Intro

Heroines of Sound 2021

Frühe und aktuelle Held*innen elektronischer Musik
Live-Konzerte, Performance, Sound Art, diskursive Panels, Workshops und Filme
1.— 4. Juli 2021 | Radialsystem, Holzmarktstraße 33, 10243 Berlin

Ruth Anderson (US) // Johanna Beyer (DE/US) // Malin Bång (SE) // Alexandra Cárdenas (CO/DE) // Dorit Chrysler (AT/US) // Daniela Fantechi (IT) // Ensemble Garage (DE) // Midori Hirano (JP/DE) // Cat Hope (AU) // Neo Hülcker (DE) // Ensemble KNM Berlin  (DE) // Georgia Koumará (GR/DE) // Anda Kryeziu (XK/DE) // Lin Liao (TW/DE) // The Liz (US/TR/DE) // Annea Lockwood (NZ/US) // Giulia Lorusso (IT) // Lange//Berweck//Lorenz (DE) // Svetlana Maraš (RS) // Laura Mello (BR/DE) // Johann Merrich (IT) // Leah Muir (US/DE) // Brigitta Muntendorf (AT/DE) // Mayke Nas (NL) // Sarah Nemtsov (DE) // Mary Ocher (RU/DE) // Georgina Derbez Roque (MX) // Marta Śniady (PL) // Laurie Spiegel (US) // Åsa Stjerna (SE/DE) // Ying Wang (CN/DE)

Left: Svetlana Maraš. Photo © Lazara Marinković. Right: Annea Lockwood. Photo © Ruth Anderson.

An vier Abenden präsentiert Heroines of Sound zum achten Mal Held*innen des elektronischen Sounds mit frühen Werken sowie aktuellen und zukunftsweisenden Positionen von zeitgenössischer Kunstmusik bis hin zum avancierten Pop. Neben wichtigen Werken u.a. von Malin Bång, Giulia Lorusso, Brigitta Muntendorf, Mayke Nas und Marta Śniady kommen Auftragswerke von Georgia Koumará, Ying Wang und Midori Hirano zur Aufführung. Zu erleben sind die Klanginstallationen »A Sound Map of the Housatonic River« (2010) der Sound Art Pionierin Annea Lockwood (*1939), die bereits frühzeitig Naturphänomene und ökologische Prozesse befragte, sowie »Earth Song« (2020) von Åsa Stjerna.
Erstmalig zu Gast sind die Leiterin des legendären elektronischen Studios am Radio Belgrad Svetlana Maraš, die italienische Künstler*in / Aktivist*in Johann Merrich und Ensemble Garage (Köln).
Weitere Highlights setzen neue Werke der US-amerikanischen Elektronik-Pionierin Laurie Spiegel und der mexikanischen Komponistin Georgina Derbez, die erstmals in Europa zu erleben sind.
Die internationale Berliner Szene ist vertreten mit Werken und Performances von Anda Kryeziu, Laura Mello, Leah Muir, The LIZ, Neo Hülcker, Dorit Chrysler, Mary Ocher und des Synthesizer-Trios Lange//Berweck//Lorenz. Aufführungen des Ensemble KNM Berlin eröffnen mit Elektronik und Performance ein immersives Klangraumerlebnis. Das vielfältige Programm wird von digitalen Angeboten einschließlich Radio-, Video und Podcast-Produktionen begleitet.

Since 2014, Heroines of Sound Festival has been presenting early and current hero*ines of electronic sound exploring uncharted musical territory and making important contributions to current aesthetic discourses. The Festival showcases a broad spectrum of artists and represents not only a wide array of aesthetics, but encourage the audience to re-think current sound practices and investigate new forms of dialogue.
Contributions by Georgia Koumará, Ying Wang und Midori Hirano are commissioned works presented in World Premieres. The 2021 edition places an emphasis on sound art and highlights the widely influential electronic pioneer Annea Lockwood (*1939) and with installations and showcases including a German premiere of Earth Song, an installation based on sonification of geo-data, from the young Swedish artist Åsa Stjerna.
New and important works by Brigitta Muntendorf, Neo Hülcker, Laura Mello, Leah Muir, Marty Śniady, Malin Bång, Anda Kryeziu, Mayke Nas, Giulia Lorusso, Cat Hope and Georgina Derbez will be performed by the renowned Cologne Ensemble Garage and Berlin-based Ensemble KNM alongside performances by Svetlana Maraš, and Johann Merrich Mary Ocher, Dorit Chrysler and The LIZ.
The edition 2021 performs mix of live, open-air installations and digital programs rounded-off with workshops and lectures, film portraits and soundbar offering the visitor a wide ranging daytime program.

Credits

Produktion: Heroines of Sound
Künstlerische Leitung: Bettina Wackernagel
Ko-Kuratorinnen: Dorit Chrysler, Sabine Sanio

Produced by Heroines of Sound
Artistic Director: Bettina Wackernagel
Co-curators: Dorit Chrysler, Sabine Sanio

Förderer: Hauptstadtkulturfonds, Berlin Senatsverwaltung für Kultur und Europa, Neustart Kultur, Ernst von Siemens Musikstiftung, Initiative Musik gGmbH, INM Initiative Neue Musik Berlin

Supported by the Culture Capital Fund, Berlin Senate for Culture and Europe, Neustart Kultur, Ernst von Siemens Musikstiftung, Initiative Musik gGmbH, INM Initiative Neue Musik Berlin

Kooperationen/Cooperations: radialsystem, female:pressure, Institut für Medienarchäologie (AT), Radio Belgrade, Goethe Institut

Medienpartner/Media partners: Groove, taz, tipBerlin, VAN

Programm

DONNERSTAG 1. JULI 2021

17 Uhr
ERÖFFNUNG – Studio C, Saal und Deck

Sound Art, Film- und Soundbar

18 Uhr
ERÖFFNUNGS-PANEL – Studio C

Hidden Continuities in Electronic Music
Book Release: A Short History of Electronic Music and Its Women Protagonists (2021) by Johann Merrich
mit: Dorit Chrysler, Åsa Stjerna, Bettina Wackernagel, Johann Merrich
Moderation: Janina Klassen
In English

20 Uhr
KONZERT – Halle
mit dem Ensemble Garage

Marta Śniady – c_ut|e_#1
für Bassklarinette, Schlagzeug, Klavier, Violine, Viola, Violoncello, Zuspiel und Video (2017, UA der Neufassung)

Georgina Derbez Roque – Las pupilas de la luna
für Klavier, Elektronik und Video (2020, DE)

Brigitta Muntendorf – #AsPresentAsPossible TWO
für zwei Performer*innen, Klavier und Schlagzeug, Zuspiel und Video (2017/19)

// PAUSE //

Sarah Nemtsov – Seven Colours
für Cello, E-Bass, präpariertes Klavier mit Sample-Keyboard, Drumset und Elektronik (2018)

Neo Hülcker – ASMR
für Stimme, Viola, Violoncello, Klarinette, Sampler, Schlagzeug und Video (2018)

Georgia Koumará – Ampère
für Strohgeige, Strohbratsche, Violoncello, Klarinette, Schlagzeug, Synthesizer und Elektronik (2021, UA)
Kompositionsauftrag der Heroines of Sound*

22 Uhr
KONZERT / FILM – Halle

Laurie Spiegel– A Paraphrase (2019, DE)
für Theremin, Klavier und Elektronik
Dorit Chrysler: Theremin // Sebastian Berweck: Klavier

Sisters with Transistors – Electronic music’s unsung Heroines
Dokumentarfilm von Lisa Rovner (2020)

FREITAG 2. JULI 2021

16 Uhr
WORKSHOP – Studio B

Dorit Chrysler – Learn how to play the theremin
theremin classes for all levels

18 Uhr
PANEL II – Studio B

EMS Radio Belgrade
Keynote: Svetlana Maraš
mit Midori Hirano, Bettina Wackernagel
Moderation: Miriam Akkermann
In English

20 Uhr
KONZERT – Halle
mit dem Synthesizer Trio Lange//Berweck//Lorenz

Daniela Fantechi – Within a dream
für Synthesizers (2021, UA)

Johanna Beyer – Music of the Spheres
für Synthesizer und elektromagnetisches Zuspiel (1938)

Laura Mello – SYG-/NATION
für drei Synthesizer und zwei Radios (2020)

Midori Hirano – Forests and Tides (2021, UA)
für drei Synthesizer
Kompositionsauftrag der Heroines of Sound*

Lange//Berweck//Lorenz
Synthesizer: Sebastian Berweck, Silke Lange, Martin Lorenz

21.30 Uhr
KONZERT – Halle
Portrait: EMS Synthi 100 Studio Belgrad

Midori Hirano – Distant Symphony (2021, UA)*
Kompositionsauftrag der Heroines of Sound*
Produktion: Radio Belgrad

Svetlana Maraš — Radio Concert No. 2 (2021, DE)
Stereo-Elektronik, Video
Produktion: Radio Belgrad
The Artist residency at Radio Belgrade is an initiative of Heroines of Sound and Radio Belgrade, kindly supported with funds by Initiative Musik / Neustart Kultur Programm and Goethe-Institut Belgrad.

Alexandra Cárdenas – Choose Uncertainty
Live coded set

SAMSTAG 3. JULI 2021

16 Uhr
WORKSHOP – Studio B

Dorit Chrysler – Learn how to play the theremin
theremin classes for all levels

18 Uhr
PANEL III – Studio B

Ideas and perspectives of a new Feminist Sonic Materialism in the context of field recording art, soundscape composition, and acoustic ecology
mit: Åsa Stjerna, Salomé Voegelin, Marta Zapparoli
Moderation: Sabine Sanio
In English

20 Uhr
KONZERT – Halle
Hommage. Annea Lockwood

Annea Lockwood
Streaming, Swirling, Converging (2017)
Buoyant (2013)
Dusk (2012)
For Ruth (2021)

Ruth Anderson – Points (1974)

21.30 Uhr
KONZERT – Halle
mit dem Ensemble KNM Berlin

Giulia Lorusso – Floating flows flooding (2017/18)
für Bassklarinette, Viola, Violoncello, Klangskulpturen und Elektronik

Leah Muir – Geigenwerk
für Violine solo (2017)

Anda Kryeziu – CO-
für präpariertes Holzblasinstrument, E-Gitarre, Video und Zuspiel (2018)

Malin Bång – palinode
für verstärktes Ensemble (2013)

Ying Wang – Virulent–19
für Flöte solo (2020, UA)

Mayke Nas – Douze Mains
für sechs Musiker an einem großen Flügel, mit Verstärkung (2008-2011)

Cat Hope – The Lowest Drawer
für Bassflöte, Bassklarinette, Violoncello und Elektronik (2013)

Lin Liao, Dirigentin

SONNTAG 4. JULI 2021

16 Uhr
WORKSHOP – Studio B

Korhan Erel
Grundlagen der elektronischen Musik – Eine Einführung
Fundamentals of Electronic Music – An Introduction

20 Uhr
KONZERT – Halle

Dorit Chrysler – Analog Futures (2021)
für Theremin, Elektronik und Stimme

Mary Ocher – Live Electronic Performance (2021)
für Gitarre, Synthesizer, Klavier, Tamburin, Flöte und Stimme

// PAUSE //

The LIZ (2021)
Liz Albee, Liz Kosack, Korhan Erel
für Elektronik, Stimme, Trompete, Keyboard und Masken

Schedule

Do., 1. Juli

17 Uhr – Studio C, Saal, Deck

ERÖFFNUNG

18 Uhr — Studio C

ERÖFFNUNGS­PANEL

20 Uhr – Halle

KONZERT

Marta Śniady
c_ut|e_#1 (2017, UA der Neufassung)

Georgina Derbez Roque
Las pupilas de la luna (2020, DE)

Brigitta Muntendorf
#AsPresentAsPossible TWO (2017/19)

Sarah Nemtsov
Seven Colours (2018)

Neo Hülcker
ASMR (2018)

Georgia Koumará
Ampère (2021, UA)

22 Uhr – Halle

KONZERT / FILM

Laurie Spiegel
A Paraphrase (2019, DE)

Sisters with Transistors – Electronic Music’s Unsung Heroines
Dokumentarfilm von Lisa Rovner (2020)

Ensemble Garage

Fr., 2. Jul.

