FUCHSTHONE RELOADED#3 (2021)

FUCHSTHONE RELOADED#3 (2021)

FUCHSTHONE RELOADED#3 (2021)

PROJECT

Just a few months after RELOADED#2, the 3rd series concert “FUCHSTHONE RELOADED#3” already takes place in December 2021. In fall 2021, the orchestra has continued to work intensively on the use and creative implementation of electronics in the orchestral context. Due to health reasons, this concert had to take place without our artist Eva Pöpplein, who is an expert for electronic sound collages and sound art.

The line-up on Dec.11, 2021 in the Stadtgarten:

Caroline Thon, Christina Fuchs (composition, conduction, arrangement),
Roger Hanschel, Martin Gasser, Veit Lange, Jens Böckamp, Susanne Weidinger (saxophone, clarinets, flutes),
Christian Mehler, John-Denis Renken, Matthias Bergmann, Matthias Schwengler (trumpets),
Philipp Schittek, Matthias Schuller, Matthias Muche (trombones),
Wolf Schenk (basstrombone, tuba),
Zuzana Leharovà (violin),
Barbara Barth (vocal),
Laia Genc (piano),
Andreas Wahl (guitar),
Alex Morsey (bass),
Jens Düppe (drums)

At very short notice, the ensemble and its directors focus on their improvisational skills. The material of the composition is spontaneously realised somehow differently – without sound collages and computer samples.
The result is both amazing and convincing: the concept of considering electronics (samples and sounds) as another instrument also works in reverse: any instrument can also be considered as “electronics”.

The following pieces are on the program:

1) SEE THE TRUTH
(Composition: Caroline Thon)

This composition (written in 2012) originally aimed at the treatment of lovesickness. When you realise that you have been immensely deceived by your longed-for counterpart and refused to admit it for a long time, it has to really “hurt” until you accept the fact.

In the 2021 adapted version, besides the revision of the composition and adding a text, also the content has been broadened. Now it is mainly about the desire to always be able to perceive the bright sides in every encounter – no matter how negative or aggressive it may be. A noble undertaking … but worthwhile!

FUCHSTHONE ORCHESTRA Photo by Steve Bauch

Photo by Steve Bauch

2) ICELAND III
(Composition: Christina Fuchs)

This is a re-arrangement of the composition ICELAND according to the concept of “reloaded”: new sounds, a different main focus and soloists give the piece a different appearance.

 

Christina Fuchs:

“”Since I was traveling in Iceland myself in 2021, scrambling around on some glaciers and taking field recordings, the subject wouldn’t let me go.”

3) THE BEAUTY – Part II
(Composition: Caroline Thon)

Caroline Thon:

“THE BEAUTY is in fact the 2nd movement of my 4-part suite HIGH FIDELITY OF MATERIALISM. This composition is an homage to nature and expresses the amazement of being able to experience, for example, a murmuring brook in the sunlight. This is accompanied by quotations from the Latin poet Lucretius, which, however, are meant to question his eternalism.

In contrast, the melody of a long-life practice based on Tibetan Buddhism resounds, which is about the balance of the five elements water, fire, earth, air and iron (space).

5-Elemente
Photo: File:Wuxing_fr.svg: Benoît Stella alias User:BenduKiwi derivative work: Ju gatsu mikka (^o^) appelez moi Ju (^o^), Wuxing de, CC BY-SA 3.0

4) SYRINX
(Composition: Christina Fuchs)

A re-arrangement of the composition SYRINX according to the concept of “reloaded”.

Transcriptions of bird songs as a loose resemblance to the sound of a cathedral in the woods. Single bird or instrumental parts are brought into a harmonic and rhythmic context, which are always the basis for improvisations.

5) LEDNESIP
(Composition: Caroline Thon)

In this composition Caroline Thon was inspired by the unique sound colours of baroque music.
A contemporary of the great composer Johann Sebastian Bach and at the same time the most famous violin virtuoso of the late Baroque, Johann Georg Pisendel (1687 – 1755), had composed a violin sonata (in D major), whose second movement (Larghetto) was particularly captivating to the jazz composer because of its beautiful melodies and a very unique harmony.

