werk_statt_festival, Konzert 2a
Musik von Morton Feldman, Marco Stroppa
Ricardo Eizirik, Leitung Gastprojekt
Solist*innen & echtzeitEnsemble
Leitung: Ronan Whittern (Klasse CM Löser) und Christof M Löser
in Kooperation mit Musik der Jahrhunderte
Morton Feldman (12.1.1926 - 3.9.1987)
I met Heine on the Rue Fürstenberg (1971)
for voice and instruments
Yukun Zhang (Klasse Prof. Marco Stroppa)
feeding humans (2026)
8-channel fixed media
URAUFFÜHRUNG
Morton Feldman (12.1.1926 - 3.9.1987)
The Viola in My Life 2 (1970)
for viola and six instruments
* Pause *
Marco Stroppa (*1959)
élet… fogytiglan (1988-89,1998, 2014-15)
dialogo immaginario fra un poeta e un filosofo
Imaginärer Dialog zwischen einem Dichter und einem Philosophen für 15 Instrumente
6 Module, in verschiedenen Reihenfolgen und Kombinationen aufzuführen:
[1] (= alt I) Libertà e Potere (Vacillante, accanito)
[2] (= alt II) Libertà e Violenza (Lancinante, inflessibile)
[3] (= alt IV) Libertà come Indipendenza (Subdolo, inafferrabile)
[4] (= alt V) Libertà della Fantasia (Scosceso, virulento)
[5] (= alt „3“) Libertà del Pensiero (Volatile, frémissant)
[6] (neu2014) Muri (Libertà dei Sentimenti: estremo, radicale)
Nachfolgende Veranstaltung:
Konzert 2b | 20.15 Uhr | P1 / Musik der Jahrhunderte / THEATERHAUS Siemensstr. 11 am Pragsattel
Anna Burova (Klasse Prof. Luxa M. Schüttler)
Neues Stück (2026)
URAUFFÜHRUNG
PERFORMANCES
Camps Gegenwart/Prof.in Britta Wirthmüller & Prof. Dr. Christian Grüny
GESPRÄCH
Leitung: Prof. Dr. Christian Grüny
* Pause *
Ricardo Eizirik
Bodily Awareness as IdentityArbeitstitel (2026)
& echtzeitEnsemble + gemeinsam entwickeltes Konzept/Stück
„Eizirik-Projekt“ für eine Gruppe HMDK-Studierender:
Instrumente, Stimmen, Komposition, Improvisation, Bewegung, Performance
Bodily Awareness as Identity is a workshop and concert format bringing together students from different disciplines to explore the body as a central site of meaning in performance and artistic creation. The project approaches bodily awareness as an identity-forming tool: for performers in relation to presence, aura, and interpretation; for artistic creation the body as a space to think about the usage of time and relations. Through a short theoretical introduction and practical exercises, students examine how bodily presence shapes conceptual thinking, artistic meaning, time- and spatial relationships, and listening/perception practices. And also how sound, space, scenography, movement and time affects the body (and our perception). The work invites students to engage in critical thinking and to engage with concepts of intersectionality and a postcolonial gaze, asking how bodies are perceived through historically and socially conditioned frameworks of gender, race, and cultural background. Exercises focus on
posture, gesture, stillness, movement, and scenography, as well as on the relationship between performers and audience. These explorations culminate in a collaboratively developed concert format that functions as an expanded performance situation, foregrounding bodily presence, visibility, and the shared responsibility of performers, composers, and audience in the production of meaning.