16 Uhr – Studio B

WORKSHOP
Dorit Chrysler

18 Uhr – Studio B

PANEL II

20 Uhr – Halle

KONZERT

Daniela Fantechi
Within a dream (2021, UA)

Johanna Beyer
Music of the Spheres (1938)

Laura Mello
SYG-/NATION (2020)

Midori Hirano
Forests and Tides (2021, UA)

Lange//Berweck//­Lorenz

21-30 Uhr – Halle

KONZERT
Portrait: EMS Synthi 100 – Studio Belgrad

Midori Hirano
Distant Symphony (2021, UA)*

Svetlana Maraš
Radio Concert No. 2 (2021, DE)

Alexandra Cárdenas
Choose Uncertainty

Sa., 3. Juli

16 Uhr – Studio B

WORKSHOP
Dorit Chrysler

18 Uhr – Studio B

PANEL III

20 Uhr – Halle

KONZERT
Hommage – Annea Lockwood

Annea Lockwood
Streaming, Swirling, Converging (2017)
Buoyant (2013)
Dusk (2012)
For Ruth (2021)

Ruth Anderson
Points (1974)

21.30 Uhr – Halle
KONZERT

Giulia Lorusso
Floating flows flooding (2017/18)

Leah Muir
Geigenwerk (2017)

Anda Kryeziu
CO– (2018)

Malin Bång
palinode (2013)

Ying Wang
Virulent–19 (2020, UA)

Mayke Nas
Douze Mains (2008-2011)

Cat Hope
The Lowest Drawer (2013)

Ensemble KNM Berlin
Lin Liao, Dirigentin

So., 4. Juli

16 Uhr – Studio B

WORKSHOP
Korhan Erel

20 Uhr – Halle

KONZERT

Dorit Chrysler
Analog Futures (2021)

Mary Ocher
Live Electronic Performance (2021)

The Liz
Live Performance (2021)

Artists

© Annea Lockwood

Ruth Anderson

Ruth Anderson (1928 – 2019, USA) studied flute, composition with Nadia Boulanger and Darius Milhaud, and electronic music with Vladimir Ussachevsky and Pril Smiley. The groundbreaking composer began composing for tape as early as 1958. Anderson’s best-known works span a wide range from the collages of Dump (1970) and SUM (State Of The Union Message) (1973, revised 1997) to the peaceful sine waves of Points (1974) and spoken vowel sounds I come out of your sleep (1979, revised 1997). She was recipient of two Fulbright scholarships, next to a multitude of awards and grants, and taught at Hunter College (1966-1989, City University of New York). There she became founding director of the Electronic Music Studio in 1968 – one of the first studios in the USA to be founded and directed by a woman. Her lifetime companion was Annea Lockwood. Ruth Anderson passed away on November 29th, aged 91.

Ruth Anderson

Photo © Annea Lockwood

© Peter Cederling

Malin Bång

malinbang.com soundcloud.com/malin-bang

Malin Bång’s music is an exploration of movement and energy. She defines her musical material according to their amount of friction to create a spectrum of unpredictable and contrasting actions, ranging from the intimate and barely audible to the harsh and obstinate. In her work she often incorporates acoustic objects to explore a rich sound world and to suggest that a musical content can be shaped by anything valuable to the artistic purpose.
Malin Bång is residing in Stockholm, Sweden and is the composer in residence and a founding member of the Curious Chamber Players. Her work includes music for instrumental ensembles, orchestra, electronic music based on field recordings, and instrumental performance pieces. Lately she has specifically explored the mixed, amplified instrumental ensemble extended with acoustic objects in collaboration with the members of Curious Chamber Players.
Her works are performed worldwide and some recent projects include the music documentary drama kudzu /the sixth phase/, at Deutschlandfunk in Köln, Huddersfield Festival and Klang Festival in Copenhagen, the large orchestral work splinters of ebullient rebellion for Donaueschinger Musiktage 2018, the portrait concert how long is now at Ultraschall Festival 2014 performed by the CCP, Klangforum Wien at Eclat Festival, Ensemble Recherche at the Wittener Tage für Neue Musik, Ensemble Nikel at the Donaueschinger Musiktage, Nadar Ensemble for the Darmstadt Ferienkurse and Faint Noise at the Huddersfield Festival. During 2015 she composed ripost for the Radio-Sinfonieorchester Stuttgart des SWR at the celebratory concert of Lachenmann’s 80th birthday. During 2010 she was awarded the Kranichsteiner Stipendienpreis, in 2014 she received the Malmlöf-Forssling Composition Prize and in 2018 she was awardd the Donaueschinger Tage Orchesterpreis. 2012 she pursued the DAAD Berliner Künstlerprogramm’s one year residency.
Malin Bång is a regular visiting professor at academies in Sweden and abroad and from the autumn 2018 senior lecturer at the composition department at Göteborg Academy of Music and Drama. In 2020 she is one of the lecturers at Darmstädter Ferienkurse.

Johanna Beyer

en.wikipedia.org/wiki/Johanna_Beyer

Johanna Magdalena Beyer (1888-1944) was a pianist and composer born in Leipzig. She presumably immigrated to the United States in 1923. She played an important role in the American ultra-modernist circle. Her teachers, mentors and friends, who include Ruth Crawford Seeger, Charles Seeger, Henry Cowell, Dane Rudhyar, and Percy Grainger, had a clear influence on her compositions. Polyrhythmic structures and a dissonant countrapuntal technique characterize her works. Although Johanna Beyer achieved a certain degree of fame during her lifetime and some of her pieces received public performances – notably, Three Movements for Percussion (1939) which was performed at least six times by John Cage with the Cage Percussion Players – her pieces were forgotten for a long time after her early death.

© Udo Siegfriedt

Alexandra Cárdenas

cargocollective.com/tiemposdelruido/Alexandra-Cardenas soundcloud.com/tiemposdelruido instagram.com/tiemposdelruido

Using open-source software like SuperCollider and TidalCycles, her work is focused on the exploration of the musicality of code and the algorithmic behavior of music. An important part of this exploration consists of the practice of live coding. Having an intense activity as a teacher and performer of live coding, Alexandra is among the pioneers of live coding inelectroacoustic music and part of the forefront of the Algorave scene. Currently, she lives in Berlin, Germany, where she completed her Masters in Sound Studies at the Berlin University of the Arts.

Dorit Chrysler

www.doritchrysler.com en.wikipedia.org/wiki/Dorit_Chrysler youtu.be/RHicDDprae4

Dorit Chrysler has been dubbed asuperior wizard of the theremin. An Austrian-born, New York based composer and performer, Chrysler is the co-founder of the New York Theremin Society and has started the first international school for Theremin, Kid Cool Theremin School and L’Ecole Theremine with branches in New York and Paris. As much as the Theremin is a tool in Chrysler’s electronic instrument arsenal, she is also one of the most visible Thereminists spreading the gospel of this mysterious sounding instrument. Most recently she finished her analog soundtrack for a remake of M by Fritz Lang and was featured on the soundtrack of the HBO documentary Going Clear. Chrysler received her master’s degree of musicology in Vienna and has notably collaborated with Anders Trentemøller, Cluster, Adult., CERN, Carsten Nicolai, Elliot Sharp and Laurie Spiegel. She has performed with the San Francisco Symphony Orchestra, had her work commissioned by MoMA and theVenice Biennale, and is the founder of Dame Electric, a festival dedicated to female pioneers in Analog Music. As the director of the New York Theremin Society, Chrysler is promoting the application of theremin in different art disciplines and has produced the THEREMIN100 compilation release, commemorating the 100th birthday of the Theremin in 2020.

© Watteo della Libera

Daniela Fantechi

www.danielafantechi.eu www.blutwurst.it azioneimprovvisa.com

Daniela Fantechi(*1984, Florence) is a composer and researcher. She studied composition at Conservatorio Luigi Cherubini in Florence and at University of Music and Performing Arts Graz with Beat Furrer, Clemens Gadenstätter and Georg Friedrich Haas. Her work focuses on the exploration of the sonic possibilities of acoustic instruments.Since 2010, she is founder and member of the ensemble Blutwurst, and since 2017 she collaborates with the ensemble Azione_Improvvisa. She was for artist-in-residence-programmes at KulturKontakt Austria in Vienna (2016) and for St.A.i.R. in Graz (2017). She is currently working as a doctoral researcher within the research cluster »Music, Thought and Technology« at The Orpheus Institute in Ghent, Belgium. She lives in Florence.

© Alessandro DeMatteis

Ensemble Garage

www.ensemble-garage.de

The Ensemble Garage was founded in 2009 at the Hochschule für Musik und Tanz K ln. Composer Brigitta Muntendorf, together with Rodrigo Lopez Klingenfuss, established Ensemble Garage as a platform for musicians, composers and other artists to explore and display new ideas, concepts, and pieces. Since its creation, the ensemble has focused on bringing the works of younger composers to life through the process of collective and cooperative rehearsing. Through its work, the ensemble seeks to answer questions about ‘our’ generation: Who does it consist of? Where does it congregate or belong? What does it think and do? What does it use and create, and, most importantly, hear and want others to hear? Ensemble Garage’s intent in presenting works is embedded in a transmedial understanding of contemporary music and joyful engagement with the interaction between content and performance situations of individual works.

