written—not—written

Saâdane Afif
Sarah Darwin
Jean Pascal Flavien
Annika Larsson
Jonathan Monk
Tisha Mukarji
Anonymous

Martin Grütter, piano
Special guests: Andrey Andrieu, Nina Berclaz, Wesley Bryon, Lilas Duvernois,
Hervé Humbert, Cosima zu Knyphausen

Invited by Augustin Maurs

25.05.2016   8pm
Schinkel Pavillon, Berlin

Screen Shot 2016-05-18 at 10.04.18IF_Logo-RVB

For brass ensemble on a beach

Augustin Maurs
Commissioned by Jörg Heiser for the Monaco Nuit Blanche 2016

Larvotto Beach, Monaco
with the Berlin Brass Ensemble
30.04.2016, 8:10pm

 

With Saâdane Afif, John Armleder & Christian Marclay, Jean-Pascal Flavien, Karl Holmqvist, Jonathan Monk, Tisha Mukarji, Louis-Philippe Scoufaras

Curated by Augustin Maurs and Catherine Othenin-Girard

Commissioned by artgenève  for artgenève-music

artgenève-musique is a platform within artgenève, which is dedicated to sound, performance and ephemeral works made by artists. The pieces will be presented on the preview evening of artgenève, in the alluring salons of the Villa Sarasin, in immediate proximity to Palexpo.

27.01.2016, Villa Sarasin /Palexpo

Chemin Sarasin 45 – 1218 Grand-Saconnex, Genève

MUSIC_IS_NOT

 

18.12 – 04.01. 2016
EBM(T) Tokyo, Augustin Maurs

SaadaneAfif_DasEndeDerWelt_09

For vocal ensemble and percussion, by Augustin Maurs, commissioned by Saâdane Afif on the occasion of his exhibition “Das Ende der Welt” at the Museum für Naturkunde Berlin

Das Ende der Welt is a unique concert that closes the process of Afif’s intervention in the dinosaur hall of the Museum für Naturkunde Berlin. Das Ende der Welt is part of the round of artistic interventions initiated by the Museum für Naturkunde Berlin with the German Federal Cultural Foundation, all within the framework of the model project ART/NATURE.

The brief of Afif’s commissioned work to Maurs was to “compose a musical piece for vocal ensemble and percussion as if the action were set a few moments before the end of the world”. Afif purposefully chose an encounter between a choir and a drum for his intervention. Inspired by the symbolism of Greek tragedy, the choir, a human collective that dedicates itself to a common action (namely singing), represents mankind performing its own ineluctable extinction. Meanwhile, the drumbeats stand for unchained powerful natural elements and the beats of time as it passes. The whole project acts like a contemporary vanitas work. Through this sensory device, Afif tackles the end of various worlds – but first and foremost the end of the human world and, by extension, the end of consciousness.

Das Ende der Welt thus underlines the parallelism between the real world and the studied world. One becomes a metaphor of the other to question the fragile destiny of mankind and nature. From this peculiar site – a museum of natural history – Afif chose to reflect on the disappearance of the world by announcing its end. Between 27 August and 29 November 2015, Afif displayed posters in different locations in the Museum, announcing – with a certain touch of irony – the end of the world. However, in this case, Das Ende der Welt is only a piece of music performed in the main hall of the museum.

 

Performed by the Last Ensemble with soloists Ricardo Frenzel Baudisch, Sarah van der Kemp, Katharina Schrade and Yuka Yanagiara.
The Last Ensemble is: Martin Åkesson, Audrey Andrieu, Katharina Beckmann, Nina Berclaz, Cornelius von Bernstorff, Oliver Coleman, Sarah Darwin, Helga Dittmann-Pätsch, Guillaume Doerflinger, Philothée Gaymard, Cornelia Hiller, Hervé Humbert, Sam Kennedy, Cosima zu Knyphausen, Katharina Kritzler, Rüdiger Mangel, Sigrun Meyer, Alberto Piu, Antonio Piu, Cathia Ruf, Marilena Stano und Renate Wolf.

