Musik for accordion, electronics & accessories
by Oxana Omelchuk, Farzia Fallah, Sarah Nemtsov, Carlos Rico und Eva Zöllner

Program
Farzia Fallah (Köln/Iran, 1980) In sechs Richtungen (2016)
Oxana Omelchuk (Köln/Weissrussland,1975) Stirling (2019)
Sarah Nemtsov (Berlin/Deutschland, 1980) SKOP (2016) for accordion & harmonica
Carlos Andres Rico (Hamburg/Kolumbien, 1986) Nacido en el valle (2015)
Eva Zöllner (Deutschland, 1978) Heimatkommentare (2019)

Die Akkordeonistin Eva Zöllner spürt mit ihrem Instrument der Frage nach, welche Rolle „Heimat“ in Zeiten von Globalisierung und Migration für Komponisten von heute spielt. Der Persische Mystiker Rumi suchte bereits im 13. Jahrhundert seine Heimat “in sechs Richtungen” und wurde damit zur Inspiration vieler Heimatsuchender. Eva Zöllner geht mit vier KomponistInnen auf die Suche nach musikalischen und persönlichen Identitäten. Sie kommen aus Deutschland, aus dem Iran, aus Weissrußland und aus Kolumbien, knüpfen Verbindungen zwischen ihren Herkunftsländern und ihrer deutschen Wahlheimat und nähern sich dem Heimatbegriff aus sehr unterschiedlichen Perspektiven. Gegenübergestellt werden die Kompositionen eigenen musikalischen Kommentaren der Interpretin, die in ihrer Heimat, dem Westerwald, auf die Suche nach vergessenen Melodien und Geschichten geht, und so auch ihr Instrument mit seiner Herkunft konfrontiert.

11 sound games for accordeon, live electronics, video projection and dexterity games
with Kirsten Reese (composition/programming),
Eva Zöllner (accordion),
Sukandar Kartadinata (sensors/programming)
kugelspiele
Kugelspiele – are 11 different small scale dexterity games from the 1970ies or 80ies found at a flea market in Paris. Tiny balls have to be manoeuvered through labyrinthlike patterns. Live-electronic sounds are triggered and influenced by the movement of the balls. The accordeon player reads the movement of the balls, which are projectoed onto a video creen, like an instrumental score.

Kirsten Reese´s Website
kugelspiele2

 

Ipke Starke: FRAGMENT (Das Kapital ist soviel Wert, wie es Elend produzieren kann.)
Resonanzen Festival Leipzig 2014
performance-concert
for accordion, live electronics, marching band and video
first performance; Schaubühne Lindenfels, Leipzig, October 2014
with Spielmannszug Mutzschen

composition: Ipke Starke
accordion: Eva Zöllner
video: Ute Richter

Saal-101 (2)

Ipke Starke (composition) studied music in Leipzig and Paris and then worked as an assistant for computer-supported composition at IRCAM in Paris .Since 2000 he is professor of music theory and composition at the Academy of Music in Leipzig . His work includes pieces for instrumental ensembles , electroacoustic media and genre – crossing projects.

Ute Richter (video) studied Fine Arts in Berlin, Dresden and Paris. She develops location- and context-related installations. Her works include drawing, video, installation and intervention in public space. Since 2006 she teaches at the TU Dresden in the Department of Architecture.

Saal-64 (2)
PROGRAM
duration 60ʻ
I Signal/Fanfare
II Marsch.Maschine
III Nachtarbeit
IV Lied der Arbeit, Morsecode
Turneraufmarsch, Wien 1923/29 Video
V Choral der Arbeitsmoral
VI Lied des Rattenfängers I
Arbeit ist Hoffnung/Spielmannszüge Video
Organized Sound Einspielung
Edgard Varèse, Interpolation1 aus Déserts, 1954
Sylvianer Marsch/Fanfarenmarsch Olympia SPIELMANNSZUG MUTZSCHEN
Deutschmeister Regimentsmarsch
Heimgekehrt Videotext
VII Freizeit. Nichts zu tun. Nichts.
Karrieregespräche Einspielung
Landschaft Videotext
VIII Einzug der Zombies Akkordeon

071

Eva Zöllner also appears as a lecturer, combining music performance and lecture on various topics. Currently, for example, she has worked on the interpretation of Toshio Hosokawa´s music (see below). Presentations on other topics are in preparation.

IMG_2247
“How do I perform Hosokawa?”
Lecture-Konzert by Eva Zöllner
T. Hosokawa: Melodia (1979) for accordion
T. Hosokawa: Slow Motion (2002) for accordion
Gagaku: Hyojo no choshi für Sho, transcription for accordion
T. Hosokawa: Birds Fragments IIIb (1990/97) für Blockflöten & Akkordeon

Toshio Hosokawa’s music finds itself in the tension between East Asian and European philosophy and traditions. This results in new musical perspectives which require a special approach to grasp the depth of the music and its backgrounds. What does that mean for the work with the music ? What are the characteristics of these compositions and how do I as an interpreter deal with them?