An intertwining web of melodies is seemingly designed to continue on and on, making the identification of distinct formal parts obsolete. The magic of the music simply never ends.
This composition “Lednesip” is an adaptation of “Larghetto” for contemporary jazz orchestra.

Franke from the collection by Carl Philipp Emanuel Bach, Johann Georg Pisendel, als gemeinfrei gekennzeichnet, Details auf Wikimedia Commons
Photo:  Franke from the collection by Carl Philipp Emanuel Bach, Johann Georg Pisendel, als gemeinfrei gekennzeichnet, Details auf Wikimedia Commons
6) CONCLUSION
(Composition: Caroline Thon)

The original Part III “Conclusion” which is based on the three-movement suite „The truth of J.P.S.?“ has here in this version been further developed by the composer into an independent composition and got expanded by additional timbres and formal parts of, for example, a bass clarinet solo with a tangoesque underlay.
Instead of a sung Buddhist quotation, the main melody here is not the chant but the flugelhorn.
Caroline Thon also focuses on harmonic timbres and stringent development of the musical structure. A tongue-in-cheek quotation from the composer to this effect:

„I think I’m going through a rather romantic phase right now.“

FUCHSTHONE Komposition

Photo: Steve Bauch

7) MAMOIADA
(Composition: Christina Fuchs)

Mamoiada is a re-arrangement of the composition based on the program RELOADED#1.
The village of Mamoiada is located in the province of Nuoro in Sardinia. This is where the traditional folk dance “Passu Torrau” originates from. A vocal tradition based on four tenors is also native to the same area.

Christina Fuchs:

“This piece is inspired by the version “Passu Torrau” of the quartet “Tenore Gòine de Núgoro”. In 2016 Christina Fuchs has won the 1st prize in the International Composition Competition “Scrivere in Jazz” for jazz orchestra there and this is how she got in touch with the region. Since this concert had to be without electronic samples, I replaced the 4 tenors with 4 trombones.”

FUCHSTHONE RELOADED#3

With their RELOADED# concert series, the FUCHSTHONE ORCHESTRA, in cooperation with the European Center for Jazz and Contemporary Music / Stadtgarten Cologne, pursues the consistent ongoing development of their compositions in a direct exchange with the orchestra.

FUCHSTHONE RELOADED#2 (2021)

FUCHSTHONE RELOADED#2 (2021)

FUCHSTHONE RELOADED#2 (2021)

PROJECT

Postponed several times due to the uncertainties caused by the Corona pandemic, the second concert of the series “FUCHSTHONE reloaded” finally takes place on August 27, 2021. In this concert, the main focus is on the electronic sound collages created by our sound artist Eva Pöpplein.

The line-up on Aug. 27, 2021 in the Stadtgarten:

Caroline Thon, Christina Fuchs (composition, conduction, arrangement),
Martin Gasser, Julian Bossert, Francois Ribeaupierre, Benjamin Steil (saxes),
Christian Mehler, John-Denis Renken, Matthias Bergmann (trumpets),
Philipp Schittek, Matthias Schuller (trombones),
Wolf Schenk (basstrombone, tuba),
Zuzana Leharovà (violin),
Filippa Gojo (voice),
Laia Genc (piano),
Andreas Wahl (guitar),
Alex Morsey (bass),
Jens Düppe (drums),
Eva Pöpplein (electronics, live samples)

Caroline Thon and Christina Fuchs designed their compositions for this program based on the impressions that the electronic sounds and sound collages evoked in them. Consequently, Eva Pöpplein is given a particularly large amount of solo space in the pieces. In addition, live sampling is being used for the first time: acoustic sounds are modified live according to the improvisational approach.

It is a new sound experience for all musicians involved, who have to react live to the modified sounds. The technical requirements necessary for this have been successfully introduced and open up further sound experiments that have a long way to go. Once again, this concert will follow the concept of evolving existing compositions, or performing compositions whose compositional process has not yet been completed.

The following pieces are on the program:

1) SUITE THE TRUTH OF J.P.S. – PART I-III
(Composition: Caroline Thon)

An appeal to prove the French existentialist Jean-Paul Sartre wrong with his negative views on mankind!