Premiere: 29th of November 2015 – 7:30 PM.
Museum für Naturkunde Berlin, Leibniz-Institut für Evolutions und Biodiversitätforschung
Invalidenstrasse 43,  10115 Berlin,  Germany

love_transcopy

THE LOVE TRANSCRIPTIONS is a musical moment for voice based on songs heard and transcribed by Augustin Maurs in daily situations while sitting in cafes or browsing through the internet. The futility of the transcriptions makes their musical rendition uncertain, leading to further associations. This intricate process of transcription and rendition though recalls the very themes of the songs and their contradictions; consent and deception, desire and renouncement, faith and parody…
Venerdì 10 Aprile ore 19.00

artQ13, Via Nicola Coviello 15, 00165 Roma.

If music is traditionally organized through quantifiable time parameters, it is also the evidence of the unquantifiable essence of time. A key notion in the western music of the 19th century, the “tempo rubato” (Italian for “stolen time”), precisely evokes the rhythmic freedom taken by the interpreter, the transitory and unmeasurable essence of the musical act. As a musical union between time and space, the “tempo rubato” is inherently singular and irreproducible – and opposes the synchronized organization, which precisely enables music to be reproduced. The workshop combines live music interventions with talks and audio, film or other documents as an invitation to reflect about the boundaries
between “given” and stolen time.

As part of Augustin Maurs’s exhibition Tempo Rubato

from November 26-28, 2014, 5-8pm

AuditoriumArte
Parco della Musica
Viale Pietro de Coubertin 30 – 00196 Rome

Oswald Egger (Text) und Augustin Maurs (Musik)
19.02.2015
Deutsche Akademie zu Gast im Martin-Gropius-Bau, Berlin
Niederkirchnerstraße 7
10963 Berlin

Diversi Muri – Un omaggio a N.O.F.4
Curated by Egija Inzule

With: Kaspar Berner, Géraldine Beck, Joanne Burke, Ludovica Carbotta, John Cascone, Gina Folly, Ronnie Füglister, Silvia Giambrone, Emmanuelle Lainé, Anne Le Troter, Emiliano Maggi, Augustin Maurs, Noha Mokhtar, Mattia Pellegrini, Cesare Pietroiusti, Coralie Rouet, Benjamin Valenza

13.12.2014
Istituto Svizzero di Roma
Via Ludovisi 48 – 00187 Roma

AuditoriumArte Parco della Musica, Rome

An open concert for voices with special guest Francesca Proietti

3 toasts to stolen time  is the closing event of Augustin Maurs’s project TEMPO RUBATO, curated by Anna Cestelli Guidi and  conceived for AuditoriumArte at the Auditorium Parco della Musica

28.11.2014 7pm
Auditorium
Parco della Musica, Rome

 

Augustin Maurs_Auditorium Arte Roma_XI14 © Luis do Rosario

AuditoriumArte, Parco della Musica, Rome

A project by Augustin Maurs / written-not-written and Fondazione Musica per Roma, Auditorium – Parco della Musica
In collaboration with:
Hug&vonBelow art and music projects, Geneva
RAM – radioartemobile, Rome

Curated by Anna Cestelli Guidi and  conceived for AuditoriumArte at the Auditorium from November 26-28, 2014

If music is traditionally organized through quantifiable time parameters, it is also the evidence of the unquantifiable essence of time. A key notion in the western music of the 19th century, the “tempo rubato” (Italian for “stolen time”), precisely evokes the rhythmic freedom taken by the interpreter, the transitory and unmeasurable essence of the musical act. As a musical union between time and space, the “tempo rubato” is inherently singular and irreproducible – and opposes the synchronized organization, which precisely enables music to be reproduced. Throughout his inquiry, Augustin Maurs transforms the exhibition rooms in a lively space, combining recorded soundtracks, live music, and an assemblage of scores. A notational output made of signs and stains, which denies the actual use of music notation, but invites to remove the boundaries between “given” and stolen time.

