FUCHSTHONE RELOADED#6 (2024)

FUCHSTHONE RELOADED#6 (2024)

FUCHSTHONE RELOADED#6 (2024)

PROJECT

In its fifth year, the ensemble is breaking new ground: Reloaded #6 is all about visualization, improvisation and new ensemble formats. The new compositions by Caroline Thon and Christina Fuchs are currently in the process of being created and will be performed on stage in May (30.5.24 Stadtgarten Köln).

This concert will be performed without our new guest, the Berlin video artist Claudia Schmitz, who will be joining us in August (31.8.24 Wuppertal, Immanuelskirche).

The FUCHSTHONE ORCHESTRA is thus expanding its spectrum by another genre. Claudia Schmitz is the very first guest artist we have ever invited, so this will be a very special premiere! As a member of the ensemble, she will help shape the program visually and conceptually live on stage. We are looking forward to a feast of images, colors and music!

Artist’s Statement:
“My work starts where the media intersect.
I am not interested in the modernity of technology as such but in its capacities for creating new imaginary dimensions.
My arrangements constantly assume temporary states, reject and re-invent themselves, exploring the space-time continuum, rendering visible and questioning its borders. They investigate the limitations of media arrangements and modes of participation.“

Concerts in Wuppertal 31.8.24, Cologne 14.11.24 and Dortmund 15.11.24

FUCHSTHONE RELOADED#

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.

CD-RELEASE TOUR „STRUCTURES & BEAUTY“ (2023)

CD-RELEASE TOUR „STRUCTURES & BEAUTY“ (2023)

CD-RELEASE TOUR „STRUCTURES & BEAUTY“ (2023)

PROJECT

2023 was all about the presentation of the FUCHSTHONE debut album “Structures & Beauty”. There were 8 cities in Germany and abroad on the tour schedule: Magdeburg, Karlsruhe, Bonn, Dinslaken, Munich, Dornbirn, Düsseldorf and Cologne.

he band’s live energy was fantastic and the response from the local audience was correspondingly exuberant. Concert reviews and photos provide a good picture of this.
After a two-year development process leading up to the finished CD, live music needs to be celebrated again – preferably with lots of concerts where the music preserved on disc is revived live. Each concert is different: solos are never the same, the energy varies, new ideas are introduced … it never gets boring, not least because of the large proportion of improvisation!
A tour with 22 musicians + 2 sound engineers is always exhausting, but the joy and fun on stage make up for any night-time journey and a very special dynamic is created: everybody knows where they are going, finds their place in the ensemble and gives their best. Working together as a team to organise something is a great experience.
Our audience also plays a big part in this: when you sense that our music resonates with the listeners, that it has an effect and allows them to discover new things, amazes or delights them – that’s a great reward: a feeling of unity and meaningfulness.

The line-up:

  • Caroline Thon, Christina Fuchs (composition, conduction, arrangement)
  • Roger Hanschel, Julian Drach/Julius van Rhee, Veit Lange, Jens Böckamp, Susanne Weidinger /Kira Linn (saxophone, clarinets, flutes)
  • Jan Schneider/Simon Eckert, John-Denis Renken/Ruven Weithöhner/Janosch Löber, Matthias Bergmann, Matthias Knoop (trumpets)
  • Philipp Schittek, Matthias Schuller, Matthias Muche/Moritz Wesp (trombones)
  • Wolf Schenk/Friedrich Falkenhagen (basstrombone, tuba)
  • Zuzana Leharovà (violin)
  • Filippa Gojo (vocal)
  • Laia Genc (piano)
  • Andreas Wahl (guitar)
  • Alex Morsey (bass)
  • Eva Pöpplein (electronics)
  • Jens Düppe (drums)

Magedeburg: Jazz in der Kammer
“The Fuchsthone Orchestra was a fantastic finale for the Magdeburg Jazz Festival.”

Thoralf Winkler on Blogger.de

Dinslaken: Fuchsthone Orchestra in the Kathrin-Türks-Halle
“… inspired the audience with their excursions into exceptional soundscapes.”

Neue Ruhrzeitung / Funke Mediengruppe

Brilliant Cologne Fuchsthone Orchestra in Munich jazzclub Unterfahrt
“Experienced big band masterminds have joined forces with Christina Fuchs and Caroline Thon.”