PART I „Closed Society“
Based on the stage drama “Closed Society”, the confrontation and threat of this negative view is set to music. You can hear quotations based on the stage drama of the main protagonist “Garcin”.

PART II „Naisser“
(Further development of the 1st draft of the composition “Naisser”)
Increasing aggression is expressed by frantic brass sections and a rocking guitar solo. This resembles a description of how it could end, if Jean-Paul Sartre should be right with his pessimistic view on mankind.

PART III „Conclusion“
As the classical final movement of a three-movement suite, a slow movement concludes, and here the opposite position is presented:
what it might be like if we were to engage with the following words of the Buddhist master Dilgo Kyentse Rinpoche:

„It is our mind that either chains us or liberates us“.

Photo: AdobeStock 355673361

2) YVES.KLEIN.BLAU (IKB)
(Composition: Christina Fuchs)

Yves Klein, the French conceptual artist, is best known for his monochrome paintings, in which he primarily used a monochrome ultramarine blue, which he eventually patented under the name “International Klein Blue.”

The psychological color effect of this blue tone consists in the magnetic pull it causes on the viewer, who literally feels drawn into the picture… the music that was created along with it has the same effect.

A quotation from Yves Klein appears in the piece: He complains about the birds making holes in his best work of art as they fly around in the cloudless, blue sky.

Photo by C.Fuchs

3) SUITE STRUCTURES I-VI
(Composition: Christina Fuchs)

This composition is based on six abstract photographs depicting natural structures. Electronic sounds are associated with them and musical structures are composed.

In the spirit of a “Gesamtkunstwerk”, the sounds and associated compositions are arranged in the form of a suite consisting of several parts.

Photo by C.Fuchs

4) MAMOIADA
(Composition: Christina Fuchs)

The village of Mamoiada is located in the province of Nuoro in Sardinia. This is where the traditional folk dance “Passu Torrau” originates from. A vocal tradition based on four tenors is also native to the same area.

This piece is inspired by the version “Passu Torrau” of the quartet “Tenore Gòine de Núgoro”. In 2016 Christina Fuchs has won the 1st prize in the International Composition Competition “Scrivere in Jazz” for jazz orchestra there and this is how she got in touch with the region.

Photo by C.Fuchs

FUCHSTHONE RELOADED#2

With their RELOADED# concert series, the FUCHSTHONE ORCHESTRA, in cooperation with the European Center for Jazz and Contemporary Music / Stadtgarten Cologne, pursues the consistent ongoing development of their compositions in a direct exchange with the orchestra.

Press says:

“The Fuchsthone Orchestra is not a repertoire band, but a live band that introduces new music at each performance, or rearranges existing pieces.”

Uwe Bräutigam

nrwjazz.net

Re: Immortal Beloved / BTHVN 2020

Re: Immortal Beloved / BTHVN 2020

Re: Immortal Beloved / BTHVN 2020

PROJECT

On the occasion of the Beethoven Festival Bonn 2020, Caroline Thon and Christina Fuchs were commissioned to rearrange compositions by Beethoven for the FUCHSTHONE ORCHESTRA. Elements based on Beethoven’s symphonies and string quartets were picked up, re-interpreted and transformed into something new. The concert was broadcast as a “livestream” directly from the Stadtgarten in Cologne.

The line-up on Dec. 4th, 2020 in the Stadtgarten:

Caroline Thon, Christina Fuchs (composition, conduction, arrangement),
Roger Hanschel, Theresia Phillip, Martin Gasser, Jens Böckamp (saxes),
Matthias Schwengler, Matthias Knoop, Matthias Bergmann (trumpets),
Philipp Schittek, Matthias Schuller (trombones),
Wolf Schenk (basstrombone, tuba),
Zuzana Leharovà (violin),
Filippa Gojo (voice),
Sebastian Scobel (piano),
Andreas Wahl (guitar),
Alex Morsey (bass),
Jens Düppe (drums),
Eva Pöpplein (electronics, live samples)

Electronic sounds are catapulting us into the present time and besides, the question emerges how close the pianist and improviser Ludwig von Beethoven came towards the important element of the soloist in contemporary jazz music?