Auditorium
Parco della Musica
Viale Pietro de Coubertin 30 – 00196 Rome

(Photographer: Luis do Rosario)

 

Augustin Maurs_music for plates_07-11-2014 h. 19.00

Cadence: “flow of rhythm in verse or music”, from old Italian cadenza „conclusion of a movement in music“, from Latin „to fall“, sometimes used literally for “ an act of falling”.

Part of the exhibition “dal il al di”. With Eli Cortiñas, Oswald Egger, Thilo Folkerts, Katharina Hinsberg, Annika Larsson, Augustin Maurs, Lilli Messina, Hans-Christian Schink, Nasan Tur and realities:united.

7.11.2014, artQ13  project space, Rome

watch video

Gerd de Vries zu seinem 70. Geburtstag
Zusammen mit Freunde Guter Musik Berlin e.V.

Mit Aufführungen von David Askevold, Robert Barry, John Cage, William Engelen, Jonathan Monk, Alexander Moosbrugger, Olaf Nicolai, Yoko Ono, Eric Satie, Karlheinz Stockhausen und Gerd de Vries

4.10.2014 Sammlung Hoffmann, Berlin

for voices

Augustin Maurs, with Louis Philippe Scoufaras

Berlin 2014 Arratia Beer Gallery

Augustin Maurs_Auditorium ArteRoma_XI14© Luis do Rosario

A music exhibition by Augustin Maurs

With the Ensemble Matka

artgenève 2014, Villa Sarasin, Geneva, 30.01-2.02.2014

Opening hours: Jan 30, 2-6pm, Jan 31, 2-6pm, Feb 1, 2-8pm, Feb 2, 2-8pm

The Stain usually stands for the undesirable. It is the stigmata, it reveals a mistake. Beyond this unfounded existence, it can sometimes be confused with the Sign – as it is the case, for instance, in the musical notation, where the note is indicated with a single dot. Augustin Maurs’s project plays on the limit between the definite meaning of the sign and the arbitrary appearance of the stain. The “Found Melodies” preserve the flaws of memory, the accidental traces and the indifference of time. The scores are interpreted by the musicians of the Ensemble Matka who resides in the Villa Sarasin during artgenève on this occasion.

This project was made possible through the support of the Banque Piguet Galland.

A series of workshops and exhibitions and publications on a global scale on ÑEWPRESSIONISM
An initiative of Rome’s Swiss Institute, curator Salvatore Lacagnina and artist Miltos Manetas.

Participants among others:
Mike Calvert, Griffin (invited by Pascal Janovjak), Annika Larsson, Angelo Plessas, Jon Rafman, Nora Renaud, Amalia Ulman, Domenico Billari,Benedetta Zucconi, Augustin Maurs, Julien Tavelli, Francesco Raparelli, Paolo Virno, Gunther Teubner

18-20.03.2014, Swiss Institute, Rome

Workshop with the Ensemble Matka

27-31.01.2014, Villa Sarasin /salon d’art de Genève, Geneva

With Augustin Maurs, presented by Petra Prahl. Many thanks to the flutist Nadine Schindler.

27.11.2013

bachsuites_homepage

Ongoing project presented at New York Goethe-Institut Wyoming Building 2013, Werdenberg Festival (Switzerland)  2012, artgenève 2012, Geneva, COMA gallery /HugvonBelow art and music projects 2011, Berlin

As a result of years of examination, Augustin Maurs has removed the Bach’s Suites for Unaccompanied Cello from the concert hall and placed them in an unilluminated space, in which he repeatedly plays them over a period of several days. Through the extended timeframe and the elimination of any visual input, the listener and the playing musician are unified within the same visual and musical space.

