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| 01 |
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Hildegard Westerkamp, Breaking News |
03:18 |
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| 02 |
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Chiara Margarita Cozzolani, Dixit dominus |
10:28 |
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| 03 |
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Chiara Margarita Cozzolani, O praeclara dies |
06:35 |
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| 04 |
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Hildegard Westerkamp, Moment One |
04:00 |
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| 05 |
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Chiara Margarita Cozzolani, Bone Jesu |
05:04 |
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| 06 |
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Chiara Margarita Cozzolani, Laetatus sum |
06:18 |
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| 07 |
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Catherine Lamb, Pulse/Shade |
09:35 |
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| 08 |
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Chiara Margarita Cozzolani, Ave Maria |
05:58 |
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| 09 |
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Hildegard Westerkamp, Moments Five-Seven |
04:29 |
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| 10 |
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Chiara Margarita Cozzolani, O Jesus meus amor |
06:20 |
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| 11 |
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Michèle Bokanowski, Korè |
07:06 |
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| 12 |
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Hildegard Westerkamp, Moment Nine |
01:00 |
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Total Time |
01:17:27 |
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| Digital Booklet - only with album |
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 mp3 320 kB/s |
 HD wav |
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Ex Utero |
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9,99 € | download |
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| About Ex Utero |
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When The Present came across Chiara Margarita Cozzolani some time ago during researches, they were fascinated by her story and impressed with her music. The idea came up to build a Marian Vespers from her psalm settings and smaller concerti and to give this festive format a new thematic orientation with con- temporary interludes. For this, The Present combined music by the composers Hildegard Westerkamp, Catherine Lamb, and Michèle Bokanowski with the historical material.
The interweaving of early and new music creates a unique Marian Vespers that literally celebrates birth and life.
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| About The Present |
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The Present is a solo voice ensemble from Berlin that interweaves early and new music in its programmes, always pursuing a conceptual approach and enjoying to play with the boundaries of style and genre. The ensemble made its concert debut at the Schwetzingen Festival in 2019. This was followed by performances with differently cast, mostly custom-made programmes at the Thuringian Bach Festival, the Göttingen International Handel Festival, the zamus: early music festival in Cologne, the Acht Brücken Festival in Cologne, the Schlossmediale Werdenberg and the Bregenz Festival, among others. Musical theatre produc- tions increasingly come into focus as well. In 2022, for example, The Present celebrated the premiere of the three-part production THE PRESENT RETTET DIE WELT (The Present saves the World) at the Neuköllner Oper in Berlin and developed its first own performative work HÄNDEL IM AFFEKT (Handel in the Heat of the Moment) during its residency at the zamus Cologne. The Present are: Hanna Herfurtner, Olivia Stahn (soprano), Bernadette Beckermann, Amélie Saadia (contralto), Benjamin Glaubitz, Tim Karweick (tenor), Florian Götz, Felix Schwandtke (bass). Artistic directors: Hanna Herfurtner, Olivia Stahn, Amélie Saadia. visit thepresentensemble.de |
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| Composers |
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Hildegard Westerkamp (*1946) is a Canadian composer of electroacoustic music, sound artist, acoustic ecologist, instrumentalist, and author. The starting point of many of her works is the acoustic environment. Westerkamp often uses the medium of tape and combines field recordings with voices or instruments, thereby manipulating and processing the initial noises and sounds. She has been involved in various research projects on the topics of noise, ecology, and music, and worked as radio presenter, lecturer, and installation artist. Her music can be found in numerous films, including Gus Van Sant’s “Elephant” (USA, 2003) and “Last Days” (USA, 2004).
Catherine Lamb (*1982) is an active US American composer exploring the interaction of tone, summations of shapes and shadows, phenomenological expansions, the architecture of the liminal (states in between outside / inside), and the long introduction form. She currently resides in Berlin. She is a 2020 recipient of the Ernst von Siemens Composer’s Prize, a 2018 recipient of the Grants to Artists award from the Foundation for Contemporary Arts, a Staubach Fellow for the 2016 Darmstadt Summer Course as well as a 2016–2017 Schloss Solitude Fellow.
Michèle Bokanowski, who was already a music enthusiast as a child, decided to study composition at the age of 22, after having read Pierre Schaeffer’s A la recherche d’une musique. After a classical education in harmony, she met Michel Puig, a student of René Leibowitz, who taught her composition and analysis according to Schönberg. In September 1970 she began a two-year internship in the research department of the ORTF under the direction of Schaeffer and, at the same time, took part in a research group on sound synthesis. She also studied music informatics at the Vincennes faculty. Her main works have been created for the concert stage, but she has also written for the theatre (with Catherine Dasté), dance productions (with choreographers Hideyuki Yano, Marceline Lartigue, Bernardo Montet), as well as for Patrick Bokanowski’s short films and his feature-length film L’Ange. She lives and works in Paris.
Chiara Margarita Cozzolani (1602-1676/-78) was an Italian nun and composer in Santa Radegonda in Milan. She probably received music lessons as a child and expanded her vocal training in the monastery.
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