SZ-Online / 19. 9. 2023

Jazzfest Bonn: Fuchsthone in the Pantheon
“Whoever says jazz is apolitical today hasn’t heard „Iceland” yet…”

Bonner Generalanzeiger

FUCHSTHONE RELOADED#5 (2022)

FUCHSTHONE RELOADED#5 (2022)

FUCHSTHONE RELOADED#5 (2022)

PROJECT

“ECHO CHAMBERS” … the 5th edition of the RELOADED# series reflects on this year’s events and their effect on all of us. Where better to do this than in the echo chamber of one’s own musical creation, interacting with the audience? The concerts and CD production (DLF) in early summer were shaped by euphoria and a spirit of optimism, but this fall the FUCHSTHONE ORCHESTRA returns in a more reflective mood.

RELOADED #5 is the current concert program of the FUCHSTHONE ORCHESTRA in fall 2022. It features the latest compositions of bandleaders Christina Fuchs and Caroline Thon.

Reloaded programs combine the ideas and striving for constant renewal and the search for for contemporary sounds. The repertoire of the FUCHSTHONE ORCHESTRA thus changes permanently and remains full of surprises.

The line-up in Nov 26th 2022 in Jazzschmiede in Düsseldorf:

Caroline Thon, Christina Fuchs (composition, conduction, arrangement),
Roger Hanschel, Martin Gasser, Veit Lange, Jens Böckamp, Susanne Weidinger (saxophone, clarinets, flutes),
Simon Eckert, John-Denis Renken, Matthias Bergmann, Janosch Löber (trumpets),
Philipp Schittek, Matthias Schuller, Matthias Muche (trombones),
Wolf Schenk (basstrombone, tuba),
Zuzana Leharovà (violin),
Filippa Gojo (vocal),
Laia Genc (piano),
Andreas Wahl (guitar),
Alex Morsey (bass),
Eva Pöpplein (electronics)
Jens Düppe (drums)

1) SEE THE TRUTH
(Composition: Caroline Thon)

The composition “See the Truth” (from 2012) was already part of the “reloaded#3” program, yet without our electronic musician Eva Pöpplein.

In the version adapted for 2021, in addition to the revision of the composition and the inclusion of a text, the content has also been expanded. In this current edition, the added electronic feeds illustrate the hectic everyday life that surrounds us, particularly in big cities. The tenor saxophone solo, alienated by live sampling, stands for the way we often perceive things in a distorted way.

“See the truth” describes the wish to be able to recognize the bright sides in each other in each encounter – no matter how negative or aggressive it may be – as often as possible. A noble undertaking … but worthwhile!

Eva Pöpplein + FUCHSTHONE ORCHESTRA

Photo by V.Beushausen

2) ECHO CHAMBERS Clouds & Bubbles
(Composition: Christina Fuchs 2022)

This composition is based on the work by the same title, which was created for the Festival “Romanischer Sommer Köln” for 10-piece ensemble in summer 2022.

Christina Fuchs:

I adapted this material from Echo Chambers to large orchestra here and intertwined it with electronics. The basic theme is still the ambivalence of the ideas: the cloud, in which the data of most of us lie, without us having a clue what is happening there- at the same time the gaze into the real clouds in the sky, which mean absolute freedom and being in the moment. The bubble is the metaphorical space in which we prefer to be, where statements are amplified- and disturbing elements, such as opinions to the contrary, are absorbed. Bubbles can also be the source of a vibrant creativity.

Lyrics: In a smart, blue sky, next to eternity you’ll find art made out of water and molecules. Sometimes dense, sometimes blurred, always liquid. Never lasting landcsapes, feathers and cumulus, fine lines above.

Bubbles by Christina Fuchs 2022

Photo: Clouds 2022 by Christina Fuchs

3) INSIDE ME
(Composition: Caroline Thon 2022)

So many different pieces of information out there with all the conflicts and pandemics around us, so much confusion, and so many populists who think they have it all figured out. It can be very confusing and hard to keep a clear head.

Caroline Thon:

Therefore, in my opinion, we need an inner voice that gives us confidence and a positive outlook that strengthens us…this is the topic of “Inside Me”.

Eva Pöpplein + FUCHSTHONE ORCHESTRA

Photo by V.Beushausen

4) THERMAL WINDS
(Composition: Christina Fuchs 2022)

Christina Fuchs:

Sometimes you just want to get out of here, for example, flying. That’s what happened this summer on a tandem paragliding flight that I took. It was both exciting and impressive to feel the power of the thermal winds.

Not without reason, flying is an old dream of mankind. Paragliding was such an emotional experience that I don’t know what to say. Music can express it better in “Thermal Winds”.