Originally conceived as studies, Bach’s Cello Suites are dances written around 1720. Although unaccompanied, they are expansive polyphonic musical masterpieces, considered both the beginning and culmination of the cello repertoire. Uncertainty about the original creative intentions of the Suites invites perpetual debate and allows imaginative free rein for redefining the environment in which they are played. Bach Suites in the Dark explores the malleability of the pieces and the notion of practice in which they are rooted.

Das Ende der Inszenierung (Christian Baier)

Licht aus. Ohren auf (Tagesspiegel 2010)

Augustin Maurs über SOLO (German)

Mehdi_Chouakri_002.low

Directed by Saâdane Afif. Music by Augustin Maurs. With Katharina Schrade, soprano

Berlin 2013 Mehdi Chouakri Gallery

watch film

sOLIVE2small

A concert on skill and disruption, strength and nonchalance, morale and cheating

Berlin Philharmonie 2013

Participating artists: Saâdane Afif, Bethan Huws, Christoph Keller, Annika Larsson, Klara Lidén, Olaf Nicolai (feat. Elliot Sharp), Tracey Rose, Tino Sehgal,
Kammerensemble für Neue Musik Berlin, Truike van der Poel, Chor der Kulturen der Welt

Workshops and talks at KW Institute for Contemporary Art in Berlin

In cooperation with:
Berlin Philharmonie / artgenève / Berliner Künstlerprogramm, DAAD / Hug&vonBelow art&music projects / KW Institute for Contemporary Art in Berlin

Virtuosity, a signifier for outstanding artistic mastery, simultaneously always implies transgression. Famously embodied by the “Devil’s Violinist” Niccolò Paganini’s ability to blend fear with delight, this ambiguous notion blurs the boundaries between opposing forces, and where required, between good and evil. Drawing on this intersection of skill and value, Augustin Maurs invites visual artists to create new works investigating the situation of a “concert” in the Berlin Philharmonie – the architectural masterpiece of German architect Hans Scharoun and one of the most exquisite concert halls in the world.

download flyer

Wind_of_Anafi_small

 

 

 

 

 

 

 

Relative Music is not a piece, but a musical practice. As implied in the name, its main element is a specific approach of time and togetherness: time does not flow. Rather events have a certain temporality. Relative Music is therefore not coordinated by synchronization inside one flow, it is coordinated by collisions emerging out of different continuities. It seeks to develop different forms of junctions, intervals and scales, but most significantly, different behaviors. Starting from the impulse as unit, Relative Music doesn’t need a stage – it is spatial perforce, it is an economy. “Relative musicians” can thus be composers, singers, cheese makers or politicians. They are primarily dealers of impulses, taking part in the same economy, operating as well as imitators and as producers.

Chapters of practice:      ADJACENCIES   .    COLLISIONS    .    AGOGIC   .

workshop excerpt

Music to Save Europe (Augustin Maurs)

 4:00 pm workshop with Augustin Maurs
Exploring other kinds of junctions, intervals and behaviors.
– Idea and tools
– Practice
– Workshop presentation/performance
Open to musicians, performing artists and others (German / English)    

7:00 pm Talks and examples
with Annika Larsson, Olaf Nicolai,  Ana Teixeira Pinto, Tisha Mukarji

KW Institute for Contemporary Art in Berlin, Auguststraße 69 10117 Berlin
Thu 9.05.2013 4:00 pm & 7:00 pm 3€

phil

A concert on skill and disruption, strength and nonchalance, morale and cheating

Saâdane Afif, Bethan Huws, Christoph Keller, Annika Larsson, Klara Lidén, Olaf Nicolai (feat. Elliot Sharp), Tracey Rose, Tino Sehgal

Kammerensemble Neue Musik Berlin, Truike van der Poel, Chor der Kulturen der Welt

Berlin Philharmonie, Kammermusiksaal
30.04.2013 7:30 pm

In cooperation with: artgenève, DAAD Artists-in-Berlin Program, Hug&vonBelow art&music projects, KW Institute for Contemporary Art in Berlin

