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Festival for contemporary electroacoustic music

Reflux - Festival for contemporary electro-acoustic music presents on 9 evenings in September, October and December 2022 three different artists & composers from almost all continents. Reflux is thus the international continuation of "FLUX FESTIVAL - electro-acoustic music from Berlin" which took place in 2018 on seven evenings with a total of 28 positions at Spektrum Neukölln.

Uferstudios Guido Borgers

For each of these evenings we will present a classic in addition to two contemporary positions, i.e. three concert parts of 30-40 minutes each. The program will be adapted to the acoustic and spatial characteristics of each location, or composed specifically for that location. Each of the invited musicians has an individual language of sound and form and is rarely heard in Berlin. We have asked all artists to make programmatic suggestions and so the program will be a balanced mixture of composition commissions/premieres, already existing works as well as rarely heard classics.

Jasmine Guffond: "New Work" (2022)

Jasmine Guffond will perform live electronics over a four-speaker sound system at the 2022 Reflux Festival. Using a laptop, midi controllers, Ableton Live and Max MSP software, Jasmine is interested in the interplay between human and machine agency. The hierarchy in which the human subject controls the non-human object is disrupted, and a sense of distributed control emerges. Action is not fixed, but shared and expressed by both, blurring the notion of a fixed dichotomy. How does this translate to everyday experience in an increasingly technological world?

Mario Bertoncini: "Scratch-a-matic" (1970/1971) for piano, 9 DC motors and tape delay system 9 DC motors with adjustable speed each drive a small rubber wheel that vibrates the piano strings, creating a choral "breath" with variable frequencies, a kind of automatic counterpoint; alongside this, a tape delay system, also with variable speed, provides a fluctuating microtonal accumulation of sustained overtones. By minimal variations of the tape speed, a complex microtonal cluster is thus generated from a single tone.

Mario Bertoncini: "Istantanee I" (1995)

In 1995, at the end of a "summer academy" I was conducting near the East Prussian border, I had the idea of setting up one of my circular aeolian harps (one meter in diameter) outdoors, exposing it to the action of the wind, and recording the result without intervening in any way, i.e. without trying to influence the course of the sound in the slightest. This acoustic snapshot ("Istantanee" in Italian, hence the title in reference to a photographic snapshot) does not exclude random sounds of the environment (a barking dog, birdsong), nor other acoustic events over which I had no control, but whose occurrence, if not predetermined, was at least desired in its possible state: The slight recoil of a rubber band on the harp strings, the impact of a beetle, a mosquito, or a blade of grass; or that one string that is not taut enough and keeps bumping against the next. ...

Mario Bertoncini: "Istantanee II" (2006) Performance & Distribution: Simone Pappalardo

The second part of a trilogy. The "sound object" is the same round harp I used in "Istantanee I". Here, however, it is not the wind that modulates the sound, but the actions of a soloist. He makes the strings vibrate in three different ways, corresponding to the three major temporal sections of the piece:

1. with two compressed air jets; 2. by three small fans; and finally 3. by the player's breath.

As I have explained theoretically elsewhere (in my dialogue "Aeolian harps and other useless things" ITAL/ENGL as a book accompanying the CD Box the box, Milan 2007), the musical - i.e. temporal - development of the piece takes place freely according to a formal strategy derived from the proportions of the golden section and calculated according to the duration of 'Istantanee I'." Mario Bertoncini

Lasse Marhaug: Context (2022)

As part of the festival, Marhaug will premiere a multi-channel version of his latest album, "Context," released earlier this year on Smalltown Supersound. Recorded over a two-year period, the piece is a demonstration of Marhaug's approach to mixing visceral electronic noise with muted textural elements - a careful balance of chaos and order. The music, from his native northern Norway, reflects the contrasting qualities of the landscape.

The interplay of piercing gentleness and deafening noise is key to a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug accomplishes it without showmanship; it is music that sounds at once as beautiful and as frightening as the Arctic landscape to which he returns. At any given moment, a sound can be alluring or treacherous, like the frozen sun reflected on a snowy mountaintop.

Additional information
Reflux is a production of financed by the Hauptstadtkulturfonds Berlin.


Artistical Direction: Ignaz Schick & Werner Dafeldecker | Technical Direction: Roy Carroll | Light: Aurora Rodriguez
Uferstudios: Uferstudio 1