01. April 2007

Klangraum Krems Minoritenkirche

Revolution N° 9

Slow Club

“Danton’s Death“
Interpolations to the quintet for clarinet and string quartet A-Major KV 581 (1789)
Text: Georg Büchner / Bodo Hell
Music: W.A. Mozart / Renald Deppe
Bodo Hell – recitation; Koehne Quartet; Renald Deppe: clarinet

“October 1917“ - 10 days that changed the world
Music: Wolfgang Mitterer, Film collages: Doron Goldfarb

“Pour une morale de l’ambiguїté “ (The Ethics of Ambiguity)
Otto Lechner & Anne Bennent

“talkin´ bout revolution”
Velvet Elevator
Music by Tracy Chapman, Henry Mancini and others

Moderation: Gerhard Ruiss
Accompanying texts and comments

Unimaginable dimensions underlie the original meaning in the archaic context of the universe where revolutions over several thousand years are all but a rare event. Even within the relatively small frame of our solar system the circulation period of Sedna, an asteroid discovered in 2003, around the sun of 10,500 years exceeds our imaginative power. Only in modern times did the term “revolution” (turning, from Lat. revolvere to roll back), the ancient word for a planet’s orbital movement around a fixed star, mutate to a mostly violent social change of prevalent political and social relations. Today the term is still found in an unofficial variant of the Skat game when at “Null Ouvert Hand” the opposing players exchange their cards—a radical variant that is only exerted when the game is all sewed up: a turnover, a putsch in the social water glass.

The abysmal metaphors of the term’s astronomic meaning exceeding our imaginative power and the uncompromising radicalism surfacing in the human play instinct do not rank far behind the political and social revolutions of human history: from the “Glorious Revolution” of England, 1688—the first employment of the term “revolution” in this sense—to the visionary, bloody and stranding “French Revolution”, the peaceful revolution in Germany 1989/90, and the socially far-sighted movement of the late 1960s. The diversity of revolutionary turns unites a polarizing perspective, in which visionaries and lost generations bustle and which Georg Büchner is still pelting painful truths at. Revolution, he announces in his fatalistic revolutionary drama “Danton’s Death”, “splits mankind for the sake of rejuvenation”.

With a revival of the Beatles classic “Revolution N° 9 by Hansi Lang, Wolfgang Schlögl and Thomas Rabitsch, the short-cuts dive into abysmal and optimistic spots around the topic of revolution, and Renald Deppe and Bodo Hell set their crosscutting enigmatic interpolations of Mozart and Büchner. With Wolfgang Mitterer, Sergej Eisenstein’s film classic about the Russian October Revolution encounters musically rebellious and intellectually subcutaneous resistance. Anne Bennent and Otto Lechner start on their way to the revolutionary 60s when Wilhelm Reich’s “Sexuality in the Struggle for Culture” was republished as “The Sexual Revolution” and Simone de Beauvoir gave feminism a definite shape with her classic “The Second Sex”. “Double standard and the suppression of vital instincts”, Reich said in 1930, “lead to deformations of one’s personality and thus to aggression and frustration, which is repressed and needs a break-out in the form of power and hierarchy…” Next came—certainly only four decades later—the revolt of 1968. This match, however, is still going on, yet more relaxed as “Velvet Elevator” finally proves: based on the legendary elephant scene in Blake Edwards’ film satire “The Party”, a persiflage on the post-Vietnam peace revolution, the 16-person lounge orchestra contributes Henry Mancini’s music and other songs of that time up to Tracy Chapman’s “Talking bout a revolution”:
“Don’t you know / they’re talking bout a revolution / It sounds like a whisper.”

© Fotos Revolution

© Fotos Revolution