Very happy to announce that in a three-part series, the Austrian Radio OE1 presents an extended feature about myself as composer and about the artistic research project On the Fragility of Sounds at the Kunstuniversität Graz under my direction.
July 16/2021, 23:03 – 24:00 (MESZ) Zeit-Ton Radio OE1 & online Presented by Astrid Schwarz On the Fragility of Sounds (1) Ein Rückblick auf das künstlerische Forschungsprojekt “On the Fragility of Sounds” With music by Elisabeth Schimana, Séverine Ballon, Elaine Mitchener, Electric Indigo (commissioned by On the Fragility of Sounds) and an excerpt of Wechselwirkung by Pia Palme. With, among others, the ensembles Schallfeld, Phace, and soprano Juliet Fraser. Listen under https://oe1.orf.at/programm/20210716/645189/On-the-Fragility-of-Sounds-Teil-1
Séverine Ballon and ensemble Schallfeld performing at Schaumbad Graz, June 2021. Foto by Palme.
Séverine Ballon, Violoncello Pia Palme, Bassblockflöte
Eintritt gegen freie Spende
Das Konzert ist Teil des künstlerischen PEEK Forschungsprojektes On the Fragility of Sounds (2019 – 2021) an der KUG Kunstuniversität Graz, Zentrum für Genderforschung | FWF PEEK AR537. Gefördert vom FWF Austrian Science Fund.
June 16/2021 02:00 PM, London Zoom class Pia Palme WITH – Towards an ecology in music
@ CRiSAP Sound Arts, London College of Communication,
University of the Arts London
For more events concerning artistic research at the University for Music and Performing Arts Graz, please look at my research project website www.fragilityofsounds.org
for current updates.
Saturday, 29 May 2021, 6 pm
KNM’s Salon #2 – Historical Instruments in Contemporary Music
Stream fom KNM’s Garage 51 | Fahrbereitschaft Berlin
Moderation: Dr. Liam Cagney
Guests: Dr. Pia Palme, Komponistin (AUT) | Chao-Ming Tung, Komponist (TWN) | Matthew Conley, Musiker (USA/DEU)
Programme Pia Palme : KREIDEBLEICH (2019-2021)ma piece for harpsichord with microtonal tuning and preparations, version #4 (2021) with video, Sonja Leipold, Cembalo Ana Maria Rodriguez : Piedras for contrabass clarinet, baroque trumpet and live-electronics Ensemble KNM Berlin
Thursday, March 18/2021 – 5 PM [CET/UTC+1] Online Event
The Fragility of Sounds Lecture Series
Summary & Lecture #9
This is the final presentation in the series of lectures I curated with Christina Lessiak as part of my artistic research.
Pia Palme:
WITH. The significance of a preposition in my practice.
March 8 to 14/2021 – online Radio OE1 Radiokolleg – Jobprofil: Komponistin
with Marie-Therese Rudolph, featuring an interview with Pia Palme https://oe1.orf.at/player/20210308/630750
An evening of sonic explorationsand new works with Pia Palme bass recorder, video performance & electronics Margarethe Maierhofer-Lischka double bass & electronics Sonja Leipold harpsichord & preparations & objects
13.-15./11/2020 WUK Projektraum Vienna
in cooperation with Wien Modern festival and ensemble PHACE WECHSELWIRKUNG A montage for the Anthropocene
A piece for singer, dancer, electronics and instrumental ensemble
world premiere 60’
by Pia Palme, Paola Bianchi, Juliet Fraser, Irene Lehmann, Christina Lessiak − an artistic research collaboration group
as part of the PEEK Project On the fragility of sounds
The piece was premiered without audience and filmed.
Watch the trailer here:
10/October/2020 – 19:30
Café Korb, Art Lounge downstairs Composer’s Lounge
with Duo Skweres (Yui Iwata-Skweres – Violine/Tomasz Skweres – Violoncello)
Astrid Rieder (TransArt), Pia Palme, Mia Zabelka.
September 2020
Gallery 12-14 contemporary
12-14 Schleifmühlgasse 1040 Wien
My video Forest#1 featuring oboists Molly McDolan & Ana Inés Feola
with oboe da caccia is part of an installation by Molly McDolan.
