Defonija at City of Women
This
electro-acoustic duo isn't just any duo. It has a niche as well as a spine that
is a rare combination. Both musicians reduce – if not ignore – old-fashioned
instruments: the piano is no longer merely a piano, and the trumpet is not just
a trumpet. Translated into avant-garde vocabulary, both Sabine Ercklentz and
Andrea Neumann reveal – literally, technically, structurally and formally – one
of the eventual futures of both piano and trumpet by laying these instruments
bare.
Andrea Neumann is classically trained pianist, who – all of a sudden – got
inside the instrument, and reduced it to strings, resonance board and metal
frame; during the performance this remnant is connected to a mini mixer board
by way of which sound is deformed, reformed and transformed. The truncated
inside piano – Innenklavier in
German – is no longer afraid of its limitations and rules, but instead offers
an excellent starting-point. Andrea, a pioneer with a great ear for intonation,
imagination and sound, employs this new instrument in such a manner that it is
as a piano – as well as celesta, clavichord, harpsichord and the more distant
Japanese koto – still recognisable in the background and all around,
whereas the very focus builds up a completely unexpected and unfamiliar subject.
Such a subtle use of electronics – which is unique also on the notorious 'Berlin scene' – reaches
undreamed-of results. Such holds true for solos, and duos (with Annette Krebs,
Burkhard Heins or Taku Sugimoto…), as well as larger ensembles (Phosphor, No Spaghetti Edition).
When
it comes to the seekers of new “sound possibilities” and “extended techniques”
we wonder as to their grounding. It is classical music? Maybe jazz? Somehow we
can't come to terms with the fact that 'this' is all they are doing. No matter
what, any experiment needs a basis – this is how things are. Such also holds
true for the trumpet of Sabine Ercklentz. Sabine plays it 'the old way'
in the United Women's Orchestra,
as well as salsa and 'more tangible' jazz, but during her musical exploration
she uses it only as a 'sound source'. She practically doesn't use the
mouthpiece, and hardly ever a mute, asserting that air and breath are the most
important. Thus aeration devoid of any mechanical intermediate device, is
processed electronically. This method is again unusual, but in a different way
than with Andrea. It also most definitely works, especially between two people
who are able to listen to one other. The sample-copy-paste
modus forms the basis of a rhythmic cacophony, which is based on the very
breath that makes it an aspiration of microtonal practice. Berlin can be well satisfied, as of late it
has produced two trumpeters who have pushed the very limits of their
discipline. In Sabine Ercklentz
and Axel Dörner we have two innovative and spirited individuals.
This
duet is a story about variations and deviations, about space, relief and
detail. Their spontaneous composition ranges from loyalty to sound-search and
gentle tunes from a music box. Their sound constantly pulses, rhythm- and
melody-wise it is absolutely accessible, whilst for the amateur it is
historically instructive. Nonetheless, in its essence this is for the most part
ambient music. It is at its utmost ambient when reminiscent of the world of
avant-garde dance outcasts, and when it flirts with the archaic rhythmic
conventions of pop. Pianism and trumpetism in rare current version: earthed
experiment, supremely illuminated improvisation that is apparently thoroughly
composed.
The
evening is also dedicated to the promotion of Sabine Ercklentz’s new solo album
Steinschlag. It should be pointed out
that it has been released by L'innomable, a Ljubljana-based new music label (www.linnomable.com/),
so this contribution to the pan-tonal rebellion is also a source of local
pride!
Miha Zadnikar
Sabine Ercklentz: trumpet, electric instruments, composition
Andrea Neumann: inside piano, mixer board, composition
Organisation: Defonija, City of Women
In collaboration with: Klub Gromka/AKC Metelkova mesto
