Oscar Bianchi: Matra - Introduction

Yoav Pasovsky: Neghi'ot

QNG: A. Bruckner, Vexilla regis

QNG: Eva Reiter, Zug Ins Gelobte

QNG Collage

Anonymus: Nani Nani

Impro - Modulated Works

Mario Garuti: Bezel

This piece was written for the reknown series of church services with contemporary music in Berlin, called "hORA". 
Lutz did some prerecordings of sounds of the Helder Tenor recorder and created a playback tape in addition to the recorder part. 
Although I didn't know too much about the instrument at that time, Lutz managed to write a quite atmospheric piece for this occation, using the unique resonation of the Helder Tenor, especially its balanced sound volume in the low register.

Lutz Glandien: Vor der Stille

Sunday Morning Impro

Arne Sanders: Das ander Lied (part I)

Arne Sanders: Das ander Lied (part III)

Timo Tuhkanen: Heel

performed @ Mumuth Probensaal, Graz
with Teresa Doblinger on clarinet

This piece was written for a student recital at the University of Arts in Graz, organized by the PPCM department. 
Although this piece was not written in collaboration, Tahir still managed to compose quite well for the Helder Tenor recorder, using its dynamic and colour advantages. Its sound blends very nicely with the clarinet and the title fits perfectly to the whole piece.

Tahir Ibishov: Ambivalenz

This piece was written for the reknown festival "Zeitströme" at the "Akademie für Tonkunst" in Darmstadt and premiered on 20th of February 2016.

Yoojung Cecilia Seo - Sopran
Masahiro Nishio - Bass flute
Jeongwoon Yun - viola
Johanna Mair - cello
Eochin Lee - vibraphone
Yeirang Kim - Janggu

In this piece I am using a wider block position to blend with the soprano and the bass flute.

Yei Rang Kim: Il da

This track was recorded for a video clip made by Felix Breisach Medienwerkstatt in collaboration with the University of Art in Graz. 

Here I am performing on a modified Helder Tenor recorder, produced by Erik Jahn, who is working for recorder company Mollenhauer.  For my artistic research project we are exploring different possibilities of a further development of this special instrument. 

In this example I am performing with a different foot joint to create even more resonation in general, especially more balance in the low register. 
Furthermore I am working quite a lot with Helder forte fingerings, an extended 2nd and 3rd register, the piano key for organic dynamical playing and last but not least the Lip-control mechanism for natural endings of notes.

Isang Yun: Der Besucher Der Idylle

This is a beautiful piece written by Rumanian composer Violeta Dinescu in 1993.  One can perform it on Tenor recorder or modern flute. Its interpretation is quite open, since there is e.g. no time signature, there are no bar lines,  there are a few signs for certain notes, which one can decide how to express them, etc. 

I prefer performing this piece on Helder Tenor recorder because of its advanced performance practice and many possibilties of sound variations.
In this example I am using following features:
- extened range (up to c#4)
- extended 2nd, 3rd and 4th register
- soft Lip-control dynamics
- white noise tone

Violeta Dinescu: Immaginabile

This piece is part of a series of several solo instrumental pieces from the 1980s called RSRCH. In these pieces the Canadian composer and recorder player Peter Hannan focused on one specific aspect of new instrumental playing techniques. RSRCH 12/84 is written for a tenor recorder and completely dedicated to multiphonics, exploring their quality, strength, and fragility. In the beginning of the piece the multiphonics are introduced carefully. The main part plays with rapid virtuosic changes, from natural sounds to multiphonics and back again. This creates a polyphony on a monophonic instrument in such a fascinating way that it puts both audience and performer into a kind of trance. Thus, also the subtitle Dream.

Susanne Fröhlich21

Peter Hannan: RSRCH 12/84 - Dream

This solo piece is originally written for Genevieve Lacey and her tenor Ganassi recorder. Here a version on Helder Tenor to see how close I can get to the dynamics written in the score.

Liza Lim: The Long Forgetting

As performer, it is very important to work on repertoire which extends ones playing techniques. So, in my research project I am also considering repertoire which is written for woodwind instruments. This forces me to explore my instrument from a different angle, which I wouldn’t have done without this repertoire. For a transcription, I was indeed looking for a composer, who pushes the instruments he is writing for, to their absolute limits.  One of these composers is Salvatore Sciarrino, who wrote a cycle of 12 solo pieces for modern flute called “L’opera per flauta”. There is one piece within this cycle, where I was sure to be able to make a transcription of. This piece is called “Immagine Fenicia” (= an image of Phenicia) and it throws the performer as well as the audience right into a scene. This is emphasized through repetitive, almost hypnotizing motifs and their outbreaks - a style which is quite characteristic for Sciarrinos music.

Salvatore Sciarrino: Immagine Fenicia

I am a recorder player and regularly present concerts and workshops both within Europe and internationally. As a former founding member of the recorder quartet QNG - Quartet New Generation, I am performing now as soloist, in various chamber music formations, as well as in the context of various productions in the realm of fine arts, opera and theatre, among others Saâdane Afif, Ari Benjamin Meyers, andcompany&Co, Constanza Macras/dorkypark, and Opera Lab Berlin. I performed numerous premieres in world class concert houses and festivals, with such groups as Ensemble Adapter, Collegium Novum Zürich, Figura Ensemble, Ictus Ensemble, Neue Vokalsolisten, and Trickster Orchestra. I have been awarded international honours and scholarships in Berlin, Darmstadt, Göttingen, Graz, Illzach, Krakow, New York, and Rotterdam. I am living and teaching in Berlin since 2004 and am holding a teaching position at the Berlin University of the Arts since April 2010. 
I have studied the recorder at the Conservatorium van Amsterdam with P.T. Leenhouts. After graduating with a concert diploma, I earned my master’s degree in 2004 with distinction. I then studied with Prof. G. Lünenbürger at the Berlin University of the Arts, where I earned my concert exam diploma, likewise with distinction. From April 2015 till March 2016, I studied Helder tenor recorder with J. Fischer at the Akademie für Tonkunst in Darmstadt. In October 2019 I completed my artistic-academic research project on “The new potential of a 21st century recorder” at the University of Music and Performing Arts in Graz with distinction.

Susanne Fröhlich

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