Zwielichter, herumtanzend.

9. Dec 2015 19:30pm | Sammlung Essl, Klosterneuberg | L’heure bleue | Ensemble Klingekunst

Twilights,
dancing around us.
für Cembalo und Traversflöte.

mit Sieglinde Größinger, (Traversflöte)
Maja Mijatovic (Cembalo)

I am searching for the place where letting go of the light into its encroaching darkness is merely an inversion of the dark allowing the light to penetrate itself.  These states of transition, twilights, happen around us continually and are limited only by our current perspective.

Inspired by the philosophy of ancient Sanskrit poetry I am drawn to understand these forces through Nature’s wisdom:
If I am the world turning,
I am always in Twilight,
with my brother Sun and sister Moon standing near.
ZwielichterThe moon has swallowed the sun
The sun has kissed the moon
The twilight breathes.

Take Her to the River

Voices for Refugees

Guitar Sun
Take her to the River
für Marlene

Voices of breathing borders

Dear world,
Let’s remember there is only a global nation,

we are here to keep the planet breathing with peace & love,
especially when there’s heartache striking our brothers & sisters,

these songs are for the children.

Thank you for listening, Train of Hope, near to my heart & home, Hauptbahnhof Wien.

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Attractive Privacies of Breathing Borders

23. July 2015 2pm | Victoria BC, Canada SALT New Music Festival & Symposium | Voices Without Borders | Score Reading with Neue Vocalsolisten (Stuttgart) & Sylvie Lacroix (Vienna)

Attractive Privacies of Breathing Borders,
in one solitary universe.

for SSATB and flute

Attractive Privacies of Breathing Borders

This piece is drawn from current research in Quiddity Sequences of Algebraic Clusters in Mathematics with Karin Baur, Graz University.
For more information see The Collaborative Mind.

Radio-Zeit-Ton Komponistenporträt OE1

Montag,15. Juni 2015, 23:03 Zeit-Ton Porträt. Tamara Friebel. Falling into beauty.
Gestaltung: Astrid Schwarz

Sie ist nicht nur Komponistin, Klangkünstlerin und Performerin sondern auch studierte Architektin. Die gebürtige Australierin hat in Wien Architektur bei Zaha Hadid an der Universität für angewandte Kunst und Komposition u.a. bei Chaya Czernowin und Karlheinz Essl an der Universität für Musik und darstellende Kunst studiert. In ihren Installationen und Performances fügt Tamara Friebel Alltagsgegenstände und selbstgebaute Instrumente zusammen, die als Schnittstelle zwischen ihren Kompositionen und dem Formgedanken architektonischer Arbeiten fungieren. “Falling into beauty” war auch der Titel des Jeunesse Porträtkonzerts am 27. April. Das Ensemble PHACE hat aktuelle Arbeiten der Komponistin interpretiert und Tamara Friebel war auch selbst als Performerin auf der Bühne des ORF RadioKulturhauses zu erleben.

Program:
http://oe1.orf.at/programm/406967

Falling into Beauty

27. April 2015 8:00pm | Portrait Konzert | Jeunesse. Zyklus Fast Forward | with ORF RadioKulturhaus Ö1 | Argentinierstrasse 30a 1040 Vienna |

This concert was broadcast June 15, 2015 ORF Radio – Ö1 mit Astrid Schwarz

Kaoko Amano Sopran
Gobi Drab Kontrabassblockflöte
Tamara Friebel Video, Elektronik

Ensemble PHACE
Simeon Pironkoff Dirigent
Caroline Mayrhofer Blockflöte

Sylvie Lacroix Flöte
Reinhold Brunner Klarinette
Ivana Pristasova Violine
Roland Schueler Violoncello
Mathilde Hoursiangou Klavier
Berndt Thurner Schlagwerk

“Antinomy is a constant companion with me in life. Had I tried to say that because it seems impossible to understand beauty, especially in our current cultural environment, I can’t be an artist, it seemed to me entirely possible to also say, don’t be an artist then, just see if you can fall into beauty without realising it, and see if there are others who would like to fall into this with you. I don’t know if a portrait of my work-to-date would be possible if it weren’t for these thoughts, and without the confession that I fell into being an artist, the same way we say we fall in love. Do we judge in that moment we fall in love, or do we just try to be with the blissful naiveté as long as it would let us?”

