Ictus zone 2

December 20th 20h00

Ictus Zone: Nadar ensemble – “dubbelganger”

Ictus presents the adventurous Ictus Zone, featuring in this concert the Nadar Ensemble. The concert series (watchword: constructive provocation) presents a new generation of musicians and ensembles active in contemporary music. Under the heading Dubbelganger, the Nadar Ensemble will perform works by the composers Michael Beil and Peter Ablinger, with inspiration from kindred spirits Hanna Schygulla, Billie Holiday, and Bertolt Brecht.
Michael Beil, Mach Sieben for piano, CD and video
Michael Maierhof, Shopping 4 for three balloons
Peter Ablinger, Hannah Schygulla, Billie Holiday, Arnold Schönberg, excerpts from “Voices and Piano” for piano and CD


Elisa Medinilla piano, balloon – Yves Goemaere balloon – Dries Tack balloon

More info: Bozar
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Ictus zone 1

ICTUS ZONE is putting itself out there as a new series of concerts that always stray from the beaten track. Over six Thursday evenings between November and April Ictus features in the action without actually being on stage for every concert. 
In this first series Ictus absorbs provocation and takes its inspiration from the sorts of things that occupy a new generation of musicians and groups. The results of this input are then thrown together, maybe injected with a few recent Ictus wors and then filtered. 
Constructive provocation is the phrase used to describe this series, which endeavours to offer the audience new perspectives, trends and relationships.
This was No.1 with Zwerm and Michael Schmid:

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Aton’ & Armide @ Espace Senghor

October 20th 20h30

Klee & Colours

Olivier Messiaen et Alexandre Scriabin partageaient un double enchantement : la mystique et la couleur. Tous deux atteints de synesthésie, maladie de la couleur, ils ont associé comme jamais les deux sens magiques qui font de l’homme un artiste : la vue et l’ouïe. Leurs recherches presque scientifiques sur les correspondances entre cou
leurs et sons ont fait de leur musique une explosion visuelle et sonore.
Pour Paul Klee, à qui Mantovani rend aujourd’hui hommage, cette double fascination n’est autre qu’un moyen de communication. Il développe sa science de la couleur presque en même temps que Scriabin compose ses oeuvres les plus connues. C’est ainsi qu’ils entrent en dialogue sans même le savoir, par le biais magique des sons et des couleurs. Un dialogue qui continue jusqu’à nos jours…
Sur ce fil ténu entre visible et invisible, point de départ d’un mysticisme qui appelle l’Homme à ressentir les beautés qui l’entourent, viennent se greffer les timbres rêveurs de Toru Takemitsu et le vernis moderne de Heinz Holliger. Ces humbles réflexions nous aideront peut-être à mieux comprendre pourquoi, parfois, on se sent ivre de sons, ivre d’apparences, ivre de vie. Ou comme le dirait Apollinaire, si le poète pouvait se joindre à ce dialogue mystérieux, ivre d’avoir bu tout l’univers…
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Nadar @ Donaueschinger Musiktage

October 20th – 11h00

Donaueschinger Musiktage
Donauehallen, Bartok Saal

‘Our writing instruments also influence our thoughts’, Friedrich Nietzsche noted long before our media age. If we speak of new ensemble constitutions, we cannot merely address questions of instrumentation; the choice of instruments only provides the surface of a new sonic image. A far more central concern is what the carriers of action are in the artistic events taking place, as well as the forms of transport and transformation in the individual media. Who determines what happens: humans or machines? How interactive and communicative is the relationship between these two actors within the new ensemble constellations? The concert featuring the Belgian ensemble Nadar will provide an unusual perspective on the growing hybridisation of all these connections. Thus Yoav Pasovsky questions the acoustic exclusivity of the musician by using electrodynamic exciters to transmit digital signals through the bodies of the instruments, which are thus converted into interfaces; Johannes Kreidler and Stefan Prins integrate video, Internet and computer games, as well as acoustic and electronic sounds, into their multi-media setup, where technology is not necessarily intended as an antithesis to the corporeal. They integrate both self-produced material and elements taken from the YouTube archives and computer games. It is not only the medial textures of the individual works that merge, then, but also the pieces themselves: the generation ‘Kill’ on its way to desperation?
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