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  ..es 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

Glaskolben | Receiver

Mo, 9. bis Fr, 19. December 2013 | Galerie G69 | Graz Das Land Steiermark | Best Before | Window Installation

Glaskolben |  Receiver   for video, voice track & white Autumn leaves

Nathalie Latham (Australia/France)
Tamara Friebel (Australia/Austria)
Bettina Wohlfender (Switzerland)

The Hourglass

4. Dec 2013 | Rondo Atelier | Marienplatz 1/4/6 Graz | Best Before | Arbeiten der RONDO-KünstlerInnen | The Hourglass

Dec 4, 7 pm; Atelier no. 6; performance for Best Before

The Hourglass | Die Sanduhr

a pearl drop,
in a lake,
a voice remembered.

a performance by Tamara Friebel  (voice, laptop, electronics, instruments)
Nathalie Latham (video)

We have come to appreciate that unconscious psychic processes are in themselves ‘timeless’. This primarily means that they are not temporally ordered; that time does not alter them in any way; and that the notion of time cannot be applied to them. Freud, Beyond the Pleasure Principle. (2003: 67)

Freud has taught us that retrieving memory actively is sometimes the only way to try to relinquish old patterns of behaviour, set by circumstances outside of our control which may have happened in the deep past.  Repeating and working through these memories, with our feelings open and welcoming, allows us to find new insights and perspectives in life. I’m exploring in this performance, an album of retrieved memory,  where I draw from various musical forms of repetition, allowing multiple ways to diffuse and subject these memories to new fields of emotional distortion and new inner balance.

Wärme | Warmth 
Installation with a short opera, dried flowers and video 2013
Installation mit eine kurz Oper, vertrocknete Blumen und Video, 2013

A construction site of the short opera Wärme, Libretto & Composition by Tamara Friebel, video by Nathalie Latham; produced at Rondo Atelier no. 6 for WIEN MODERN/Progetto Semiserio/mediaOpera/Palais Kabelwerk/IGNM November 14-17 2013.

Wärme | Warmth

14. – 17. November 2013 19:30 | Wien Modern | Gates – Kurzopern | Palais Kabelwerk

a short dreamy opera reverie –  Wärme

in GATES – Zwischen?Raum (UA)
4 Musiktheater-Werke zur sozialen Durchlässigkeit einer Gesellschaft:
4 Musical Theatre Works about Journeys in Immigration

see Warmth.com for the COLLABORATIVE artistic development with Nathalie Latham

Libretto & Composition: Tamara Friebel
Video: Nathalie Latham
Musicians: Kaoko Amano (soprano) with PHACE ensemble
GATES @ Wien Modern 14-17 Nov 2013
Photo © Nick Mangafas

I’m drowning in this fugue,
These voices inside me
Have no idea how to speak
to each other.

There is one,
Trailing hope,
A new thing.
A silver thread drawn through
Its heart,
Delicate, lonely, afraid.

The other,



Mo, 5. bis Fr, 23. August 2013 | Galerie G69 | Graz Das Land Steiermark | Summer Confluence | Arbeiten der RONDO-KünstlerInnen

eine Komposition der Stille | a silent composition
for video 20′

Sound can be heard and also viewed as a wavelength, a perfect symmetrical waveform. I am interested in the silence of this lake, but I see the contradictory forces, where the visual wavelength represents to me a drowning white noise, sometimes an image of clarity and focus, and without me being able to pinpoint it, I am suddenly drawn into its polarity of unfocussed ignore and neglect. The zero-crossing, like a zero-crossing of a sine wave, at the apex crossing of this symmetry, is where the silence is held together. There appears to be no state of in-between-ess. It seems only to represent a Kierkegaardian Either/Or.

Still Life

28. June 2013 14 bis 21 Uhr | Rondo Atelier No. 6 | Marienplatz 1/4/6 Graz | Still Life | RONDO-Artist Open Studios

Installation with 6 music pieces, flowers and a video, 2013        
with Barbara Toifl (Theory)

I hear its life, where my ‘still-life’ becomes its own captured moment in time, against the fading . . . 

Ich hör die Lebendigkeit, dort wo mein “still-life” seinen eigenen Moment, gegenüber der Vergänglichkeit erfährt… Tamara Friebel

Re-composed leftovers from a local flower shop pass away into acoustic compositions.

Re-komponierte Reste von einem örtlichen Floristen, ver-gehen in Soundkompositionen. Die eingeladene Kollegin Barbara Toifl stellt sich  dem Ephemeren und  ihrer Erinnerungsfähigkeit, abseits von Beat, Narration und Nostalgie und versucht darin durch zu halten – wird die Komposition aber immerwährend hintergehen.

…always deceiving the composition in her memory …
Barbara Toifl

an accidental feminism, in the Botanical Garden, Vienna

I made this miniature installation “Precarious, delicate feminism – are you floating or drowning?” at the Botanical Garden in Vienna, in the Nymphoides Peltata – Heimische Seekanne (Fringed Water-Lily) Pond this evening around 6pm. By some random synchronicity, an exhibition opened a few minutes later, coincidentally 10 metres away from my installation, with Lisa Kuglitsch’s meditative compos(t)ing, a performance act which focussed on the simultaneity and reciprocity of death and life, where she re-heaped a pile of compost, resulting in the dirty weathering of her dress.

Kuratiert von Hannah Stippl

Eröffnung II: Mittwoch, 5. Juni 2013, 19 Uhr
Ausstellungsdauer 6. Juni – 12. Juli 2013,
täglich 10.00 – 18.00 Uhr, KALTHAUS Botanischer Garten der Universität Wien, Mechelgasse/Prätoriusgasse, 1030 Wien