Silvan Schmid (CH): „Augmented Space“ album präsentation, trompete solo [konzert]
Michaela Schwentner (A): „PENELOPE / IN THE SCENERY / REFLECTING / RELATIONS“ [film]
Alex Kranabetter (A): „Textures“ album präsentation, trompete solo [konzert]
live [seriously – wirklich!] @ steinergasse , doors 19h, program starts 19h30 sharp!
streaming on: https://echoraeume.klingt.org ab 19h30
Silvan Schmid is a trumpet player based in Switzerland and the Netherlands. He plays live and did recordings with projects such as Solo, Gamut Kollektiv, Alex Riva, Eddé Khouri/Glanzmann/Schmid, Elio Amberg, Amereller/Schmid/Wheatley, Bertrand Denzler, Eddie Prévost, Lingens/Punkt/Schmid, Hum. He is a member of the Gamut Kollektiv which has as its purpose to explore, to seek and to set new things in motion; it serves as a fruitful breeding ground for ideas, experiments and new processes. In addition to the annual Gamut Festival they run the label Edition Gamut, and organise different concert series in Zurich.
„Aus den chaotischen und komplexen Beziehungen, die die Improvisation bietet, suche ich nach imaginären Verbindungen und Schnittpunkten, um meine Vorstellung zu erweitern. Ich interessiere mich dafür, wie man sich Musik oder Improvisation vorstellt und ob ich über Vorstellungen die Improvisation formen kann – damit experimentiere ich in meinem Solospiel.„
http://silvanschmid.ch/
https://hathut.com/
shows two women sitting in the scenery of a theatre or in the backdrop of a film set. It is not clear whether these two figures are acting or waiting for their scene, trying to kill time by telling stories and reflecting on film-immanent matters.
Are they outside their role, outside the film set or do they act in a film about two women in a play or a film, waiting for their scene reciting lines from other films which (seemingly) have nothing to do with the situation they are in? Are they rehearsing?
Repeatedly text inserts are displayed which show stage directions but also questions addressing the lead figure Penelope, asked by an invisible audience or other film figures as well as her reactions on them.
Some scenes are repeated several times, but still it is not a rehearsal, but instead a film that uses montage of image and sound to transfer figures from one context into another or a new one and by that question the previous one and furthermore question the production per se and its aesthetic realisation.
This essayist film is about the story of Penelope, told from a contemporary and emancipated perspective.
On one hand this Penelope is knotting and interweaving fragments of her own love stories, on the other hand she is reflecting on film, acting and narration per se by retelling stories and by reenacting several iconic film scenes.
Michaela Schwentner (A) 2013-2015, 4K, 16:9, colour, sound, 18:45 min
Alex Kranabetter lässt die Grenzen des konventionellen Trompetenspiels hinter sich und kreiert Musik zwischen freier Improvisation und elektroakustischer Klangkunst. Was als brüchige Miniatur beginnt, entwickelt schnell eine eigene, organische Dynamik und hat eine hypnotisierende Sogwirkung. Flüchtige Melodien, düstere Loops, Drones und holprige Beats, die durch leere Hallräume führen, skizzieren die Klangarchitektur. Daraus entstehen vielschichtige, introspektive Stücke jenseits formaler Beschränkungen.
Textures ist der Titel seines ersten Solo Albums, aufgenommen mit dem Tontechniker Gustavo Petek, erschienen am 7. Mai 2021 auf Smallforms. Die Trompete dient überwiegend als Klangquelle für die analoge Effektschleife, mit welcher die generierten Sounds manipuliert werden.
Alex Kranabetter (A): „Textures“ (Video)
Silvan Schmid: „Augmented Space“ (Video)