Virtuosity, a signifier for outstanding artistic mastery, simultaneously always implies transgression. Famously embodied by the “Devil’s Violinist” Niccolò Paganini’s ability to blend fear with delight, this ambiguous notion blurs the boundaries between opposing forces, and where required, between good and evil. Drawing on this intersection of skill and value, Augustin Maurs invites visual artists to create new works investigating the situation of a “concert” in the Berlin Philharmonie – the architectural masterpiece of German architect Hans Scharoun and one of the most exquisite concert halls in the world. Production manager: Angela Anderson, production assistant: Chloe Langford, graphic design: Benedikt Reichenbach download flyer

Augustin Maurs interview BLOUIN artinfo Monthlies Jan 2015

The Political Economy of Table Music (Dieter Roelstraete)

Virtuosity, violins and weapons (Augustin Maurs)

Das Ende der Inszenierung (Christian Baier)

Über SOLO (Augustin Maurs)

Erzählungen von Krisenorten (Peter Ühling / Berliner Zeitung)

Music to Save Europe (Augustin Maurs)

Screen shot 2013-03-27 at 8.02.10 PM

upcoming US tour 2013  – more info soon

Trailer

Bach Suites in the Dark offers another approach of some of the most popular yet highly elaborated European classical music works: the Cello Suites by Johann Sebastian Bach. As a result of years of investigation, Augustin Maurs has removed the suites from the concert hall where they are usually performed, although for which they have not been written, to relocate them in an idealized environment: a continuously accessible unilluminated space.
Through the elimination of the traditional frontal concert situation and of any visual input, the project unifies the listener and the performing musician within the same visual and musical space. Drawing upon the Bach Suites themselves, the performance investigates the possibilities of interpretation and contemporary practice.

 

THE SUITES ALONE

Originally conceived as studies, Bach’s Cello Suites represent at the same time the beginning and the culmination of the cello repertoire. For many musicians and music-lovers these works are associated with strong, personal and lifelong experiences. The fact that there are no social occasions passed down pointing to the context in which the Suites were conceived invites a perpetual debate about this music and allows an imaginative free reign for the defining of the place and the surroundings in which the works can be performed.The context mentioned here is based on the conviction that the Suites are not really suited to conventional concert practice. The ‘absolute’ architectural beauty of the Suites finds itself here in the dark. The performance of the Suites is, given their complexity and dimension, a challenge for every cellist. They are infrequently performed in their entirety – and then only as a one-time concert experience. The reiteration of the performance of the Suites represents an extreme accomplishment for the interpreter and requires extensive preparation. Although works for a solo instrument, the Suites are polyphonic masterpieces of unusual plasticity, which offer infinite possibilities for interpretation. Through its “work in progress“ character, Bach Suites in the Dark captures this sense of malleability and plays with the countless possibilities inherent in the pieces. The recurrence of the performances allows for the combination of various modes of interpretation and offers a new freedom to the audience: they are not limited to a particular time frame nor to a singular reading of the works. On the contrary, the repetition adds an element of flexibility and comprehensiveness to the experience that would normally not be found in concert life.

Das Ende der Inszenierung (Christian Baier)

Licht aus. Ohren auf (Tagesspiegel 2010)

Augustin Maurs über SOLO (German)

La musique pour randonneurs et cors des alpes  est une invitation aux joueurs de cor
des alpes de la région et joue sur la caractéristique principale de l’instrument – être audible sur de longues distances. La pièce met en oeuvre un concept de composition spatiale qui traite
l’espace et le lieu au même titre que les paramètres musicaux tels
que les hauteurs de son ou le rythme.