24/09/2020 19:00 Hasenherz: Performance im Rahmen der Ausstellung (Des)Orientierung Molly McDolan & Ana Inés Feola perform Eins und Doppelt (Pia Palme 2019/2020)
Discussion with Ruth Anderwald and Leonhard Grond.
Works by Gerburg Neunteufl Pipina Schickaneder, Peter Hoiß & Anderwald & Grond. Curated by Hubert Hasler
22/09/2020/20:00 Aktionsradius Augarten, Gaußplatz 11, 1020 Wien In Erinnerung an Christian Loidl: Vom Finden und Filtern
Mitwirkende: Monika Heimbach, Christian Katt, Jaan Karl Klasmann, Eva Lavric, Richard Weihs mit Live-Musik von Pia Palme
This is the first event by Aktionsradius Augarten since the lockdown in March.
21/09/2020
Radio orange playlist for Radio Augarten for the feature Christian Loidl: Schaffensprozess aus Lyrik und Performancekunst https://cba.fro.at/464940
presented by Mischa G. Hendl includes More Radically (Pia Palme & Rosie Middleton; Text by Pia Palme) The Sampler and the Drum (Pia Palme & Eric Gingras; Text by Pia Palme)
August 2020 UNCOOL Artist Residency, Poschiavo (CH)
I have been invited to be Artist in Residence in August, I travel to the Swiss mountain district Bernina, to the Uncool Residency in Poschiavo (organised and curated by Cornelia Müller). In a year like this, I very much look forward to this unique opportunity – and I hope that everybody stays healthy and everything will work out, including travel.
12 & 19 & 26 August 2020, 4PM concert series
Oratorio St. Anna, Poschiavo A Montage of J. S. Bach & Improvisations
Pia Palme Solo, contrabass recorder unplugged
02/08/2020 OE1 series KUNSTRADIO 23:00 – 24:00 presented and curated by Elisabeth Zimmermann
available via webradio until August 8th here: https://oe1.orf.at/player/20200802/607747
ISOLATION ISLAND – Reisebericht von einer Dämmerungslinie (2020)
This is the premiere of my 41 minute radio composition – or should I say radio experiment? – commissioned by KUNSTRADIO. It’s about my experiences and explorations as an artist in residence on Örö, a tiny island in the Finnish archipelago. Woven into field recordings, electronic music, and remixed compositions that were inspired by the residency, I talk and play my contrabass recorder. And, of course, I reflect upon some more recent observations about the lockdown, which reminded me so much about the exposed and isolated situation in Finland.
With:
Anna Clare Hauf, mezzosoprano
Molly McDolan, Ana Inés Feola, baroque oboe instruments
Ensemble airborne extended:
Caroline Mayrhofer, alto recorder
Elena Gabbrielli, bass flute
Tina Žerdin, harp
Sonja Leipold, harpsichord
Remix and electronic music by Pia Palme
Mastering and radio sound design: Elmar Peinelt, ORF Funkhaus studios
Texts by Pia Palme written on Örö, Finland 2018 and in Vienna 2020
Thanks to the Örö Residency Programme, SKE Austro mechana, FWF Austrian Science Fund, BMKOES Ministry for supporting this work.
Derzeit arbeite ich an meinem neuen Musiktheaterstück WECHSELWIRKUNG, das im November bei Wien Modern uraufgeführt wird, mit u.a. Juliet Fraser, Paola Bianchi und dem Ensemble PHACE im Projektraum WUK.
Currently, I compose my new music theatre WECHSELWIRKUNG. Premiere planned in November with Wien Modern 2020, with ensemble PHACE at Projektraum WUK. Artistic research conducted in collaboration with Paola Bianchi, Juliet Fraser, and Christina Lessiak.
