Elisabeth Harnik – Joëlle Léandre
Résumé Elisabeth Harnik: Piano
Elisabeth Harnik, free-lance composer and pianist, was born 1970 in Graz and currently lives in Gams (County of Styria / Austria). She studied classical piano and later – with Beat Furrer – composition at the University of Music and Performing Arts, Graz. Harnik started her artistic career both as interpreter of her own works as well as pianist and vocalist in various areas of improvised music. The "repertoire" and it's extensions in composition and improvisation is her central focus.
In addition to her work as composer she appears as improviser at various national and international festivals. She works within an electro-acoustic inspired sound-world, using unique preparations and extended techniques. Besides her solo performances she is member of many ensembles for improvised music (Barcode Quartet, Plasmic Quartet, Wild Chamber Trio, DEK Trio, ReDDeer a.o.) and has performed with numerous internationally recognised representatives of the contemporary jazz scene in Europe and abroad such as Johannes Bauer, Thomas Lehn, Mikołaj Trzaska, Gianni Mimmo, Joëlle Léandre, Isabelle Duthoit, Jaap Blonk, Paal Nilssen-Love, Alison Blunt, Dominic Lash, John Butcher, Ken Vandermark, Dave Rempis, Tim Daisy, Michael Zerang, Fred Lonberg-Holm, Fay Victor, Taylor Ho Bynum, Clayton Thomas and many more.
Harnik has toured in Europe, United States, China, Australia, Brazil and her compositions have been performed regularly at concerts and festivals for contemporary music. She received a great number of rewards and prizes. In 2017 she holds the SKE Publicity Award Austria.
Résumé Joëlle Léandre: Double Bass
French double bass player, improviser and composer, Joëlle Léandre is one of the dominant figures of the new European music. Trained in orchestral as well as contemporary music, she has played with l’Itinéraire, 2e2m and Pierre Boulez’s Ensemble Intercontemporain. Joëlle Léandre has also worked with Merce Cunningham and with John Cage, who has composed especially for her – as have Scelsi, Fénelon, Hersant, Lacy, Campana, Jolas, Clementi and about 40 composers.
As well as working in contemporary music, Léandre has played with some of the great names in jazz and improvisation, such as Derek Bailey, Anthony Braxton, George Lewis, Evan Parker, Irene Schweizer, William Parker, Barre Phillips, Pascal Contet, Steve Lacy, Lauren Newton, Peter Kowald, Urs Leimgruber, Mat Maneri, Roy Campbell, Fred Frith, John Zorn, Mark Naussef, Marilyn Crispell, India Cooke and so many others…
She has written extensively for dance and theater, and has staged a number of multidisciplinary performances. She got the DAAD at Berlin, is welcomed as artist resident at Villa Kujiyama (Kyoto). In 2002, 2004 and 2006, she is Visiting Professor at Mills college, Oakland, CA, Chaire Darius Milhaud, for improvisation and composition. Her work as a composer and a performer, both in solo recitals and a part of ensembles, has put her under the lights of the most prestigious stages of Europe, the Americas and Asia.
Current tour dates
2018 | 19 July – 23 September
2018 | 28 November – 9 December
2019 | 19 April – 5 May
2019 | 17 – 27 May October
Contact us if you want to offer a date for this tour, and we will advise you on availability.
Schon optisch ist Joelle Leandre beim Spielen ihres Leibinstruments (wenn auch mit geliehenem Bogen) eine Erscheinung: Was da alles an Kraft mitschwingt, wenn Saiten gezupft, gebogen und geschlagen werden, ist schon körperlich schier unglaublich. Musikalisch ist die tremolierende Kehligkeit, die Dominanz des körnenden Sounds in ihrem Spiel ein ohrenöffnendes Erlebnis. Doch damit nicht genug: Durch eine variantenreiche Vokalperformance, in der französische Kaffeebestellungen genauso amalgamiert werden wie text-entäusserte Operngesten, lässt Leandre ganze Welten vokaler Praxis aus den Fugen geraten; Worte fliegen auf, doch der Sinn hat keine Schwingen. Elisabeth Harnik öffnete am Klavier indessen ein Panoptikum der jüngeren Musikgeschichte; Von Cowell’schen Bansheeklängen bis zum “Prepared Piano” eines John Cage, von zaghaften Jazztupfern bis zur treibenden Rhythmik von Ligeti-Etüden war alles zu hören, was Klaviertechnik bieten kann, verpackt in präzises, zuweilen sprudelig-glissandierendes Spiel. Im Zusammenklang zeigen die beiden Koryphäen zudem ein Gefühl für weite Bögen, die auch radikale Avantgardismen durch Konturierung ihrer Energiegehalte erlebbar machten. — Felix Jurecek