This installative spatial sound composition for Paetzold Contrabass Recorder, subwoofer, electronics, and four earplug headphones refers to our everyday listening experiences, which are increasingly composed of overlapping, uncontrollable layers of events. The piece deconstructs these listening experiences and makes them tangible as individual and parallel stages of space.
Huge Crash–So Far–Not Guilty: augmented virtualities for unreal spaces, KONTAKTE Festival Berlin, 2025
The audience initially experiences the piece behind a transparent screen with a view of the performer, who sits with her back to the screen and receives acoustic playing instructions for the accompaniment of an electronic spatial sound composition via in-ear monitoring. The music itself is not audible behind the screen. However, the same acoustic instructions are made available to the audience via a loudspeaker, while the soloist's playing is only perceived through her mute-playing gestures. After the first part, the listeners switch to the soloist's side in front of the screen, where they sit opposite her with earplugs. The listeners now hear the electronic spatial sound composition via ear-plug headphones while they can visually follow the soloist's gestural playing again. This transfers the piece into two parallel sound worlds: What is heard through the headphones is related to the soloist's playing, which is, however, not mixed into the headphones. At the same time, sounds from the contrabass recorder penetrate from outside into the encapsulated headphone world of the electro-spatial sound composition.
The piece can also be presented as a video installation in two separate rooms.
Concept & electronics: Gerriet Krishna Sharma Paetzold Contrabass Recorder: Susanne Fröhlich Gerriet Krishna Sharma Video: Tom Wills
2025 KONTAKTE Festival in cooperation with the Academy of Arts Berlin
A–2024
A–2024