Cancelled
May 12/2020 – 20:00 >>> echoraum Wien will be moved tba. Die Blaue Stunde
with Séverine Ballon, Margarethe Maierhofer-Lischka, Pia Palme,
ensemble Schallfeld
May 7/2020 – 23:00-24:00
Radio feature in the OE1 series ZEITTON
about the project Fragility of Sounds
presented by Astrid Schwarz
Cancelled May 7 & 8/2020
Festival Fragility of Sounds
Kunstuniversität Graz (including a premiere of my piece for voice, dance & ensemble with ensemble Schallfeld)
Cancelled April 29/2020 Portrait concert Pia Palme @ONB Austrian National Library
Musiksammlung with Anna C. Hauf,
ensemble airborne extended, Molly McDolan
Cancelled
April 1/2020 Workshop Pia Palme @ University of Sydney, Australia
and research collaboration
with the Composing Women programme
and Prof. Liza Lim at the Sydney Conservatorium of Music
March 31st, 8pm / Make It Up Club Melbourne
online concert#2
Michelle Nguyen/electronics
Oz Kesik/electronics
Maz Benjemaa/guitar
Pia Palme/contrabass recorder
November 17th/2019 15:00 Pia Palme performs MORE RADICALLY #2 (Palme 2019) solo for spoken text and bass recorder Paris, Cathédrale Américaine, Concert à l’occasion du 30ème anniversaire de la fin de la guerre froide et de la libération de l’Europe centrale
From September 15th to October 19th 2019 I participate as composer/performer in the Banff Residency for Performing Arts, Early Fall
at the Banff Centre of the Arts, Canada.
The residency is funded by the FWF Austrian Science Fund PEEK Project AR537 On the fragility of sounds.
October 18th/2019 7:30 PM
Banff centre of the Arts, Canada, Rolston Hall
Skinpaperfragility (Palme, Banff 2019)
for spoken text, bass recorder, a membrane paper score & silent video
with Pia Palme, bass recorder, voice &
Jane Gowan, paper performance @Participants Concert Banff
4th October/2019 7:30 PM Banff Centre of the Arts, Canada, Rolston Hall MORE RADICALLY (Pia Palme, Banff 2019) for voice, bass recorder, spoken text, and silent video
with Pia Palme, bass recorder, texts and Rosie H. Middleton, voice @Participant’s Concert Banff Centre of the Arts
27th September/2019 7:30 PM Banff Centre of the Arts, Canada, Rolston Hall The Drum and the Sampler (Palme & Gingras, Banff 2019)
Composition and performance by Pia Palme (concept, composition, bass drum) & Eric Gingras (composition, sampler) @Participant’s Concert Banff Centre of the Arts
I work on a new music theatre performance as part of
the artistic research project On the fragility of sounds.
Composing and researching, I evaluate the artistic process that took place since the project start in March.
02/07/2019 Radio OE1 Zeitton Fokus Komponistinnen im 21. Jahrhundert
Musicologist Marie-Therese Rudolph reports on the
UNESCO conference Être Compositrice in Paris 2019
and features an excerpt of the lecture-performance Pia Palme & Elisabeth Harnik
held at the beginning of the conference.
Also, listen to Ute Wassermann performing in Patterns to punctuate song, with darkness (Palme 2016)
Performing a feminist utopia: music theatre as democratic practice
Paper presentation by Pia Palme and Christina Lessiak
about the Project On the fragility of sounds FWF AR 537
held at the Study Days Music and Democracy: Beyond Metaphors and Idealisation
Convenors: Igor Contreras Zubillaga and Robert Adligton University of Huddersfield, 20-21 June 2019
Duo & Trio & Quintett Silvia Bruckner – piano
Elisabeth Flunger – percussion
&
Pia Palme – recorders
Thomas Lehn – analogue synthesizer
Thomas Stempkowski – upright bass
Anna Clare Hauf, voice
Molly McDolan, oboe instruments
Ensemble airborne extended : Caroline Mayrhofer, recorders;
Elena Gabbrielli, flutes; Tina Žerdin, harp
Paola Bianchi, choreography & dance
Christina Bauer, sound design
Pia Palme, concept & composition
A post-residency concert & kick-off performance
of the FWF research project On the fragility of sounds
A story about a personal journey to a remote island. A performance, in times of transition, to celebrate the beginning of my research project about music theatre.
“Twigs flap against my face, as I roam through boreal forests on Örö Linnake. I think of my grandfather and grandmother, my heart cracks wide open, with melancholy moods spilling out, drifting towards the twilight shoreline. Longing fills the air, beside crisp smells of sea kale. I listen deeply into the landscape, and into myself.”