Old and New Music for accordion and organ
A & O: Eva Zöllner, accordion & Kerstin Petersen, organ

Inspired by the expressive and multicolored sound possibilities of their two “wind instruments” Kerstin Petersen and Eva Zöllner open the space between old and new music. Especially for this project they have commissioned contemporary composers to write new pieces that draw a connection to older music: the Belarusian composer Oxana Omelchuk plays with Mendelssohn’s harmony and lets it merge with jazz-sounds. Knut Müller deals with the coexistence of the two keyboard instruments in Giovanni Gabrieli’s Canzona and transmits it to his musical language. And Thomas Beimel composed his Sonata with archaic sounds of a distant time.
The integration of contemporary works into this classic context draws new connections and offers the audience an exceptionalconcert experience.

William Albright (1944-1998) Fanfare / Echo, arr. A & O
Felix Mendelssohn Bartholdy (1809-1847) from: Lieder ohne Worte, arr. A & O
Oxana Omelchuk (*1975) …die Bäume wachsen in den Himmel nicht… (2009)
Felix Mendelssohn Bartholdy (1809-1947) Sonate c-moll op. 65, arr. A & O
Thomas Beimel (*1967) Sonata (communio) (2007)
Giovanni Gabrieli (ca. 1555-1612) Canzon Sol Sol La Sol Fa Mi a 8 Knut Müller (1963)
NiN-LiL (2011) für Akkordeon & Orgel
Aurelio Bonelli (ca. 1569 – 1620) Toccata Cleopatra
Guy Bovet (*1942) ”Hamburger Totentanz”, arr. A & O

Japanese chamber music for recorders, accordion and koto
Works by K. Harada, N. Kawakami, T. Hosokawa, K. Omura
and traditional Japanese music
Windspiel | contemporay music duo and Naoko Kikuchi
Windspiel & Naoko
Recorder and accordion sound very similar to the traditional Japanese instruments Sho and Shakuhachi. Therefore Windspiel has been interested in exploring the potentials of sound of both ancient and contemporary Japanese music. This interest resulted in the cooperation with young composers from Japan and during the last few years a couple of new pieces for duo and also for trio with Japanese koto-player Naoko Kikuchi have been created. The pieces are combined with traditional music and the listener is envited to experience the intense sound world of Japanese sound creation.
Alternatively the programme can be performed as a duo version.

Trio:
Gerald Eckert: Nen IX (2013) for recorders, accordion and koto
Kumiko Omura: in the bamboo forest (2010-11) for Recorder and 20-stringed Koto
Kengyo Yatsuhashi (17th century) song of the seasons for koto and voice
Toshio Hosokawa: Birds Fragments IIIb (1990/2003) for recorders & accordion
Noriko Kawakami: Im Traum, den das Chaos webt (2012/13) für 17-saitiges Koto und Akkordeon
Michiyo Miyagi (Gagaku): Entenraku-Variation (1894) Version für Koto, Blockflöte und Akkordeon

Duo:
Toshio Hosokawa: Birds Fragments IIIb (1990/2003) for recorders & accordion
Noriko Kawakami: Das Licht der Illusion I (2008) for accordion solo
Kumiko Omura: Von Jenseits des Flusses (2006) for recorders and accordion
Gagaku (traditional Japanese) Hyojo no choshi version for accordion
Kotoka Suzuki: While Ripples enlace (2010) for alto recorder and electronic sounds
Keiko Harada: Third Ear Deaf IIb (2000) for recorders and accordion

a church concert
Works by J. Cage, G. Derbez, S. Gubaidulina, M. Lavista etc.
Windspiel | contemporary music duo
Verena Wüsthoff, recorders & Eva Zöllner, accordion
hannver1Vera Morche (2)
In their compositions many of today´s composers deal very personally with religious topics and traditions: Old American chorals (from the collection „The Sacred Harp“) served as musical material for John Cage´s „harmonies“, Mario Lavista composed a musical remembrance of the death, Sofia Gubaidulina refers to a psalm of the bible while Georgina Derbez uses Material from a  renaissance madrigal.
Sing to me of heaven offers the audience the opportunity to contemplate these ideas and to reflect their own feelings towards the central aspects of our believes. In the unique and special atmosphere of the church hall man´s questions about our provenience and destination are musically expressed.