The following pieces are on the program:

1) ENSUITE à MINEUR
(Composition/Arr.: Christina Fuchs)

Based on: Ludwig van Beethoven,
String Quartet No.15, Opus 132 / fragment
1st movement Assai sostenuto
Opus 132 is Beethoven’s second to last string quartet and was composed 2 years before his death, at a time when he had already completely lost his hearing.

Christina Fuchs:

“I was wondering: what might it have felt/sounded like to hear the music deeply inside, but outwardly perceive only a distorted image of it, if at all? Comprehensible all the frustration, anger and despair – fascinating beautiful the music of the inner landscapes.”

Decker, Johann Stephan (1783 - 1844), Beethoven 6, als gemeinfrei gekennzeichnet, Details auf Wikimedia Commons
Photo: Decker, Johann Stephan (1783 – 1844), Beethoven 6, als gemeinfrei gekennzeichnet, Details auf Wikimedia Commons

2) SPURENSUCHE OPUS 13
(Composition/Arr.: Caroline Thon)

Basierend auf: Ludwig van Beethoven,
Sonate für Klavier Nr. 8 c-Moll, op. 13, „Pathétique“
3. Satz, Allegro

Based on: Ludwig van Beethoven,
Sonata for Piano No. 8 in C minor, op. 13, “Pathétique”.
3rd movement, Allegro

In “Spurensuche” Caroline Thon reworks the “Piano Sonata No. 8, opus 13” (1798), which is a rather early work by Beethoven that strikingly oscillates between bursts of power and sensitivity.
The motives – especially in the tutti parts – are all taken from the original work, only they are either rhythmically condensed or slowed down and sound in a contemporary, jazz harmonic context.

 

Breitkopf & Härtel, Beethoven piano sonata  B&H, als gemeinfrei gekennzeichnet, Details auf Wikimedia Commons
Photo: Breitkopf & Härtel, Beethoven piano sonata B&H, als gemeinfrei gekennzeichnet, Details auf Wikimedia Commons

3) IMMORTAL BELOVED LOVELETTER
(Composition/Arr.: Christina Fuchs)

Based on: Ludwig van Beethoven
Symphony No.7 Opus 92 / fragment
2nd movement Allegretto

Christina Fuchs:

“This slow movement is so insanely beautifully yearning that I re-wrote it as a love letter to his Immortal Beloved (whoever that might have been: Giulietta, Therese, Amalie, Josephine, Dorothea, Antonie, Bettina? )
Myriads of researchers have tried to solve this mystery by some daring theories, however, it might be that the way is the goal:
There is a strong, rhythmic persistence and tension about it, as well as a certain despair, because he will never find her, the immortal beloved…”

4) BEGEGNUNG NR.14, OPUS 131
(Composition/Arr.: Caroline Thon)

Based on: Ludwig van Beethoven:
String Quartet No.14, Opus 131
1st movement. Adagio, ma non troppo e molto expressivo

The open form of the fugue in the original work is adopted in “Begegnung Nr. 14” and the opening motive of the 1st movement is at first embedded in a contemporary jazz context and then developed independently.

To approach the inner dilemma of Beethoven, who was already completely deaf at the time of its creation, a quotation from a malicious critic on the occasion of the premiere of this string quartet is counterpointed with excerpts based on the “Heiligenstätter Testament” (1802), which is considered his intended farewell letter.

Press says:

“Jazz premiere for Ludwig von Beethoven!
Musicians and composers from Cologne are convincing with a strong festival contribution…”

Horst Peter Koll

Kölner Stadtanzeiger

FUCHSTHONE RELOADED#1 (2020)

FUCHSTHONE RELOADED#1 (2020)

FUCHSTHONE RELOADED#1 (2020)

PROJECT

On September 10, 2020, the FUCHSTHONE ORCHESTRA started its concert series on a regular basis titled “FUCHSTHONE RELOADED#1″ at the “European Center for Jazz and Improvised Music”, Stadtgarten/Cologne.

