Concert Series 2013

Concert Series 2013

Transartfest Summer Concert Series Berlin 2013



Tuesday, August 6, 18:00: Dafna Naphtali + Hans Tammen: “mechanique(s)”
Wednesday, August 7, 18:00: Lynn Book: “Escapes”
Thursday, August 8, 18:00: Ensemble Xenon: “Perfect Hotel”

Dafna Naphtali – voice & live sound processing
Hans Tammen – analog modular synth

mechanique(s) is a collaboration between Dafna Naphtali and Hans Tammen involving live electronics, sound processing, analog modular synth and voice. The duo formed in the late 90’s to investigate the overlap of various elements of their technical and aesthetic practices — in compositions and improvisational settings for Naphtali’s interactive processed sound/noise system and Tammen’s custom analog modular synth built around chaotic behaviors.

Hans Tammen creates sounds that have been described as an alien world of bizarre textures and a journey through the land of unending sonic operations. He produces rapid-fire juxtapositions of radically contrastive and fascinating noises, with micropolyphonic timbres and textures, aggressive sonic eruptions, but also quiet pulses and barely audible sounds – through means of his “Endangered Guitar” and interactive software programming, by working with the room itself, and, as a critic observed, with his “…fingers stuck in a high voltage outlet”. Signal To Noise called his works “…a killer tour de force of post-everything guitar damage”, All Music Guide recommended him: “…clearly one of the best experimental guitarists to come forward during the 1990s.”

Dafna Naphtali is a sound-artist/improviser/composer from an eclectic musical background. As a singer/guitarist/electronic-musician she performs and composes using her Max/MSP programming for sound processing of voice and other instruments.Dafna has collaborated & performed with many experimental musicians and video artists over the past 20 years, such as Ras Moshe, Kathleen Supové, Lukas Ligeti, David First, Joshua Fried, Darius Jones, Alexander Waterman,and Hans Tammen as well as video artists (Benton-C Bainbridge, Angie Eng, Lenore Malen, Kristin Lucas and others) and with choreographer Daria Fain. She’s co-led the digital chamber punk ensemble, What is it Like to be a Bat? with Kitty Brazelton since 1997 (more music in the works!) and was a founder of Magic Names vocal ensemble (performing Stockhausen’s Stimmung).She’s received commissions and awards from NY Foundation for the Arts, NY State Council on the Arts, Meet the Composer, Experimental TV Center, Brecht Forum, and residencies at STEIM (Holland), Music OMI and iEAR at Rensselaer Polytechnical Institute. She’s twice received commissions from American Composers Forum (1999 work for pianist Kathleen Supové plus Disklavier, and in 2010 for Magic Names vocal ensemble),. Dafna is a 2011 recipient of Franklin Furnace Fund award to develop work with Eric Singer’s LEMUR music robots.She’s performed and traveled widely and under usual circumstances for her music (to festivals and venues around the world), (including to India for collaboration with Hindustani singer, Vidya Shah (courtesy of American Music Center). Dafna can be heard on Mechanique(s) (Acheulian Handaxe), on What is it Like to be a Bat? (Tzadik/Oracles) (4 Stars, All Music Guide) with Brazelton and Danny Tunick, Her newest CD Chatter Blip with Chuck Bettis is on Acheulian Handaxe.

Book performs extended media works for voice, text, electronics, video projection and sound ephemera. These are part of the larger project, UnReading for Future Bodies, where she investigates the dark mists of alien-ness that both conceal and accentuate pathways for flight and resistance at the borderlands of life.

Lynn Book’s interdisciplinary practice engages bodies as becoming, bodies being with. Her hybrid projects include full scale performance media works, concerts in contemporary music and club settings, exhibitional stagings, recordings and public actions that draw from performance art, movement, the theatrical, visual art, language, sound and new music. Content and form merge in Book’s works which are part delirium and part meditation. Book’s work has received citations, fellowships, and awards from among others, the National Endowment for the Arts, Illinois Arts Council, Franklin Furnace, and Mary Duke Biddle Foundation. ‘RE:garding Next’, a collaborative culture project investigating utopian desire, premiered at the Southeastern Center for Contemporary Art in North Carolina, 2007 and was subsequently performed at Roulette in New York City, Pittsburgh and Vienna. The New York Foundation for the Arts has supported several projects with Book as writer, composer, director, and producer including the The Dice Project: a CD of adventurous women composers and accompanying series of live concert and media events at Thundergulch, EAR Studios at RPI, and The Kitchen in New York. Book’s current projects include ‘FROTH’, a collaboration with an opera company and an early music orchestra in New York City, a video artist and a composer in Vienna, that collides with an 18th century French Baroque opera and received a preview at Symphony Space, May 2010. She is a featured artist at Art Stays, an international festival of contemporary art in Slovenia in 2010, where she will produce ‘SongSpot’, a new site specific performance and installation project.


Margarete Huber
Perfect Hotel  (2013)
for ensemble and participating audienceEnsemble Xenon

Ensemble Xenon
Free Improvisation

Markus Wettstein
for children’s instruments and four performersMusicians/Composers:

Margarete Huber – soprano
Kathrin von Kieseritzky – saxophone, children’s instruments
Matthias Müller – trombone
Markus Wettstein – metal objects and melodica, children’s instruments
Henriette Scheytt – violin
Mike Flemming – viola, children’s instruments
Christopher Williams – double bass
Michael Turnbull – children’s instruments

Ensemble Xenon, formed in Berlin in 2009, is a composer-performer ensemble straddling the fence between free and noted music. Central to their work are the compositions and concepts of the members of the ensemble as well as free improvisation, sometimes including other genres like dance, installation or video. The ensemble also performs a repertoire of new music of composers that relates to the its working style.