DerBlödeDritteMittwoch #79
17.10.2018, 20h30 @ rhiz Wien
U-Bahnbogen 37-38 / Lerchenfeldergürtel, 1080 Vienna, Austria

Lissie Rettenwanders WELTWEIT ERSTES STIMMGABEL ENSEMBLE (A) [konzert] #hertz #tonometer #schwarzer-koffer #concert #leihgabe
Hans Koch & Thomas Peter (CH) [konzert] #multilayered #object #interwoven #concert #clarinet
Wrong Department / Maria Vilkovisky & Ruthie Jenrbekova (KZ/A): ”Soundcheck” [performance] #humans #non-humans #side-effect #sound-effect #experimentation


Lissie Rettenwanders WELTWEIT ERSTES STIMMGABEL ENSEMBLE (A) [konzert]

Im Jahr 1711 erfand der Trompeter und Lautenist John Shore (1662-1752) die Stimmgabel. Die Tonhöhe seiner Stimmgabel betrug 423,5 Hz. Hz wie Heinrich Rudolph Hertz (1857-1894), Physiker. Rudolph Koenig (1832-1901), Akustiker, baute mehrere sogenannte Tonometer, akustische Frequenzstandards. Sein größtes Tonometer umfaßte beinahe 700 verschiedene Stimmgabeln im Frequenzbereich zwischen 16 und 4096 Hz.

Bisher waren im WELTWEIT ERSTEN STIMMGABEL ENSEMBLE folgende Stimmgabeln im Einsatz: 349,2 Hz; 440 Hz; 442 Hz; 443 Hz; 523,25 Hz; 739,99 Hz; 783,99 Hz; 932,33 Hz; Auch bekannt als f’, 3x a’, c”, fis”, g”, b”. Kürzlich konnte das Instrumentarium durch eine Leihgabe erweitert werden. In einem etwa hundertjährigen schwarzen Koffer, früher im Besitz der ehemaligen Abteilung für Neuro- und Sinnesphysiologie der Medizinischen Universität Wien, befinden sich zwölf Stimmgabeln. Die tiefste und größte schwingt 16 mal in der Sekunde, die höchste 1046,50 mal.

Wrong Department / Maria Vilkovisky & Ruthie Jenrbekova (KZ/A):
“Soundcheck” 
[performance]
Educational performance for two microphones, cables, speakers, non-speakers, humans and other objects

Can a song produce a bird? How can things be sung? During our performance we will try to check what kinds of sounds can exist, which of them can be perceived or produced by humans or non-humans, and what it all can mean. Taking into account the well-known wave nature of matter, can we imagine sound as more foundational aspect of reality than we used to think?

In modern culture sound is usually considered as something like a background or a side effect of what is taking place in the field of sight. When we think of a material object we tend to visualize it, while sound can only be a dispensable consequence produced by solid things that are always “already there”, silent or not. Wrong Dept is going to check if it should always necessarily be so.

Wrong Dept is one of the departments of kreolex zentr dealing with public experimentations. Currently it is represented by two employees: Maria Vilkovisky and Ruthie Jenrbekova (Almaty – Vienna).


Hans Koch & Thomas Peter (CH) [konzert]
Hans Koch – soprano saxophone / bass clarinet
Thomas Peter – amplified objects / live-electronics

Hans Koch and Thomas Peter combine their wide experiences in the field of Improvisation, Jazz, Contemporary Music and Electronic Music in this free-improvised project.
The collaboration expresses their music in a complex and versatile sound field. The goal is not to communicate in a direct dialog, but rather to strobe a common sound space, which allows a multilayered musical result. Due to Kochs immense sound-repertoire and Peters live produced electroacoustic sound- creations, they produce noisy, heterogene and interwoven sound-moments, interrupted by calm, harmonic and carving sound passages.

They toured 2016 in Asia/Pacific and were part of the sonic mountain project with Christian Kobi, Klaus Philip, Franz Hautzinger, Taku Sugimoto etc. This summer they toured in Argentina and Chile.
Their CD Wucherungen was honored by the New York Distribution squidsear as one of the top 25 of the year 2016.

Hans Koch has quit his carreer as a recognised classical clarinetist to become one of the most innovative improvising reed-players in Europe.
He has been working with everyone from Cecil Taylor to Fred Frith since the eighties. As a composer he has shaped the sound of Koch-Schütz-Studer since the beginning as well as working for radio-plays and film. Since the nineties he has been working with electronics as an extension of the saxes/clarinets as well as with sampling/sequencing/Laptop. As a reed-player he is always working on his very own vocabulary and sound, which makes him a very unique voice on the actual scene.
www.hansko.ch

Thomas Peter is a musician and composer, based in Zürich, Switzerland. His work ranges from composed and improvised electronic music to sound installations. He is member of the ensemble Phoenix Basel, IMO (insub meta orchestra) and forms a duo with Hans Koch. He has performed many concerts as solo artist and as interpret of contemporary music in Europe, Asia and America.

Recently he toured with Hans Koch in Argentina and Chile, released his third solo album thornbill and composed situation #1-3 for the ensemble phoenix (flute, double bass and electronics), which was premiered at the new music festival in Gdansk.
Thomas Peter studied audiodesign and improvisation at the Hochschule für Musik in Basel, Switzerland.
www.tpeter.ch