Scratching, breathing, breathing, crunching – the music presented by the ensembles Via Nova and Miet+ as part of the adevant-garde in the Schwere Reiter relies more on noise than on sound. “Salon des Femmes” is the name of the evening that the two ensembles from Thuringia have put together for this performance. There are only works by women composers. But the aesthetic cohesion is much more exciting in this selection than the sexual one.
Miet+ and Via Nova play alternately, only united as a supergroup in the sixth track. Before: small ensembles, duos and quartets. In Macarena Rosmanich’s “I dreamed I was sleeping” air currents from the clarinet without a mouthpiece and bellows fluttering from the accordion without sound dominate. Margareta Ferek-Petric’s “Wirrwarr Song Nr. 4: Verkehrkeit” is similarly cast and composed in a similar way. Based on a line of text by Bob Dylan, she deals with the death of her father-in-law. Noise instruments are accompanied by noisy speech and tearing up of newspapers.
Aigerim Seilova enriches her piece with a video projection. Noise studies for abstract color runs and street recordings. Magdalena Grigarova’s “Therefore” is more punk. The composing electric guitarist plays along herself. But here too: minimal tonal movements, more tones than melodies. A little Marta Kowalczuk’s “conexiones” and Eunsil Kwon’s “man-nam” fall out, which musically quote more with western guitar and musette accordion or rain stick and flute.
It all goes well with this year’s Biedermeier motto of the adevant-garde. Because in this music an implosive introspection is pursued. But nowadays – in times when the private is sold on Instagram – this is also extremely radical. And that is reflected in the sound of these pieces: Because this noise-based music has something extremely delicate due to the volume. But at the same time also a fundamental and radical attitude of denial.