“Erforschend wenn nichts ist zur Unterhaltung musst du hier bleiben kannst nicht weg weder zu Fuss noch zu Kopf wenn, dann zu Herz”
(Örö, im November 2018)
Dusk songs entstand in einer Übergangszeit und markiert zugleich einen Anfang. Im letzten November hat für mich ein künstlerischer und persönlicher Prozess begonnen: den ganzen Monat hindurch lebte ich auf Örö, einer entlegenen, kleinen Insel im finnischen Archipelago. Als Artist in Residence erforschte ich die Insel, konnte dort schreiben, komponieren, üben (mein Instrument reiste mit mir), performen (an unterschiedlichen Orten, meist im Freien), filmen, aufnehmen, beobachten. Im Dämmerungsraum zwischen Herbst und Winter erlebte ich die einsame Landschaft als unerwartet abwechslungsreich und kleinräumig, vielseitig, zugleich ruhig und friedlich. Meinen täglichen Streifzüge brachten mich immer wieder an dieselben Orte, zu denselben Felsen, Buchten, Wäldern, Bäumen, und, ja, Pilzen. Ich entdeckte den Reichtum kleiner Veränderungen und verlor mich im diffusen Licht einer versinkenden, verborgenen Sonne.
Unmittelbar nach der Reise erfuhr ich, dass mein Antrag für ein künstlerisches Forschungsprojekt über Musiktheater vom FWF Austrian Science Fund bewilligt wurde. Unter dem Titel On the fragility of sounds arbeite ich somit, bis 2021, an Kompositionen im Feld Musiktheater, werde Projekte realisieren, weitere Kompositionsaufträge vergeben, sowie gemeinsam mit meiner Mitarbeiterin Christina Lessiak über diesen Prozess reflektieren und schreiben. Untertitel: Musiktheater als feministische Praxis. Für das Projekt springe ich als Komponistin kopfüber in die akademische Welt an der Kunstuni Graz. Die Performance Dusk Songs bringt erste Ergebnisse – oder vielmehr: erste Fragen und Reibungen – auf diesem Weg. Die Choreographin und Tanzperformerin Paola Bianchi wird mich dabei länger begleiten. Der Sängerin Anna Clare Hauf, der Oboistin und Lektorin Molly McDolan sowie dem hervorragendem Ensemble airborne extended und der Klangregisseurin Christina Bauer möchte ich für ihre künstlerische Mitarbeit danken. Da ich von der Barockmusik her komme und von dort vielfach inspiriert bin, ist das eine ideale Besetzung für eine erste Performance im Transit, für einen Ausgangspunkt. Überraschendes trat vor Kurzem über meine Familiengeschichte – genauer: über meinen Großvater väterlicherseits – zutage. Folglich wurzelt Dusk Songs tief in der Vergangenheit und weist zugleich in die Zukunft.
Fotos: Paola Bianchi by Francesco Balestrazzi, Pia Palme by Maria Frodl.
Dank an die SKE / austro mechana und an den echoraum.
Gefördert vom Austrian Science Fund (FWF)
Artistic Research Projekt AR537.
Residency unterstützt vom Örö Residency Programme, Arts Council of Finland und Swedish Cultural Foundation in Finland.
Upcoming publication: my lecture performance
held at the FAU Erlangen in 2018 Performing Gender as Polyphony
will be published, in the format of an article, as part of the book
Irene Lehmann / Katharina Rost / Rainer Simon (Hg.) Staging Gender –Reflexionen aus Theorie und Praxis der performativen Künste
The residency and work is supported by SKE Fonds Austria and the
Örö Residency Programme.
During this residency, I plan to work on a series of outdoor and indoor performances, as well as associated compositions to be performed at a later time.The idea of my performances and experiments is to listen deeplyinto and at the specific sites, including plant and animal life, and at the same time into my own mind and body. In particular, I want to explore into the connection or conflicts between nature & humanity, warfare & artistic action, military architecture and biological patterns. I intend to look into closeness and distance in communication, working with perception, reflection, and imagination.
How far can I go?
How deep can I listen?
Do I still feel secure?
Can I stay with the trouble, with the precariousness?
Can I stay with the vulnerability and gentleness? Where does sound find stability?
The proposed performances can be composed of several disciplines, such as music, sound art, field recording, video, installations, texts, and instrumental performance on site (I bring my Kueng-contrabass recorder). In my practice, the elements I compose with react and interact with each other, like living beings. Left alone, they develop a life of their own, in a biological way.
