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.

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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)

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.

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.

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