Dietmar Bonnen: Transluzenz – Suite Für Kleines Ensemble at Loft

The concert will happen in front of a live audience, please read our infos concerning concerts with an audience during the Corona pandemic here:
https://www.loftkoeln.de/en/concert-at-the-loft-during-the-corona-pandemic/


tickets:

normal:
12,- €uro

students, disabled persons:
6,- €uro

Different expressions of spirituality form the shape of the 14-part instrumental suite: attunement, trance, meditation, ecstasy, etc.

Based on considerations about similarities and differences of spiritual music from different times and cultures, the fundamental question arises:...

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The concert will happen in front of a live audience, please read our infos concerning concerts with an audience during the Corona pandemic here:
https://www.loftkoeln.de/en/concert-at-the-loft-during-the-corona-pandemic/


tickets:

normal:
12,- €uro

students, disabled persons:
6,- €uro

Different expressions of spirituality form the shape of the 14-part instrumental suite: attunement, trance, meditation, ecstasy, etc.

Based on considerations about similarities and differences of spiritual music from different times and cultures, the fundamental question arises:
Is spiritual music tied to religions?

Georges Gurdjieff was inspired to create his own music by recalling melodies and rhythms from the regions he traveled to as a „seeker of truth“; John Coltrane transcribed self-written texts and prayers on the saxophone, while his wife Alice developed trance-like chants with synthesizer accompaniment for her own ashram; the 14th-century „Llibre Vermell de Montserrat“ gathers chants with which pilgrims could „tune in“ together and at the same time keep warm in the cold church; rhythmic movement sequences make dervishes fall into a trance; large parts of the Old Testament are provided with signs that Suzanne Haik-Vatoura deciphered and notated in pitches in the 1970s – the resulting melodies have supported the oral transmission and memorization of the texts.

I drew on a wide variety of compositional principles in the individual parts of the translucence suite: Rhythms I heard and notated in the Coptic monasteries of the Scetis Desert near Alexandria meet swinging Sufi melodies of the Baroque period, traditional rhythms of ritual African and Indian tribal dances follow a canon from the Llibre Vermell, Miles Davis’s technique of ostinato melody in seething rhythmic ambience is contrasted by the realization of my graphic score, which was composed in the Georgian cave monastery Vardzia, texts from the Daodejing transmitted by Jan Philipp Reemtsma and nature explanations by Chief Seattle form the basis for transverse flute improvisations, the old hymn „veni redemptor gentium“ becomes a minimal music accompaniment for a saxophone melody, Rainer Maria Rilke’s poem about a Buddha figure in Rodin’s garden is found again in a movement for woodwind trio …

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