{"id":4807,"date":"2021-10-15T09:43:45","date_gmt":"2021-10-15T07:43:45","guid":{"rendered":"https:\/\/www.musikfabrik.eu\/sound-image\/stage\/delusion-of-the-fury-a-ritual-of-dream-and-delusion\/"},"modified":"2021-12-15T13:15:01","modified_gmt":"2021-12-15T12:15:01","slug":"delusion-of-the-fury-a-ritual-of-dream-and-delusion","status":"publish","type":"page","link":"https:\/\/www.musikfabrik.eu\/en\/sound-image\/stage\/delusion-of-the-fury-a-ritual-of-dream-and-delusion\/","title":{"rendered":"Delusion of the Fury – A Ritual of Dream and Delusion"},"content":{"rendered":"
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Delusion of the Fury - A Ritual of Dream and Delusion<\/h1> <\/div>\n <\/div>\n <\/div>\n<\/div>\n
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Harry Partch<\/h3> <\/div>\n <\/div>\n <\/div>\n<\/div>\n
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The 2013 Ruhrtriennale opened with Ensemble Musikfabrik performing and co-producing the work of one of the most original artists and musicians of the 20th century, American composer Harry Partch<\/strong> (1901\u20131974): a man who was ahead of his time when he began to engage with microtonality. He developed unusual harmonies that he employed in his music with poetic facility, rhythmic drive and unacademic wit. He not only created a highly complex pitch system but over the course of his life, also designed and built a complete ensemble of instruments, destined to realise his music, bearing idiosyncratic beauty and stage presence. The only complete and original set of these instruments<\/a> in existence is held at the School of Music at the University of Washington in Seattle.<\/p>\n

As a ground-breaking precursor to further performances in Germany and Europe, Heiner Goebbels, Artistic Director of the Ruhrtriennale 2012-2014, directed the European premiere of Partch’s late masterwork, “Delusion of the Fury \u2013 A Ritual of Dream and Delusion”<\/strong> (1965\u201366) at the 2013 Ruhrtriennale.<\/p>\n

A production of Ruhrtriennale \u2013 international festival of the arts 2013
\nCo-produced by Ensemble Musikfabrik, Holland Festival and Lincoln Center Festival
\nSupported by Kulturstiftung des Bundes and Kunststiftung NRW<\/p>\n <\/div>\r\n

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\u00a9 Klaus Rudolph<\/figcaption><\/figure>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n
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Press quotes<\/span><\/h4>\n <\/div>\n <\/div>\n
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“Thomas Meixner and his colleagues spent more than a year building the instruments, and the musicians of the excellent Cologne-based Ensemble Musikfabrik learned to play them \u2013 a feat that required a combination of percussive ability, theatrical flair and sincerity.”
\nFinancial Times, 2.9.2013<\/em><\/p>\n

\u201eIn der Bochumer Industrie-Kathedrale ward das Unbeschreibliche getan: Im fabelhaften K\u00f6lner Ensemble Musikfabrik gibt es den Schlagzeuger und Instrumentenbauer Thomas Meixner, dem es gelang, Partchs Schall-Aggregate nachzubauen. Und die Ensemblemitglieder lernten nicht nur die Phantasiegebilde zu spielen, sondern auch (Stockhausen-Erfahrungen waren hilfreich) mit und zwischen ihnen theatralisch zu agieren, ja zu singen: Dem Gesamtkunstwerk entsprachen Multik\u00fcnstler. [\u2026] Auf jeden Fall war dies ein bewegendes Beispiel einer Kunst nicht zwischen den St\u00fchlen, sondern jenseits von ihnen: ein Ereignis.\u201c
\nFAZ, 25.8.2013 <\/em><\/p>\n

\u201eDer gewaltige Aufwand der Rekonstruktion hat sich durchaus gelohnt. […] Musiktheater der Gegenwart […], bei der die Musik und das Orchester Hauptakteure sind.\u201c
\nDer Standard, Wien, 26.8.2013 <\/em><\/p>\n

\u201eHauptverdienst an der europ\u00e4ischen Erstauff\u00fchrung von ‘Wahn des Zorns’ hat jedoch das K\u00f6lner Ensemble Musikfabrik. Die Mitglieder dieser Spitzenformation f\u00fcr Neue Musik sind ausgezeichnete Virtuosen und lassen sich selbst von schwierigsten Partien nicht schrecken.\u201c
\nK\u00f6lner Stadt-Anzeiger, 26.8.2013 <\/em><\/p>\n <\/div>\r\n

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\u201ePartch liebte die physische Pr\u00e4senz seiner Ger\u00e4tschaften, und auch von den Musikern erwartete er Spielen, Summen, Singen, was das Ensemble Musikfabrik als \u00e4u\u00dferst animierter Haufen fabelhafter Individualisten pr\u00e4chtig erf\u00fcllte.\u201c
\nS\u00fcddeutsche Zeitung, 26.8.2013<\/em><\/p>\n

\u201eDas Ensemble Musikfabrik hat mit seinem Oberbastler Thomas Meixner die Instrumente pers\u00f6nlich nachgebaut, inklusive des mikrotonalen Kleingedruckten, einer Arbeit zwischen Selbstverleugnung, angewandter Physik und akustischer Himalaya-Expedition. Das Ergebnis ist sensationell, in der Bochumer Jahrhunderthalle haut Partchs Musik das Publikum beinahe um.\u201c
\nDIE ZEIT, 29.8.2013 <\/em><\/p>\n

\u201cEs ist ein gro\u00dfes und durchaus naives Vergn\u00fcgen, den Musikern des Ensembles Musikfabrik zuzusehen, wie sie mit Pr\u00e4zision und Engagement die B\u00fchne bespielen […]; ihnen zuzuh\u00f6ren, wie sie als Instrumentalisten und S\u00e4nger konsequent eine anfangs nachdr\u00fccklich ‘falsche’ klingende obertonbasierte Stimmung gegen g\u00e4ngige Spiel-, Sing- und H\u00f6rgewohnheiten realisieren.\u201c
\nnmz, September 2013 <\/em><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n<\/div><\/div><\/div>

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