Ref. Kirche Trogen, Landsgemeindeplatz 4, 9043 Trogen
Admission: CHF 30 / Reduced rate: CHF 20
Why and under what circumstances was the Great Wall of China built? Drawing on Kafka’s story “The Building of the Great Wall of China,” Charles Uzor deconstructs the wall as a symbol of fear of the unknown.
Charles Uzor (1961), composition for 6 voices and tape:
The music takes listeners by the hand, as it were, along the Great Wall, accompanied by Franz Kafka in the West and Lu Xun in the East. Throughout the work, Lu Xun’s delicate poetry inspires a counterpoint to the dark tone.
*The Great Wall* is structured like a labyrinth in which larger sections break down into smaller ones—which corresponds to Kafka’s image of the senseless construction of a wall, scattered into fragmentary structures.
Johannes Ockeghem’s *Requiem*, considered the earliest surviving polyphonic setting of the Requiem Mass, provides a harmonic contrast to Uzor’s work. The Introit, Kyrie, and Offertory from this work are performed.
The concert concept allows new and early music to blend together, thereby creating similarities, contrasts, spaces of resonance, and light.
Vocal Ensemble Ekmeles NY:
Charlotte Mundy, soprano
Elisa Sutherland, mezzo-soprano
Timothy Parsons, countertenor
Tomás Cruz, tenor
Jeffrey Gavett, baritone
Steven Hrycelak, bass
In ancient Greek music theory, ek’meles were tones of indeterminate pitch and intervals with complex ratios that were “unsuitable for musical use.”
Ekmeles nevertheless uses these tones. Founded in 2010 by Jeffrey Gavett in New York, it is the first American group to receive the Ensemble Prize from the Ernst von Siemens Music Foundation.
The ensemble is dedicated to performing new and rarely heard works with a focus on microtonality. The New York Times praised it for its “extraordinary sense of pitch.”
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
The music takes listeners by the hand, as it were, along the Great Wall, accompanied by Franz Kafka in the West and Lu Xun in the East. Throughout the work, Lu Xun’s delicate poetry inspires a counterpoint to the dark tone.
*The Great Wall* is structured like a labyrinth in which larger sections break down into smaller ones—which corresponds to Kafka’s image of the senseless construction of a wall, scattered into fragmentary structures.
Johannes Ockeghem’s *Requiem*, considered the earliest surviving polyphonic setting of the Requiem Mass, provides a harmonic contrast to Uzor’s work. The Introit, Kyrie, and Offertory from this work are performed.
The concert concept allows new and early music to blend together, thereby creating similarities, contrasts, spaces of resonance, and light.
Vocal Ensemble Ekmeles NY:
Charlotte Mundy, soprano
Elisa Sutherland, mezzo-soprano
Timothy Parsons, countertenor
Tomás Cruz, tenor
Jeffrey Gavett, baritone
Steven Hrycelak, bass
In ancient Greek music theory, ek’meles were tones of indeterminate pitch and intervals with complex ratios that were “unsuitable for musical use.”
Ekmeles nevertheless uses these tones. Founded in 2010 by Jeffrey Gavett in New York, it is the first American group to receive the Ensemble Prize from the Ernst von Siemens Music Foundation.
The ensemble is dedicated to performing new and rarely heard works with a focus on microtonality. The New York Times praised it for its “extraordinary sense of pitch.”
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
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