Ensemble Garage

Photo © Alessandro DeMatteis www.ensemble-garage.de

© Udo Siegfriedt

Midori Hirano

midorihirano.com soundcloud.com/sonic-pieces/midori-hirano-remembrance midorihirano.bandcamp.com

Midori Hirano is a Japanese musician, composer, and producer from Kyoto who crossovers a wide range of genres and cultures. She studied piano at the university, but after finishing her study began to compose her own music on the computer and living in Berlin since 2008.
Her productions are based on the use of acoustic instruments such as the piano, strings or guitars, but yet experimental and an eclectic mixture of modern digital sounds with subtle electronic processing and field recordings.
Midori deals with beat-oriented electronic music under her other moniker MimiCof. During her stay at EMS Elektronmusikstudion in 2015, she recorded sound materials for her album “Moon Synch” with a Buchla Synthesizer System.
She has released nine solo albums so far, and her latest record “Invisible Island” has been released on Sonic Pieces in February 2020.

© Megan Burslem

Cat Hope

cathope.com soundcloud.com/cathope

Cat Hope is an accomplished Perth based musician, composer, songwriter, sound and performance artist whose practice is an interdisciplinary one that crosses over into film, video, performance and installation.
Hope’s music is conceptually driven, using mostly graphic scores, acoustic / electronic combinations and new score reading technologies. It often features aleatoric elements, drone, noise, glissandi and an ongoing fascination with low frequency sound. Her composed music ranges from works for laptop duet to orchestra, with a focus on chamber works, and in 2013 she was awarded a Churchill Fellowship to develop her work, as well as Civitella Ranieri (Italy) and Visby International Composers residency (Sweden) fellowships. Her practice explores the physicality of sound in different media, and has been discussed in books such as Loading the Silence (Kouvaris, 2013), Women of Note (Appleby, 2012), Sounding Postmodernism (Bennett, 2011) as well as periodicals such as The Wire, Limelight,and Neu Zeitschrift Fur Musik Shaft. Her works have been recorded for Australian, German and Austrian national radio, and her work has been awarded a range of prizes including the APRA|AMC Award for Excellence in Experimental Music in 2011, 2014 and the Peggy Glanville Hicks composer residency in 2014. She has founded a number of groups, most recently Decibel new music ensemble, noise improv duo Candied Limbs, the Abe Sada and Australian Bass Orchestra bass projects. She has also founded and written pop songs for Gata Negra (1999-2006). Cat Hope is currently Professor of Music at Monash University, Melbourne, Australia where she is Head of Sir Zelman Cowen School of Music.

© David Beecroft

Neo Hülcker

www.neohuelcker.de

Neo Hülcker studied composition with Dieter Mack and Harald Muenz at the Musikhochschule Lübeck and with Manos Tsangaris and Franz Martin Olbrisch at the Hochschule für Musik Carl Maria von Weber in Dresden. Hülcker is a composer-performer whose work focuses on music as anthropological research in everyday life environments. Their compositions evolve as situations, performance-installations, actions and interventions, and deal with digital subculture (like ASMR), childhood, human-animal- relations, queer practice and cultural hacking. They are a member of the Y-E-S collective, which deals with sound as a physical experience and the cultural frames of concerts. Their compositions have been performed at the London Contemporary Music Festival, the Darmstadt Summer course, the Dark Music Days in Iceland, etc. Neo Hülcker lives in Berlin.

Neo Hülcker

Photo © David Beecroft www.neohuelcker.de

© Anja Weber

Ensemble KNM Berlin

www.kammerensemble.de facebook.com/knmberlin youtube.com/channel/UCLQFNphFvAUN7jxB3SlKAig

Ensemble KNM Berlin is an important part of the lively contemporary music scene in Berlin, Germany. Since its foundation in 1988, the ensemble has presented programs across the world that reflect a curiosity to explore the unknown and the willingness to confront the most pressing themes of our times. The ensemble presents compositions, concert installations, and concert projects created in close cooperation with artists from around the world. KNM Berlin has earned an international reputation with repeated guest appearances at important music festivals as well as with its own productions. Since 2014, KNM has been increasingly committed to musical, multi-perspective networking with intercultural collaborations worldwide. KNM was awarded the German Record Critics’ Award (2009 and 2010) for its collaboration with the composer Beat Furrer.

© Eirini Fountedaki

Georgia Koumará

www.georgiakoumara.com soundcloud.com/georgia-koumara youtube.com/user/georgiakoum/

Georgia Koumará, born in Thessaloniki, Greece in 1991 studied Composition (M.Mus.) in Thessaloniki (A.U.TH) and Cologne (HfMT), Music Theory and Piano in Thessaloniki (S.C.TH) with among others Johannes Schöllhorn, Michalis Lapidakis,Kostas Siempis, Lenio Liatsou and Lilia Vaseiliadou. Master classes with a.o. G. Aperghis, F. Bedrossian, Ph. Manoury, A. Posadas, O. Neuwirth, W. Rihm, B. Ferneyhough, B. Furrer, R. Cendo, J.S. Chiong, M. Tsangaris, P.Kokkoras, J. Walsche, J.M. Lopez Lopez complete her musical education. Her works have been performed on stage in Greece, Germany, Austria, Spain, Italy, France, Switzerland and Great Britain and have been broadcast on Greek and German radio.
Her music has been played by among others WDR Sinfonieorchester, Orchester der Hochschule für Musik und Tanz Köln, IEMA Ensemble, DissonArt Ensemble, Ensemble hand werk, Ensemble Platypus, Lucerne Academy Alumni Ensemble, Greek Contemporary Musik Ensemble, Lynx Quartet, Schlagzeug Ensemble der TSSO, Taller Sonoro Ensemble as part of festivals such as Acht Brücken Festival -Musik für Köln 2015, Wittener Tage für Kammermusik 2016, New Talents Biennale Cologne 2016, Lucerne Academy Festival 2016, Musica Festival Strasbourg 2016. Since 2010 she is a member of the improvisation ensemble 6daExit which is based in Thessaloniki and as a performer and improviser she has collaborated with many artists based in Greece.
In her music she is interested in exploring the relationships that occur between conceptual, perceptual and actual measurable time, as it is formulated thought different ontological interpretations, from the process of performance and listening. Thus, by creating, developing and combining different sonic processes, she strives to achieve continuous flux and energy and intricate multi layered textures.

© Jetmir Idrizi

Anda Kryeziu

andakryeziu.com soundcloud.com/anda-kryeziu

Anda Kryeziu (*1993, Kosovo) completed her master’s degree in piano and composition, and then studied composition in Basel with Caspar Johannes Walter and in Berlin with Daniel Ott, as well as electroacoustic music at the Hochschule für Musik Hanns Eisler Berlin with Wolfgang Heiniger. Her works encompass a wide spectrum of genres, ranging from music theater to multimedia works and sound installations to instrumental music with and without live electronics. Kryeziu‘s music has been performed at various festivals including ECLAT, the Munich Biennale, Festival Rümlingen in Switzerland, and Mostra Sonora Sueca in Spain. She received first prize at the Balkan Composer Competition in Prishtina (BCCP) in 2019, and has received a number of grants from institutions such as the Contemporary Arts Alliance Berlin and most recently the Basler Orchester-Gesellschaft. She lives in Berlin.

© Gert Mothes

Lin Liao

linliao.net

Lin Liao, part of a young and upcoming generation of conductors, has distinguished herself with a wide repertoire spanning classical to contemporary works, an openness to new art forms as well as an intense engagement with unconventional and interdisciplinary programmes.

An esteemed interpreter of contemporary music, Lin Liao regularly works with leading European ensembles such as the Ensemble intercontemporain, Ensemble Modern, Collegium Novum Zürich or the Basel Sinfonietta. Since 2007 she has enjoyed a close relationship with the Lucerne Festival Academy. In addition, she has also given guest performances at renowned festivals including Holland Festival, ManiFeste in Paris, Ultraschall Berlin and the Wittener Tage für Neue Kammermusik.

In Taiwan, Lin Liao leads the Weiwuying Academy as part of the Contemporary Music Platform at the National Kaohsiung Center for the Arts, which trains young talented Taiwanese instrumentalists in the performance of contemporary music.
Lin Liao developed a multifaceted operatic and music-theatre repertoire through her position as 1st Kapellmeister at the Landestheater in Schleswig-Holstein as well as through engagements at the Wiener Operntheater, Deutsche Oper am Rhein and the Theater Chemnitz, among others. She is also experienced in symphonic repertoire, having made guest appearances with orchestras such as the Rotterdam Philharmonic Orchestra, ORF Vienna Radio Symphony Orchestra, Salzburg Mozarteum Orchestra, Beethoven Orchester Bonn, Sinfonieorchester Wuppertal, Orquestra Metropolitana de Lisboa, National Taiwan Symphony Orchestra and the Taipei Symphony Orchestra.

The conductor’s talent was recognised early on by Pierre Boulez and Peter Eötvös, who entrusted Lin Liao with the conductor’s role in Stockhausen’s Gruppen at the Lucerne Festival 2007. Since then she has continued working closely with Peter Eötvös, who became an important mentor and supporter.

Lin Liao studied composition and piano at the Taipei National University of the Arts and completed her conducting studies at the University of Music and Performing Arts in Vienna with honours. She received further artistic guidance in masterclasses from conductors including Bernard Haitink and Leif Segerstam.

Lin Liao

Photo © Gert Mothes linliao.net

© Juliane Schütz

The Liz

lizkosack.wixsite.com www.youtube.com/watch?v=5lMSYQknPi4

The Liz is a power trio.

She/they are improvising musicians working together to cross over boundaries of media, gender, genre, culture, and species: using hybrids to spawn a single vision. The Liz formed in 2014 as an experimental constellation for the KIM collective series, and went on to produce ”Book of Birds”, a multimedia work which explores the search for identity and purpose through a collage of myths and texts, sewn together with strange visuals and raw improvisation, presented at Moers Festival, Urban Acoustic Tribes, KIM- FEST 2016, and Borusan Music House in Istanbul. As an improvising trio of exceptional unity, they have been invited to perform at Ausland, Sowieso, and Spektrum. They/She premiered their/her 2019 production Dipper at All Ears Festival in Oslo, Norway, and later performed it at XJazz Festival in Berlin.

They are all Berliners, in that they are trans-plants, enjoying the cross fertilization of the city.

© Ruth Anderson

Annea Lockwood

annealockwood.com annealockwood.bandcamp.com

Born in New Zealand in 1939 and living in the US since 1973, Annea Lockwood is known for her explorations of the rich world of natural acoustic sounds and environments, in works ranging from sound art and installations, through text-sound and performance art to concert music. Her music has been performed in many venues and festivals including: the Possibility of Action exhibition at MACBA Barcelona, De Ijsbreker, the Other Minds Festival-San Francisco, the Walker Art Center, the American Century: 1950 – 2000 exhibition at the Whitney Museum, the Los Angeles County Museum, Queen Elizabeth Hall, the Westdeutscher Rundfunk, CNMAT Berkeley, the Asia-Pacific Festival, Donaufest 2006 Ulm, the Donau Festival Krems, the 7th Totally Huge New Music Festival Perth, Ear To The Earth Festival – New York and Sonic Acts XIII.

