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Duthoit/Hautzinger + Palme/Ullén
Duthoit/Hautzinger
Isabelle Duthoit – voice, clarinet
Franz Hautzinger – quartertone trumpet
The Zeroeth Star
Pia Palme – contrabass recorder, electronics
Lisa Ullén – piano
[The formerly announced double bassist Margarethe Maierhofer-Lischka unfortunately cannot play due to illness.]
Kindly supported by Kulturverwaltung des Landes Berlin
Doors: 8.30 pm
Concert start: 9.00 pm
Isabelle Duthoit, Franz Hautzinger
The two protagonists of the international abstract music scene Isabelle Duthoit and Franz Hautzinger work together since a few years. They develop instant composed music and form and shape their sound patterns and abstract constructs in the process: Experimental improvised music. The French clarinettist and voice performer Isabelle Duthoit boasts an incredibly dense and impulsive stage performance. Since her studies with Jacques Di Donato in Lyon and many others she worked with some of the most important representatives of the French improv scene further with Phil Minton, Tim Hodkinson, Thomas Lehn. For a number of years with her trio Bouge, Luc Ex and Johannes Bauer traveling in Europe, and most recently reinforced with the protagonists of the Austrian scene. Franz Hautzinger is one of the most prolific experimental musicians of the Austrian scene who has worked with many big names of the international avant-garde, has run many own ensembles (legendary his Regenorchester, Gomberg, Dachte Musik) and is much sought-after partners Kapazundern as Keiji Haino, Hamid Drake, Jamaldeen Tacuma Elliot Sharp, Otomo Yosihide, Butch Morris, Lou Reed, Zeitkratzer, Derek Bailey, Phill Niblock, and many more ... Hautzinger has developed his quartertone trumpet to a whole new kind of expression, which he elicits bizarre sounds and noises. In his solo performance, he creates adventurous soundscapes that sound more like electronic music then a trumpet.
The Zeroeth Star: Pia Palme, Lisa Ullén
‘If I work at instruments, at materials, then I find something within myself that is otherwise dormant and that quality has a social component. It is communicable and has the strength to move outward to others who may wish to engage with it in their own way. That may be simplistic but its constructive aspect, both on a personal and social level, is almost miraculous by comparison with current ideas of democracy in which participation is promised yet hollow.’ David Toop in Into the maelstrom: Music, improvisation and the dream of freedom