 

 

樂 絲 silk, 木 wood.

16. April 2015 6:30pm | Exploring the World VI | Ensemble Reconsil Wien | Universität für Musik und darstellende Kunst | Haydn-Saal

Silk Wood


silk,

wood.

for violin, viola, cello, double bass, flute, piano & bass clarinet

In this piece I imagine a bamboo forest before me, even before the archer has plucked from the forest his long six foot bow. The bamboo sways; echoing in the expanse of the mountains I hear a treaty being signed, and the archer is still waiting for the most perfect arrow released to fall.

There is a strange recurring echo, as if this Buddhist sacred text has actually been read hundreds of years ago, accompanied by an ancient Guzheng, made of twisted silk and bamboo:

IV. 11,3. THE CARRYING OUT OF THE VOWS MADE IN THE PAST.  It is as with a powerful master of archery, well-trained. He would first shoot an arrow upwards and would then by a regular succession of other arrows prevent it from falling down on the ground. In fact, the first arrow would not fall down on the ground until that man would decide that it should do so. In order that the first arrow should fall unto the ground, he does not send up the last arrow, with the result that the whole succession of arrows falls unto the ground. In the same way a Bodhisattva, who courses in perfect wisdom and who is upheld by skill in means, does not realise that farthest Reality limit until his wholesome roots are matured in the supreme enlightenment.   Source: The Large Sutra on Perfect Wisdom  

The process for creating a piece with the theme of Hong Kong took me on a journey through many political, historical, sociological and spiritual research until I found myself face to face with a place, intricately weaved with its past, where the perfection of the archer’s bow, drawn from the bamboo forests in ancient China drew Buddhists into perfect wisdom; the vow to lease another’s land for one hundred years was a small event in its ancient shores; and the beautifully visual word, music, in the Chinese language is a simple formation of two Chinese characters, silk & wood, in reference to the Guzheng, a musical instrument of long gone times made of twisted silk and bamboo, the strings released, plucked to produce tones.

These ancient shores
can be named
and renamed,
but Winter will
never ask if her dear sister,
Summer
has a new name.

The stars are still in your eyes

21. Jan – 22. Feb 2015 Exhibition Shifting Constellations | Kulturzentrum bei den Minoriten Graz, Austria
2 Feb – 28. Feb 2015 Exhibition Savinov likovni salon | Žalec Slovenia

21. Jan 20.30pm Opening Performance with Kaoko Amano (soprano)

It must have been in another life that these mountains held me like a babe.
Sometimes my dreams return this image to me;
but mostly I just know without thinking much about it.

In this gaze, my eyes saw that it takes more than one lifetime to learn to be a daughter. I had learnt homelessness, but I had also taught myself to hope when tenderness had shut its gaze from me.

I drank my tea. It was warm, and comforting. Outside the trees were losing their leaves, I heard their rhythms collide, amplifying their soft landings. It was a peaceful rhythm, like a slow Adagio that has lost its right hand, its melody. It felt like a tea ceremony, in the lonely forest above Kyoto; where 2 people sat in an unending silence, no breath longer or shorter than the one before.

The stars are still in your eyes, 2015

The stars are still in your eyes ©TFriebel

Voices from the past come to help and guide the listener in this short film. As moments from a deep past are recollected, an unconscious world that could have happened in another place, another time collides with the present moment, where the stillness contains its memory.  

The voice which one hears in the audible soundscape, a voice emerging as whispers of thought, conflicting questions and associations with the memory of the past, is heard with the background of water boiling, being prepared for a hot tea, a tea ceremony in the hills above Kyoto, Japan. An old cymbal and drum belonging to my “new” Austrian grandfather, who was a musician in the Salzkammergut alps is used to create the soundscape; to bring these memories and associations into friendship; I am a daughter of this world, and other worlds which have already passed. We are always in communication; creating a labyrinth of meaning in dreamscapes or realities;

passing before the stillness in our eyes.