Festival d’art en plein air de Malbuisson 2013, France

«SPEAK MUSEUM!» résulte de la rencontre entre des étudiants de l’université de Franche-Comté et des oeuvres du Musée d’Art et d’Histoire de Montbéliard. Lors d’un atelier, chaque étudiant choisit une oeuvre qui devient le point de départ ou le cadre d’un commentaire ou d’une histoire. À travers ce qu’ils racontent, les performers-narrateurs relient l’oeuvre d’art á une expérience personnelle, vécue ou inventée. Les salles du musée sont plongées dans le noir et seul les visages des narrateurs sont visibles. Les oeuvres se définissent pour un moment à travers leurs récits et leur présence.

20.- 25.10.2012 Musée des ducs de Montbéliard, Montbéliard, France

15.06 –  25.08. 2012 Gebrüder-Montgolfier-Gymnasium, Berlin Schöneweide, im Rahmen des Projektes X Tage

With Annika larsson and Augustin Maurs
Open to music and art students

24.02 -2.03.2012, Art Academy of South Australia, Adelaide

1659

Transcriptions of transcriptions – Martin Luther King / Pierre Bismuth / Augustin Maurs
Antigel Festival / Geneva art fair 2013

Annika Larsson, KORG MS-20
Augustin Maurs, cello
ARRATIA BEER gallery, Berlin 2012

Avec des étudiants de l’université de Franche-Comté et le conservatoire de Montbéliard.
25.10.2012 Musée du Château des ducs de Wurtemberg, Montbéliard

UM-Festival für zeitgenössische Kunst, Literatur und Musik, Fergitz 2012

Togethter with the Zaafran Ensemble and the collective “das Wunder”
Rathenau Hallen, Berlin 2012

darboven

Augustin Maurs plays Hanne Darboven

31.03.2012, 14.04.2012, Klosterfelde Gallery, Berlin

Screen shot 2012-10-03 at 11.18.40 AM

Music is commonly defined as “organization of sounds”, by opposition to noise – etymologically from nausea, referring to nuisance, disorder or idleness. In the context of this opposition, where noise and idleness are considered negative, the musical genre of the Divertimento appears to be somehow ambiguous. Traditionally a light and entertaining composition, generally for a small ensemble, also described as Nachtmusik, a light, “after-dinner” and often outdoor music, the Divertimento used to accompany banquets and other social events. The Divertimento in 4 movements for voices, ensemble and dancers is an attempt to draw on this ambiguity and invites performers and audience to a moment of distraction, amusement, entertainment and delight, but also to possibilities of rerouting, redirecting, and “changing the course of”.

With Annika Larsson, Sonntag Museum / Adelaide Festival of Arts, Australia 2012

A sounding picture on dexterity, embarrassment and indifference. The two soloists alternately display musical skills and mortifying helplessness while the orchestra members are getting drunk. Augustin Maurs & Michael Wilhelmi, celli, Soundfair and Berlin weekly gallery 2011

Excerpt 

auwolf

The wolf tone is an acoustical parasite resulting from the interference of vibrations produced on a certain note on string instruments. This designation itself refers to the “wolf fifth”, a metaphor of the unpleasant rendition of an interval that has been artificially cut off to fit in the Pythagorean system of the “circle of fifth”, on which all western music is based. In reality, a series of Pythagorean fifths does not appear as a closed circle, but as an infinite spiral.

Augustin Maurs, cello. Ana Teixeira Pinto, wolf.
Salon Populaire, Berlin 2011

DSC00669

A composed evening combining music with speeches throughout a supper ceremony.

Whith the gong ensemble “THE TENTH ASSAULT ON KAZAN” and Augustin Maurs, cello. Thanks to the players and speakers: Jason Dodge, Dieter Roelstraete, Monika Szewczyk, Kolja Gläser, Annika Larsson, Andrew Noble, Kasha Bittner, Jiajia Hammond, Sophie Hamacher, Jennifer Allen, Ana Texeira Pinto, Józefina Chętko, Jochen Sandig and Martha Rosler.
St. Elisabeth-Church, Berlin 2011

