29. March 2013

Klangraum Krems Minoritenkirche

Ensemble PHOENIX Basel
Jurg Henneberger (conductor)
Christoph Bosch (flute)
Petar Hristov (oboe)
Toshiko Sakakibara (clarinet)
Manuel Bartsch (piano)
Daniel Buess (percussion)
Friedemann Treiber (violin)
Jessica Rona (viola)
Martin Jaggi (violoncello)

Paul Renner (culinary intervention)

Oswald Wiener (presentation)


With the friendly support of
Römerquelle, Salomon Undhof
Pro Helvetia, Bundesministerium für Unterricht Kunst & Kultur

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Ensemble Phoenix Basel, Paul Renner & Oswald Wiener Silence in folds, layers and dark cracks

Georg Friedrich Haas Aus.Weg (2010)
Franz Furrer-Münch Skizzenbuch (1992/93)
Michel Roth molasse vivante (2004)
Alexander Moosbrugger Fonds, Schach, Basar (2012-2013)

“In the beginning was not the sign. And not the word either.” – a presentation by Oswald Wiener for “Imago Dei”, a world premiere at the festival that will be published as a book. The scientist and artist –once a member of the literary “Wiener Gruppe”, after his complete break with literature as the host, private scholar of machine theory and art professor for aesthetics at various places in Europe and North America – will make his own sense of the Creation. Paul Renner will plunge into a specially created fish soup, a kind of primeval soup with a world dumpling, served during the festival. A Lucullan act of creation by the painter, creator of complete works of art and cook. Did the Big Bang happen? Is there silence outside the primal state of the Creation? Silence in folds: What does silence that is moved sound like? The Swiss composer Franz Fürrer-Munch, who died in 2010, also moved around existential questions in his “Skizzenbuch für Ensemble” that premiered with the Swiss Ensemble Phoenix. He also moved around questions of dialectics, around the counter pole of any gestalt. And does time have an edge? How do I get to the center, from the edge to the middle to the outside? A composition by Georg Friedrich Haas seems to suggest an “Aus.Weg”, a way out, but the ambiguous title also alludes to the futility to find a way and an “away” from pre-destination. The novel “Silver und Salbader” by the Swiss poet Peter Weber refers to the primal state after the Creation, the geological, mythical, historical and social layers of a landscape. Weber had a great impact on his composing fellow countryman Michel Roth who composed “Molasse vivante”, a work that sounds as if a lightening had struck a primeval soup and led to the development of something organic. Alexander Moosbrugger composed a new piece for Phoenix and for “Imago Dei 2013”: an etymological approach to the notion of creation and to the literary meaning of “schöpfen”, the German word for “create” which could also mean “scoop” – with words, with (soup) ladles, with fantasies of almightiness. Constantly and as strongly as ever the basic conflicts around the myths of creation are seething. At the same time, Moosbrugger wants to examine the before and the after of an acoustic primal event and does so with the help of a recording of a piano evening of the Hungarian pianist Andras Schiff to the topic of musical transition, the variation. Uniquely cut and transferred to vinyl, passages from these records find their ways into Moosbrugger’s new piece.