Andrea Neumann
Antonino Secchia
Barbara Wilding
Billy Roisz
Brigitta Boedenauer
Dario Sanfilippo
Eva Hausberger
Florian Kindlinger
Gandolfo Pagano
Gerhard Daurer
Heike Kaltenbrunner
Jean-Luc Guionnet
Justin Winkler
Klaus Filip
Miriam Raggam
noid /aka Arnold Haberl
Paula Matthusen
Peter Ablinger
Peter Kutin
Philip Leitner
Seijiro Murayama
Tim Blechmann
Ulrich Troyer
Veronika Mayer
Ye Hui
Jean-Luc Guionnet,
My musical work subdivides itself into as many ways as occasions arise for me to think and act with sound. Those occasions have always to do with a strong meeting with an outside element: an instrument (saxophone/organ), a theoretical idea (what is “rumour”?), and mainly a collaborating friend (André Almuro, Éric Cordier, Éric La Casa, Pascal Battus, Seijiro Murayama, ... Klaus Filip). There then follows a collection of themes which, in turn, influence the evolution of the musical work and define the direction of meetings to come: the thickness of the air, the pidgin (language with neither grammar nor vocabulary), the musical instrument considered as affective automaton, listening dark unto itself, the algebra of and in hearing, sound as a signature of space, signature of objects, signature of what it is not... the fact that French uses the same word – le temps – for time and weather, propagation and spread of forms in time etc. Music is, then, a way to test reality. Conversely, it’s a test whose experience defines a new distribution of the whole body by artificially localizing it in an unknown and purely physical environment, all the while being able to think, count, make relations or understand places, and so forth. The emotion I look for in music is made out of all these strata and the (more or less easy) sliding of one over the other during the act of listening.
17.6. jean-luc guionnet (fr) | klaus filip (at), Orgel/ Laptop, Pfarrkirche St. Andrä
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