Kleines Studio der Universität Mozarteum
Ármin Cservenák – SUMMUS (UA)
Timea Hvozdikova – elevens (UA)
Yoshida/Obermüller/Tjøgersen/Wennäkoski – (ver)FLECHTEN (2023)
Lena Michajłów – PROM (UA)
Petra Stump-Linshalm – MADAME PELE (2021)
Collettivo2Secondi – In a warm Box (UA)
Petra Stump-Linshalm - Bassklarinette
Heinz-Peter Linshalm - Basskllarinette
Ármin Cservenák - SUMMUS
My piece "SUMMUS" is written for the Duo Stump-Linshalm. In this piece I discover the sonic qualities produced by two bass clarinets. The title "SUMMUS" (lat. highest, uppermost) has a mirror symmetry that already tells a lot about the structure of the piece. The word "summus" can be transformed to "summa" (lat. sum, fullness) which refers to the unity of the two instruments. The main technique of the piece is imitation set in a spiral-like form. I use a simple acoustic material, the beatings, and I formulate it further to create larger musical structures. In "SUMMUS", it seems as if we are listening to a single musical event from many different angles of perception.
Timea Hvozdikova - elevens
a wish on an eyelash
a wish on my birthday
a wish on
Yoshida/Obermüller/Tjøgersen/Wennäkoski - (ver)FLECHTEN
The 4 composers Karola Obermüller, Kristine Tjøgersen, Lotta Wennäkoski and Aya Yoshida have each written a miniature for bass clarinet solo on the subject of the environment and climate change. These miniatures will be combined into a larger coherent piece and thus form a starting point for a lichen work that can develop and unfold in different directions.
Lichens develop symbiotic communities and contribute to biodiversity in ecosystems. They are everywhere, yet are often overlooked and thrive even in the harshest places. These survival artists grow very slowly but persistently, although they are sensitive to ecological changes.
There are certain parallels in this context in the field of contemporary music.
Aya Yoshida (*1992) Ok (2023) for bass clarinet
Karola Obermüller (*1977) seq (2023) for bass clarinet solo
Kristine Tjøgersen (*1982) spotted ambience (2022) for bass clarinet without mouthpiece
Lotta Wennäkoski (*1970) Rimpi (2023) for bass clarinet
Petra Stump-Linshalm - MADAME PELE
Pele means "molten lava" in the Hawaiian language. Pele is also the name of the goddess of volcanoes and fire and is also affectionately called Madame Pele by Polynesian peoples.
She appears in many different shapes and forms. Sometimes she appears as a young, seductive woman and then she is depicted as a ghastly and moody middle-aged woman whose hair is usually made of solidified lava. Various volcanological phenomena are also named after the goddess, such as Pele's hair or Pele's tears. Pele is a goddess of destruction just as she is a goddess of creation, because lava also creates new land and life. Many legends surround the fiery Pele, but it is said that she can be calmed and negotiated with through gentle chanting.
Pele gives you the courage to assert your own will and to live a creative, passionate life with enthusiasm.
Collettivo2Secondi (Michele Bernabei & Lisa Forni) - IN A WARM BOX
This title refers to the closed environment of sinusoids that frame an "active" and organic sound process: as in the alchemical Atanor, in the closed box matter comes to life and is transformed following a sacred process of transfiguration. Bread is the subject on which we want to dwell in order to represent a symbolic transformation: it is the most striking example that concerns each of us on the level of the intimate sphere with food and spirit (also the subject of the video). The entire piece reflects on the archetypal concept of matter undergoing transformation to become nutrition, of bread passing from the heat of the oven in which it is baked, to the heat of the body that eats it and transforms it into the energy of a living body, and on the role that this has always played in man's earthly and spiritual existence.