I understand what I do as putting together a hot heap of compost, that is, I bring together artistic and sonic matter – to ‘compose’ means to ‘bring together’. This way, the compositional practice becomes a biological process – composting as an approach towards art.
Excerpts of the composition MY ROOM, UNTIL YESTERDAY (2017)
are played, among others, in a feature by Dr. Nina Polaschegg.
More about the work can be read here >>>
Concept: Seppo Gründler, Elisabeth Schimana and Tamara WilhelmExperts: Lenka Kocisova, Karin Macke, Norbert Math, Christian Munk, Pia Palme, Andreas Rathmanner and Markus Wintersberger
Showing my installation & booklet ENTSCHEIDE (Pia Palme 2018)
This summer is extraordinarily hot in Vienna – as in many parts of Europe.
My favourite spot these days, near the city, in the ‘Wiener Hausberge’, and an improvisation performed in a cool studio space.
Saturday 17:00 – 17:45
I present the performance lecture
No Noise is an Island – Gender als performative Vielstimmigkeit
Kann ein Genderkonzept ‘mit anderen Ohren’ gedacht, komponiert und aufgeführt werden? Die Komponistin Pia Palme erforscht seit Jahren ihre Umgebung über die Wahrnehmung des Hörens. Für ‘No Noise is an Island’ geht sie von der Annahme aus, dass eine feministische Haltung die persönlichen Hörgewohnheiten verändern kann: das Hintergrundrauschen der Gesellschaft wird wahrgenommen, der jeweilige Umgebungsraum in seiner Stille und Tiefe ausgelotet. Die Verletzbarkeit der individuellen menschlichen Existenz wird zum fragilen Klangereignis, zum flüchtigen Geräusch. Körper werden hörbar und interagieren auf akustische Weise. Die Hörwahrnehmung ist ein kreativer und performativer Akt; das Ohr kann die Strukturen menschlicher Interaktionen in ihrer Vielstimmigkeit – samt den darin wirksamen Genderidentitäten – genau, detailliert, flexibel und als Ganzes kartografieren. Mit diesen Themen im Zusammenhang mit der aktuellen Neuverhandlung des Genderbegriffes gilt es, performativ zu experimentieren.
Die Künstlerin mischt dafür theoretische Untersuchungen mit Elementen des Storytelling sowie elektronische mit instrumentaler Musik. Ein Video über eine Insel aus Gras inmitten in einer Regenlache dient als Angelpunkt für einen vielfältigen Diskurs – über das Hören als feministische Praxis, über die Erforschung innerer und äußerer Klang- und Körperwelten und über den Kompositionsvorgang als politische Handlung. Die Komponistin stellt die Körperlichkeit der Performance der Entkörperung im digitalen Alltag gegenüber; sie präsentiert mit den Mitteln heutiger Musik ein Modell für ein polyphones Genderkonzept, das zugleich fließend und präzise sein kann.
04/05 & 05/05 CREAU, 1020 Wien 20:00 Salon d’Amour
among others, 10:30 aka Molly McDolan (baroque oboes) & Pia Palme (contrabass recorder & electronics)
perform in this production of the aktionstheater ensemble
With Michaela Bilgeri, Silvi Spechtenhauser, Ursula Knoll, Ansari Puneh, Claudia Virgina / Dornwittchen), das Schrei, Bis eine heult, 10:30 (Molly McDolan, Pia Palme), Saedi, Chor der schweigenden Männer: Fabian Schiffkorn, Thomas Kolle, Andreas Jähnert, Sasha Jähnert, Benjamin Vanyek, Florian Haderer
Konzept / Idee: Martin Gruber / Martin Ojster
Rhodri Davies (Harp)
Ryoko Akama (Electronics)
Sarah Hughes (Zither)
Sofia Jernberg (Vocals)
Pia Palme (Contrabass recorder)
Lucy Railton (Cello)
Pat Thomas (Piano, Electronics)
Dafne Vicente-Sandoval (Bassoon)
Adam Parkison (Programming)
Two new scores are now ready to be performed later this year.