Her sound installation, A Sound Map of the Danube, has been presented in Germany, Austria and the USA. This is a surround ‘sound map’ of the entire Danube River, incorporating a wide variety of water, animal and underwater insect sounds, rocks from the riverbed and the voices of those whose lives are intimately connected to the river. Other recent projects include Ceci n’est pas un piano, for piano, video and electronics commissioned by Jennifer Hymer; Jitterbug, commissioned by the Merce Cunningham Dance Company, a six channel soundscape with two improvising musicians; and In Our Name, a collaboration with Thomas Buckner based on poems by prisoners in Guantánamo. She was a recipient of the 2007 Henry Cowell Award. Her music has been issued on CD and online on the Lovely Music, Ambitus, EM, XI, Rattle, Lorelt, and Pogus labels.

Giulia Lorusso

brahms.ircam.fr/giulia-lorusso soundcloud.com/giulia-lorusso

Born in Rome in 1990, Giulia Lorusso studied piano and composition at the Conservatory “Giuseppe Verdi” in Milanand in Paris where she attended the Cursus IRCAM andcompleted a Master’s degree at the Conservatoire de Paris (CNSMDP). Lorusso received commissions by The FondazioneSpinola Banna per l’Arte (Turin, Italy) in co-production withIRCAM-Centre Pompidou, Bludenzer Tage zeitgemäßer Musik (Bludenz, Austria), Radio France and ProQuartet. Her music has been performed in Italy and abroad, such as atthe Festival Milano Musica, Festival Manifeste-IRCAM, Tzlil Meudcan Festival (Tel Aviv), Bludenzer Tage zeitgemäßer Musik, TactusYoung Composers’ Forum (Bruxelles) by ensembles such asDistractfold Ensemble, Quartetto Prometeo, Divertimento Ensemble, Ensemble Nikel, Brussels Philharmonic, Orchestra and Ensemble Intercontemporain.

© Simon Detel/Deutschlandradio Kultur

Lange//Berweck//Lorenz

langeberwecklorenz.de

Lange//Berweck//Lorenz is a Berlin-based trio for live played electroacoustic music. Projects entail realizations of electronic scores, the restoration and (re-)performance of electronic works from the past and the collaboration on new pieces with today’s composers. Their ever growing instrument collection comprises a wide array of analogue and digital synthesizers, effect units and studio tools from the past and the present. Combining passion, curiosity, virtuoso instrumental technique and technological knowledge Lange//Berweck//Lorenz present themselves as one of the leading ensembles for live performance of electroacoustic music today.

Lange//Berweck//Lorenz

Photo © Simon Detel/Deutschlandradio Kultur langeberwecklorenz.de

© Lazara Marinković

Svetlana Maraš

www.svetlanamaras.com soundcloud.com/svetlanamaras

Svetlana Maraš (1985) is composer and sound artist from Serbia. She works at the intersection of experimental music, sound art and new media. Her musical work is finding adequate form of expression in different media, genres and representational contexts and encompasses live electronic music performance, electro-acoustic composition, radiophonic art, sound and media installations. She has been musically educated from an early age. Graduated at the renowned Aalto University (Helsinki) where she worked as a research assistant, she also received training in composition and art at places like Bang on a Can Summer Institute (MASSMoCA), Columbia University – School of the Arts, Mozarteum Summer Academy, KlangKunstBuhne at UDK (Berlin), The Berklee Summer School, Darmstadt International Summer Course and many other places.
Maraš has presented her work internationally, at venues, festivals and events such as CTM (Berlin), Ars Electronica (Linz), House of Electronic Arts (Basel), Espace Multimedia Gantner (Bourogne), Onassis Cultural Centre (Athens), Museum of Contemporary Art (Belgrade), Ausland (Berlin), Izlog Suvremenog Zvuka (Zagreb), ICMC (New York), International Rostrum of Composers (Wroclaw), ISEA (Dubai), International Music Institute (Darmstadt), Orpheus Institute (Ghent) and National radios of Austria, Australia, Finland, Sweden, Switzerland, Ireland, Croatia, Slovenia and many other countries.
​Maraš was awarded Vitomir Bogić prize by Radio Belgrade, for best, young radiophonic composer. Her composition Dirty thoughts was recommended work at the International Rostrum of composers in Wroclaw in, and her radiophonic piece Jezik (premiered at ORF) was shortlisted for Prix Italia award. Maraš was jury member for Media Art Prize at Bauhaus University and keynote speaker at Audio paper symposium at Inter Arts Center in Malmo. Her article “Thingification of compositional process – emergence and autonomy of extra-musical object in Western Art Music”​ was published as a book chapter. Maraš is co-curator at 4fakultät concert series in Hamburg.

Svetlana Maraš is composer-in-residence and artistic director at Radio Belgrade’s Electronic Studio.

© Sophie Dvorak

Laura Mello

lauramello.klingt.org lauramello.org

Laura Mello studied Communications Studies and Composition in Curitiba, Brazil and Electroacoustic Composition (with Dieter Kaufmann) in Vienna. Her work is a continuous search for parallels between the human perception of spoken language and music. She composes, sings, plays traditional and electronic instruments, eavesdrops the world and processes the impressions into audiovisual performances, sound installations, interventions, instrumental, electroacoustic music and DJ-sets. Laura Mello was a participant in the Heroines of Sound Mentoring Programme in 2019- 2020 and is currently a scholarship holder at the prestigious Tarabya Cultural Academy in Istanbul. She is part of the Berlin based sound art project space Errant Sound and lives in Berlin.

Johann Merrich

en.electronicmusic-shorthistory.com johannmerrich.bandcamp.com

Johann Merrich (1981) is an Italian experimental musician and independent researcher. Her interests focus on the creation of an equal history of electronic music, with an emphasis on the effort of women. Her first book “Le Pioniere della Musica Elettronica” (“Women Pioneers of Electronic Music”) has been published in 2012 (Auditorium Edizioni, Milan), followed by “A Short History of Electronic Music and Its Women Protagonists” published in Italian in 2019 and now available in English thanks to the Mariann-Steegmann Foundation and Heroines of Sound Festival. Her current research topics include a multicultural history of electronic music and audience development strategies for the so-called difficult music. With her monthly column “Brevi Storie/Short Stories”, Merrich isan author for musicaelettronica.it, the official blog by Tempo Reale, one of the main European reference points for research, production and educational activities in the field of new musicaltechnologies and electronic music. Her articles appeared on Red Bull Music Academy Daily and Thomann International’s blog. She’s also part of the scientific committee of CRIR, Interdepartmental Research Centre for Radiophonic Studies by Usmaradio, San Marino University.

© Michale Weilacher

Leah Muir

leahmuir.instantencore.com soundcloud.com/leah-muir

The work of composer and video artist Leah Muir has been shown and performed in many international venues,such as the Deutsche Oper Berlin, Bruckner Orchester Linz with Dennis Russell Davies and David Friedman, the Münchener Biennale, Wien Modern, MärzMusik, Academy Schloss Solitude, Wiener Konzerthaus, Konzerthaus Berlin, the Aspen Music Festival, June in Buffalo, Ars Electronica, Soundtrack Cologne, with many established new music ensembles and soloists.She has received many international awards and prizes during her career including a an ASCAP (2001), a Fulbright to work with Chaya Czernowin (2006-7), the German Opera “New Scenes” Prize (2013) the Berliner Composition Stipend (2016), the German cultural exchange program for Venice (2019) to name a few.

Muir’s music theatre productions include “Von Sodom und Gomorra nach Berlin” premiered at the Münchener Biennale, the 40 min. mini opera, “Wie man findet, was man nicht sucht”. Her work as a video artist include “8 to 8” first shown at the Matera festival. She has been developing video projects with talented soloists, including the lmusic video filmed in Venice, “Private Sponsor I” and a video performance of Lorelei Dowling on Contraforte which will premiere with Klangforum Wien in the concert
season of 2020/21. “Lost Time” was composed in conjunction with Chihura Shiota’s installation at the Stadtmuseum Nikolaikirche in Berlin.

As a guest professor in the composition department at the Berlin University of the arts Muir serves as the Artistic Director andco-founder of Ensemble ilinx, Studio for New Music. She is also serving on the faculty at Stanford University, the Bing Overseas Program in Berlin.

© Frederike Wetzels

Brigitta Muntendorf

Brigitta Muntendorf (*1982) studied composition with Younghi Pagh-Paan at the Hochschule für Künste Bremen and with Krzysztof Meyer, Rebecca Saunders, and Johannes Schöllhorn at the Hochschule für Musik und Tanz Köln. In her compositional work and as artistic director of Ensemble Garage, she explores open experimental configurations in which music emerges not solely as a sonic art form, but as a social and aesthetic field of action in a society shaped by new media phenomena. Performances have brought the German-Austrian composer to international festivals such as Festival d’Automne Paris and Warsaw Autumn. She has received numerous prizes, such as the Ernst von Siemens Music Foundation Award, and curated the concert series FRAU MUSICA NOVA on Deutschlandfunk Cologne. Brigitta Muntendorf has been Professor of Composition at the Hochschule für Musik und Tanz Köln since 2017. She lives in Cologne.

Brigitta Muntendorf

Photo © Frederike Wetzels

© Maurice Haak & Jenny Audring

Mayke Nas

www.maykenas.nl soundcloud.com/mayke-nas

Mayke Nas enjoys creating music for musicians breathing simultaneously, for moving chairs, wired blackboards and open bridges. She considers herself lucky to work with Nieuw Amsterdams Peil, Ragazze Quartet, Nieuw Ensemble, Asko|Schönberg, Slagwerk Den Haag, het Koninklijk Concertgebouw Orkest, de Neue Vocalsolisten, Ensemble Klang, Calefax, Eklekto and other musical wizards.

Mayke Nas

Photo © Maurice Haak & Jenny Audring www.maykenas.nl soundcloud.com/mayke-nas

© Neda Navaee

Sarah Nemtsov

www.sarah-nemtsov.de

Sarah Nemtsov was born in 1980 in Oldenburg and studied composition in Hanover and Berlin with Nigel Osborne, Johannes Schöllhornand Walter Zimmermann. She has received numerous awards and scholarships, including the Busoni Composition Prize of the Berlin Academy of the Arts, the Deutsche Musikautorenpreis of the GEMA and won the international RicordiLAB composition competition. She collaborates with renowned ensembles and orchestras (HR Symphony Orchestra, Deutsches Sinfonieorchester, ensemble modern, ensemble mosaik, Ensemble Adapter, Neue Vocalsolisten Stuttgart, ensemble recherche, Klangforum Wien, Ensemble Musikfabrik, Basel Sinfonietta etc.) and her works are performed at internationally renowned festivals -such as the Donaueschinger Musiktage, Darmstadt Summer Course, Wien modern, ECLAT, Ultraschall, Holland Festival, Musica, Bregenz Festival, Munich Biennale and many more. Nemtsov’s music captivates through sensitively sounded setups, through complex and energetic textures, musical stratifications, interactions between acoustic instruments and electronics, as well as references to other arts and other media. In the summer semester of 2014, Sarah Nemtsov taught composition at Hochschule für Musik und Tanz Cologne, in 2018 she taught composition at Haifa University as a DAAD guest lecturer. In 2021 she will be tutor for composition at Darmstadt Summer Course. In 2020, she wasnominated for the Opus Klassik Prize in the category “Composer of the Year”. Her catalogue includes more than 100 compositions in almost all genres. Several of her works are published by Ricordi. DIE ZEITwrote about her opera SACRIFICE(premiered 2017 at the Opera HouseHalle): “Sound becomes space becomes time becomes reality”. Her new opera –OPHELIA(2020-2021) with a libretto by Mirko Bonné –will be premiered in 2023 at Saarländisches Staatstheater.

