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  • Clementine Gasser - Press / Photos
    press announcements in an editorial context and upon acknowledgement of the source and photographer Any rights exceeding the aforementioned right of use must be cleared directly with the photographer Photo 21x21 cm 300dpi download Photo 21x21 cm 300dpi download Photo

    Original URL path: http://www.clementine-gasser.com/presse-fotos.php4 (2016-02-10)
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  • Clementine Gasser - Press / Reviews / Interviews
    Mossberg may 2012 With a dry slap of the tongue and the warble of a Japanese bamboo flute soprano saxophonist Gianni Mimmo leads the way into Atomic Heart Clementine Gasser s 5 string cello rustles the leaves brushing against the pianistic wind chimes of Elisabeth Harnik We are drawn into a protean soundscape that is brash lawless frequently off putting but consistently engaging Such is the nature of 10 000

    Original URL path: http://www.clementine-gasser.com/presse.php4?n=0|0|12 (2016-02-10)
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  • Clementine Gasser - Press / Reviews / Interviews
    the familiar and the unknown adaptation and resistance No not combines but layers juxtaposes pits against each other So that out of the chaos may emerge a new order But Gasser s aim is not order as such She creates a new order through a process of seeking and finding What was valid a moment ago is valid no longer The listener realises that order is not a state but a process This order is not as rigid as it pretends mused Robert Musil s Man Without Qualities no thing no self no form no principle is safe everything is undergoing invisible yet incessant change there is more of the future in the unsolid than in the solid and the present is nothing but a hypothesis which we have not yet outlived I am listening to Thelonious Monk dissect Smoke gets in your eyes T his pause is too long I think to myself Is he ever going to start up again He s too late No there it is the eagerly awaited keystroke And in retrospect I realise that the timing was right of course Monk was spot on This moment and only this very moment was valid A similar principle applies to the music of Clementine Gasser The unexpected or rather the unknown reveals itself and the surprise is in the occurrence of the expected It s like a bad dream we tear the mask off the face of the monster that frightens us and realise with horror that we ve always suspected nay known who or what was behind it Her music is subversive says Gasser and refers to her cello techniques But her subversion extends beyond the formal context She crosses boundaries by simply denying their existence She abandons the world of either or for the

    Original URL path: http://www.clementine-gasser.com/presse.php4?n=0|0|7 (2016-02-10)
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  • Clementine Gasser - Press / Reviews / Interviews
    Original compositions daring combinations In this musical balancing act between silence and chaos Trzaska pioneer of the Yass scene polish avant garde jazz and founder of the Mi o cult group forced his saxophone to emit a whispering sound reminiscent of ragged deep breath rapping and hammering Zerang s talent also shone brightly as he masterfully handled the percussion instruments I admire the musician s keen musical perspicacity and his

    Original URL path: http://www.clementine-gasser.com/presse.php4?n=0|0|11 (2016-02-10)
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  • Clementine Gasser - Press / Reviews / Interviews
    Invece di navigare come spesso accade tra un labirinto di materiali autoreferenziali e pose fotografiche l utente ha a disposizione in lingua tedesca e inglese scarne informazioni biografiche sostanziosi esempi sonori una selezionata rassegna stampa e informazioni sulla copiosa attività dal vivo in cui potere ascoltare e conoscere questa musicista svizzera attualmente attiva a Vienna Per definire la sua musica la Gasser non usa mezze tinte Parla di classica d avanguardia sovversiva o musica da camera selvaggia in cui i processi compositivi della tradizione colta le tecniche del collage il jazz e l improvvisazione si fondono nella ricerca di un modello di bellezza convulsiva Con il suo violoncello amplificato a 5 corde la Gasser è attiva in diversi progetti sia solistici che d ensemble in duo con il pioniere della musica elettronica d avanguardia Joachim Roedelius in trio con gli italiani Fabio Capanni e Nicola Alesini o assieme alla cantante Patti Smith collaborazione nata in occasione di uno spettacolo multimediale di Schlingensief al Burgtheater di Vienna per fare solo qualche esempio significativo Date le sue qualità non deve stupire che nel 2005 le sia stato assegnato il premio della Repubblica austriaca per la musica e la composizione premio che conta

