hemellichaam

Ihre zweite Orgel-Geschichte erzählt Annie Bloch gemeinsam mit Tobias Hagedorn, Komponist und Organist in Frankfurt. Sie handelt von der Orgel als Synthesizer, von ihren Idealen und auch den Nicht-Erzählungen der Orgel.

Die Komponistin und Organistin Annie Bloch geht in ihren zwei ONpodcast-Folgen den Narrativen ihres großen Instruments nach.

Annie Bloch (*1994) ist Organistin, Songwriterin und Komponistin in Köln. Sie studierte Musik und englische Literatur in Cork, Irland, dessen Biotop sie künstlerisch sowohl im Songwriting als auch in experimentellen Zugängen zur Orgel und zu Improvisation prägte. In ihrem Bestreben, der Kirchenorgel neue Kontexte zu eröffnen, performt sie solo und in wechselnden Ensembles.

Foto: Leonie Braun

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The second organ story Annie Bloch tells with Tobias Hagedorn, composer and organist in Frankfurt. It's about the organ as synthesizer, its ideals and also the non-narratives of the instrument...

In her two ONpodcast episode, the organ player Annie Bloch explores the narratives of her instrument.

Annie Bloch (*1994) is an organ player, song writer and composer in Cologne. She studied music and English literature in Cork, Ireland – a biotope that continues to shape her songwriting as well as her experimental approaches towards the organ and improvisation. Striving towards opening up new contexts for the church organ, she is performing in varying ensembles.

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Der ONpodcast bietet jeden Monat eine neue Perspektive aus der Freien Szene in Köln. Worum es geht und wer zu Wort kommt, liegt in den Händen der Moderatorin oder des Moderators: in zwei Folgen geben sie Einblicke in das Leben und Schaffen der experimentellen Musikszene und lassen mit Gesprächen, Geschichten oder Musik daran teilhaben.

Every month the ONpodcast offers a new perspective into the independent scene of Cologne. What it is about and who it is with is entirely up to the host: in two episodes they give us insights into their life and work within the experimental music scene and share conversation, stories and music.

ON Podcast #64 Pipe Fiction mit Annie Bloch (und Tobias Hagedorn)

(Re)arrangement of Mahler's "Der Schildwache Nachtlied" for ensemble.

Thomas Hampson, Baritone,
Klangforum Wien
Bas Wiegers, dir.

Konzerthaus, Vienna, 29th June, 2022. Live Recording.

"Ich kann und mag nicht fröhlich sein,
Wenn alle Leute schlafen,
So muß ich wachen,
Muß traurig sein."
"Liebe Knabe, du mußt nicht traurig sein,
Will deiner warten,
Im Rosengarten,
Im grünen Klee."
"Zum grünen Klee, da geh ich nicht,
zum Waffengarten
Voll Helleparten
Bin ich gestellt."
"Stehst du im Feld, so helf dir Gott!
An Gottes Segen
Ist alles gelegen,
Wer's glauben tut."
"Wers glauben tut, ist weit davon,
Er ist ein König,
Er ist ein Kaiser,
Er führt den Krieg."
Halt! Wer da? Rund! Bleib mir vom Leib!
Wer sang es hier? Wer sang zur Stund'?
Verlorne Feldwacht
Sang es um Mitternacht.
Mitternacht! Mitternacht! Feldwacht!
The sentinel's night song
English Translation © Richard Stokes

‘I can’t and won’t be cheerful,
When folk are asleep,
I must keep watch,
Must be sad’.
‘Dear boy, you must not be sad,
I’ll wait for you
In the rose-garden,
In the green clover.’
‘I cannot go to the green clover,
To the battle-field
Where halberds are thick
Is where I’m ordered.’
‘When you stand in battle, may God help you!
All depends
On God’s blessing,
For him with faith.’
‘He who has faith is far from here,
He is a king.
He is an emperor.
He wages war.’
Halt! Who goes there? Patrol! Keep away!
Who was singing here? Who sang just now?
A forlorn sentinel
Sang his song at midnight!
Midnight! Midnight! Sentinel!

Mahler - Der Schildwache Nachtlied, feat. Thomas Hampson

for three female voices and Wind Ensemble

Silk Hole(2011)

Electroacoustic Music 2023

Headphones recommended

Electricity

Written in 2008 for my friend and colleague Alexandra Fol, this work was an investigation in using the organ as a vehicle to explore aspects of writing music in a large space, for a large instrument.  In the filter of such a large acoustic, the rapid interchanging figurations (especially the pulsations!), all blur into a non-discrete, yet identifiable soundmass. Given the fact that organs are very much 'spatial' instruments, like an orchestra, with groups of pipes grouped together by timbre, and further, by pitch (organs are frequently separated into two 'sides', each having 6 whole-tone pitches), the piece also becomes an exploration of illuminating a space with sound.
The form of the piece was inspired by a film which I had just seen at the time: Synecdoche, New York, (hence the graphic). 
One motive meets another, and they together form a new one, which in turn meets another and creates something new, and so on.  The ideas of this piece were further explored in Metaxa, from 2010.