Thermal Winds by Christina Fuchs

Photo: Thermal Winds 2022 by Christina Fuchs

5) OUTSIDE OF ME
(Composition: Caroline Thon 2022)

Outside of Me”, which is based strongly on improvisation, is the counterpart to “Inside Me” and it describes what is going on around us right now. The breakdown of our former certainties caused by crises, climate change and pandemics. This triggers a feeling of helplessness inside of me,fear but also anger and despair how it could reach this point and why the politics still do not react adequately (for example: results of the world climate conference in Sharm El – Sheikh 2022 or the ignoring attitude towards the revolution in Iran).

Caroline Thon:

That composition is an intentional imposition in order to accuse and to wake up.

Eva Pöpplein + FUCHSTHONE ORCHESTRA

Photo by V.Beushausen

6) STRUCTURES V&VI
(Composition: Christina Fuchs 2022)

Christina Fuchs:

Structures V&VI are parts of a six part suite previously presented in “Reloaded#4” in spring 2022. This composition is based on six abstract photographs depicting natural structures. To these, electronic sounds are associated and the musical structures are composed.

Part V is also subtitled ” Wooden Paths” because the photograph shows the trails that woodworms munch into the wood. In the process, random, abstract forms emerge, but with great stringency. I combined these with repetitive sounds of ping-pong balls inside the grand piano, which are also electronically processed.

Music structures reflect on microcosms.

 

Photo by C.Fuchs

7) REPRISE
(Composition: Caroline Thon 2019)

Caroline Thon:

This composition represents the fourth part of my first suite “High Fidelity of Materialism – what about the Nature?” which expresses a musical appeal to compassion. The fact that this is not always easy becomes apparent, among other things, in the use of a constantly shifting 7/4 time signature as a canon. For the ear: Lucretius has his say with a famous quotation, but the intention here is to deny that basic statement of eternalism: that nothing becomes nothing, not even by the will of the gods.

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

Eva Pöpplein + FUCHSTHONE ORCHESTRA

Photo by V.Beushausen

FUCHSTHONE RELOADED#5

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.

Mediaecho:

“The orchestra is a live ensemble and not a repertoire ensemble… older pieces are reworked, newly arranged and, most importantly, new pieces are written continuously. In the process, Christina Fuchs and Caroline Thon emphasise the importance of giving the musicians of the ensemble plenty of freedom for improvisation and own ideas.”
Uwe Bräutigam

www.nrwjazz.net

ECHO CHAMBERS (2022)

ECHO CHAMBERS (2022)

ECHO CHAMBERS (2022)

PROJECT

As part of the festival “Romanischer Sommer” in Cologne, C. Fuchs and C.Thon received a composition commission in order to fill the Romanesque church St. Maria im Kapitol with orchestral sound.

On June 24, the Romanesque Night of the Cologne Festival “Romanischer Sommer” will be a very special concert evening. Being the “Grande Finale ” of the concert week, the FUCHSTHONE CHAMBER ORCHESTRA will present the world premiere of the program “ECHO CHAMBERS” in the largest Romanesque church of the city, St. Maria im Kapitol.

 

The line-up on June 24.th 2022:

Caroline Thon, Christina Fuchs (composition, conduction, arrangement),
Roger Hanschel, Martin Gasser, Veit Lange, (saxophone, clarinets, flutes),
Matthias Knoop (trumpets),
Matthias Schuller (trombones),
Zuzana Leharovà (violin),
Filippa Gojo (vocal),
Andreas Wahl (guitar),
Alex Morsey (bass),
Jens Düppe (drums)

FUCHSTHONE ORCHESTRA Photo by Steve Bauch

Photo by Reinhard Doubrawa

FUCHSTHONE ORCHESTRA Photo by Steve Bauch

Photo by Reinhard Doubrawa

For this occasion, the organizers of the Romanischer Sommer assigned Caroline Thon and Christina Fuchs with a composition commission. And so the two-part program with the title “Echo Chambers” consists exclusively of new compositions, which will be premiered by the FUCHSTHONE CHAMBER ORCHESTRA – for the first time in a small instrumentation as a “chamber orchestra”.