Sarah Nemtsov

Photo © Neda Navaee www.sarah-nemtsov.de

© Gloria de Oliveira

Mary Ocher

www.maryocher.com/essay.html maryocher.bandcamp.com

Mary Ocher has been persistently creating passionate, uncompromising work, raw, thought provoking, socially and creatively pushing against the current, dealing with subjects of authority, identity and conflict.

Her work is as enchanting as it is polarizing, ranging from traditional folk to raw 60s garage, ambient with ethereal vocals and abstract synths, to experimental pop with African and South American rhythms. She has released 4 studio albums on 5 labels in the past 6 years, as well as a double anthology of home recordings, 2 EPs and 2 collections of remixes. Her previous solo release was produced by Canadian Psych Rock&Roll guru King Khan.

The most recent, “The West Against The People” is out on Klangbad, Hans Joachim Irmler’s label of Faust. It features solo tracks, as well as tracks with her two drummers Your Government, and elusive legends Die Tödliche Doris and Felix Kubin. It also features an essay elaborating on the themes of the album and analyzing the current sociopolitical climate*.

*The essay can be read here: www.maryocher.com/essay.html

Georgina Derbez Roque

www.georginaderbez.com/

One of the most powerful voices of her generation, she was chosen by the Utopik Ensemble in France to represent her country in a concert dedicated to the Mexican contemporary music.

Some of her most representative works are her Concerto for Clarinet and orchestra Ascenso al Celeste (2018). Her Double Concerto for piano, flute and orchestra (2012) and her chamber opera La Creciente (2015).

Her catalog includes works for solos, duets, trios, string quartets, chamber ensembles and symphony orchestra.

Her works have been performed in countries such as France, Germany, Spain, Brazil, Italy, Holland, Denmark, Japan, Canada, Holland, and the USA.

She has had an extensive collaboration with Spanish interpreters, including Alberto Rosado, Clara Andrada, the SIGMA PROJECT saxophone quartet, the Brower Trio of Valencia and recently with the Trio Arbós of Madrid.

Awarded by the Sistema Nacional para Cultura y las Artes (National System for the Culture and the Art) for the fourth time, she serves as a teacher of composition, analysis and orchestration at the Superior School of Music of the INBA (Nacional Institute of the Fine Arts).

During her musical training she studied with Marta Garcia Renart and Ana Maria Tradatti (piano), and with Arturo Márquez and Ana Lara (composition), as well as  numerous courses in Europe with teachers such as Toshio Hosokawa, Klaus Huber, Mauricio Sotelo, José Manuel López López, Brian Ferneyhough, Chaya Czernowin, Theo Loevendie, etc.

Marta Sniady

culture.pl/en/artist/marta-sniady

Marta Śniady (*1986 in Pabianice, Poland) studied composition with Bronisław Kazimierz Przybylski at the Łódź Music Academy. Her works create multi-layered references and connections, at times to other art forms. The composer perceives new music as an important medium of social communication. Her works have been performed at several international contemporary music festivals such as Warsaw Autumn, Sacrum Profanum, Musica Electronica Nova, Pulsar Festival and KLANG Festival. She has been a board member of the Warsaw Autumn Music Festival since 2017. After completing a postgraduate diploma with Simon Steen-Andersen and Niels Rønsholdt at the Royal Academy of Music, Aarhus/Aalborg (2019), she completed her doctorate at the Music Academy in Łódź, where she has been teaching since 2015. Marta Śniady lives in Łódź and Wroclaw.

© Emmanuel Ghent

Laurie Spiegel

www.retiary.org

Laurie Spiegel (*1945 in Chicago, USA) ist Komponistin und Pionierin der
Computermusik, die bereits 1969 mit analogen Synthesizern arbeitete. Nach einem Abschluss in Sozialwissenschaften studierte sie privat klassische Gitarre und Komposition in London, dann Barock- und Renaissance-Laute bei Jacob Druckman und Vincent Persichetti. Obwohl ihre Musik auf Algorithmen und komplexen computergestützten Texturen basiert, bleibt diese melodisch, intuitiv klingend – zwischen Form und Emotion. Interessiert an der kompositorischen Kontrolle durch digitale
Computer schrieb Spiegel von 1973 bis 1979 interaktive Kompositionssoftware bei Bell Labs und wurde später für ihre Musiksoftware, insbesondere MusicMouse, berühmt. Sie gründete
das Computer Music Studio der New York University, distanzierte sich in den frühen 1980er Jahren jedoch von der New Yorker Szene. Trotz ihrer herausragenden technischen Fähigkeiten stellte Spiegel als Komponistin stets ihre Intuition und Fantasie in den Vordergrund, was sich in der Lebendigkeit und Ausdrucksst rke ihrer Musik zeigt. Sie lebt in New York.

Laurie Spiegel

Photo © Emmanuel Ghent www.retiary.org

Åsa Stjerna

www.asastjerna.se

Åsa Stjerna is a Swedish installation artist who uses sound and listening as her artistic media of exploration.Through her site-specificsound installations, she explores the often hidden underlying historic, political and poetic phenomena connected to a place, making these perceivable.. In a number ofrecentprojects Stjerna hasspecifically addressed environmental issues and art’s capacity to transform information of global relevance to an embodied experience,approaching the global andthelocal as always mutually connected.Stjerna has participated in a number of exhibitions in Sweden and internationally. Herworks include several permanent site-specific sound installations,for exampleSky Brought Down(2017)at the Sahlgrenska university hospital in Sweden, which received a honorary mention at Prix Arts Electronica in Linz 2019. She has exhibited among other at Transmediale Media Festival, Berlin, Nordic Music Days, Stockholm, the Ultima Contemporary Music festival, Oslo and the Akademie der Künste, Berlin.She holds a PhD in artistic researchfrom University of Gothenburg, Sweden 2018, the dissertation specifically investigatethe process of spatial transformation in site-specific sonic practice, i. e. what it actually means to renegotiate a place through sound—from the artistic practitioner’sperspective.

Ying Wang

www.yingwang.de soundcloud.com/ying-wang-composer

Ying Wang was born in Shanghai. She studied composition at the Shanghai Conservatory before moving to Germany in 2003, where she studied composition with York Höller and electronic composition with Michael Beil at the Hochschule for Music and Dance in Cologne. She has also been a pupil of Rebecca Saunders and JohannesSchöllhorn. In 2010, she completed a Masters Degree in Contemporary Music at the Hochschule for Music and Performing Arts in Frankfurt. In 2012, Ying Wang took part in the Cursus de Composition et d’informatique musicale at IRCAM in Paris.Ying Wang has collaborated with conductors such as Markus Stenz, Brad Lubman, and Marcus Creed, and with orchestras and ensembles such as the Deutsche Radio Philharmonie, Gürzenich Orchestra, Brandenburger Symphoniker, Avanti Orchestra Helsinki, Ensemble Phoenix Basel, Ensemble Alternance, Lucerne Festival Ensemble, Cassatt Quartet, Norrbotten Neo Ensemble, Ensemble Resonanz, Ensemble UnitedBerlin, MAM.manufaktur für aktuelle Musik, Ensemble PHACE, Ensemble Kontrapunkt, and the International Ensemble Modern Academy Ensemble. Her compositions have been played in Paris, New York, Stockholm, Berlin, Beijing, and Lucerne, as well as at renowned festivals such as the Tage für Neue Musik Zürich, Acht Brücken Cologne, and Wien Modern. Ying Wang has received scholarships from organizations such as the International Ensemble Modern Academy, the Experimental Studio of the Southwest German Radio and, on the recommendation of Peter Eötvös, the Herrenhaus Edenkoben. She has also won numerous prizes, such as a Giga Hertz Prize, the composition prize at the 5thBrandenburg Biennale, the Irino Prize for Chamber Orchestra in Tokyo, and the Heidelberg Prize for Female Artists. In 2015, Wang was Composer in Residence at theDeutschlandfunk’s Forum Neuer Musik in Cologne. She has received commissions from, for example, the Southwest German Radio, Deutschlandfunk, the Ernst von Siemens Foundation, the Lucerne Festival, the NOW Festival NRW, the NRW Arts Foundation, the Brandenburger Symphoniker, the Kassel Music Days, the Heidelberg Orchestra, and the Cologne Philharmonie. Since 2013, Ying Wang has taught composition at the Shanghai Conservatory. She lives in Berlin and Beijing.

Panels

ERÖFFNUNGS-PANEL: Hidden Continuities in Electronic Music

Book Release: A Short History of Electronic Music and Its Women Protagonists (2021) by Johann Merrich
mit: Dorit Chrysler, Åsa Stjerna, Bettina Wackernagel, Johann Merrich
Moderation: Janina Klassen

In den letzten Jahren erfuhr die frühe elektronische Musik eine Renaissance, womit es auch zu einer Rückbesinnung auf deren weibliche Protagonistinnen kam. Diese wurden jedoch weitgehend als Ausnahmen wahrgenommen. Richtig ist jedoch, dass diese Pionierinnen Ausnahmekünstlerinnen und keineswegs singuläre Erscheinungen waren. Viele dieser Künstlerinnen, die die Entwicklung der elektronischen Musik maßgeblich beeinflussten und ihren eigenen Weg wählten, stellte das Heroines of Sound Festival in den vergangenen Jahren vor. In diesem Eröffnungs-Panel wirft die Leiterin von Heroines of Sound, Bettina Wackernagel, ein Schlaglicht auf diesen Festival-Schwerpunkt der unterbrochenen Rezeptionslinien. In diesem Zusammenhang stellt das Panel auch die kürzlich erschienene Publikation »A Short History of Electronic Music and Its Women Protagonists« (2021) von Johann Merrich vor. Mit der schwedischen Künstlerin Åsa Stjerna als Gast richtet das Panel auch seine Aufmerksamkeit auf die Klangkunst –ein weiterer Fokus des Festivals. Åsa Stjerna erforscht in ihren Arbeiten verborgene oder zugrunde liegende Phänomene von historischer, sozialer, politischer und poetischer Natur, die mit einem Ort verbunden sind. Außerdem wird die Theremin-Virtuosin Dorit Chrysler ihre zahlreichen Aktivitäten rund um das Theremin vorstellen. Dieses besondere elektronische Instrument feierte letztes Jahr sein 100-jähriges Jubiläum.

