10.05.2023 / Wednesday, 20.00 / Forum Stadtpark, Graz
Andreas Borregaard plays
Jennifer Walshe SELF-CARE, for accordion, tape recorder and film (2017)
Simon Steen-Andersen Asthma, for accordion and video (2017)
**Michael Schwarzenbacher plays
Vinko Globokar Dialogue on Air (1994)
In a world of high-quality digital music reproduction, how can performers connect with their audiences? Why do we need a performance at all when we can stop and start, listen and listen again to perfect-sounding recordings from all over the world at the click of a mouse, through speaker systems that reproduce instruments in full detail?
Today's recorded music certainly provides much more space for viewing and understanding a musical work than a live performance ever could. To explore the enduring power of live performance and to consider the physical nature of the performer, I commissioned pieces from composers whose work encompasses both the musical and the physical. Jennifer Walshe and Simon Steen-Andersen, along with Niels Rønsholdt, are two of the most exciting composers writing for notes and bodies, bringing the notion of performance and physicality back into the framework of live music making. (A.B.)
Andreas Borregaard studied with James Crabb at the Royal Danish Academy of Music in Copenhagen. From 2010 he taught there himself, and since 2017 at the Norwegian Academy of Music in Oslo. He is active in many diverse projects, formations and genres (Quintet MTQ, Duo Inviolata, Trio Gáman, Stormglas), where collaboration with contemporary composers and the associated expansion of instrumental possibilities and repertoire for the accordion play a central role.
The Graz premiere of Andreas Borregaard combines "open music" - this also in the sense of international networking and discovery of national "rising stars" - with an invitation to the young Austrian accordionist Michael Schwarzenbacher (he is currently still studying at the University of Music and Performing Arts in Graz, but has already made international guest appearances as the Wiener Sängerknabe): Despite versatile interests, he focuses on contemporary music and, himself already a multiple prize winner in his youth, also likes to get appropriate inspiration at master classes. With Globokar's "Dialogue on Air", written as early as 1994 in the context of three other solo dialogues on fire, water as well as earth, a "small drama between two complementary actions" unfolds (in the composer's words):
Little drama between two complementary actions.
Consciously or unconsciously one devours daily
information in all fields,
then one spits out these mixtures, if necessary transformed, again.
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