Studio conert for new Music

"Beyond the limits" - Studio concert for new music 2015

On June 20, 2015, Astrid Rieder opens the 19th Atelierkonzert für neue Musik on the theme “beyond the limits” at 6pm. In a keynote, Norbert J. Huber presents on the topic " Pieces Of Art Are Symbolic Constructs – Like Language,” followed by Reinhold Kletzander and Friedrich Hecher, who each talk about their personal experience of arts and acrobatics as form of expression for children and adolescents.


At 8pm, Astrid Rieder invites the even broader audience to enjoy the trans-Art performance without applauding between the acts, and instead to be attentive how trans-art can intensify their overall experience. The audience is fascinated by the dancing of Yugsamas Movement Collective to Terry Riley's In C. The dancers express the timbre with virtuosity. Soon the focus shifts to Angela Koppenwallner, who is already at the harpsichord. Recorded and virtually generated tunes meet the harpsichord tunes of her live playing. A duet of "infinite" sounds emerges. The borders between Bach and Riley disappear, despite the two centuries separating them.


Reinhold Kletzander improvises on the lute, enhanced with electronic sounds. A young acrobat appears in the light: 14-year-old Stefan Hecher begins the acrobatics-part on the high wheel, then changes to the unicycle and balances across planks, pallets and even up and down the stairs to the grandstand. The lute and electronic sounds counterpoint these acts. When he disappears in the dark again, the last part and highlight of the performance starts: the audience drawing to new music. Masayoshi Matsui enters the stage with his electronic equipment and conducts Angela Koppenwallner (harpsichord), Yoko Fujimura (baroque bassoon) and Hanami Sakurai (Oboe d'amore) to his newly (especially for this evening) composed Concerto for Oboe d'amore, Seymouria baylorensis. In the meantime, the audience takes paper and pencil and begins to express with their drawing what new music does to them. In the beginning they draw timidly, but soon an interplay develops between the audience and the musicians. Astrid Rieder catches the sounds of the drawing with a microphone. The interaction results in a vibrant atmosphere, literally “beyond the limits.” Only slowly the action disappears, and finally, the audience can show their enthusiasm in long applause.