    Original URL path: http://www.clementine-gasser.com/presse.php4?n=0|0|10 (2016-02-10)
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  • Clementine Gasser - Press / Reviews / Interviews
    skills of the cellist who has her roots in classical music and the jazz impressions of Trzaska who owes his finishing touches to the legendary Mi o Group The duo line up creates a very immediate dialogue experience in which Gasser and Trzaska proved to be extremely convincing The concert in Alchemia started out with very soft playing by Gasser one could feel how every individual note gave the musician

    Original URL path: http://www.clementine-gasser.com/presse.php4?n=0|0|9 (2016-02-10)
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  • Clementine Gasser - Press / Reviews / Interviews
    else take overtone systems where the one preconditions the other where you could say the tension overarches or underpins the release and vice versa What was your development You learned to play the cello attended a conservatory Right I started playing the cello at six and first focused on the classical sphere but a career as a chamber or orchestra musician would not have suited me really Even then there was this impetuous subversive element and my tendency towards experiments towards New Music and jazz But I have a great love for the classical repertoire particularly for Baroque music At 17 I took a break of several years When I then rediscovered the cello I realised I wanted and needed to open up a new field In Vienna at the conservatoire I looked into jazz It was beneficial but only up to a certain point My way of exploring things did not fit into the confines of classroom activities Despite the amplification the instrument remains what it is a cello Your listeners hear old and then again very advanced playing techniques overtone play they experience subtlety stillness and then again unrestrained aggression Letting loose in aggression provides a place also for subtlety Confronting dualities perhaps linking them together creates a powerful intensity High volume levels noise would you like that When the heart is open for the music the ears can take a lot I love extreme volumes they have a liberating effect but I am not going there at any cost Sometimes I use the ear plugs that organisers hand out to the audience it depends on the concert and my mood In the sextet version the spectrum of the cello sound was extended by other instruments and there were improvised solos by the other musicians What is the relationship between composition improvisation At first I had wanted to fix the sound aspects and the temporal sequences more precisely but then I decided to give more room to improvisation and to leave it to the individual musicians as to how they wanted to approach the material This aspect of freedom and risk is a great concern of mine From which scenes do the musicians come that you frequently play with With respect to the sextet Martin Ptak trombone and Markus Mayerhofer guitar and electronics are relatively firmly rooted in jazz and New Music and they also have a trio with Christian Gonsior saxophone the trio is currently treating film scores Pia Palme sub basses bass recorder and electronics hails from classical music and New Music but has long liberated herself from strict allegiance I got into contact with the percussionist Erwin Schober his strengths relate to drum n bass and Balkan Jazz Fatima Spar the Freedom Fries through productions for festivals and other productions with Karin Beier she will take over as head of Schauspiel Köln as of 2007 In addition Schober is my percussion drums partner at the Baudelaire production Spleen de Paris I often work with Schober

    Original URL path: http://www.clementine-gasser.com/presse.php4?n=0|0|1 (2016-02-10)
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  • Clementine Gasser - Press / Reviews / Interviews
    Corporation ORF Ö1 A ukasz Gnat PL il giornale della musica I Maciej Kozlowski PL mica interview 06 Franz Koglmann musician composer A Wormser Zeitung GER skug Magazin für Musik A Concerto Magazin A Wiener Zeitung A Speech in the context of the Award Ceremony of the Förderungspreis für Musik Komposition der Republik Österreich 2006 for the year 2005 Clementine Gasser is so convincing because of her powerful and distinctive

    Original URL path: http://www.clementine-gasser.com/presse.php4?n=0|0|8 (2016-02-10)
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