© Alexander Kuiava /Nektar Digital Group LP
© Alexander Kuiava /Nektar Digital Group LP

Ying Wang — Schmutz

Our capacity to hear is the doorway to our souls. A door which always stands open – receptive, passive as well as active. Permanent auditory overload is the result of a viral sequestration of space. Cultural as well as societal conditions representing the focal points for human perception are being inundated by the media and standardised to form a single global, mono-causal system of devaluation. Ethics, morals and culture are dirtied by the mental waste of a complacent feudal society – brain washing as an act of a totalitarian faction bent on contamination. Dreamlike tralala and sexy boum boum esthetics emanate from a specious public convenience building of a degenerate fellowship in addiction. Loud self-dramatisation dominates stylish-linear pathways which are the motorways for escape-agents. Underneath that: life. Myself - polluted, buried, contaminated. I threaten to suffocate on this small mundane lack of attention.

On this ignorant, smug disposal. I threaten to grow mute beneath the grandiloquent loudspeakers. Plastic in the oceans, oil in the plumage, noise in the ear, poison in the food, pestilence in the air, fear in the thoughts. This web of burdens, laid out by every single one of us, is spreading continuously. My music speaks of this ordeal. This is a piece for solo-violin and ensemble.

The point of departure is the individual, represented by the violin. Birth. A sound by itself – in life, in harmony; stable, vigorous growth and dissemination. Each sound texture is like an irreplaceable, individual fingerprint. Diversity (polyphony) is a desideratum. But comparisons engender uncertainty. From the encounter arises the need for harmony. Exposed to the inner (violin) and outer (ensemble) temptations, envy and hatred enforce adjustments which seem to require an estheticizing enactment of the personality rather than enabling an untrammelled unfolding of the self. All show and no substance. Advertising suggests perfection.

We participate, without sharing. We learn how to mete out. The industrial minute (ensemble) accelerates the perception of time in exponential growth.

The empty tenets of politics, religions and of the media (ensemble) preach miserable inequality. Either we are exploiters or exploitees. Man of God or Untermensch, believer or heretic. Exposed to these powers, ideology is defeated. Capitulation, recklessness, resignation. Man himself turns into a problematic substance. Environmental sin beyond death.
—Ying Wang, 2018

 in Werke
10 May 2019
7.30 p.m.
Vienna, Wiener Konzerthaus, Mozart-Saal AugenSchein Group portrait EA EA

Klangforum concludes its auditory view to the present with a cross-generational group portrait.

Friedrich Cerha — Kurzzeit
Rebecca Saunders — Scar*
Austrian premiere
Ying Wang — Schmutz
Austrian premiere
Georges Aperghis — Contretemp


Donatienne Michel-Dansac, Soprano
conductor: Julien Leroy


*Commissioned by Festival Acht Brücken | Musik für Köln with financial support from the Ernst von Siemens Music Foundation, Birmingham Contemporary Music Group & individual contributors to their 'Sound Investment Scheme', Huddersfield Contemporary Music Festival, Casa da Música Porto & Festival d'Automne à Paris.

The composers on their new works:
Rebecca Saunders — Scar
Ying Wang — Schmutz

Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.

2 May 2019
8 p.m.
Cologne, Trinitatiskirche Acht Brücken Festival Teeter-Totter UA UA UA

Rebecca Saunders combines sound and fury. And the Chinese composer Ying Wang, who spent part of her studies as Saunders’ student, gives no reason to expect pleasantries in her new composition. “Noise in our ears, poison in our food, stench in the air, fear in our thoughts…. My music speaks of all this torture.” And Georges Aperghis might add: “It is always about sparking an emotion, … making a structure tremble.” Thus, Seesaw and Teeter-Totter are not about children’s playgrounds and enjoyment, as the titles would suggest – rather, the orchestra is whipped into dramatic controversies. Much hangs in the balance during this concert by Klangforum Wien. (Acht Brücken Festival)

Georges Aperghis — SEESAW
      — Teeter-totter

Rebecca Saunders — Scar* world premiere
Georg Friedrich Haas — equinox world premiere
Ying Wang — Schmutz world premiere

Sophie Schafleitner, violin
conductor: Julien Leroy

The composers on their new works:
Rebecca Saunders — Scar
Ying Wang — Schmutz


*Commissioned by Festival Acht Brücken | Musik für Köln with financial support from the Ernst von Siemens Music Foundation, Birmingham Contemporary Music Group & individual contributors to their 'Sound Investment Scheme', Huddersfield Contemporary Music Festival, Casa da Música Porto & Festival d'Automne à Paris.

Top