The stars are still in your eyes ©TFriebel

A score for solo soprano, from three Japanese poems, can also be performed live with this piece. It is another layer of hidden associations; ancient words from poets, weaving themselves through my present imagination, bringing their voices alive in the present moment. The three voices of these poets weave in and out of each other, as the singer swaps, sometimes suddenly, between the emotional expressions of each poem.

Imperceptible   Iro miyede
It withers in the world, Utsuro mono wa
This flower-like human heart.  Yo no naka no, Hito no kokoro no, Hana ni zo arikeru
Komachi

I have always known Tsui ni yuku
That at last I would Michi to wa kanete, Kikishi kado
Take this road, but yesterday Kino kyo to wa
I did not know that it would be today.  Omowazarishi wo
Narihira

In a gust of wind the white dew Shira tsuyu ni, Kaze no fukishiku
On the Autumn grass  Aki no no wa, Tsuranuki tomenu
Scatters like a broken necklace. Tama zo chirikeru
Bunya no Asayasu

Ashes. Gold

22. November 2014, 19:30 | EXPAN | Schloss Porcia, Musiksaal, Spittal an der Drau | Ashes. Gold | Kuss! | Werkstatt für NEUE MUSIK | Festival for new music with Bruno Ströbl

EXPAN-Trio
Vera Klug (flute), Theodor Burkali (clarinet), Christoph Hofer (accordion)

Interviews & Moderation: Nina Polaschegg

Ashes. Gold

Ashes. Gold

“All the visible phenomena in the universe are as transient as ash”

The process of sensitivity to hearing an inner voice, a “collective” inner voice, one that is possible after burning to ash the intimidating, unintegrated external voice, can sometimes be found only by realising vividly the part that “I” didn’t compose, but it was composed through a complex weaving of memory, associated thoughts, arriving in particular musical gestures through many many people.

This piece dedicates a special thank you to Sergej Tchirkov, the accordionist based in St. Petersburg. We worked together in the performance of “There was never any war up here”, a piece in memory of World War I, where Sergej performed improvisation with the dancer Euvegenia Chtchelkova against the backdrop of a small ensemble and electronics score. “Ashes. Gold” contains excerpts, “debris” from Sergej’s sensitive responses in this context, which I wanted to bring into light, in this trio, a trio of uncovering and discovering the hidden gold, somewhere from the ashes.

Kuss!
für Urbo Kune, Kids
This is a “Stadtplan” Partitur, that belongs to an ever evolving project centred around the idea of a new city for Europe, Urbo Kune. It is also a long running project for me, where I continue to find ways to re-interpret this visual score. For this interpretation, I invite a young musician, Rapphael, on the alto saxophone to help create the piece, where he is given hints & help along the way to “interpret” the Stadtplan.

Wind up your Desire

8. November | Text im Klang | Minoritenkirche Graz | Ensemble Schallfeld
Wind up your Desire
Performance for violin, cello, clarinet & a gramophone
with Ensemble Schallfield Zitat aus Gerhild Steinbuch – Going to bed
Kompositionsauftrag von impuls, www.impuls.cc Uraufgeführt im Rahmen von Text im Klang, 8.11.2014, Graz

Wind up your Desire

Wind up your Desire, Minoriten Saal

who is ruling your kingdom, dear ambrosia?

19. 26. October 2014, 2pm-9pm | Ohrenhoch | der Geräuschladen, Weichselstr. 49  Berlin-Neukölln | Who is ruling your kingdom, dear ambrosia? | ohrenhoch.org | Sonntag 19. und 26. Oktober 2014, 14:00 – 21:00 Uhr

Who is ruling your kingdom, dear Ambrosia?

Who is ruling your kingdom, dear ambrosia?

 

Wer regiert dein Königreich, liebste Ambrosia?

 

 

future

 

dear past.

does it matter how much I remember of you?

Sound installation by Tamara Friebel
Curator, loudspeaker installation: Knut Remond, ohrenhoch

Ohrenhoch

 ‘Audio Field Report no.18’
Interview with Tamara Friebel by Knut Remond. Limited Edition MC cassette, 8 copies numbered.
Interview mit Tamara Friebel von Knut Remond. Limitierte Auflage MC Kassette, 8 Stück nummeriert.

Audio Field Report no.18