Recent years have witnessed a renaissance of early electronic music, and in the process, also recalled its female protagonists. These, however have largely been recognized as exceptions. What is true, however, is that these pioneers were exceptional artists and by no means singular occurrences. Artists who have significantly influenced the development of electronic music and made their own way apart from the ideologies prescribed by centralized studios. Many of these composers have been presented by the Heroines of Sound Festival in past years. In this opening panel, the director of Heroines of Sound, Bettina Wackernagel, will highlight the festival’s focus on the interrupted lines of reception. In this context, we will also celebrate the recent publication »A Short History of Electronic Music and Its Women Protagonists« (2021) by Johann Merrich. This panel will also look at the festival’s emphasis on sound art withSwedish artist Åsa Stjerna who explores hidden underlying historic, social, political, and poetic phenomena that are connected to a place. Furthermore, theremin virtuoso Dorit Chrysler will introduce us to her numerous activities related to the theremin –the electronic instrument that turned 100 years old last year.


PANEL II: EMS Radio Belgrade

Keynote: Svetlana Maraš (Artistic Director at Electronic Studio Radio Belgrade)
with Midori Hirano (Composer/Residency at Electronic Studio Radio Belgrade), Bettina Wackernagel (Heroines of Sound)

Moderation: Miriam Akkermann

In English

Das elektronische Studio am Radio Belgrad wurde 1972 auf Initiative des Dritten Programms von Radio Belgrad als das erste dieser Art im ehemaligen Jugoslawien und den Balkanländern gegründet. Es war berühmt für die Ausstattung mit dem analogen Synthesizer EMS Synthi 100 als sein technisches Hauptmerkmal. Nach einer langen Zeit der Stagnation wurden die Aktivitäten des elektronischen Studios nach der Reparatur des EMS Synthi 100 im September 2017 wieder aufgenommen. Dieser analoge Synthesizer wird vom Museum
für Wissenschaft und Technik als »kulturelles Erbe« Serbiens aufgrund seiner immensen historischen Bedeutung geschützt. Der analoge Synthesizer, der Anfang der 1970er Jahre entstand, ist einzigartig und eines der komplexesten sowie erfolgreichsten Instrumente seiner Art.

The Electronic Studio Radio Belgrade was founded in 1972, at the initiative of the Third Program of Radio Belgrade as the first of its kind in the former Yugoslavia and the Balkans. It was famous for housing the EMS Synthi 100 as its maintechnical feature. After a long period of stagnation, activities at the Electronic Music Studio resumed after the repair of the EMS Synthi 100 was completed in September 2017. This analog synthesizer enjoys protected status at the Museum of Science and Technology as a »cultural heritage« of Serbia: its historical importance is immense. The analog synthesizer, created in the early 1970s is unique, one of the most complex and most successful instruments of its kind


PANEL III: Ideas and perspectives of a new Feminist Sonic Materialism in the context of field recording art, soundscape composition, and acoustic ecology

mit: Åsa Stjerna, Salomé Voegelin, Marta Zapparoli
Moderation: Sabine Sanio

In English

Akustische Ökologie, Fieldrecording Art und Soundscape-Kompositionen benennen Positionen und Konzepte in einem Feld, in dem Åsa Stjerna, Marta Zapparoli und Salomé Voegelin seit vielen Jahren aktiv sind. Die in diesem Feld in jüngster Zeit diskutierten neuen Narrative des Pluralen und Diversen beschränken sich nicht auf Fragen zu den Techniken
des Aufzeichnens und des Komponierens, sondern reflektieren unsere Verstrickung mit und Verantwortung gegenüber diesem Feld sowie gegenüber allen, mit denen wir zusammenleben. Åsa Stjerna, Salomé Voegelin und Marta Zapparoli werden neuere künstlerische und theoretische Arbeiten vorstellen, sich über Besonderheiten eines klangökologischen und post-humanen Denkens und Komponierens sowie über den von ihnen realisierten »New Feminist Sonic Materialism« austauschen.

Acoustic ecology, field recording art and soundscape compositions are the positions and concepts of a field in which Åsa Stjerna, Marta Zapparoli und Salomé Voegelin have been active for many years. The new narratives of plurality anddiversity being discussed in this field of late are not limited to questions of recording technology and composing, but reflect our involvement with and responsibility for this field, as well as toward everyone we live with. Åsa Stjerna, Salomé Voegelin und Marta Zapparoli will present recent artistic and theoretical works, discuss the special aspects of a sound-ecological and post-human thinking and composing, and share ideas about their »new feminist sonic materialism«.

Workshops

Dorit Chrysler – Learn how to play the theremin
Theremin classes for all levels

2. + 3. Juli 2021 | 16.00–17.20| Studio B
Workshop in English

Das Theremin: berührungslos manipulierbar, ohne Referenzmarkierungen und ohne Anleitung ist es schwer zu zähmen und hat dennoch eine Vielzahl von nicht-akademischen Spiel- und Kompositionstechniken inspiriert. Noch immer nicht vollständig etabliert, von Akademien und Konservatorien gemieden (und schon gar nicht gelehrt), von Komponist*innen zeitgenössischer Musik nur selten verwendet (Edgar Varèse) und von der Populärkultur langsam wiederentdeckt (Soundtracks von Fantasy-Filmen), ist das Theremin mit einer supermusikalischen und fantasievollen Kraft ausgestattet.

Der Workshop ist sowohl für Anfänger*innen als auch für Fortgeschrittene geeignet und wird von der Thereministin und Komponistin Dorit Chrysler geleitet, die in jahrelanger Arbeit einen Lehrplan für den weltweiten Theremin-Unterricht entwickelt hat. Dorit Chrysler ist die Mitbegründerin der NYTS – New York Theremin Society und die Gründerin der Kid Cool Theremin School.

»[Playing a theremin] is like tickling butterflies« – Charlie Hobbs in The Wall Street Journal.

The theremin: Manipulated without contact, without reference marks and without instructions, it is difficult to tame and its non-academic techniques of play and composition are multiple – still not established and shunned by scholarly music and conservatories (not taught), used by rare composers of contemporary music (Edgar Varèse) and slowly recovered by the popular culture (soundtracks of fantastic films), the theremin is endowed with super-musical and imaginary power.
Suited for beginners as well as advanced players, classes are hosted by thereminist and composer Dorit Chrysler, who has developed a curriculum during years of global theremin teachings. Dorit Chrysler is the co-founder of the NYTS – New York Theremin Society and the founder of Kid Cool Theremin School.

Admission
5 € / Free for Holders of Day Ticket or Festivalpass.
Access to workshop is limited to 10 participants.

How to participate
Register online at the following links
2. Juli, 16 Uhr radialsystem.reservix.de/p/reservix/event/1687464
3. Juli, 16 Uhr radialsystem.reservix.de/p/reservix/event/1687465

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Korhan Erel
Fundamentals of Electronic Music – An Introduction

4. Juli 2021 | 16.00–18.00 Uhr | Studio B
Workshop in English

Photo © Tuçe Erel

In diesem Workshop spricht Korhan Erel über einige grundlegende Konzepte der elektronischen Musik, wie Klangsynthese, Sampling, einfache Performance-Ideen und die Verwendung von mobilen Geräten wie Handys und Tablets. Die Teilnehmer*innen lernen in praktischen Demons- trationen verschiedene kleine Synthesizer, Effektgeräte, Sampler und einige populäre Apps für die Musikproduktion auf Mobilgeräten kennen. Der Workshop setzt einen Schwerpunkt auf die kollektive Erfahrung und Interaktion mit den Teilnehmer*innen, daher sind Fragen, Ideen und Engagement willkommen und erwünscht. Der Workshop richtet sich eher an Anfänger*innen und solche, die Angst haben, anzufangen, aber auch andere sind willkommen.

Korhan Erel arbeitet seit den späten 1980er Jahren mit Computern und Synthesizern. Sier waren Gründer oder Mitglied vieler Projekte in ihrer früheren Heimatstadt Istanbul und in
den letzten sieben Jahren ein sehr aktives Mitglied der experimentellen Musikszene in Berlin. Sier haben mit Dutzenden von Musiker*innen und Künstler*innen aus den Bereichen Jazz, improvisierte Musik, zeitgenössischer Tanz, bildende Kunst, Theater und mehr in und außerhalb Berlins zusammengearbeitet. Korhan ist auch ein*e Klangkünstler*in mit Arbeiten, die in Istanbul, Berlin und Hongkong gezeigt wurden.

In this workshop, Korhan Erel will introduce you to some basic concepts of electronic music, such as sound synthesis, sampling, simple performance ideas, and using mobile devices like mobile phones and tablets. Participants will benefit from Korhan’s hands-on demonstrations of various small synthesizers, effects devices, samplers, as well as some popular apps for music making on mobile devices. The workshop encourages a collective experience through interaction with the participants, so questions, ideas, and engagement are expected and welcome. The workshop is aimed more towards beginners and those who are afraid to begin, but others are also welcome to attend.

Korhan Erel has been working with computers and synthesizers since the late 1980s. They have been a founder or member of many projects in their previous hometown, Istanbul, and, during the last seven years, a very active member of the Berlin experimental music scene. They have worked with dozens of musicians and artists in jazz, improvised music, contemporary dance, visual arts, theater and more, in and outside Berlin. Korhan is also a sound artist whose works have been shown in Istanbul, Berlin, and Hong Kong.

Admission
5 € / Free for Holders of Day Ticket or Festivalpass.
Access to workshop is limited to 10 participants.

