Programme - Four world premieres:

"Fusion" by Yuanbin Cao (3rd prize)
Cello - Elina Reller, double bass - Klaas Hillmann, flashlights/performance: Ernestine Eickstädt, Clemens Ohlendorf, Wencke Thoden

"the h/ours of the night" by Niklas A. Chroust (sponsorship award)
Violin - Maren Bußmann, cello: Elina Reller, piano - Julia Riechmann

"schuld?" by Niklas A. Chroust (inclusion in the repertoire of the University of Oldenburg)
Vocals - Aaron Beyersdorf, piano - Faraz Forouzandeh

"Im Frühling 2022" by Yuanbin Cao (1st prize)
Bass flute - Carlotta Dewald, Performance: Ernestine Eickstädt, Maren Bußmann, Wencke Thoden

Technology (sound + light): Jan-Phillip Köhler

Overall direction: Volker Schindel

Presentations: Volker Schindel & Fiona Kopp
Programme booklet: Fiona Kopp
Conceptual planning: Niklas Jahnel, Fiona Kopp, Volker Schindel

The programme booklet is available in digital form HERE available.

The premiere concert was framed by the installation

Music for: "Between eyes and ears"

16 steel sheets set out to musicalise the physics of resonance and interference.

As "loudspeakers" for simple electronically generated sounds, they generate figurative patterns on their surface and add the sound that has been an unmistakable feature of many studio productions for 60 years.

The journey through the orchestral qualities of a sheet of steel pulsates between science fiction, outer space and touches on the sound of New Music, which has also been translating the creative possibilities of electronic music into compositional processes for a good 60 years.

In the composition for 16 vibrating iron sheets and sand, visually comprehensible sound processes are translated into microtonal listening spaces that open up a personal field of perception and invite you to an extraordinary listening experience.

Jens Carstensen, an activist for experimental sound events from Bremerhaven, developed the musical concept for the concert installation together with Christoph Ogiermann and Mattia Bonafini from the Projektgruppe Neue Musik (pgnm Bremen) in the Unerhört studio.

Using an ingeniously simple experimental setup with a metal plate, some sand and a violin bow, the physicist and astronomer Ernst Florens Friedrich Chladni once conjured up patterns by painting the plate and discovered the principle and order of sound patterns around 1780, which went down in the history of knowledge as Chladni figures and characterised him as the founder of the theory of physical acoustics.

In the concert, the violin bow is replaced and the 16 iron plates are stimulated to vibrate and sound by means of electronics. This is visualised on the surface of the iron plate sprinkled with sand in flowing, dune-like movements that provide the framework for the concert's expansive musical design.

The concert is not just a journey through the almost 250-year-old theory of acoustics. It reconstructs strategies for music "in space", as can be found in contemporary compositions by György Ligeti, Iannis Xenakis and Alvin Lucier, among others, or in the French spectralists around Gérard Grisey.

This "experimental musical test arrangement" is supported by the Bremerhavener Kulturtopf and klangpol -Netzwerk Neue Musik Nordwest.

https://unerhoert.net