Jan Hage, organ
Recording: April 17, 2015, het Orgelpark.
Sauer Organ (1922), with 3-manual digital console, equipped with a MIDI-driven setzer system.
Registrants Felipe Mora and Maarten Havinga


Music For Organ Solo

Concerto For Trombone And Orchestra - Intermezzo - Cortège (2017 version)

Het Klassiek Collectief
Konradin Herzog, Conductor
Jörgen van Rijen, Trombone

Concerto For Trombone And Orchestra - Intermezzo - Cortège (2017 version)

Playlist:


Aldo Clementi
"Es"
from Es
(Fonit Cetra)

László Sáry
"Tango"
from Incitation to Desire
(New Albion Records)

László Vidovszky
"Szóló obligát kísérettel"
from Contemporary Hungarian Music for Bassoon and Piano
(Hungaroton)

Masayuki Takayanagi and New Directions
"Herdsman's Pipe of Spain"
from Independence
(Tiliqua Records)

Lulu Shama
"ya ringi ya ringi"
from The Musical Heritage of Iraqi Jews
(The Babylonian Jewry Heritage Center)

Valentin Clastrier
"Organistrum"
from the Great Masters of the Hurdy-Gurdy
(Auvidis)

Luigi Nono
"Omaggio a Emilio Vedova"
from Complete works for Solo Tape
(Stradivarius)

Carola Bauckholt
"Schraubdichtung"
from Carola Bauckholt
(Wergo)

Hlynur Adils Vilmarsson
"nixin"
from Roto con moto
(Smekkleysa)

Hlynur Adils Vilmarsson
"maxam"
from Roto con moto
(Smekkleysa)

Ilan Volkov - At Home  03

Flock was commissioned by the Morgenvogel Festival, to write a piece for voices that was inspired by birds. It was performed by Vox Nostra, an early music vocal ensemble that also performs new music, as well as John Kameel Farah on organ and synthesizer.
This live recording is from the premiere performance at the Zionskirche in Berlin in June 2012.

The various voices sing patterns which are loosely notated, and the singers imitate and follow each other, in the manner of a flock of birds. Sometimes the group reads from  sketched ideas, more like a graphic score, and other times singers choose and improvise from suggested motifs, fitting together in a common pulse. Sometimes sentimental and sorrowful, other times a bit cheeky (or, tongue-in-beak ;-)

Visit also http://vox-nostra.de

"Flock" for voices, synthesizer & organ

White Radiance TM (2020)
for voice, ensemble and electronics (12 min.)

Commissioned by Donaueschinger Musiktage for Elaine Mitchener and MAM.Manufaktur für Aktuelle Musik

"White Radiance TM" looks at the politics of skin bleaching creams, as it is elaborated upon by the Jamaican philosopher and writer Sylvia Wynter. Pushed by major Western cosmetic corporations they constitute—in Wynter's words—"the emergence of a global free-market-driven and consumer-oriented mimetic desire that is anchored to a single genre-specific Western European bourgeois model of being". By coopting the language of these commercials and putting it against Wynter's own powerful words, White Radiance (the brand name) tries to expose the mechanics of the strategies to generate this mimetic desire.

But the piece does not limit itself to a deconstructive gesture; it also seeks to reconstruct a new way of being together—"of being human as praxis", a guiding phrase in Wynter's writing. Taking Michelle M. Wright's concept of an "Epiphenomenal time" that is rooted in the now—in contrast to the notion of a linear time that is rooted in an origin and history—this piece tries to manifest what Wright calls a "horizontal interpellation" of subjective agency, rather than a "vertical interpellation" along hierarchical structures. Specifically, towards the end, the piece does not provide a synchronized score with a "master-timeline" that all performers are subjected to. Rather, it employs individual parts that are not synchronized and which encourage the performers to interpellate their musical agency through horizontal, rhizomatic negotiations among one another. These interdependencies manifest a way of moving through time collectively, rather than following a single timeline/narrative/history, that honors individual agency as something inherently dependent on one another—a praxis that can only ever be done in the making of it, not in the achieving of it.

__________
Donaueschingen, DE
October 16th, 2020

White Radiance TM

Adirghe-Helinyal

I grew up in the small town of Rankin, Ontario, and can always remember being fascinated by music. I began composing on my own while very young, and then formally studied when I was in university.  I studied in Montréal, San Diego, and finally Amsterdam.  Something that's been of great interest to me lately in the last few years is the idea of allusion and reference, and the functions that memories and emotions play in our minds and hearts while we listen to music, and creating a meaningful musical experience while exploring these ideas.  In a strange way, cartoons often supply some sort of raw material for this journey, and I often look to them for inspiration.  I live in Amsterdam where I work as a freelance composer, teacher, and as the floor manager of the Orgelpark, a concert venue dedicated to the organ and it's place in (contemporary) music.   

Music For Organ Solo

TrevorGrahl

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