The following pieces are on the program:

PART 1 – INNER & OUTER ECHO CHAMBERS
(Composition: Caroline Thon)

For this premiere, the church of St. Maria im Kapitol with its very special resonance becomes a musical image of the interaction between external events and inner experience.
What happens on the outside creates an echo on the inside. Being an echo of what we have experienced, this influences our future experiences, perceptions and resulting actions. In the words of the Greek philosopher Heraclitus: “Panta Rhei – Everything flows”.
It plays an important role to what extent we are able or willing to reflect on what we have experienced.
In analogy to this, one speaks in the science of sound (acoustics) of first, second and multiple reflections, which influence our acoustic perception of echo and reverberation. Our experience undergoes a more or less conscious reflection in different phases. To musically depict this analogy is the theme of the 3 movements subsumed under the title
“Echo Chambers- Reflexionen”:
1. Reflexion – Outside
2. Reflexion – Inside
3. Reflexion – Panta Rhei

FUCHSTHONE ORCHESTRA Photo by Steve Bauch

Photo: Basilika St. Maria im Kapitol Köln, Provinzialverband der Rheinprovinz – Die kirchlichen Denkmäler der Stadt Köln

PART 2 – INNER & OUTER ECHO CHAMBERS
(Composition: Christina Fuchs)

Echoes (or reverberations) create an invisible network of reflections in space. This magic emerges in a very special way in Part II of this world premiere as part of the “Romanische Nacht” in St. Maria/Kapitol. This music is a free-flowing, orchestral work of art in space – the church becomes an Echo Chamber, a Cloud. Likewise, the term refers to a metaphorical sphere in which statements are amplified and disturbing noises – such as opinions to the contrary – are suppressed: the bubble in which we prefer to reside. This seeming contradiction of inside and outside is not resolved, but where better to perceive it than within an echo chamber? It is in the nature of the echo to always return, the same way we are thrown back on ourselves: Home.

Echo Chambers “Cloud Cluster”
1st set “Cloud”
2nd set “Bubble”
3rd movement “Home”

Fran Cano Cabal, Icelandic landscapes, CC BY-SA 3.0

Photo Reinhard Doubraw

Mediaecho:

“… it [the FUCHSTHONE CHAMBER ORCHESTRA] enriches the Romanische Nacht in St. Maria/ Kapitol with a world premiere: the “Romanischer Sommer” has commissioned the leaders with a composition. For the ” Echo Chambers ” program, the big band will be performing under the name of FUCHSTHONE CHAMBER ORCHESTRA….”.

Horst Peter Koll

Kölner Stadtanzeiger

“… The composers Caroline Thon and Christina Fuchs themselves conducted their complex world premieres. They were able to rely on an excellent wind ensemble and distinguished string players. Moreover, the Austrian jazz singer Filippa Gojo fascinated with her nuanced vocal facets”.

Ansgar Skoda - June 28, 2022

KULTURA EXTRA online magazine

FUCHSTHONE RELOADED#4 (2022)

FUCHSTHONE RELOADED#4 (2022)

FUCHSTHONE RELOADED#4 (2022)

PROJECT

In May 2022 our fourth series concert RELOADED will take place shortly after the showcase at the Jazzahead in Bremen. Both events (20.05. Wuppertal at LOCH, 22.05. at Stadtgarten in Cologne) will feature a best-of-program of the pieces we will record in June 2022 as part of our first studio recording. This program is therefore about playing and intensifying existing compositions live in front of an audience.

The line-up at LOCH in Wuppertal on 20.5.22:

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, Lars Schuster, 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)

1) 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

2) 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.

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) 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

5) ICELAND III
(Composition: Christina Fuchs)

This is a re-arrangement of the composition ICELAND in the spirit of the Reloaded concept: with new sounds, altered emphasis and soloists, the piece appears in a different shape.

 

Christina Fuchs:

“Since I was traveling in Iceland myself in 2021, climbing around on some glaciers and making field recordings, I can’ t let go of the subject.”

6) 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 a homage to nature which describes the astonishing delight of experiencing, for instance, a murmuring brook in the sunlight. In addition, quotations from the Latin poet Lucretius can be heard, which however are meant to question his eternalism.


Opposite to this, the melody of a long-life practice from Tibetan Buddhism resounds, which deals with 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

7) MAMOIADA
(Composition: Christina Fuchs)

Mamoiada ist ein Re-Arrangement der Komposition aus dem Programm 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:

“Das Stück ist von der Version „Passu Torrau“ des Quartetts „Tenore Gòine de Núgoro“ inspiriert. Da dieses Konzert ohne die elektronischen Einspielungen stattfand, habe ich die 4 Tenöre durch 4 Posaunen ersetzt.”

8) LEDNESIP
(Komposition: 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

FUCHSTHONE RELOADED#4

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#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.

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