Vom unendlichen Atem

Konzert für 2 Orgeln und Zuspiel

In the composition for two organs, we are interested in the specifically double-choir situation and the specifically spatial unfolding of tones that goes along with it, their complex movements and spreads.
The organ can easily have the longest breath and create an almost infinite sound.
Its tone can be changed and registered in the most diverse timbres.
The organ, brought to life by the moving bellows, becomes shatteringly concrete as sound in its mechanistically, technically and also abstractly distant tone production controlled by trains and pneuma. The apparatus of the largest musical instrument recedes completely in its sound. Naked and cuttingly real, its sound moves in space.
In the composition of Stefan Lienenkämper, Vom unendlichen Atem the spatial situation of the two instruments and the diffuse spreading of the sounds is extended by 4 sound locations. Through loudspeakers, what has already faded away is brought back, the inaudible is made audible and, in addition to sounds from the interior of the organ, recordings from different places are also played, which, in the sonic interiority of the concert space, also make it possible to experience an exterior for moments.
Two breathing organisms unfold like living beings that mirror mental states; a space of transition between confrontation and immersion, wanting to be heard and asserting oneself, encounter and strangeness emerges; the counterpart veils the nakedness of the other, emphasizes and structures at the same time, creates context and connotations, establishes references, comments and to all this and above all - it creates a we.

• Makiko Nishikaze: »organorgano« für 2 Orgeln (2016)
• Stefan Lienenkämper: »Vom unendlichen Atem« für 2 Orgeln und 4-Kanal Zuspiel (gefördert durch INM) (UA)

Lothar Knappe, Orgel
Liana Narubina, Orgelpositiv

Kompositionen für 2 Orgeln und Zuspiel