Dienstag, 2 August 2016 | 19:30 | Orangerie

Extended Strings

Beat Furrer: Kaleidoscopic Memories für Kontrabass solo (2016) (GP)

Jennifer Walshe: EVERYTHING IS IMPORTANT for voice, string quartet, video and tape (2015/16) (WP)
Chaya Czernowin: HIDDEN for string quartet and live electronics (2013/14)

Jennifer Walshe (Voice)
Arditti Quartet
Jérémie Henrot (IRCAM) (Sound)

Carlo Laurenzi (IRCAM) (Computer Music Design HIDDEN)

The electronics of HIDDEN was composed in the IRCAM studios.

“Shall we attack the future or dig up the past?” was the first question in the planning of the Arditti concert marking 70 years of the Darmstadt Summer Course. After all, since 1982, the Arditti Quartet has appeared in Darmstadt more often than any other ensemble, and the list of prestigious world premieres is long. In the last four decades, the Arditti Quartet has answered this question unambiguously for itself: attack the future! Naturally this also applies to the present course program, in which the quartet will present outstanding works by two composer-tutors from different generations: HIDDEN, the most recent string quartet by Chaya Czernowin with additional electronics, “is a 45-minute, very slow listening experience that turns our ears into eyes. The ear is given the space and time to orient itself in the unpredictable sonic landscape, which resembles a rocky underwater landscape full of vibrations that are not so much heard as felt. The fog lifts layer by layer. Monolithic blocks of ‘sonic rock’ are viewed from different angles. The piece is about an attempt to trace, recognize and perceive the genesis of expression.” (Chaya Czernowin) Little is known so far about Jennifer Walshe’s newest quartet, which in fact becomes a quintet through the composer’s own performative involvement; she has had several rehearsals with the Arditti Quartet in London, and is currently working on completing the piece. Unsurprisingly for work by a Jennifer Walshe, it will also feature electronics and video playback. So the message is clear: into the future.


Supported by Kulturstiftung des Bundes