The line-up:

Caroline Thon, Christina Fuchs (composition, conduction, arrangement),
Roger Hanschel, Tobias Haug, Matthew Halpin, Benjamin Steil (saxes),
Christian Mehler, Marvin Frey, Matthias Knoop (trumpets),
Philipp Schittek, Matthias Schuller (trombones),
Wolf Schenk (basstrombone, tuba),
Zuzana Leharovà (violin),
Filippa Gojo (vocal),
Lars Duppler (piano),
Andreas Wahl (guitar),
Alex Morsey (bass),
Jens Düppe (drums),
Eva Pöpplein (electronics, live samples)

Due to the Corona-related closures and restrictions on concert events, these concerts take place almost a year after the celebrated premiere concerts. Christina Fuchs and Caroline Thon used this period to write new compositions for the orchestra. In doing so, they further explore the potential of a “soloist ensemble”, something the FUCHSTHONE ORCHESTRA considers itself to be in the meantime.
In all compositions the soloists are given a lot of space to improvise, up to collective improvisations in selected orchestral instrument combinations. In addition, compositions from the premiere program are continued, as well as works whose compositional process has deliberately not yet been completed, in order to allow the input from the concert performance to be incorporated in turn into the composition that continues to be written.
A particular challenge for these performance dates is the minimum distance between the musicians that must be maintained due to hygiene regulations. This is in addition to the separating walls, which make it extremely difficult to hear each other. As a result of the increased spacing, again based on space constraints, the instrumentation had to be reduced. An additional re-arranging of the compositions therefore becomes necessary.
The following pieces are on the program:

1) THERE
(Composition: Caroline Thon)

A piece about “arrival”, as well in the sense of “coming home” as ” reaching oneself”.
A quotation based on Pierre Boulez’ “Guidelines” describes what has to be mastered when unusual sounds want to be embedded in conventional sound structures:

“The influence of outside vectors takes place in two ways: indirectly, when the contribution from outside is not intended to be incorporated into the work in real terms; directly, when one intentionally wants to merge another means of expression, which is capable of being autonomous, with the music.”

It is thus a matter of equal, coexisting but dissimilar sound events or about their fusion.

2) NAISSER SEEMS TO BE …
(Composition: Caroline Thon)

A pun on the English term “to be nice”; the transcription refers to the place “Nairs” in the Lower Engadine (Switzerland), where the composition was written in the course of a residency.

3) ICELAND II – DOOMSDAY – CORONAKOLLER
(Composition: Christina Fuchs)

An updated and rearranged version of the composition ICELAND and extended with the parts DOOMSDAY- CORONAKOLLER. It is an image of the status quo in 2020:
Glaciers continue to melt, faster than ever before, but climate issues have been put in the back seat, politics is too slow to respond, and economic interests ultimately hold the upper hand globally..

Christina Fuchs:

“Therefore, in ICELAND II, I gave the basic mood a different urgency, condensed it, made the tempos faster- and the general tone of the sounds more aggressive.”

„This is an emergency!“ is the headline of this work, an alertness is supposed to arise and be transmitted.

4) KHO BA
(Composition: Caroline Thon)

“Kho Ba” ( properly spelled Khor Ba) is the Tibetan term for “samsara.” This composition is about transience and the perpetual cycle of birth, age, illness and death.
In a broader sense, it is also an analysis of the current situation caused by the pandemic.

5) SYRINX
(Composition: Christina Fuchs)

Christina Fuchs:

“This composition was created during the Corona Lockdown Spring of 2020 during my regular walks in the woods. While doing so, I repeatedly heard the birds in certain places and “visited” them, so to speak.
The birdsongs vary amazingly, even birds have a daily pattern and the variety of songs is huge: some birds have a seemingly infinite variation in their repertoire, some can only repeat a certain sequence at a time, some “chatter” without pause, others are more sparse.”

They all share the syrinx, the vocal organ responsible for singing. No larger than a lens, it’s composed on a dozen bony rings as well as two dozen muscles. The lips of the voice can contract up to 200 times per second – high-precision vocal work.
Human vocal organs can hardly keep up, so the bird voice transcriptions are only vague approaches. Individual bird or instrumental voices are brought into a harmonic and rhythmic context, which are eventually the basis for improvisations.

