re:organ - Laboratory for new organ sounds
Incense—sacred smoke—has been present in a wide variety of religious and spiritual practices since early antiquity. In Judaism and Christianity, in India and large parts of Asia, as well as in South America and Africa. It often fulfills a similar function: it creates a threshold, transforming the profane into a space of heightened awareness.
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In SONUS INCENSUS, scent and music meet as two arts of the indistinct. Both defy precise definition, yet speak to memory and emotion more directly than words or images. They expand, overlap, disappear, leaving traces only within.
The cellist and improviser Maria Magdalena Wiesmeier has already explored this relationship between sound and olfactory space in previous projects. Together with Maximilian Schnaus, the church space becomes a laboratory: organ and cello create avant-garde layers of proximity and distance, of condensation and dissolution. The music of the Russian composer Sofia Gubaidulina serves as a compositional point of reference: dark, concentrated, and imbued with spiritual energy. In contrast, there are impulses from the Renaissance, such as Frescobaldi: music whose rigor directly reflects its relationship to ritual and form.