PROGRAM
Beat Gysin (1968): Anor (2006) for recorders, accordion and tape
The Sacred Harp (Georgia, 1886) Choral Sing to me of Heaven
John Cage (1912 – 1992) Harmony 35 (1986, Thirteen Harmonies)
Mario Lavista (1941) Ofrenda (1986) for tenor recorder
The Sacred Harp (Georgia, 1886) Choral The Lone Pilgrim
John Cage (1912 – 1992) Harmonies 15 & 42 (1986)
Jacob Obrecht (nach 1450-1505) Parce, Domine (Arr. Windspiel)
Sofia Gubaidulina (*1931) De Profundis (1978) for accordion
Josquin Desprez (um 1440-1521) In Pace (Arr. Windspiel)
The Sacred Harp (Georgia, 1886) Choral Paradise
John Cage (1912 – 1992) Harmonies 18 & 11 (1986)
Georgina Derbez (*1968) La Forca, il sparvier (2007) for recorders and accordion

Music by women composers
Open the box!
features 20th and 21st century compositions by female composers from different parts of the world. Starting from three small harmonium compositions created by Nadia Boulanger in the beginning of the last century, not only classics of the contemporary accordion repertoire will be heard, but also current works by the youngest generation of composers.
Eva Zöllner shows the accordion as a sensitive and expressive instrument and takes the listener into a world full of intense music and unexpected sounds.

Georgina Derbez (1968) Symphonia (2006)
Nadia Boulanger (1887-1979) Prélude – Improvisation – Petit Canon (1912)
Rebecca Saunders (1967) Of waters making moan… (2013)
Milica Djordjevic (1984) man würde denken: Sterne (2015)
Younghi Pagh-Paan (1945) Ne Ma-Um (1998) for acc. with small percussion
Jagoda Szmytka (1982) Open the box! (2011)
Sofia Gubaidulina (1931) De Profundis (1978)

eva_zoellner_traum_sw (4)

Contemporary accordion music from Latin America
071014_EvaZollner_CNB6_preview (2)
In most Latin American countries the accordion is playing a mayor role in popular music, but only very recently it was discovered in a contemporary music context. In many places it is now attracting a lot of interest among composers and public, and I as an interpreter have had the priveledge to be a part of this process . The composers refer to different sources: to the traditional music and culture of their country, to European or US-American contemporary music tendencies, and to other foreign traditions. Also very interesting electroacoustic approaches can be found.. The special cultural background of each country is individually reflected in the pieces.
The composers I have worked with during the last few years all have a very imaginative approach to the accordion. del viento, los sonidos…is a program both varied and intensive and shows different facets of the continent ´s new music life.

accordion solo
Ana Lara (Mexico, 1959) La Suplicante (2009)
Jorge Horst (Argentina, 1963) Fluido Flama (2010)
Carolina Noguera Palau (Colombia, 1978): Canto del Ave Negra
Yemit Ledesma (Peru, 1988): La Señora de Cao (2017)
Jorge Torres Saenz (Mexico, 1968) cold wind garden (2006)
Natalia Valencia (Colombia, 1977): new piece (2021)
Georgina Derbez (Mexico, 1968) Symphonia (2006)
Juan José Bárcenas (Mexico, 1982) new piece (2015)

accordion with electronics
Carole Chargueron (Mexico, 1966): endémico (2007)
Gonzalo Macias (Mexico, 1958) de calle (2011) for accordion and fixed media
Carlos Andres Rico (Colombia, 1986) Nacido en el valle (2015) for acc. and fixed media
Ana Maria Romano: posdomingo 02.10.2016 (2016)
Daniel Quaranta (Brazil, 1966) Chasing Breath (2010) for acc. and fixed media
Rodrigo Sigal (Mexico, 1971) ser otro (2010) for acc. and fixed media
Juan Sebastian Lach Lau (Mexico, 1970)
Todo mundo está afectado de una clausura inaccessible (2015) for acc. & fixed media
Alexandra Cárdenas (Colombia, 1976) Grenzgänger 2 (2014) for acc. & live-coding
Sergio Vásquez Carrillo: Variaciones sobre un tema Yukpa (2017)

DSC02805
with Beto Jamaica, Rey Vallenato, Colombia

 

Eva Zöllner presents brand new accordion music and makes use of various electronic, visual and more rustic resources. The references are varied: It s about water and air, insects and zombies, living and working environments and always about exploring and extending the instrument´s possibilities in current music creation.
Resonanzen Festival Leipzig 2014

Neele Hülcker (1987) Eva und Neele (2013) for accordion & video
Maximilian Marcoll (1981): Compound No.1 CAR SEX VOICE HONKER (2009)
Nicolai Worsaae (1980) Upon your body I m crawling (2012) for accordion & harmonica
Martin Schüttler (1974) Schöner Leben 8 (2016) for accordion & live-electronics
Ipke Starke (1965) FRAGMENT (2014) for accordion, live-electronics & video

still 11 eva