F.E. Beddard (1858-1925), Syrinx Bucerotidae, als gemeinfrei gekennzeichnet, Details auf Wikimedia Commons
Photo: F.E. Beddard (1858-1925), Syrinx Bucerotidae, als gemeinfrei gekennzeichnet,
Details auf Wikimedia Commons
6) MAMOIADA
(Composition: Christina Fuchs)

The village of Mamoiada is located in the province of Nuoro in Sardinia. This is where the traditional folk dance “Passu Torrau” originates from. A vocal tradition based on four tenors is also native to the same area.
This piece is inspired by the version “Passu Torrau” of the quartet “Tenore Gòine de Núgoro”. In 2016 Christina Fuchs has won the 1st prize in the International Composition Competition “Scrivere in Jazz” for jazz orchestra there and this is how she got in touch with the region

FUCHSTHONE ORCHESTRA RELOADED#1

With their RELOADED# concert series, the FUCHSTHONE ORCHESTRA, in cooperation with the European Center for Jazz and Contemporary Music / Stadtgarten Cologne, pursues the consistent ongoing development of their compositions in a direct exchange with the orchestra.

Press says:

“Finally awake and performing again: The Fuchsthone Orchestra left the Corona forced break behind in Düsseldorf and Dinslaken … The caught-up performances felt like waking up from a bad dream. The liberated playing of this collective of musicians under the double leadership of Caroline Thon and Christina Fuchs was once again an audible and tangible reality.”

Stefan Pieper

www.jazzzeitung.de

“Landscapes were created at the concert in Dinslaken…”

Bettina Schack

Neue Ruhr Zeitung

“Christina Fuchs and Caroline Thon launched the new jazz season in Dinslaken in the auditorium of the Gustav Heinemann School Center…”

Rheinische Post Online

RP Online

“The circle of life is completed … Focusing on strong ideas with such a large number of instruments and timbres and to never drift into labyrinths, that is the asset of the Fuchsthone Orchestra, whose potential is guided into amazingly stringent directions by Christina Fuchs and Caroline Thon. That’ s how imaginative “musical theater” works!”

Stefan Pieper

nrwjazz.net

FUCHSTHONE Premiere (2019)

FUCHSTHONE Premiere (2019)

FUCHSTHONE Premiere (2019)

PROJECT

In November 2019, the time has finally come after a long period of preparation: the FUCHSTHONE ORCHESTRA premieres with a tour of four concerts!

Here’s the lineup on Nov. 19, 2019 at Stadtgarten:

Caroline Thon, Christina Fuchs (composition, conduction, arrangement),
Roger Hanschel, Theresia Philipp, Matthew Halpin, Jens Böckamp, Susanne Weidinger (saxophone, clarinets, flutes),
Christian Mehler, John-Denis Renken, Matthias Bergmann, Matthias Knoop, Heidi Bayer, (trumpets),
Philipp Schittek, Matthias Schuller, Matthias Muche (trombones),
Wolf Schenk (basstrombone, tuba),
Zuzana Leharovà (violin),
Filippa Gojo (voice),
Laia Genc (piano),
Andreas Wahl (guitar),
Alex Morsey (bass),
Jens Düppe (drums),
Eva Pöpplein (electronics, live samples)

In this first-ever program, Caroline Thon and Christina Fuchs have created new compositions with electronics for this instrumentation and at the same time developed existing compositions further. The concerts have been a terrific success with the audience and the press. A good enough reason to continue this large-scale project.

Following pieces are on the program:

1) 1. SUITE High Fidelity of Materialism – what about the Nature?
(Composition: Caroline Thon)

Part I Ouvertüre
Part II The Beauty
Part III Materialism/The Black Swan
Part IV Reprise „Tsueltrim“

A 4-part suite “High Fidelity of Materialism”.
The OPENING introduces the main motifs, THE BEAUTY is an an ode to nature (with quotations from Lucretius and from Buddhism) and MATERIALISM describes the coldness of our materialistic world. REPRISE is a musical appeal to compassion.

Caroline Thon:

“A big dream was the realization of my 4-part suite HIGH FIDELITY OF MATERIALISM, which is inspired by political actions and my collaboration on radio play productions.”

