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

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.

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, 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? | | 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?





dear past.

does it matter how much I remember of you?

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


a little city in my wohnzimmer

24. Oct 6:30pm 2014 | Rondo Atelier No.6 | Marienplatz 1/4/6 Graz | A little city in my wohnzimmer | Arbeiten der RONDO-KünstlerInnen/Exhibition of Rondo Artists

A little city in my wohnzimmer,
a night time installation with the sound world, who is ruling your kingdom, dear ambrosia?
A little city in my wohnzimmer

A dried memory

11. Oct 2014 8:00pm | SNIM en gros en detail | a dried memory | Echoraum | Vienna
with Gobi Drab (Blockflöten, Recorders), Tamara Friebel (gramophones, 3 pressed Shellacs)

a dried memory

a dried memory for eve

A perennial memory

25. June 2014 | Rondo Atelier No.6 | Marienplatz 1/4/6 Graz | A Perennial Memory | Arbeiten der RONDO-KünstlerInnen/Exhibition of Rondo Artists

Installation | A Perennial Memory

3 glass plates, fresh flowers, a video 20′

A Perennial Memory

A Perennial Memory, Vienna

A Dried Memory
mit Blockflöten, Bansuri Flöten, Grammofon
with recorders, Bansuri Flutes, Gramophone

Tamara Friebel – Concept, Composition, Bansuri Flutes, Voice
Gabrielle Drab – Recorders
Nathalie Latham – Video

A Perennial Memory

Installation | There was never any war up here
steel wire, 4 hardback books, a mirror, maroon cotton thread and video (from Erwartung Premiere in Moscow, Nathalie Latham)

Sleep my dear son, this lullaby is for you,
rest in the moon’s embrace

she is peace for
you, today.

Gut Nacht, gut Nacht, mein liebster Schatz,
Gute Nacht, schlaf wohl, mein Kind!
[Volkslied, Ständchen, aus Brahm’s Lieder]

Good night, good night, my dearest treasure
Good night, sleep well, my child!
[Folk Song, Serenade, from Brahm’s Songs]


Warmth. Aria to fallen blossoms

17 June 2014 | Tokyo | Japan | Ensemble Platypus | re:construction

Wärme. Arie gefallenen Blüten
Warmth. Aria to fallen blossoms
for Soprano, Flute, Clarinet & Violin

Yoshihiro Kawaura / Tamara Friebel
Access Points II
Warmth – Aria to fallen Blossoms

山路落花                          Mountain Path, Fallen Blossoms
ちりそむる                                                      First snowfall
春の初雪                                                    of cherry petals
ふりぬれば                                          starting to scatter―
ふみ分けまうき                     how hateful, tramping through it
滋賀の山越                                   over the pass from Shiga!

[English translation by Burton Watson]

Gaining access to an intuitive expression that might be shared between our two thought processes was explored associatively.  Pictorially an image of “composed” dried flowers was sent from one composer to the other, who responded with carefully selected poems about “falling flowers”, expressing a synergy between the desires of the composers for a communication which worked with onomatopoeic gestural components, both linguistically and expressively. The tradition of rich visual imagery within Japanese poetry was the background to the access behind these intuitive thoughts, where both composers sought through natural phenomena, the materiality of expression: Mountain Path, Fallen Blossoms from “Sankashuu” became a starting point to access their respective musical languages.


There was never any war up here.

21. May 2014 8pm | Meyerhold Centre, Moscow | There was never any war up here – “Erwartung” Festival for 1st World War Centenary | Studio for New Music Moscow, Nathalie Latham & Euvegenia Chtchelkova [dance]

There was never any war up here.
Hier oben war niemals Krieg.
Здесь никогда небыло войны.

Performance with Soprano, Flute, Violin, Cello, Percussion & Electronics with solo dancer & video with original libretto

Austrian-Russian project “Erwartung/Anticipation” – Vladimir Tarnopolski with Vera Serebriakova for Year of the Austrian culture in Russia
Studio for New Music Moscow, ensemble-in-residence at the Moscow Tchaikovsky Conservatory

Lay down your arms! (1889)
“nur der Mond”
…up there

“Da kommt ein Licht! Ach! nur der Mond….  Wie gut… Dort tanzt etwas Schwarzes …hundert Hände … Sei nicht dumm ist ein Schatten”
Marie Pappenheim, Erwartung, op. 17 (1909)
[There comes a light!  Ah!  It’s only the moon….all is well
..over there something dark is dancing… hundreds of hands….
don’t be silly… it is a shadow]

Lay down your arms. (1889)
English title of the 1889 novel “Die Waffen Nieder!” by the Austrian pacifist activist Bertha von Suttner, who received the first 1905 Nobel Peace Prize.

my breath
is the
breath of
in the
of the
to finally
be given
back to

war? why a war? why? is a bullet driven through the brains of another’s thoughts ever going to solve anything? did we come so far, only to return to madness,
realism. sucking its freedom as a hideous piece of covering,
underneath our sleep.
blankets cold.

The moon is the place of dreams.
There it is,
Up there.

A dried memory

4 May 2014 20:00 | Vienna | St. Ruprechtskirche | New Music Concert – neue musik st. ruprecht | LOVE/a dried memory

Drei kurze Stücke für getrocknete Blumenpartitur
Three short pieces for dried-flower scores with 2 gramophones & recorders (Gobi Drab)

“the old can wither and go back to the earth”
I. The Grandmother

“to know how to be reborn into a new life at every moment is the secret of eternal youth” II. The Mother

“here, her soul is calm, present.”
III. The Daughter

Knowledge was never born and therefore never dies. It is not possessed by anyone, for it is always there in all times — past, present, and future — for all seekers.  Rami Swama

a dried memory bezieht seine feinen Nuancen aus den kalten Resonanzräumen der Ruprechtskirche, dem Schaffen und Interpretieren einer Partitur für Blockflöten aus in der Kirche getrockneten Blumen und den markanten Klangeigenschaften eines Grammophons