How to participate
Register online at the following link
4 Juli, 16 Uhr: radialsystem.reservix.de/p/reservix/event/1687466

Sound Art

SOUND ART

1.—4. Juli 2021, Studio C + Deck
1. July: 5 pm — midnight
2-3 July: 6 pm — midnight
4 July: 5 pm — midnight

STUDIO C: Annea Lockwood — A Sound Map of the Housatonic River (2008-2009)
DECK: Åsa Stjerna — Earth Song (2019/2020, DE)


Annea Lockwood — A Sound Map of the Housatonic River (2008-2009)

Es handelt sich um eine Klangkarte, die den Lauf des 224 km langen Housatonic River von
den Quellen in den Berkshire-Mountains im Westen von Massachusetts bis zur Mündung
in Milford, Long Island Sound (Connecticut, USA) nachzeichnet. Die Aufnahmen der Klangkarte wurden sowohl an der Wasseroberfläche als auch unter Wasser vorgenommen – nicht von Booten aus, sondern an vielen Stellen entlang des Flussufers. Sie spiegeln so die
sich verändernde, vom Fluss geschaffene Umgebung wider.
Die vielschichtige Komplexität der Klänge, die von schnell fließenden Flüssen erzeugt wird, fasziniert mich und ich erforsche sie seit vielen Jahren. Ein auraler Scan ist eine andere Erfahrung als ein visueller Scan –intimer, wie ich finde. Durch die Geräusche, die durch die Reibung zwischen der Strömung und den Ufern sowie der Strömung und dem Flussbett entstehen, kann der Energiefluss eines Flusses äußerst direkt wahrgenommen werden. Ich möchte Jenny Hirsch danken, die diese Arbeit in Auftrag gegeben hat, und den Designern der Karte: Baker Vail, Kartografie, Small World Maps, und Susan Huyser, Grafikdesign.
– Annea Lockwood

This is a sonic map tracing the course of the 224 km Housatonic River from the sources in the Berkshire mountains of Western Massachusetts to the river’s mouth at Milford, Long Island Sound (Connecticut, USA), recorded both at the surface and underwater, not from boats but along the riverbank at many sites, thus mirroring the changing river-created environment. I am fascinated by the multi-layered complexity of the sounds created by fast flowing rivers and have been exploring them for many years. An aural scan is a different experience from a visual scan – more intimate, I find. The energy flow of a river can be sensed very directly through the sounds created by the friction between current and riverbanks, current and riverbed. I wish to thank Jenny Hirsch who commissioned this work, and the designers of the map: Baker Vail, cartography, Small World Maps, and Susan Huyser, graphic design.
– Annea Lockwood

Åsa Stjerna — Earth Song (2019/2020, DE)

Tief unter dem Boden, auf dem wir gehen, bewegt sich die Erde mit fast unmerklichen, aber unaufhörlichen Schwingungen: Die Erde singt. »Gesang der Erde« transformiert die seismischen Aktivitäten in Deutschland in einen körperlich erfahrbaren Klangraum. In einer Kooperation mit Forscher*innen der Geowissenschaftlichen Abteilung der Universität Uppsala in Schweden werden Echtzeitdaten von verschiedenen im Land verteilten seismischen Meßstationen in Klänge umgewandelt. In jeder der Boxen, auf denen das Publikum sitzen kann, sind Lautsprecher bzw. Transducer versteckt, deren Klänge jeweils einen dieser Orte repräsentieren. Die einzelnen, verstreuten Orte verbinden sich zu einer Gesamtinstallation, bleiben solistisch oder vereinen sich zu einem Ensemble. Zusammen erzeugen sie eine geografische Choreografie, welche das Publikum einlädt, sich auf die Erfahrung sonst kaum wahrnehmbarer natürlicher Phänomene einzulassen.

Deep down below the ground we walk on, earth constantly moves as almost unnoticeable but ongoing vibrations: The earth is singing. »Earth Song« makes audible the seismic activity of Germany by transforming this to an embodied sonic, spatial experience. A cooperation project with researchers
at Department of Earth Sciences, Uppsala University in Sweden, real-time data from a number of seismic measurement stations all over Germany are redirected and transformed to a sonic experience at the Radialsystem. In the installation each loudspeaker—hidden in boxes the visitor can sit or lean on—represents one place in Germany. Distinct places blend one into another in the sound installation, sometimes acting as solitary voices and sometimes as ensembles. Together, they constitute a geographic choreography that invites the visitor to expand their experience of a natural phenomenon normally not perceivable. In cooperation with Andre Bartetzki (sound design and real-time sonification)
.

Credits: Björn Lund, Senior lecturer Department of Earth Sciences, Geophysics; Svenska nationella seismiska nätet, Uppsala University, Sweden

Film und Soundbar

FILM UND SOUNDBAR

1.—4. Juli 2021 / 18 – 24 Uhr / Saal

Portrait: Annea Lockwood – A Film About Listening
(2021, DE)

directed by Sam Green (US)

Sisters with Transistors – Electronic music’s unsung
Heroines (2020)

a feature documentary by Lisa Rovner
feat. Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Éliane Radigue, Suzanne Ciani, and Laurie Spiegel. – Narrator: Laurie Anderson

RAW CHICKS. BERLIN (2017)
feat. Kritzkom, Ksen. / Tomislav, Kyoka, Mimicof / Midori Hirano, Marta Zapparoli
Regie: Beate Kunath – Raw Chicks

Filmportraits
Beatriz Ferreyra (2017), Elisabeth Schimana (2018), Éliane Radigue (2009), Electric Indigo (2015), Maryanne Amacher (2013)
IMAfiction – Institut für Medienarchäologie

Soundbar – Heroines of Sound Selection 2021


Portrait: Annea Lockwood – A Film About Listening by Sam Green

“Wenn man Annea Lockwood kennt, weiß man, dass sie ein liebenswerter Geist und eine großartige Muse ist. Wenn man sie nicht kennt – ist dies eine gute Einführung. Sie ist eine der klügsten Köpfe in Sachen Klang und Hören. Sie macht seit mehr als 50 Jahren fantastische Musik, Klangkunst und Performances. Und sie ist ein zutiefst warmer und großzügiger Mensch. Der Versuch Kino über Klang zu machen, war eine große kreative Herausforderung.”
– Sam Green

Sam Greens intimes Porträt der wegweisenden experimentellen Komponistin und Musikerin Annea Lockwood gibt einen Einblick in die fesselnde Welt der Klänge, die sie seit vielen Jahren schafft und erforscht. In Auftrag gegeben von Counterflows 2021.

“If you know about Annea Lockwood, you know that she’s a lovely spirit and great muse. If you don’t know her – this is a good intro. She’s one of the smartest people about sound and listening out there. She’s made fantastic music, sound art, and performance for more than 50 years. And she’s a profoundly warm and generous person. It was a great creative challenge to try to make cinema about sound.”
– Sam Green

Sam Green’s intimate portrait of pioneering experimental composer and musician Annea Lockwood gives a glimpse into the enthralling world of sound that she has been creating and exploring for many years. Commissioned for Counterflows 2021.

USA, 2021 // Copyright The Free History Project, 2021 // Directed by Sam Green // Produced by Evan Neff, Josh Penn, Nora Wilkinson // Cinematography by Yoni Brook, Derek Howard // Location Sound by Sean O’Neil // Sound Mix by Rich Bologna // Color by Ayumi Ashley // Animation and Design by Work-Order // Footage Research by Lewanne Jones // Production Assistance by Teresa Brock Moneo // Supported by Counterflows and Creative Scotland // language: English – no subtitles // duration: 33 minutes


Sisters with Transistors – Electronic music’s unsung Heroines

Sisters with Transistors widmet sich der bemerkenswerten, unerzählten Geschichte der Pionierinnen der elektronischen Musik. Dokumentiert sind Komponistinnen, die sich elektronische Geräte und ihre befreienden Technologien zu eigen machten, um die heutige Art und Weise des Musikproduzierens und -hörens völlig zu verändern. Mit visionären Frauen, deren radikale Experimente mit Maschinen die Grenzen der Musik neu definierten, arbeitet der Film nun eine neue Geschichte der elektronischen Musik aus. Zu den Protagonistinnen zählen Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Éliane Radigue, Suzanne Ciani und Laurie Spiegel. Die Geschichte der Frauen ist weitesgehend ungeschrieben. In der Musik ist das nicht anders.

Sisters with Transistors is the remarkable untold story of electronic music’s female pioneers, composers who embraced machines and their liberating technologies to utterly transform how we produce and listen to music today. The film maps a new history of electronic music through the visionary women whose radical experimentations with machines redefined the boundaries of music, including Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, liane Radigue, Suzanne Ciani, and Laurie Spiegel. The history of women has been a history of silence. Music is no exception.

Narrator: Laurie Anderson // Director: Lisa Rovner France, United Kingdom, 2020 // 85 min // English OV with English subt.


RAW CHICKS. BERLIN

5 Portraits – excerpts of RAW CHICKS.BERLIN

Kritzkom (France, Berlin) // www.kritzkom.com
KSEN. // Tomislav (Croatia, Berlin) // www.ksenijaladic.com
KYOKA (Japan | Berlin) // www.ufunfunfufu.com
Mimicof // Midori Hirano (Japan, Berlin) // midorihirano.com
Marta Zapparoli (Italy, Berlin) – additional portrait //
martazapparoli.blogspot.com

The documentary RAW CHICKS.BERLIN shows eleven multifaceted portraits of international Berlin-based female music producers with a focus on live acts; women who come on stage with their equipment and present their own songs and compositions. The musical spectrum ranges from experimental via noise-based electronic to electroacoustic music. Director Beate Kunath gives an insight into the diverse and lively current music scene of Berlin and creates through the presentation of these artists a time document, which supplements the often male-dominated historiography by a female perspective.

Germany 2017 // Director: Beate Kunath


Filmportraits – IMAfiction

IMAfiction ist eine Videoportrait-Serie von IMA Institut für Medienarchäologie (AT)

portrait #09 Beatriz Ferreyra

Interview: Nathalie Singer // Kamera: Reinhard Mayr // Schnitt: Reinhard Mayr // Music: Beatriz Ferreyra // Sound editing: Robert Eder // gedreht in: Hameau de Hodeng, Normandie, cottage of Beatriz Ferreyra // Film format: 16:9 // language : Franz sisch // subtitel German, English// duration : 31 min // IMA 2017 produced by IMA

“I didn’t have anything. I didn’t have a doctorate, I wasn’t a master. I didn’t have any diploma. Nothing. I was nothing. I had only my ears – that’s all.”
– Beatriz Ferreyra.

Ferreyra nutzt für ihr Komponieren die Technik des Perspektivwechsels, die ihr von Pierre Schaeffers Konzept des reduzierten Hörens vertraut ist: Man nimmt den Klang als solchen, nicht als Effekt oder Indiz von etwas anderem wahr. Von Nadja Boulanger hat sie hingegen gelernt, genau zu sein und Unstimmigkeiten auf die Spur zu kommen: Sobald sie beim Hören einer Passage auf andere Gedanken kommt, nicht mehr bei der Sache ist, weiß sie, etwas ist nicht in Ordnung. Für Ferreyra ist Musik etwas, das der persönlichen Energie eines Menschen sehr nahe kommt. Sie selbst sieht und hört Farben und Klänge zusammen und dachte lange, jeder verfüge über diese Fähigkeit zur synästhetischen Wahrnehmung. Das Komponieren ist für Ferreyra ein körperlicher Prozess, bis heute vermisst sie die manuelle Arbeit mit dem Analogmedium, die sie aufgab, als sie mehr oder weniger alle Möglichkeiten des Tonbands kannte. Jeder bei Groupe de recherches musicales (GRM) hatte im Umgang mit den Tonbändern seinen ganz persönlichen, unverwechselbaren Stil; dagegen ist die Arbeit am Computer, mit Maus und Tastatur etwas Abstraktes, körperlichen Kontakt mit den Klängen gibt es seitdem für sie nur noch beim Aufnehmen mit dem Mikrophon. Sie selbst komponiert sehr intuitiv, oft kann sie nicht sagen, wie eine Tonfolge, die sie tags zuvor gefunden hat, entstanden ist. Sie hat keine Regeln. “Es funktioniert oder nicht”, sagt sie. Lange Zeit fehlen ihr die Strategien, um den kompositorischen Prozess zu steuern. Anfangs sucht sie sich Themen, assoziiert dazu Emotionen, Töne oder Farben. Mit “Médisances” (1968) befreit sie sich so von den Erinnerungen an boshafte tuschelnde Leute in Córdoba. Doch ihre musikalische Phantasie benötigt größere Freiräume. Allmählich begreift sie, dass sie bei jedem neuen Stück zuerst eine innere Haltung finden muss. Manchmal dauert es Tage, bis sie zu einer inneren Stille findet, aus der etwas in ihr aufsteigt, aus ihren Träumen oder aus dem Alltag. Seit “Canto del Loco” (1974) fällt ihr diese intuitive Vorgehensweise leicht. Damals beanspruchte sie nicht nur für den Loco, den Narren, sondern auch für sich selbst alle Freiheiten. Inzwischen kann alles, egal ob Bild, Klang, Farbe oder Form, am Beginn ihres assoziativen Komponierens stehen. (Sabine Sanio)

portrait #10 Elisabeth Schimana

Interview & Kamera: Seppo Gründler & Johanna Moder // Film & sound editing: Seppo Gründler // Technical assistance: Chistoph Neuhold // Musik: Elisabeth Schimana // gedreht in: studio Elisabeth Schimana, studio FH Joanneum 2018 // Dauer: 34 Minuten