Video: „The Beauty“ Part II (16:51)

2) ICELAND
(Composition: Christina Fuchs)

Addressing the current topic of climate crisis, the melting of glaciers in Iceland, in particular the glacier Oksjökull, which has died in 2019.

Also a tribute to Greta Thunberg and her courageous speech in front of the European Parliament on 4/16/2019.

Christina Fuchs:

“It is important to me to make it audible and tangible what is happening such as how the ice is melting, to transform the drama of the processes into music.”

Okjoekull Gedenktafel

Photo by C.Fuchs

3) IS IT YOU?
(Composition: Caroline Thon)

Inspired by the composition “The Unanswered Question” by Charles Ives (1874-1954), this composition addresses the question of why two people recognize each other and say “yes” to each other. Love letters written in vain are discovered here as sound sources in their own right.

Charles Edward Ives 1913_part

Photo: Anonym, CharlesEdwardIves1913 part, als gemeinfrei gekennzeichnet, Details auf Wikimedia Commons

4) NEWTONS CRADLE
(Composition: Christina Fuchs)

Five small steel balls are suspended from a metal frame. For a while, no office desk lacked such an accessory: the ball impact pendulum or “Newton’s Cradle” – simple and ingenious alike.

If you bounce one ball against the other four, one ball swings up on the other side; if you bounce two, two swing up: Newton’s law of the conservation of energy, cause and effect, momentum and energy.

Christina Fuchs:

“… and these physical laws became quite real for me in 2014: it was this composition that got me the WDR Jazz Prize!”

5) POSCHTI
(Composition: Christina Fuchs)

This is an tribute to the Swiss post bus, affectionately referred to as Poschti in Schwyzerdütsch. In the mountains, the bus driver honks an A major triad in every serpentine as a warning to oncoming traffic!

Christina Fuchs:

“I could hardly believe it and, above all, I couldn’t resist the temptation to write a piece about it.”

6) TEXTURES OF MEMORY
(Composition: Christina Fuchs)

  • How do neuronal circuits work in the brain, how does memory work in relation to musical parameters?
  • Is a musical motif recognized by the brain in a completely different form or not?
  • Does the brain recognize that a piece is built from only one small motif and chord, but in different shapes and forms?

These are questions that Christina Fuchs explores in this piece as if it were a field experiment.

Postauto Simplonpass
Photo: User Ancheta Wis on en.wikipedia, 1543, Andreas Vesalius’ Fabrica, Base Of The Brain, als gemeinfrei gekennzeichnet, Details auf Wikimedia Commons

7) KRONOS
(Composition: Christina Fuchs)

Christina Fuchs:

“The subject of “time” has been fascinating me for a long time. It becomes audible here with the sounds of church bells, the ticking of a clock, setting the timing of this composition.”

Mediaecho:

“”Regardless of the complexity of the large orchestral events, it still is jazz, as it is authentically expressed by improvised solos. This opportunity for individual solos may contribute to the fact that an exceedingly collegial atmosphere of mutual perception and respect prevails in the orchestra…”

Dietrich Schlegel

www.jazzzeitung.de

“Hardly before has the stylistic range been more varied, the sound spectrum more diverse, energetic and experimental.
The Fuchs Orchestra now presents itself as a new, musically extended constellation at the Big Band firmament. For this purpose, the composers, arrangers and musicians Christina Fuchs and Caroline Thon have sensationally well cast their ensemble…”

Horst Peter Koll

Kölner Stadtanzeiger

“Two established female saxophonists and composers with many years of experience in conducting large orchestras, now form a female dual leadership. Probably the first of its kind in jazz. This is a good sign. The ensemble consists of 22 award-winning musicians. It also includes instruments that are uncommon for a classical big band, such as violin and electronics…”

Uwe Bräutigam

www.nrwjazz.net

“Surprisingly fresh are their ideas for a new ensemble featuring electronics as a key element, which exceeds the concepts of big band and contemporary jazz by far…”

Kölner Jazz Konferenz e.V.

www.jazzstadt.de

“Christina Fuchs and Caroline Thone have joined forces to found the FUCHSTHONE ORCHESTRA…”

Thomas Mau

WDR3 - Jazz & World

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