![]() ![]() ![]() They rehearsed the first three measures of the slow movement alone for half an hour. The first violins have to consciously produce the warmth in the low register, the lack of reverberation is compensated by tone prolongations, the decay of the phrases is countered by an exaggerated "sticking together" of the notes. Above all, they now play much differently than in other halls. This creates more reflections, the sound becomes warmer and more homogeneous. Now they sit on fewer podiums and closer to the back wall. The usual seating arrangement was changed. ![]() Nagano and his musicians also looked for a "hot spot" in Hamburg. He always looks for the spot on stage from which his voice sounds best. And a reverberation that could soften the direct sound is hardly discernible. Every inaccuracy is grotesquely magnified, quiet and chamber music, on the other hand, are exquisitely audible. A room-filling fortissimo seems impossible here because the sound does not rise to the last rank. The low winds dominated in a broadband sound, high string tones seem puny in comparison. Everything sounded mysterious, intrusive, direct. The longer the evening lasted, the greater the disappointment and doubt. What a disappointment, however, when on the opening night Thomas Hengelbrock and his NDR Elbphilharmonie Orchestra thundered the first chord in Ludwig van Beethoven's "Coriolan" overture into the room - and it immediately disappeared. The acoustics, a clever media campaign claimed, were supposed to be just as grandiose. The building erected by the architect duo Herzog & de Meuron on an old brick warehouse in Hamburg harbor looks spectacular, and the bright concert hall appealed to everyone. A comparative journey through European concert halls, accompanied by experts like Kent Nagano. "Bruckner's Eighth comes across as a frontal acoustic assault. Kent Sparling, Jeffrey Foster, and Kyron.Will the Elbphilharmonie go down in history as an acoustic debacle? 'Special thanks to Heidi Anderson, Neva Moore, Jemma, Artorias Stark, David Green, Rexter Chambers, David Fisher, Hugo Arenivas, Joseph Potter, Robert Shaw, Mary Jo Eyler, Leslie-Ann Case, Sleep with Me Podcast, and Camilla Meshiea, Marta Pelrine-Bacon, Kay Challis, Tara, Doug Salamon, Edward Champion.' Thanks to the Flyers: Kyra Xavia, Jane Maupin Bynon, Jakob Lewis, Lisa Pezzulich, Dana Albert, Robin Galante, Rosalie Wodecki, Maurice Tani, Walker Brents, Finn Sparlowe, Winnie Dunn, and Stephanie Rubin. Writer and Producer: Phoebe Unter and Nicole KellyĪ collective portrait of the experience of flying in dreams. Lesbian Separatism Is Inevitable // Phoebe Unter & NK Music: Ion Pearce (voice and cello) and Hannah PetersĪ self-portrait made out of apologies sent in recent emails.Īxel attempts to reconcile and accept all the parts of his identity that he’s either wrongly internalised or intuitively known to be true. Sound Recording, Design, Mix: John Jacobs Music: Andrew Salter, Ion Pearce (voice and cello) and Hannah Peters.Ĭonceived, composed and directed: Sherre DeLys #PROLOGUE - ‘Langue maternelle’ // Catherine de CoppetĪn exploration of the distant and close relationship to the ‘mother tongue’. Jones (TOM) Rachel Hamilton (VISIBLE) Ann Carr (WOMAN IN GALLERY) Kerry Kastin (DEDE) The legend of the paradisiacal bird who descends to earth in order to die.įirst heard: as an audiovisual installation in collaboration with Dorine van Meel at Hotel Maria Kapel, Hoorn in the Netherlands in 2019Ĭomposition and Production: Sami El-EnanyĪ journey from Southern Africa to South-East London in poetry, music and sound.Įditing, Poetry, Sound Design, Vocals: Belinda ZhawiĬontributors: Marysia Osuchowska and Caleb A NelsonĬast: Russell G. ![]() of course, I have shamelessly repeated all of these productions, hoping to hear it for the first time again. I want to share pieces with you that have made me forget where I am and who I was and other works that have made me feel a lack, or reimagine a possibility that I didn’t begin to think existed. Have we given in to the competing forces that demand our attention or has nothing been made that speaks to us in a way worthy of our time? When was the last time you’ve listened to a podcast more than once if ever? Why? How many times have you watched your favourite film or listened to a favourite song/album? Most galleries are free to visit and if you’ve had the habit of going every now and then, you may have a favourite piece of work.īut what about audio? Whether it’s a podcast, radio production or something in between, I don’t think we’ve developed the same listening habits compared to other mediums. ![]()
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