ARCHIVE EnCounterpoints

| Musikstudio Ohrpheo


Susanne Fröhlich | recorders
Thomas Noll | aerophon

LuftART (airART) is a mixture between installation and performance, improvisations, graphics and strictly recorded scores - the musicians and their instruments are always in the foreground. In focus of the concert is the variety of pipes, which exude a certain fascination for the two extraordinary artists and are the reason for this unique program. A tribute to two instruments with a long tradition, but rare to hear.

Location: Musikstudio Ohrpheo, Jablonskistr. 15, 10405 Berlin

Admission charge: 10 € | 7 € | 6 € (Berlinpass) - children and teenagers free!
(Tickethotline: 030-25048799)


Thomas Noll (*1962): the air in and the gay out (2016)
Timo Tuhkanen (*1983): Heel (2016)
Maurizio Azzan (*1987): Concetto di aura (2016)
Sebastian Elikowski Winkler (*1978): …weder die luftart, noch das werkzeug, dessen sich die herren zu ihrem experimente bedient hatten, war ihm bekannt. (2014)
Martin Daske (*1962): Foliant 14 (1991)

Eine inm geförderte Veranstaltung

Die Stücke

Thomas Noll: the air in and the gay out (2016)
# air (engl.): Luft, Lied, Flair, Lüftchen, Auftreten, Aussehen, Wetter, Melodie, das Air (mus.)
# air (frz.): Luft, Flair, Klima, Miene, Wind, Weise, Wetter, Arie, Melodie, Anschein, Ansehenz.):
# gay (engl.): lustig, schwul (ugs.), fröhlich, heiter, vergnügt, bunt, lebenslustig, fröhlich, unbekümmert
# gai (frz.): fröhlich, aufgeräumt, frohgestimmt, heiter, launig, lebensfroh, lustig, munter, farbenfreudig

The Aerophon consists of blowers, wind distributors, hoses and pipes. For the musical action 'the air in and the gay out', I replace the tubing with other leads for the sound players who replace the pipes: toys, materials, sound objects, and recourse to the archaic idea of ​​inspiration through air as a breath Sense of an object-music theater, the playing child in us, the aural revival, ephemeral art, the air art. (Thomas Noll)

Timo Thukanen: Heel No. 4 (2016)
"Composition is for me not something that can be explained in a single artist explanation, it is always in a natural state of the river, a constant occurrence of change and process, in which one tries to construct complex superimposed meanings with sounds that are in "This is a lifelong process." (Timo Thukanen)
The technique used in this piece requires the musician to find a place on his instrument that allows the conductivity between heat and body; e.g. With the heel freed, the musician can sense the temperature of the air at the hole at the bottom of a Paetzold double bass recorder. What I drew as a result of this event is a series of six drawings depicting the ring play possibilities of the entire instrument on the skin - a possible way to feel the hole and the air from the inside. The sound becomes hyper-rich in overtones and is simply amazing by itself. The heel would move easily, wholly changing the well-balanced spectrum, which is easily audible.

Maurizio Azzan: Concetto di aura (2016)
"Concetto di aura" (2016) belongs to a cycle of solos for different wind instruments. In this series Maurizio Azzan (* 1987) looks for the inner identity of each instrument. The main idea is to concentrate on elements that are part of the ordinary timbres. These elements are the same on all wind instruments, but their resonance in the tube is very different. It reflects the identity of each instrument and allows us to recognize the sound source and its particular color: its aura. The aura is the limit of sound identity and its unifying element - something that can be perceived only in the unstable passage between silence and sound, sound and silence.

Sebastian Elikowski Winkler: … weder die luftart, noch das werkzeug, dessen sich die herren zu ihrem experimente bedient hatten, war ihm bekannt | ... it was known to him neither the air, nor the tool which the gentlemen had used for their experiments (2014)
The piece was created for the two musicians and is the attempt to find a common language. This applies, on the one hand, to the score: while there are differentiated notation possibilities for the recorder, no piece had been marked at the time the work was written for the Aerophon. I was interested in developing a common notation, which takes into account the peculiarities of both instruments and allows them to work together on the same level. Trenches were also to be overcome with regard to the possibilities of playing technique: despite instrumental similarities, the instruments differ in many respects. I found it less interesting to write a solo with accompaniment, but the solo possibilities of both instruments should be preserved and heard in a duo.

Martin Daske: Foliant 14 (1988)

Art is mobile - you just want to move it. The folios clearly show. They display proportions that contain more than what can be observed by a keyhole. Of course, we can also look at a landscape through a keyhole - and it can also please us. But we do not get to know the vast, wide world. The folios can teach us that we learn more when we ignore the keyhole of the tame experience and instead open the doors themselves. (Boguslaw Schaeffer)

The artists

Susanne Fröhlich

Susanne Fröhlich, born in Passau in 1979, studied recorder at the Conservatorium of Amsterdam with P.T. Leenhouts and received her Masterdiplom with distinction in 2004 after the concert diploma. She studied with Prof. G. Lünen at the University of the Arts in Berlin and graduated with honors in June 2008. In April 2015, she completed a one-year artistic training course focusing on Helder Tenor Recorder with J. Fischer at the Akademie für Tonkunst in Darmstadt and since October 2015 she is an artistic and scientific student at the University of Art in Graz.

Susanne regularly performs concerts and workshops inside and outside Europe. As a former founding member of the QNG - Quartet New Generation, she performs as a soloist as well as in different formations, as well as in several musical theater productions, among others.

Thomas Noll

Thomas Noll, born in 1962. Studied at the State College of Music in Freiburg / Br. (Organ with Prof. Zsigmond Szathmáry), lives as a freelance musician in Berlin (artistic director of several choral projects, diverse concerts, cycles, performances as an organist, pianist and conductor). From 1995-2007 he worked as a musician at the Sophienkirche in Berlin-Mitte. Since 2005 he has dedicated himself to the organs built especially for contemporary music in the St.Peter Cologne art station.

Since 2008 he has devoted himself mainly to the multimediality of the organ: developing new forms of events, working on a film about the phenomenon organ, sound research, cooperation with various artists and art forms.

n 2010, he initiated 'lab.or.a 2010 - contemporary organ demonstration in dialogue' as a festival, thus opening the way to a series of improvisational events that explore the interaction of both conventional instruments as well as DJ sets, bagpipes and enema instruments with the organ. Since 2012, he has explored the possibilities of the organ with his aerophone, a sounding sculpture of old organ pipes, in the aspects of fragment, deconstruction, recycling and spatial design. In 2013/14, he completed the one-year project DAS ALLES, a series that examined aspects of implementation, networking and aesthetic point-of-view, and was known as concert research. Since 2013/14 he has been involved in an innovative church music project (B'-Schöneberg), organ projects of the MACHMIT! Museum for children (B'-Prenzlauer Berg) and the organ concert series of the Stadtmuseum Nikolaikirche (B'-Mitte ). The most recent festivals: ORGANOVINO 2014/2015/2016 and INSIDE_OUT for organ & electronics 2016. His interest as an artist, mediator and project accompanist is above all the mediation of contemporary music, socially relevant questions and their implementations, aesthetic conceptions, interdisciplinary projects and the connection Body - art - spirituality.

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Artistic direction and curation of the festival: Andreas F. Staffel

Das Musikkonzert von EnCounterpoints 2022 wird gefördert vom Bezirksamt Pankow