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\n\tWith the musicians of the ensemble Megaphon and guest artists, we span a wide range from Hildegard von Bingen's mystical chants from the 12th century to traditional Arabic Sufi music, improvisations and today's music. In doing so, we include the space, the light and its atmosphere and all meet in a musical dialogue.<\/p>\n
Excerpt from criticism in the Celle newspaper, November 2016:<\/p>\n
The different music was followed by transformations of the space through light and video projections. At first, these looked like moving water surfaces, then they reverted to Paul Klee's angel drawings, which were set in motion. And finally, the moving video projections also showed the light-framed contours of the musicians covered with luminous strips, but not as a one-to-one reproduction of what was being experienced, but as a recording of what had been played before.\u00a0<\/em>These light projections were not always characterised by movement; there were also moments in which the entire room seemed frozen as architecture due to lighting that traced many columns. It was a highly impressive evening of transgressive art.\"\u00a0\u00a0 <\/em><\/p>\n R.Hanke<\/p>\n Excerpt from the review in the Bremerhaven Zeitung, December 2018<\/p>\n Soprano Sophia K\u00f6rber did not simply sing with soft and clear-as-a-bell lines, she radiated the intensity of the pieces. Oren Lazowski made dance-like use of the altar space.\u00a0<\/em>New music also met the Renaissance during the rest of the concert. And not as a contrast, but always linked seamlessly and without interruption. A central example: After K\u00f6rber and Zupkova, together with double bassist Johannes Keller, had worked out the rough edges beyond the lyrical beauty in Monteverdi's \"Lamento d'Arianna\", Helena Tulve's \"Silences\/Larmes\" was followed by a microtonal work peppered with numerous acoustic barbs. Vlady Bystrov lent it an edgy bite with his soprano saxophone, and Ehsan Ebrahimi, who had already unfolded the richness of sound of the Iranian santoor during other parts of the programme.\u00a0<\/em>When the enthusiastic final applause rose, the artists had proved that breaks between different ideals of sound and art can also be used as a bridge.<\/em><\/p>\n Thorsten Meyer<\/p>\n What do angels sound like and what do they look like? Fascinated by images and compositions by various artists and composers, the musicians of the Ensemble Megaphon embarked on a journey. In this, poetically spoken word and choral singing combined with compositions from the Middle Ages to the present day, sung by soprano Sophia K\u00f6rber and played by violin, flute and accordion. Under the artistic direction of Lenka \u017dupkov\u00e1 and Klaus Hermann Ansch\u00fctz, the musicians and the choir spanned a wide range from the oldest chorals to mystical chants from the 12th century by Hildegard von Bingen to the music of the present day. The floating light projections of Paul Klee's angel paintings transformed the church space and merged with the dancer's movements to form a collage. In a production rich in images, the four musicians, a dancer from the music Ensemble Megaphon and the Schola Gregoriana Cellensis wandered through the church and through timeless sound worlds.<\/p>\nFractures can also be bridges<\/h4>\n
Contributors<\/h2>\n
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