Mountains, skies, constructions
A sound composition / improvisation of about 25 minutes for church, electric organ, church organ, amplified objects, sounds of church service (murmur of praying, conversation, steps coming into church, singing). The artists will develop a piece (composition / improvisation) for her old electric Korgorgan in combination with church organ, amplified objects, and sounds of the church. It would be based on experiences with her solo performance organ and objects, which transforms the idea of landscapes with hills and remote sounds, coming closer and going away. The idea of the piece for the Gralheira mountain range is to integrate inner and outer profane sounds of the church and the landscape (like steps coming into in the church, gardening machine sounds, mechanical fragments of melodies) in a contemplative church composition, where they are not longer disturbing. The mechanical sounds of the landscape will be replicated by amplified objects inside the church, which will render them more abstract. It is important that all sounds come from the inside of the church. In this way the separation of outside and inside sounds is annulled and mechanical sounds will not be connected to certain images of machines. The arrangement should open the ears for some certain beauty of mechanical sounds. The piece could be seen as a spiritual space. It invites the outer world of techniques and machines, merging the two zones of sound. Sounds will be integrated in a musical concept and a homogeneous quiet aesthetic so that the perception of the listener will stay in the church and contemplation will be possible.
Antje Vowinckel (born 1964) is a Berlin based composer and performer. She studied literature and music (flute/piano) and played in a classical orchestra, chamber ensemble and jazzbands. She wrote her thesis about radio plays as radio art, and worked one year as a dramaturg. She has been commissioned to do radio plays and shows for a variety of public radio stations. Her focus is on the musicality of the spoken word; for example in her project “Terra Prosodia“, produced for the “WDR Studio Acoustic Art” and based on melodies in European dialects. A number of her works employ fragments of documentary speech, or language improvisation (automatic speaking) which are then transposed into a musical structure. She uses instrumental and electronic sounds as well as every-day-life sounds which are interspersed between music and narration.