Screen shot 2011-03-15 at 1.08.42 AM

Reiterations of Bach’s allemande from the 5th cello suite while the audience reads the sketches of the hidden musician. Augustin Maurs, cello

watch film 

Sophiensaele, Berlin 2011

Attempt of a dialog between Francisco José de Goya, Henry Purcell, Reiner Ruthenbeck, Chiharu Shiota and many others. With Helga Wretman, Jacob Kovner, Augustin Maurs, Verena Harzer, Hoffmann Collection, Berlin 2010

7

Concert essay with Wolfgang Amadeus Mozart Symphonie Nr. 32 (1779), Georges de Scudéry : ‘La Comédie des Comédiens’ (1634), Nam June Paik: ‘Young Penis Symphony’ (1963) Gustav Mahler: Adagietto from the 5th. symphony (1904), Annika Larsson: Symphony,

COMA gallery, Berlin 2010

wrong20

Michael Wilhelmi, piano, Augustin Maurs, cello
COMA gallery, Berlin 2010

Winterreisen Projekt

A commentary of Schubert’s Winter Journey for piano, electronics and voices with professional and non-professional guests.
(Ongoing project since 2007)

Watch “Gute Nacht”

Winter_Dokumentation (German)

Partner: the Capital Cultural Fund in Berlin, INM (Initiative Neue Musik e.V.), The Franco-German Youth Office (FGYO), Outreach, Mobile Jugendarbeit, Berlin, Collectif FUSION, Villiers-le-Bel, Ile de France, International Art Research Location « Schloss Bröllin », Foundation Genshagen for German- French cooperation in Europe, Centre for Opinions in Music and Art, Berlin, Maison de l’Europe, Paris

Augustin Maurs (composition & concept), Björn Lehmann & Michael Wilhelmi (piano), Joachim Schütz & Andre Bartezki (electronic) Verena Harzer (dramaturgy), Jordane Maurs (workshop direction) Friederike Zenk & Timo Domröse (production), Mario Stumpfe (press), Ilhan Emirli (social supervision), Brahim Saai (social supervision), Änne – Marthe Kühn (coordination & assistance), Manuela Beaudet (translation), Fabian Bleisch (light)
and…
Cornelius von Bernstorff, Dagobert, Julian Damovsky, Pinar Kaya, Raswan Mohamed, Geneviève Orjollet, Florian Pfeifer, Luca Plachy, Fatmagul Yaman, Olivier Grienenberger, Christian Marien,  Aaron Synder, Lorent & Francois Ardouvin / chimère, Looniz, Samso, Sanni, Mizzion, Skaz, Louison Selmane,  Afro Hesse, Billal, Sofiane, Tony, Sedo, Crime, Sanni, Mizzion, Skaz. (voices & texts)

The Berlin based music platform written-not-written presents projects ranging from concerts to installations.
w-n-w questions our approach of forms and repertoire, plays with reproducibility and transience, combines conceptual interest with performance and medias.
w-n-w curates, interprets, comments and collaborates with international artists.

Collaborations (among others): HAU 2 (Hebbel am Ufer) Berlin, The Capital Cultural Fund in Berlin, Initiative Neue Musik Berlin, Deutsche Guggenheim, Rohkunstbau Festival Potsdam, Sound Museum, Amsterdam,  Collectif Fusion, Paris-Villiers le Bel, German-French Youth Exchange (Deutsch-französisches Jugendwerk), Music Academy Rheinsberg, HBC Berlin, Hoffmann collection, Berlin, International Research Center For The Arts‚ Schloss Bröllin’, Sophiensaele, Berlin

 

score_a.maurs

…Music to save Europe

There is nothing like an absolute present. No more than an absolute orange or absolute love. But we, European geniuses, can be rewarded for having edified what resembles the cult of metronome. And although nothing legible fits any more in a single, dividable time frame, we keep being devoted to a unique and inalterable continuity, in which events obey to the predefined rules of synchronized representation.

