in the series Portrait of Women Composers of the Music Collection of the Austrian National Library
Gris sur bleu I (2013), …dans le silence…(2022), Nu bleu (2015), C ́est un ordre d ́amour (2022) with Kaoko Amano soprano, Eric Lamb flutes, Igor Gross percussions, Johanna Lacroix-Handschuh violin framed by a conversation with the Music Collection Director Dr. Benedikt Lodes.
Click here to listen to the whole playlist
Trio Amos and Klaus Lang
On 8 May 2022, the last concert of Trio Amos took place at the MUWA Graz. The programme featured music of the 15th century juxtaposed with Klaus Lang works. The composer himself played the harmonium. A part of this programme can be heard on the Cd production Teheran Dust, as well as in the Zeitton of 24 July 22.
Illuminations in Festival Imago Dei.
Premiere of the composition Illuminations by Tamara Frielbel for choir flute violoncello and percussion
Rooms of Consciousness
The project Rooms of consciousness by Tanja Brüggemann and Sylvie Lacroix took place on Jan. 26 at Brick5.
On this evening, spaces of our consciousness were explored through art spaces (music, visuals, architecture).
Artists from these fields came together in the space of Brick5 to embark on this journey within.
Visuals by Conny Zenk created virtual spaces in the form of moving plays of light in black and white on the transparent fabrics hung in the space and on the actors.
The musicians Tanja Brüggemann – prepared piano, Sylvie Lacroix – flute, Karlheinz Essl – electronic sounds, Johann Leutgeb – voice animated their personal musical spaces and expanded them through physical movement. Christina Bauer – sound direction ensured a finely balanced distribution of the sound events.
Altogether, an artistic body emerged that developed and moved through subtle communication. Strong, poetic moments of catharsis emerged during the performance.
The success of this experiment argues for a continuation.
The stimulating conversations at the bar following the well-attended concert reinforced this desire.
A liturgy of the hours for solo flute
Stuart Saunders Smith (1948 USA) a liturgy oh the hours (2012) Austrian premiere 19th September 2018 at the Konzilsgedächtnis Kirche in Vienna one hour music for solo flute my life a mere breath…the first is breath… the last is breath… …in between we continue, breath, in our moments, in this, our moment… while darkness is my companion, I work the earth of the heart. Stuart Saunders Smith (born 1948 in Portland, Maine, USA) is one of the leading composers of his generation. He is one of the pioneers of the confessional music movement – an intense compositional focus that reveals the most personal aspects of one ́s life, in the belief that the revelations of the particular speak to the universal.
… is a collection of works for flute and electronics that were written for Sylvie Lacroix and
in close collaboration with the composers.
Morton Feldmann crippeld symmetry
Minoriten Graz _25_5_2014 mit Kaori Nishii piano, Lukas Schiske percussions, Sylvie Lacroix flutes Crippled Symmetry,” a 90-minute piece for flutes, piano, celesta, glockenspiel and vibraphone. What is crippled is the strategy of the composer who creates these relationships among instruments and their tonal balances only to cancel them out gradually in favor of imbalances that must again work to create symmetry. This was Feldman ‘s genius, never assuming anything about harmonic totality or tonal regularities. In Morton Feldman’s music, silence plays a prominent role, thanks to the hushed volume and the interval between sounds. In Crippled Symmetry Feldman builds on repetitive motifs (patterns), knotting and weaving his sounds the way Anatolian nomads make their carpets. It is from those carpets that Feldman borrowed the concept of imperfect or ‘crippled’ symmetry. Listening to Feldman’s work is a strange but overwhelming experience. Crippeld symmetry provides a more congenial access point to Feldman’s painterly mature style, an aural analog to Mark Rothko’s pulsating color fields.
Landschaft mit Flöte
a collaborative composition project about nature, art and artificiality, with Burgenland nature recordings, flute sounds in and outdoors, and their processing in the studio. with Alexander Stankovski, Sylvie Lacroix and Florian Bogner Surveying the land, describing the world Man confronts nature as a stranger, yet finds something familiar in it. This contradiction cannot be resolved, but it can be made the subject of artistic work in order to learn something about both art and nature. In the two joint projects by Sylvie Lacroix Alexandre Stankovski and Florian Bogner, natural and artificially produced or deformed sounds are viewed through a variety of perspectives. The natural and the artificially created phaenomena are granted equal rights by looking at both through analogous perspectives. One does not have to know the places where Landscape with Flute was created – barn, meadow and recording studio – to get a certain idea of them. Their sounding qualities have been incorporated into the music, have shaped the sound. To a “photorealistic” depiction of the environment as a kind of acoustic land survey into which sounds of everyday life penetrate, the flute as an instrument independent of nature and electroacoustics are added as additional layers, processing the recorded material of both the flute and the landscape and juxtaposing the real places with artificially created spaces. Two supposedly incompatible worlds also confront each other in Études sur la mer. But as different as the artificial world of virtuoso flute music and that of the world of sounds are at first, they are able to approach each other as breath and noise to the point of indistinguishability. And because the acoustic description of the world is sometimes confusingly similar to reality, an in-between world emerges in which it is no longer possible to say what is natural and what is artificial: the boundaries between the seemingly so clearly separated spheres begin to blur. Daniel Ender These projects that examine natural and synthetic or manipulated sounds from various perspectives, Sylvie Lacroix Alexandre Stankovski and Florian Bogner are unbiased observers of the phenomena of nature and art. In Landschaft mit Flöte (Landscape with flute) real places contrast with artificially created spaces when “photo-realistic” material (a kind of acoustic survey of the environment penetrated by ambient noises) and solo flute (or nature-independent instrumental) playing are transformed through electroacoustic processing. Études sur la mer also juxtaposes two seemingly disparate spheres. Yet as different as the artificial world of virtuoso flute music and the sounds of the ocean might at first seem, they merge as breath and murmur in a zone between worlds: where boarders become blurred, it is no longer possible to tell what is natural and what is artificial. translated by Friedericke Kuksar Naturgemäss Alexander Stankovski Text cd Daniel Ender
André Jolivet Ascèses
private recording by Sylvie Lacroix