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STILL POINT

The orchestral concert as the silent center of a turbulent world: In Daphne Oram's visionary work “Still Point” from 1948, which was lost until 2016, the sound of an orchestra is processed electronically live for the first time. It is based on the then 23-year-old's experiences as a radio technician under the glass dome of London's Royal Albert Hall during the bombing raids of the Second World War. It is thanks to the young British-Persian composer and turntable artist Shiva Feshareki that Oram's work was premiered. On this evening, the Konzerthausorchester conducted by Titus Engel overrides our sense of space and time. Together with Shiva Feshareki and the Vocalconsort Berlin, the musicians overcome the acoustic limits of their instruments and illuminate the Great Hall of the Konzerthaus with new sounds. With overtone singing, organ improvisation, double orchestra, treated instrumental recordings and live electronics.

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STILL POINT

Immersives Raumklang-Konzert mit elektronisch erweitertem Orchester im ausgeräumten dunklen Saal

  • Vocalconsort Berlin

    Vocalconsort Berlin

    © Hans Scherhaufer

  • Shiva Feshareki

    Shiva Feshareki

    © Klaus Gigga

  • Shiva Feshareki

    Shiva Feshareki

    © Zohreh Feshareki

  • Konzerthausorchester Berlin

    Konzerthausorchester Berlin

    © Simon Pauly

The orchestral concert as the silent center of a turbulent world: In Daphne Oram's visionary work “Still Point” from 1948, which was lost until 2016, the sound of an orchestra is processed electronically live for the first time. It is based on the then 23-year-old's experiences as a radio technician under the glass dome of London's Royal Albert Hall during the bombing raids of the Second World War. It is thanks to the young British-Persian composer and turntable artist Shiva Feshareki that Oram's work was premiered. On this evening, the Konzerthausorchester conducted by Titus Engel overrides our sense of space and time. Together with Shiva Feshareki and the Vocalconsort Berlin, the musicians overcome the acoustic limits of their instruments and illuminate the Great Hall of the Konzerthaus with new sounds. With overtone singing, organ improvisation, double orchestra, treated instrumental recordings and live electronics.

Shiva Feshareki - „Aetherworld: Josquin, Mirrored.“ (2021) für Live-Plattenspielermanipulation, immersive Elektronik, Orgel und ChorJosquin Desprez - „Qui habitat in adiutorio altissimi“ - Motette für 24-stimmigen ChorShiva Feshareki - „Turntable Soundscape“Daphne Oram - „Still Point“ für Doppelorchester, behandelte Instrumentalaufnahmen, fünf Mikrophone, Echo und Tonregler (1948/49, realisiert von Shiva Feshareki und James Bulley 2018)

ohne Pause

Artists/Collaborators: Konzerthausorchester Berlin, Vocalconsort Berlin, Sebastian Heindl (Orgel), Titus Engel (Dirigent), Shiva Feshareki (Plattenspieler / Live Raumklang-Elektronik), David Sheppard (Sound Design)

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