STROPHEfor mixed choir
was commissioned by the Vienna-based choir Gegenstimmen. The ensemble connects people who love to sing and think politically. The text for STROPHE was provided by the choir, it was compiled from texts the singers had written. For the short and minimal composition, my focus was to organise and sculpt the singers as a social body. The choir becomes a community that vocally contracts and expands, and is at times synchronised, at other times not, sometimes in unison and sometimes divided into separate strings of voices with different sonic roles that keep changing. Organic minimalism?
AUS DER NÄHE for oboe da caccia solo
Here, I take up an idea that had grown into a couple versions between 2011 and 2014 and bring it into a new form. I’m very much looking forward to hearing this one live; I love the baroque oboe instruments. The sheer haptic experience of the oboe da caccia is a feast: the curved instrument is coated with black leather. Also, thanks to the oboist and caccia-performer Molly McDolan, with whom I collaborated on a number of occasions; her expertise and marvellous instrument once again inspired the work.
Friday 26/01/2018, 7.30 pm
Rymer Auditorium, University of York Music Department
Gavin Osborn as curve through points to see (2017)
Fabrice Fitch Per Serafino Calbarsi (2002–)
Rob Corrin cracks and things (2017) Pia Palme HER VERY NOISE, HER GUISE (2017)
Nina Whiteman House of Mazes (2017)
06/12/2017 Croatian National Radio, 8:00 pm
presents Festival Novalis.
Listen to ensemble Schallfeld performing VOM RAUSCH IM SCHWARM (2015-16)
version for ensemble & wind machine
With the Kueng contrabass recorder, I will perform as part of
Rhodri Davies: Transversal Time (World Premiere)
Ryoko Akama electronics
Rhodri Davies harp
Sarah Hughes zither
Catherine Lamb viola
Stine Janvin Motland vocals Pia Palme contrabass recorder Pat Thomas piano / electronics
Dafne Vicente-Sandoval bassoon
Adam Parkinson programming
7/11/2017 Odeon Wien Festival Wien Modern
in cooperation with ISCM Austria/Junge Musik and Musikschule Wien
MY ROOM UNTIL YESTERDAY (2017) minimalist music theatre for/with 14 performers between 7 – 19 years
idea, production & direction: Pia Palme
for voice, 2 accordions, harpsichord, piano,
3 solo recorders, recorder quintet, percussion, electronics, video
with texts and video in cooperation with the performers
Commissioned by IGNM and supported by BKA Austria
Masks in cooperation with Wintercroft UK
Quartetto Maurice Laura Bertolino, Aline Privitera,
Georgia Privitera, Francesco Vernero
premiere my new work commissioned by BTzM
KREISUNG (2017) for string quartet, zuspielung & video
together with works by Yukiko Watanabe, Alexander Chernyshkov, Joanna Bailie.
video still KREISUNG
Program note
“Für dieses Werk umkreise ich einen überaus großen Baum, eine gewaltige Platane. Dieses alte Lebewesen steht inmitten einer grünen Senke in einem Randbezirk von Wien, umringt von pastellfarbenen Häusern aus den Fünfzigerjahren (zum Großteil Sozialbauten der Gemeinde Wien, die bis zu neun Stockwerke hoch sind). Der Baum bildet ein mächtiges und doch ruhiges Zentrum, er füllt den Kreis der Bauten und ragt darüber hinaus in den Himmel. Er ist ein Relikt einer einst weiten Gartenlandschaft, die an dieser Stelle im 19. Jahrhundert angelegt wurde und mittlerweile längst zerteilt und verbaut ist. Der Bach zu seinen Wurzeln ist eingehäust; unbemerkt rinnt das Wasser heute tief unter den Häusern Stadt. Ich umrunde den Baum, ziehe engere Kreise. Stiller ist es hier und kühl, eine feuchte Frische steigt vom Boden auf und weckt ein fernes Bild einer Landschaft aus einer anderen Zeit. Die wuchtige Kraft der Platane berührt mich, ich horche hinter den Lärm der Stadt. Die feine Stimme der Sehnsucht durchbricht das Hintergrundrauschen der Vergänglichkeit. Unter der zerfurchten Rinde steigt meine Wut hinauf bis in die höchsten Äste und tanzt mit den Blättern im Wind.”
