich, wie für die Person, die mir gegenüber steht, ist diese Reaktionsweise eine Überforderung, denn sie weiß nicht ob sich mich tröstend in den Arm nehmen soll, oder ob sie sich vor meiner Wut – aus berechtigten Gründen des Selbstschutzes – zurückziehen soll. Ich war angehalten zu lernen, irgendwie eine Trennung zwischen diesen Affekten zu vollziehen, um anderen Menschen die Möglichkeit zu geben, auf mich eingehen zu können.

Bassklarinette: Ingólfur Vilhjálmsson

Sangry (2021) für Bassklarinette

THE  COSMIC  EXPERIENCE   --  4

Live recorded improvised piece for telepathic uni.sol project. Tenor sax, gong, Lyra 8 and Microcosm.

100922 Harvest Moon Unisol

Improvisation mit Cello, Looper und MF-102

impro0123

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Bell Ringing in the Empty Sky - of the Kinko school, is one of the three oldest pieces, known as the koden-sankyoku, of the fuke shakuhachi tradition. Respected as sacred pieces, these are the most difficult to play in the repertoire, since they are so profound in religious expression. Koku-Reibo is said to have been originally composed by a Zen priest named Kyochiku when he attained enlightenment in a dream; in the Fuke shakuhachi, it is called simply Koku, The Empty Sky, portraying a happy, peaceful feeling of awakening. Kinko Kurosawa heard this music in one of the temples at Nagasaki in Kyushu. He was very much moved by its depth and clarity, and arranged it into a musical piece which is to this day the most played piece of all the repertoire of shakuhachi music.

Koku Reibo

This song was transmitted from Ichigetsuji, a temple in the Kanto region of Japan. Ekoh's meaning may be found in Buddhist concepts such as kusho, tamuke, fuse and kishi. All of these ideas pertain to offering prayers or chanting sutras for the benefit of souls who have passed from this world (shujo ekoh) as well as for one's own personal benefit (bodai ekoh). One should play this piece with an appropriate attitude and purity of intention.

Ekoh

Sidraxorgan 07012021

Open_Music e.V. Stuttgart is a public-service cultural non-profit organization in Stuttgart, Germany.  Scott Roller is Cellist, Composer, Improviser, Educator - and founding director of Open_Music since 2005.

Scott Roller was born in Amarillo, Texas USA in August 1959. Raised there and in Urbana, Illinois, with some summers in Michigan at the National Music Camp Interlochen. Parents both musicians/educators, along with two Roller uncles, some rather prominent. 

University studies in cello, composition & much more: UT Austin (76-79), Paris (79-80), North Texas State Univ. Denton (80-81). Chamber Music America Residency in Dallas with the *BL Lacerta* improvisation quartet (81-83), who were important in his improvisational development (his “Master’s degree in Free Improvisation).

German resident since June 1983, first in Stuttgart (83-84), then in Essen (1984-2009), though the original Stuttgart connections and location continued to play an important role throughout much of that time, especially since the late 90s. Cellist in the Dortmund Philharmonic (86-90) and thereafter as a free-lancer with many orchestras, chamber and studio ensembles in the Ruhr Region, Cologne and Düsseldorf. Collaborations with the organist/composer Gary Verkade, including in their electro-acoustic improvisation ensemble *Synthese* (89-94).

In 1992, founded the *Wolpe Trio* with Lesley Olson (flute) and Susanne Achilles (piano), with whom he was very active for a decade. Many commissions, collaborations, concerts and recordings with prominent contemporary composers such as James Tenney, Kaija Saariaho, Helmut Lachenmann, N.A. Huber (with whom he also studied composition), Sandeep Bhagwati, and many of the younger German and American generations.

Extensive collaborations with composer-performers Mike Svoboda, Scott Fields, Michael Rießler, and in ensembles like *Musikfabrik NRW* (in Düsseldorf, though they are now in Cologne) and Ensemble Modern (Frankfurt). Early work with dancers Dyane Neiman, Robert Solomon and especially later with Christine Brunel, with whom he created several large-scale duo productions between 2002-13.

In the past decade, he has worked musically, educationally and even dramatically in several large projects with the Stuttgart choreograph Nina Kurzeja, a continuing collaboration. In the context of Nina’s *Alice in Iconland* (2012), he also met and worked for the first time with Roderik Vanderstraeten, a Belgian musician, sound-designer, producer and other. Scott has been a member of  Rod’s *Harmonie59 – H59* collective since 2013, a musical production team for film, theater and other studio projects. Since 2019, they are especially active together in Open_Music projects, where Rod is Scott’s right-hand man, both artistically-musically and in administration.

In 2005, he founded (together with several Stuttgart colleagues) the non-profit organization Open_Music e.V. as a platform for musical improvisation and its application in educational work. Open_Music offers opportunities for instruction, creative encounters and productions involving people of almost all ages, social and cultural backgrounds – focused on music but open to all forms and persuasions of human expression. Open_Music is celebrating its 15th anniversary in 2020, and since his regaining leadership of Open_Music in 2019 as CEO/business manager, the future looks exciting.    
More information at scottroller.de and openmusic.de 

scott@scottroller.de  |  scott@openmusic.de

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SR/Open_Music

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