Die Pionierin Elisabeth Schimana: Mit interdisziplinären und performativen Projekten, Klanginstallationen und Radioarbeiten, Versuchsanordnungen im sozialen wie im virtuellen Raum, mit Projekten im Techno-Kontext und Live-Kompositionen in verschiedensten Konstellationen erschließt und bearbeitet sie seit den 1980er Jahren Feld für Feld. “Seit Beginn meiner Arbeit als Komponistin elektronischer Musik beschäftige ich mich mit der Platzierung von Klängen im Raum. Wenn ich hier von Raum spreche, inkludiere ich auch Räume wie den Radioraum oder das Internet. […] versuche mehr, mit dem, was ein architektonischer oder ein anderer Raum als Eigenheit zu bieten hat, zu arbeiten. Dies lässt sich mathematisch nicht berechnen, es muss gehört werden. Ich stelle immer die Frage an den Raum: Was erzählst du mir, wie können wir gemeinsam klingen?” In Live-Elektronik-Projekten lotet Schimana reale Architekturen aus. In “on tesar” (2006-08, mit Cordula Bösze an Flöten) bespielt sie den konkreten, von Architekt Heinz Tesar entworfenen Raum und arbeitet zudem mit dessen architektonisch-poetisch-philosophischen Formeln, die sie in Konzept und Partitur verwandelt.
“Ich denke in Körpern. Ich bin Elektronikerin.”
– Elisabeth Schimana

portrait #04 Éliane Radigue

Ein Portrait von IMA (2009) // Interviews: Cornelia Primosch (ORF), Daniela Swarowsky // Kamera: Sepp Thoma (ORF), Anais Prosaic // Schnitt: Elena Tikhonova, Anais Prosaic // Tonaufnahme: Henry Roux (ORF) // Sound editing: Elisabeth Schimana gedreht in: Paris // Format: 4:3 // Sprache: Französisch // Untertitel: Englisch, Deutsch // Dauer: 15 Minuten

Seit den 60er Jahren komponiert Éliane Radigue elektronische Musik. Sie zählt zu den bedeutendsten und innovativsten Komponistinnen des 20. Jahrhunderts. Als einzige französische Komponistin ihrer Generation kann Radigue sowohl als Pionierin der elektronischen Musik als auch der Minimal Music bezeichnet werden. Ihre Musik gleicht einem langsamen Strom, der sich durch dichte, kaum wahrnehmbare Klangveränderungen bewegt. Eine zeitlose Architektonik tiefgehender Klänge, die nicht nur den Verstand oder das Hören ansprechen, sondern den ganzen Körper. Eine Musik, die einen mitreißt, sobald man in sie eintaucht. Eine Musik, die die enorme Subtilität von Meeresrauschen besitzt. — Emmanuel Holterbach (Übersetzung aus dem Englischen: Gina Mattiello)

portrait #08 Electric Indigo

Interview: Michaela Schwentner // Kamera: Michaela Schwentner, Andreas Gockel // Gedreht: in Berlin, Wien, Leipzig und in Zügen von Berlin nach Leipzig und zurück, 2015 // Schnitt: Michaela Schwentner // Musik: Electric Indigo // Soundediting: Robert Eder // Übersetzung der Untertitel: Kimi Lum // Format: 16:9 // Sprache: Deutsch Untertitel: Englisch // Dauer: 22 Minuten

Susanne Kirchmayr aka Electric Indigo, seit 1989 aktiv als DJ, Komponistin und Musikerin. 1993-96 lebte sie in Berlin, wo sie im legendären Hardwax Plattenladen arbeitete. 1998 gründete sie das Netzwerk female:pressure, 2009 ausgezeichet mit einer Honorary Mention beim Prix Ars Electronica. Weithin anerkannt als Techno-DJ und Musikproduzentin transformiert Electric Indigo eine äußerst abstrakt gestaltete Tanzmusik in elektronische Musik, die, vom Techno kommend, zu ganz ähnlichen Ergebnissen gelangt wie die akademische elektronische Musik. In ihrer Musik legt die Künstlerin großen Wert auf die gezielte räumliche und zeitliche Platzierung elektronischer Klänge. In Kompositionen wie “Morpheme” (Kompositionsauftrag für die Heroines of Sound 2014) wird Sprache mittels Granularsynthese desintegriert, reorganisiert und in komplexe rhythmische Strukturen gebracht. Als Komponistin erhielt sie 2012 den outstanding artist award beim Prix Ars Electronica in der Sparte Computermusik und elektronische Musik sowie 2013 das österreichische Staatsstipendium für Komposition vom BMUKK. Außerdem erhielt sie u. a. Kompositionsaufträge für Wien Modern und Heroines of Sound. Die Komposition “109.47 Degrees” (2014) wurde 2015 im Rahmen der Heroines Editions in Istanbul uraufgeführt. Ihre neueste Komposition “Barry Duffman” hatte beim Wien Modern Festival im November 2015 Premiere. 2016 leitete Electric Indigo bei den Darmstädter Ferienkursen für Neue Musik einen Workshop zur Granularsynthese.

portrait #06 Maryanne Amacher

Ein Portrait von Elisabeth Schimana & Lena Tikhonova (2013) Interviews und Fieldrecordings: Elisabeth Schimana // Kamera und Schnitt: Elena Tikhonova // Schnittassistenz: Olga Pohankova // Musik: Maryanne Amacher // Sound editing: Elisabeth Schimana, Robert Eder // gedreht in: Wien, Berlin und Kinston N.Y. // Format: 16:9 Sprache: Englisch, Deutsch // Untertitel: Deutsch, Englisch // Dauer: 30 Minuten

Maryanne Amacher wurde 1938 in Kane PA geboren. Sie studierte mit George Rochberg und Karlheinz Stockhausen an der Universität von Pennsylvania. Am SUNY-Buffalos Center of the Creative and Performing Arts gründete sie ihre berühmte telematische City Link Series (1967-79). Gemeinsam mit Marvin Minskys Triadex Muse begann sie in den 1970er Jahren am MIT’s Center for Advanced Visual Studies Ear-tone-Musik zu entwickeln. Mit “torse” (1977) und “Lecture on the weather” (1975) erarbeitete sie zwei großangelegte Werke mit der Merce Cunningham Dance Company bzw. mit John Cage. Seit den 80er Jahren entwickelte sie Stagings für ihre Arbeiten Ways of Hearing: Diese Mini Sound Series bestimmten damals das dramatische Format von Fernsehserien, die sich über Tage und Wochen entwickelten; die Musik für die Sound-Joined-Rooms-Serien erforschen multiple, sich überschneidende akustische Umgebungen sowie “structure born sound”. Eine Auswahl der Klangcharaktere dieser Serie wurde von Tzadik Records auf zwei CDs veröffentlicht. 2005 erhielt Amacher die Goldene Nica bei der ARS Electronica. Bis zu ihrem Tod 2009 unterrichtete sie im Rahmen des MFA Programms am Bard College in New York. — Bill Dietz, Mica Silver (Übersetzung aus dem Englischen: Sabine Sanio)


SOUNDBAR – Heroines of Sound Collection 2021

Die von den Künstlerinnen und dem Festivalteam kuratierte Heroines of Sound Selection umfasst über 200 Titel, das musikalische Spektrum der Hörstücke reicht von Tapemusik der Musique Concrète über Remixes bis hin zu Sound Art.
u. a.: Maryanne Amacher, Akkamiau, Bebe Barron, Ann Clare, Chaya Czernowin, Alessandra Eramo, Beatriz Ferreyra, Annea Lockwood, Evelyn Saylor, Elisabeth Schimana, Zavoloka.

Tickets & Info

Limited admission and tickets sale due to the COVID-19 pandemic

TICKETS
4 Day Festivalpass: 60/40 €
radialsystem.reservix.de/p/reservix/event/1687460
2 Day Ticket: 30/20 €
radialsystem.reservix.de/tickets-zwei-tagesticket-in-am-1-7-2021/e1687713
Day Ticket: 18/12 €
Day 1: radialsystem.reservix.de/p/reservix/event/1686685
Day 2: radialsystem.reservix.de/p/reservix/event/1687414
Day 3: radialsystem.reservix.de/p/reservix/event/1687415
Day 4: radialsystem.reservix.de/p/reservix/event/1687416

BARRIER-FREE
The Venue radialsystem Barrier-free and accessible at for wheelchair users and offers handicapped WC on the ground floor. Wheelchair users* and persons with physical disabilities are kindly requested to register in advance at
ticket@radialsystem.de
or by telephone
+49 (0)30 288 788 588.

INFO

HEROINES OF SOUND FESTIVAL

Künstlerische Leitung: Bettina Wackernagel
Ko-Kuratorinnen 2021: Dorit Chrysler, Sabine Sanio
Produktion: Helen Heß
Tonregie: Andre Bartetzki
Gestaltung: Carl Bartel
Website: Alice Cannavà
Social Media: Mo Loschelder / Media Loca
Presse / PR: Sarah Rosenau

RADIALSYSTEM
Produktion: Jule Sievert
Technische Produktionsleitung: Birk Wäsch
Tontechnik: Striid Koburger / Carlo Grippa / Jan Gieseke / Lutz Nerger / Nessrin-Alia Bousselmi
Videotechnik: Torsten Podraza
Lichttechnik: Jörg Bittner / Karel de Wit / Anton Weber
Bühnentechnik: Vanessa Weinert / Reinhard Horn
Karsten Blank / Ivan Todorov
Kommunikation: Bettina Schuseil / Uwe Hiltwein / Esther Meisinger / Anna Nike Sohrauer


Supported by the Culture Capital Fund, Berlin Senate for Culture and Europe, Neustart Kultur, Ernst von Siemens Musikstiftung, Initiative Musik gGmbH, INM Initiative Neue Musik Berlin

In collaboration with radialsystem, female:pressure, Institut für Medienarchäologie (AT), Radio Belgrade, Goethe Institut

Media Partners: Groove, taz, tipBerlin, VAN