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Clemens Gadenstätter: 4 studies for selfportraits in surroundings

for accordion and electronics

(2021/2022)

Everything that has shaped me and shapes me comes up in composing: containers of predefined content, loaded with predefined understanding and experience. At the same time, each sound is shaped by a certain energy and forms a certain experience in perceiving. These two levels can hardly be separated–yet they are substantial as interacting: the most intimate experience is socially shaped, the most banal element can become the most intimate experience.

Experiences remembered over time–banal and everyday–are the matrices from which material and structure are developed. Intimate experience and everyday environment form the basis for material and structure.

The compositional transformation work becomes the individuation process of the documented environment, the (inner) experience, the learned–imprinted–experience, the learned expression of the »sensations«, the instrument and its idiomatic and medially imprinted preconditions.

Individuation also means that the hearing of the music and the music no longer completely fall into one: The listening understanding is given the space to make its own experience beyond the settings and imprints and to find unknown layers of itself.

Clemens Gadenstätter

Clemens Gadenstätter (*1966 in Zell am See) studied composition, first in Vienna, then in Stuttgart with Helmut Lachenmann. He teaches at the University of Music in Graz as professor for analysis, music theory and composition.

His central work project is the compositional resynthesis of sensations. For him, this connects the trinity of listening, understanding and composing.

Most recently, Gadenstätter has been working on the transformation of acoustically triggered, preformed sensations (series of works E.P.O.S.: les premiers cris, les cris des lumières, les derniers cris for various ensemble settings); on the concept of the banal (see the pieces Semantical Investigations 1&2 and the essay Was heißt hier banal); with the polymodality of hearing (häuten, schlitzen for string quartet 1&2, ES for voice and ensemble etc.) as well as musical iconography (series of works ICONOSONICS 1–3). Larger works, including daily transformations for voices, ensemble, electronics, text and film, together with Lisa Spalt (text) and Anna Henckel-Donnersmark (film), as well as zelle for 9 voices, 9 instruments, electronics and video address these ideas in polymedial form. The intimate as a subjective as well as collective category of human experience is thematized in the series of works »making of–…«, whose first work is a concerto for flute and orchestra, which focuses on intimate experience as being in and with the world (»making of–intimacy« 2022/23).

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Clemens Gadenstätter: 4 studies for selfportraits in surroundings

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