Trio Atem
Nina Whiteman, mezzo soprano
Gavin Osburn, flutes
Alice Purton, violoncello
perform the WP of my new work
HER VERY NOISE, HER GUISE (2017) for mezzo soprano, bass flute and violoncello [text by Pia Palme]
together with works by Mic Spencer, Gavin Osborn, Elizabeth Ditmanson, Rob Corrin, Nina Whiteman.
Program note
This work is written along the mechanisms of perception and listening, as observed by the composer during her process of working. The vocal part features fractured voice personalities: in a very personal way, Pia Palme re-composes ficticious inner and outer soundscapes. Intimate thoughts are voiced, hidden voices become audible, the “space between her ears” is amplified and appears as a noisy counterpart to the singing voice. In a format that draws on the baroque bass continuo structure, the solistic vocal part contrasts the cello part, with the bass flute hovering in between: the flute merges the flow of breath, articulation (an activity that connects to the speaking voice and happens in one’s mouth, in one’s body cavities) and instrumentality. Palme’s English and German text reflects on how perception, dreams, and imagination are fired by a deep longing to connect to the world.
In the heat of this summer, I’m working on/finishing/rehearsing a number of projects and commissions for fall.
Looking forward to festivals Klangspuren Tirol, Ultima Norway, Wien Modern, hcmf and a cooperation with Rhodri Davies, to ensemble Schallfeld (Zagreb, festival Novalis in Zadar, and in Going – yes, that’s a village in Tirol), Claudia Cervenca (Tirol), Trio ATEM and Nina Whiteman (premieres in Leeds, Manchester…), ZKM (a multimedia lecture-performance), Bludenz, an artist-residency in Bruxelles… and more…
Electric Indigo, electronic composer and artist, founder of the female:pressure network, chose my timeline sketch AX.WHO. (2009) as the artwork of the month presented in The Wire (issue May 2017).
I am happy and grateful to announce
that I finished my PhD at the University of Huddersfield, a doctor of philosophy in composition by practice and theoretical research.
The title of my thesis is
The noise of mind: A feminist practice in composition
Huge thanks to my supervisor Prof. Liza Lim and second supervisor Prof. Monty Adkins, to my examiners Prof. Aaron Cassidy and Dr Salomé Voegelin, to the staff and colleagues at university for the lively exchange about music and art, culture, philosophy and political issues over the last years. During part-time research at the University of Huddersfield over the last years (including artistic experiments, performances, symposia, and festivals) I gained a wider understanding of contemporary music and composition in general and of my own process as a composer in particular, and found new territories in my own work.
Monday, February 13th, 7 pm Porgy&Bess Vienna, Riemergasse 11 – 1010 Wien / Tel.: o1 512 88 11
series Lost & Found (directed by Renald Deppe)
Pia Palme solo WEISSE HÖRGEBIETE – ein feministischer Atlas des Hörens
[with video, electronics, contrabass recorder, text & lecture]
video still WEISSE HÖRGEBIETE
In dieser Performance nähere ich mich dem Erbe der großen Komponistin und Hörforscherin Pauline Oliveros an, die das Hören als einen politschen Akt bezeichnet hat. Mit Kopf, Körper, Instrument, Stimme und Technik entwerfe ich einen Atlas neuer Hörgebiete aus einer feministischen Haltung heraus. Das persönliche Ohr wird zum politischen Sinnesorgan, mit dem ich meine Umgebung und mein Inneres kritisch erforsche. In den weissen Gebieten auf der Landkarte des Hörens steht die Zeit still, und der Raum weitet sich.
_____
In this performance I recall the eminent composer and researcher into listening Pauline Oliveros, who defined listening as a political act. Using my mind, body, instrument, voice and electronic media I draw a cartography of unknown territories of listening, from a feminist position. My ears, my personal hearing faculties, became political tools of perception which I use to explore my environs and my own inner worlds in a critical way. As I move into blank spaces on the map of listening, time comes to a stop and space widens.
_____
Eine großformatige Partitur als Zwischenkörper verschleiert mich als dahinter agierende Performerin und Vortragende. Diese Arbeit dekonstruiert die Körperlichkeit der Performance; zugleich exponiere ich als Komponistin meine prekäre Innenwelt vor der Öffentlichkeit. Komposition und Performance sind politische Handlungen.