In order to check out of the hysteria of synchronization, we can imagine a music that deals with different flows and situations, we can move into a “relative music”, that requires other kinds of junctions, intervals and behaviors. A music that is no more coordinated by given subdivisions inside one flow, but by collisions emerging out of different continuities. This collisions, can be seen no more as divergences, but as an unlimited variety of impulses that we can interpret, replicate or transform.

As a time process, music is able to comprehend the complexity of a high register of events. Such music, that evolves outside of the specter of one single synchronization is spatial perforce. It doesn’t need a stage. It is an economy. An economy of impulses. Impulses as units that can be wide, loud, translatable, platonic, narrow, red. Impulses as units that lead to other impulses. But most importantly, impulses as units that CAN die. An economy of units that can die, that is – music, an economy which indifferently embraces transcendence and transience.

There is nothing like composers, singers, cheese makers and politicians. We all are dealers of impulses, operating as well as imitators or producers; taking part in the same economy as a child blowing in a scuba on a beach or two birds colliding over the Mount Kalamos, 500 meters above the Aegean see at sun set – holy cheesiness, that constrains the big metronome, when birds fall and children are bragging…

Augustin Maurs

For SOUTH magazine, Anafi Island, summer 2012

 

 

Pankstr. 48
D – 13 357 Berlin
+ 49 30 44 03 98 01
Screen shot 2015-05-21 at 6.58.17 PM

Projects development: Augustin Maurs

Production: Friederike Zenk

written-not-written e.V.
Augustin Maurs (Vorsitzender)
Timo Domröse (Stellvertretender Vorsitzender, Geschäftsführer)
Amtsgericht Charlottenburg
Steuernummer: 27/681/53554

 

SOLO – Bach Suites Exhibited

Screen shot 2013-03-27 at 8.02.10 PM

HBC. / Coma Gallery 2012
SCHLOSSMEDIALE WERDENBERG, Switzerland 2012
US tour 2013 more info soon

Trailer

Augustin Maurs über SOLO (German)

SOLO – Bach Suites Exhibited offers another approach of some of the most popular yet highly elaborated European classical music works: the Cello Suites by Johann Sebastian Bach. As a result of years of investigation, the french cellist Augustin Maurs has removed the suites from the concert hall where they are usually performed, although for which they have not been written, to relocate them in an idealized environment: a continuously accessible unilluminated space.
Through the elimination of the traditional frontal concert situation and of any visual input, SOLO – Bach Suites Exhibited unifies the listener and the performing musician within the same visual and musical space. Drawing upon the Bach Suites themselves, the performance investigates the possibilities of interpretation and contemporary practice.

THE SUITES ALONE

Originally conceived as studies, Bach’s Cello Suites represent at the same time the beginning and the culmination of the cello repertoire. For many musicians and music-lovers these works are associated with strong, personal and lifelong experiences. The fact that there are no social occasions passed down pointing to the context in which the Suites were conceived invites a perpetual debate about this music and allows an imaginative free reign for the defining of the place and the surroundings in which the works can be performed.The context mentioned in SOLO – Bach Suites Exhibited is based on the conviction that the Suites are not really suited to conventional concert practice. The ‘absolute’ architectural beauty of the Suites finds itself here in the dark. The performance of the Suites is, given their complexity and dimension, a challenge for every cellist. They are infrequently performed in their entirety – and then only as a one-time concert experience. The reiteration of the performance of the Suites represents an extreme accomplishment for the interpreter and requires extensive preparation. Although works for a solo instrument, the Suites are polyphonic masterpieces of unusual plasticity, which offer infinite possibilities for interpretation. Through its “work in progress“ character, SOLO – Bach Suites Exhibited captures this sense of malleability and plays with the countless possibilities inherent in the pieces. The recurrence of the performances allows for the combination of various modes of interpretation and offers a new freedom to the audience: they are not limited to a particular time frame nor to a singular reading of the works. On the contrary, the repetition adds an element of flexibility and comprehensiveness to the experience that would normally not be found in concert life.