Prinzip Hoffnung II: Desperate Hope

Matthias Kader’s song cycle “Der Tod ist eine Blume” (Death is a flower) introduces the antipodes in Paul Celan’s lyrical world: hope and despair, life and a yearning for death, through his darker early works as well as his love poems such as “Blume” (flower). Celan’s writings are set to music and juxtaposed with Franz Schubert’s famous song cycle “Winterreise” (Winter’s journey). Schubert’s protagonist staggers back and forth between exuberance and despair, finally descending into a hopeless sense of melancholy. David Cavelius has arranged the songs of the cycle for 16 male voices and string players. The concert Vocalconcert Berlin and Solistenensemble Kaleidoskop forms part of the series “Principle of Hope”, marking the 15th anniversary of Vocalconsort Berlin.

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SERGE

“SERGE” by Luigi De Angelis and Solistenensemble Kaleidoskop is inspired by the visionary Russian impresario Sergey Diaghilev, founder of the legendary Ballet Russes which revolutionized the world of music and dance in the early 20th century. In “SERGE”, music and movement, gestures and facial expressions merge into an interdisciplinary composition. The result is a unique ‘choreography of seduction’ based on iconic works of the Ballet Russes, amongst them Debussy’s “Prélude à l’après-midi d’un faune”, Ravel’s “Daphnis et Chloé” and Satie’s “Parade”.

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Light Ground

The Solistenensemble Kaleidoskop plays “Light Ground” – an audio-visual composition by Mareike Yin-Yee Lee and Marc Sabat. Together they create an environment which centers around the slow change of perception through music, light and drawing. An interplay between concert and exhibition develops inside the almost 900-year-old former church of the Kunstmuseum Kloster Unser Lieben Frauen: a video installation in which Kaleidoskop performs, a concert that leaves traces inside the room, an encounter of art and music whose witnesses become exhibition and concert visitors at the same time.

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Kolik

A dying ego is questioning itself. The crack in the world cuts right through the brain. Giger / Hofmann / van Bebber translate Rainald Goetz’s catastrophic monologue “Kolik” into a polyphonic solo for the soprano singer Sarah Maria Sun, instrumental ensemble and loudspeakers. “Kolik” is a contemporary oratorio about the war in the head, the noise of the world and the fragility of the self.

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Der Opernwürfel

The bouillon cube (Liebig’s meat extract pressed to a cube), invented by Justus von Liebig in 1880, was a revolution to the cuisine of soup. The opera cube, invented by Georg Nussbaumer, is now doing the same for music theater. It preserves calories from 418 years of opera history by condensation of numerous piano scores. It remains dissolvable into smaller cubes. Slowly, like a melting iceberg, this archive of the opera wanders along, while text and note particles as well as instructions for activities are filtered from its memory. “Der Opernwürfel” reaches for nothing less than the entire stock of opera!

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Music for Hotel Bars

The concert series “Music for Hotel Bars” commissions composers to write music especially for a hotel bar of their choice in Berlin. The challenge for the composers, all of whom come from the genre of New Music, is to craft what might be provocatively called ‘functional music’ in an artistically satisfying manner. In his previous works the American composer Mark Barden dealt with the soundscape of social spaces. For his evening in the series, Barden explores this approach further in a composition for the Solistenensemble Kaleidoskop in the hotel bar of the Westin Grand. The concierge recommends a city attraction, a striking figure descends the grand marble staircase to the piano, string music floats and interweaves in the seven-storey atrium.

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FORT/DA III – Unbox (Clear Skies Remix)

Kaleidoskop goes back to the future for the third part of the series “FORT/DA”. “Unbox (Clear Skies Remix)” is an audiovisual labyrinth in which the audience strolls, trails away and within foggy chambers unexpectedly encounters the beauty of music by Lisa Bielawa, Pauline Oliveros, Franz Schubert, Salvatore Sciarrino and Sebastian Claren. Kaleidoskop uses the remix technique to upend, petrify and dash to shivers the parameters of a concert which leads to a very personal contact with the music. Just before this journey into the unknown Rashad Becker presents his live-electronic view on the things to come.

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FORT/DA II – „Über den Fetischcharakter in der Musik und die Regression des Hörens“: Eine melodramatische Etüde

“FORT/DA II” turns to the immediate emotionality of a pop song, Verdi’s Greatest Hits and a stammered reflection on the “Regression of Listening”. Theodor W. Adorno’s article of the same name is the point of departure for this night of discursive practice with the performance collective copy & waste. Kaleidoskop constructs versatile multi-track levels and slippery slopes to pick out potential echoes and meanings of the text and drown it out with new music, pop songs and Italian arias at the same time.

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FORT/DA I – Terrain Vague

Swept away – take me to Misty Lake! “FORT/DA I” starts with hints of an island – a variety of fluent and sudden changes, an oscillation between close physical proximity and distance among the musicians and their audience. “Terrain Vague”. Wasteland. Uncharted territory. Like the sounds of sirens, César Franck’s and Philip Glass’ string quartets whirl around the audience during this production of Philipp Enders. Before the noise dies down it lures the crowd into a deep listening ritual.

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inside/out

“inside/out”, a concert by Solistensemble Kaleidoskop with Ernstalbrecht Stiebler, explores the possibilities of an inner perception of sound, a ‘listening-in’ to strange sound spaces. The concert will present music by composers who are important reference points for Stiebler, from Dieter Schnebel and Walter Zimmermann to Mozart and Puccini. Rashad Becker complements the evening by bringing Stiebler’s music into the electronic music realm.

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