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 – 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.
Ipke Starke: FRAGMENT (Das Kapital ist soviel Wert, wie es Elend produzieren kann.) 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
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.
PROGRAM duration 60ʻ
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
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.
“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?
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)
Contemporary accordion music from Latin America
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)
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.
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