A Chamber of Music with Image Playbacks (Witten 2016) by Uli Aumüller, Sebastian Rausch and Tabea Rossol.

A Chamber of Music with Image Playbacks (Witten 2016) by Uli Aumüller, Sebastian Rausch and Tabea Rossol.

Originally, the chamber was the non-public, private place of retreat behind the representative premises of a prince or nobleman, in which music was performed by hired musicians for entertainment. The early bourgeoisie of the 18th century turned it into a kind of research laboratory, for the search for the "true sensations", for the further development of musical structures, for music-aesthetic and philosophical speculations. Since then, chamber music is not composed anonymously, for an unknown and interchangeable orchestra, but the focus is on the dialogue between musicians and composers - the chamber is therefore not so much the place of performance, whether concert hall, salon or living room, but much more the place of encounter, exchange and also friendship for the process of its creation. The composer knows the personality, the abilities, the voice, the tone of the musician for whom he is writing this music, the musician knows and wants that something is written for him, on his body, stimulated by his way of articulation, longing, devotion ... and not infrequently a composition is preceded by phases of joint experimentation and reflection. Chamber music thrives on such an intimate, creative encounter, bearing the traces of the joint making of a musical thought in search of its own personal language. In sometimes only accidental "intimate moments" things come up that have not been known or said before: Things that are perhaps spontaneous, half-finished, unprotected, and are only confided to the other person because all involved feel secure in their friendship. At home in the moment of the creative process. Our installation tries to be a reference to these "intimate moments", for which we filmed the trio catch with Gérard Pesson, the ensemble instant donné with Mikel Urquiza and Adriana Hölszky with Paul Hübner in private rooms over a longer period of time during their rehearsals. The Wittener Tage für neue Kammermusik also began about 80 years ago with concerts in private rooms. Our installation is modeled after a private salon in Hamburg, where chamber music soirees occasionally take place.

Jene intime Augenblicke - Essay
Programmheft Witten 2016
Kritik Neue Musikzeitung &/2016

NMZ 6/2016 wrote about it:
Music and film, film and music - a highly responsive mixture that convincingly took shape in the installation "Music chamber with image feeds", also shown in the supporting program and overlooked by many a Witten pilgrim. The location was an empty downtown store, in which, like a pearl in the uniform gray of a shell, was a lovingly prepared music salon. In retro armchairs, on the sofa with a cup of tea, one followed ensemble rehearsals of three current Witten concerts played on film. For a few delightful minutes, one was allowed to be present as composers worked on the piece chez soi, in the interior of one's home, together with their soloists, instrumental lists. The past and the present suddenly moved very close together; one met them all again on the Witten podiums: Trio Catch with Gérard Pesson, L'Instant Donné with Mikel Urqiza and also the fabulous multi-wind player Paul Hübner with Adriana Hölszky. Aumüller's camera in these settings the calm itself. Nothing that could get in between, which, however, allowed something else to occur that is usually withheld from the concert-goer: the gradual making of musical thoughts during rehearsals. Aumüller's "Intimacy of the Moment" set such a love of art a quite enchanting monument - placed on the periphery, but with effect in the center. In which, quite incidentally, another permanent theme was touched upon, which is relevant not only in and for Witten, namely the alliance that composers form with their interpreters and the latter with the latter, as is well known, the foundation on which everything rests and which decides the fate of the works - provided the chemistry is right, provided the rehearsals are friendly in terms of atmosphere, and insistently serious when viewed in terms of artistic rigor. Then, but only then, you can feel it in the concert. For example the biting zeal of Quatuor Diotima for Poppe's "Book", his first string quartet which arouses distant Beethoven- and Berg-allusions ...

With

Trio Catch
Boglárka Pecze, clarinet
Eva Boesch, violoncello
Sun-Young Nam, piano

Gérard Pesson, composition

Ensemble L'instant donné
Elsa Balas, viola
Nicolas Carpentier, violoncello
Saori Furkawa, violin

Mikel Urquiza, composition

Paul Hübner, flugelhorn, trumpet, alphorn

Adriana Hölszky, composition

with the kind support of
Moritz von Bredow (Hamburg)
Alain Vauthier (Paris)
Adriana Hölszky (Stuttgart)

Consultation:

Robert Ruthenfranz
Birke Bertelsmeier
Pierre Morlet
Enno Poppe

Camera / Editing
Uli Aumüller
Sebastian Rausch

Stage design
Tabea Rossol

Equipment
Katharina Kern

Stage design
Bernd Kern
Kim-Fabian von Dall'Armi

Painting
Micha Groß
Manischa Eichwalder


Television Space
Lukas Stolz, Pujan Karambeigi, David Kempf

Sound engineering
Gösta Courkamp