The live combination of electro-acoustic and electronic music opens up rich audio realms, in which sounds remain tangibly linked with players' gestures: Watching the performer is an essential element in how the momentum and dramaturgy of a composition are perceived. The listener/ viewer's attention is specifically stimulated by the manifest and yet, by no means simplistic spatial-temporal congruence of that which can be seen and heard. In addition, this calls for a choreography of silence, of pauses. Face to face with the musicians and sharing experience with the total of the audience silence between the notes here articulates itself for the listener in a fundamentally different way than in the hermetic environment created by a hi-fi at home. Temporal expansion and contraction, tonal differentiation and overlays, the transition from note to noise and back again: these are central elements in the improvised music of Liz Albee and Esther Venrooy, as well as in the work of Rafael Toral's and Sei Miguel.
Toral is above all renowned for minimalist, almost sacral guitar compositions that stretch the limits of resonance and acoustic perception and comprehension. Since 2004, with his project "Space Program", Toral has taken his work in a completely new direction. Electronic instruments of his own design – sensor-interfaces that permit him to physically interact in innovative fashion with his compositions, and to concentrate on silence as a means of shaping the space in which his sounds are produced – lead Toral to his personal vision of a new contemporary Jazz. His instruments appear to be radically simple, yet Toral succeeds in drawing from them extremely complex and challenging music. With his rigorous approach and ascetic commitment to acoustic exploration and precision, Jazz trumpeter, director and arranger Sei Miguel has been a crucial influence for the development of Toral’s "Space" concept. The music of both, Toral and Miguel, focuses on essentials, on primary aural elements: on the length or brevity of a tone, for example. It is live music in the widest possible sense, performance music that is neither composed nor improvised but rather, an extremely disciplined and structured form of decision-making in real time.
The same might be said of Colleen, who uses acoustic instruments as a sound source, and live sampling and delicate electronic audio manipulations to create quiet, fragile miniatures, in which each individual note has sufficient space.
Norwegian, Svalastog will debut on stage with his new solo-program: a zither, animals' horns and electronics combine in a consummately fragile balance that gradually cedes to a penetrating circular rhythm. An evening characterized by a high degree of musical attentiveness, both on stage and on the part of the audience.