Vincent´s LAB – WÜRKMESSE / Nr. 7 Lamb of God



BREAKING PRIMES TOGETHER ALREADY CREATE A TYPE OF SUFFICIENT SYMPATHY. [Arno Schmidt]

-Interview with Vincent Stefan and Falk Julius [August/ November 2010]- – Excerpt – FJ: You have now published the 7th part from your WÜRKMESSE, the AGNUS DEI. The title of the fair is provocative, the subtitles are too – the fair is a SADOMASOCHIST REQUIEM FOR SCHIZOPHREN CHOIR / DEAD ANIMAL / HUMOROUS SOPRANO / LONELY PLANETS and ELECTRONIC RIBBON and the AGNUS DEI has the subtitle PLANET AFTER THE SLUMPING. So you are concerned with the sound and not with the harmony or other musical parameters – but what does an AGNUS DEI have to do with planets, especially lonely ones, and their slaughter? VS: There are places where little or no sound is ascribed. The universe is generally depicted as empty and silent. That is why I used and alienated samples of acoustic recordings from NASA of planets (e.g. Venus) according to specific parameters in the electronic tape. It’s pretty loud out there, the real avant-garde lurks there for me. These dead spots seem like storage sites for sounds that are thousands of years old. There ghosts scream, the elements play poker or the gods howl bad jokes from old times. We use these apparently silent hard drives almost everywhere in everyday life; every packaged salami from the supermarket refers to the slaughtering cries and machine choirs of the production process, which are simply welded shut. You can still hear the reverberation when you tear these things open vigorously. I don’t mean it morally, everyone has to decide for themselves. But one can hardly distinguish acoustically between the calls to slaughter of the animals, the howling of the planets, instrumental eruptions and some passages of the SCHIZOPHREN CHOIR in the AGNUS DEI of the WÜRKMESSE. I was looking for this networking. The solo violin also partially imitates the songs of the seagull, which becomes the central animal sacrifice, the Lamb of God in this funeral mass. I had to think of Anton Chekhov, where this bird symbolizes the inevitable stagnation of everything vital and here this silence is realized through sound. Silence is not really my medium, but I was always fascinated by silence specialists like the composer Beat Furrer. FJ: Why a fair? Are you a believing christian? Or did you just want to try a classical form – admittedly without using traditional church music forms or the liturgical text of the AGNUS DEI (Agnus Dei, qui tollis peccata mundi, miserere nobis / dona nobis pacem. – Lamb of God, you bear your sins the world, have mercy on us / give us peace.) to use? VS: No, I am not a Christian. It is the ambivalence of this classic form that interests me. On the one hand, the performance of a funeral mass is a very sadomasochistic act. There is again a lot of pressure on the mourning gland with the help of submission rituals. In truth, the real shock, for example the trauma of the realization of transitoriness, is only diverted into the music. In its basic constitution, music is namely that it has already passed at the exact moment it is played, ideal for such sublimation processes: an eternal Lord’s Supper as a bulimic process of mourning (see video). That is why the WÜRKMESSE is forever incomplete and its original idea cannot be performed and everyone is invited not only to add it backwards, but also to add it to the front, to overwrite it, to eliminate it. On the other hand, such genres condense the confrontation with perhaps the most existential questions that we can ask ourselves. That makes them personable and attractive. FJ: A mass usually includes solo voices and a choir. In the published AGNUS DEI you recorded a single part for the SCHIZOPHREN CHOIR and then superimposed the individual tracks. How do you justify such a stylistic device? VS: I try to attack the individual elements on their basic building blocks. A choir consists of several people, so I have to create a choir that consists of one person, a CLONCHOR, so to speak, that only suggests the crowd. Elias Canetti says: There is equality within the crowd – I wanted to take that seriously. Incidentally, every performance would expose the original as fake. If one already integrates processes of reproduction in the original text, what is reproduced remains unreproducible. In this I see a great analogy with death. Death applies to all people, but no one repeats it. Friedrich Nietzsche’s ETERNAL RETURN OF THE SAME and Henri Bergson’s concept of unrepeatability may not be based on such a serious difference. We like to separate true and false, authentic and fake, analog and digital, but the interfaces are often larger than we would like. In its final appearance, John Cage’s aleatoric music does not differ much from the musical material of Arnold Schönberg. In my SONGS FOR INTUITIVE SINGING, it was always important for the singers to have a say. That’s the great thing about pop music, the singing of which is almost always an immediate response to the music. I like the idea of ​​locking the singers in a room for an hour with my music. From this material I then put together what I like. These are then mostly the theatrical moments of singing that are left over, the moment when they take two breaths because they don’t yet know where they want to go. FJ: For this reason, the sound of the samples on the electronic tape is the only constant in the piece. It begins and ends with alienated samples, with the exception of brief caesuras. Other influences were undoubtedly György Ligeti, but also the French spectralists around Gérard Grisey and perhaps Morton Feldmann, in the turning points […]

WÜRKMESSE op. 4, No. 7 – AGNUS DEI SADOMASOCHIST REQUIEM FOR SCHIZOPHREN CHOIR / DEAD ANIMAL / HUMOROUS SOPRANO / LONELY PLANETS AND ELECTRONIC BAND. HUMOROUS SOPRANO Ulrike Schwab ENSEMBLE IMPROVISARIO Vincent Marvin Stefan [KOMPOSITION/LEITUNG]

FILM
DIRECTOR/ DIRECTOR of PHOTOGRAPHY/ FILM EDITING Vincent Stefan
SET DESIGN Stefanie Lindner, Merle Vierck
CREW Martin Gerke, Martin Miotk, Lena Sedlbauer

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