Aufbruch/Departure – The Bruckner 8 Project

A concert project for Ars Electronica 2017 developed in collaboration with Markus Poschner, Norbert Trawöger, Martin Honzik, Karl Schmiedinger, …
Performed by Bruckner Orchestra (AT)/ Markus Poschner (DE)
Soloists: Nguyên Lê (FR/VN), Hugo Siegmeth (DE), Harald Scharf (DE),
Bastian Jütte (DE), Markus Poschner (DE), Rupert Huber (AT),
Roberto Paci Dalò (IT), Stefano Spada (IT)
Visualization by Cori Ol’an (AT)

Here are some excerpts from the live recording of the concert-performance on 10.9.2017 at Postcity/Trainhall.
the realtime visuals where shown on a 5-screen-wide panorama projection. so please try to look at the video in hd and with a big screen…




At the center of the Big Concert Night in POSTCITY are the two middle movements of Anton Bruckner’s 8th Symphony, the crux on which the entire performance hinges. This is right and wrong at the same time! Bruckner’s music forms the foundation, the walls and perhaps the heavens too, in which audience members, situated in the middle of the Gleishalle, are free to move about.
The listeners are in the center, in the arena, anked on one side by Bruckner Orchestra Linz and on the other by a band of musicians including world-class guitarist Nguyên Lê, Hugo Siegmeth (reeds), Harald Scharf (bass) and Bastian Jütte (drums). A symphonic space is to be con gured about the audience, who will be able to shift locations, stay put and be receptive to sound arriving from all directions.
The interior of Bruckner’s symphony will be opened up, commented on, re ected upon and thus made immediately accessible by those present. In this concert event, form and content are being renegoti- ated. This is the very nature of the Ars Electronica Festival, which, perennially on the leading edge, showcases the progress of visionary technologies, hosts a discussion, and considers them in a social context—the 2017 festival theme is Artificial Intelligence—The Other I. This is likewise the nature of this unique situation for auditory and visual experience in the Gleishalle, a railroad loading dock in a former postal service logistics facility, and, above all, of the setting and the dramaturgy that Markus Poschner and his musicians have come up with.
Poschner will lead his orchestra, but also segue to the band and have recourse to his piano’s keys to improvise beyond, on and with Bruckner’s sounds. But this is far more than commuting back and forth; these tonal strands are willingly drawn out of the symphony and keyed up in multiple perspectives. This is ultimately an endeavor at sensory experience in a space that differs from a conventional concert hall. Another space for another experiencing ego to thereby play an interesting variation on the festival theme.

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