{"id":4913,"date":"2021-10-26T15:43:01","date_gmt":"2021-10-26T13:43:01","guid":{"rendered":"https:\/\/www.musikfabrik.eu\/sound-image\/concert\/rebecca-saunders-yes\/"},"modified":"2023-12-01T12:23:41","modified_gmt":"2023-12-01T11:23:41","slug":"rebecca-saunders-yes","status":"publish","type":"page","link":"https:\/\/www.musikfabrik.eu\/en\/sound-image\/concert\/rebecca-saunders-yes\/","title":{"rendered":"Rebecca Saunders – Yes"},"content":{"rendered":"
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Yes<\/h1>\n

Rebecca Saunders<\/h3>\n

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Yes <\/em>refers to Molly Bloom\u2019s monologue, the final chapter of James Joyce\u2019s Ulysses. This monologue can be regarded as a kind of literary collage, a web woven from the innumerable paths traced by stories, thoughts, associations, and moments in a continuous, unrelenting high-energy stream: a snapshot, a state of being before and during the act of falling asleep, amid glimmerings of the subconscious.<\/p>\n

Oscillating between moments of absence and presence, the text is not always audible, remaining often subcutaneous, yet still tangible and present. The monologue is often sung, but also recited by the soprano and the instrumental musicians, be it on an out- or in-breath, half-whispered, nearly silent, or suppressed beneath a hand. At times words or phrases rear up, becoming visible, audible and intelligible, before disappearing again, consumed within the flow of the music \u2013 just as moments of Bloom\u2019s biography, personality, and memories take on temporary form in her inner, stream-of-consciousness monologue, only to sink back into the river of time.<\/p>\n

Working with the voice, its limits, and the need of breath can capture an innate human fallibility, a raw intimacy \u2013 and exploring a multitude of ways to work with the breath opened up a whole new world of sonic and emotional possibilities. The various forms of recitation of the text seek partly to suppress and transform the monologue into a multitude of a sonic surfaces, which the music then implies, suggests, frames and re-contextualises. While Yes eschews any immediacy of meaning, its juxtaposition of words and music seeks to unleash meaningful, emotionally charged relationships from within the text.<\/p>\n

The repeated \u2018yes\u2019 is ambiguous and complex. It casts shadows of and allusions to: the moment of half-conscious orgasm; a life-affirming \u2018yes\u2019; the \u2018yes\u2019 that seals one\u2019s fate; and Bloom\u2019s recollections of myriad sexual encounters. These deeply erotic moments \u2013 in all their facets, from romantic to soberingly grotesque \u2013 appear in the music in a variety of shadings, which overlap and coalesce. Yes closely explores the monologue\u2019s most explicit passages \u2013 specifically intending to rebuke any coy, clich\u00e9d interpretation of Molly Bloom \u2013 plumbing the fathomless depths of Joyce\u2019s text, with its unleashing of a raw sexual energy that refuses narrow definitions of sex and gender.<\/p>\n

A singer stands silently on the stage \u2013 a theatrical moment in itself. The human body \u2013 our anticipation of it, of every movement of the eyes, the corners of the mouth \u2013 therein lies infinite dramatic potential. In Yes, both soprano and instrumentalists are viewed as protagonists in a quasi-abstract theater, co-existing in a shared sonic landscape. The 28 separately composed soli, chamber-music works, and ensemble pieces \u2013 the modules \u2013 are distributed throughout the space, and are collaged in a spatial and musical polyphony.<\/p>\n

Almost every module represents, with exhaustive insistence, an immutable state, always in essence the same. Fragments, each time slightly varied, gradually create a single image or \u2018object\u2019: imprints reiterated and projected into time and space, like a giant mobile seen from many perspectives, that in itself remains untouched. The light, the focus, and the position from which it is perceived are altered, as is our nearness and distance to the object \u2013 a manifest complex protraction of the one, singular thing.<\/p>\n

Yes<\/em> explores a music which steps out of the flow of time, which is projected into space like a sound sculpture \u2013 and which, at the moment of listening, seeks absolute focus on the physical presence of the sound.
\nRebecca Saunders, 2017<\/em><\/p>\n <\/div>\r\n

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Musikfest Berlin 2017 \u00a9 Kai Bienert<\/figcaption><\/figure>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n
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Dates<\/span><\/h4>\n <\/div>\n <\/div>\n
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The worldpremiere<\/strong> of Yes<\/em> took place on Sep 9th 2017 at Musikfest at Berliner Philharmonie.<\/p>\n

The French premiere<\/strong> took place on Sep 28th 2017 at Festival d’automne \u00e0 Paris.<\/p>\n

The British premiere<\/strong> took place on 16.11.2018 at the opening concert of Huddersfield Contemporary Music Festival at Huddersfield Town Hall.<\/p>\n

The Austrian\u00a0 premiere<\/strong> took place on 17.11.2023 at Wien Modern at Wiener Konzerthaus.<\/p>\n

further dates<\/h4>\n

Kunstfestspiele Herrenhausen, Galerie Herrenhausen, Hannover<\/p>\n

May 6, 2023 ACHT BR\u00dcCKEN | Musik f\u00fcr K\u00f6ln<\/a><\/p>\n

Novembre 24, 2023 Elbphilharmonie, Hamburg<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n<\/div><\/div><\/div>

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Oddly hoarse sounds, often from a falsetto bass flute or bass clarinet. A muted trumpet laying itself over them like a veneer, the thumping of a big drum sounding forth from a far corner of the room. Even more frequently, in this performance, sounds that are nearly impossible to locate. Where are they coming from, which instruments are producing them? The richness of Rebecca Saunders\u2019s sonic vocabulary is overwhelming. And the fact that she developed that vocabulary in collaboration with the ensemble\u2019s musicians definitely contributes to the sound\u2019s beauty. For the musicians, these are personal sounds.
\nFrankfurter Allgemeine Zeitung, Sept. 11, 2017<\/em><\/p>\n

Rebecca Saunders opens up a broad and expressive spectrum, without taking out any loans from the familiar rituals of espressivo. The enormously inventive, original, and masterfully realized vision, partly conducted by Enno Poppe, was \u2026 extremely well received by the audience.
\nBerliner Zeitung, Sept. 11, 2017<\/em><\/p>\n

When the soprano and instrumentalists fan out across the stage and into the house, impressive spatial-sound effects are created, especially in the second half.
\nDer Tagesspiegel, Sept. 11, 2017<\/em><\/p>\n

Saunders works intensively both on individual tones and with the sound quality of the different instruments: The tones produced by one are taken up by others, absorbed by them, so that the specific source producing the sound disappears behind the sound itself.
\ntaz, Sept. 11, 2017<\/em><\/p>\n <\/div>\r\n

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Puis ils se d\u00e9placent pendant les soixante-dix minutes que dure l\u2019oeuvre , selon un ballet r\u00e9gl\u00e9 au cordeau par le chef Enno Poppe, \u00e0 la t\u00eate des musiciens de l\u2019ensemble allemande Musikfabrik, don\u2019t l\u2019imagination sonore est sans limites. [\u2026]
\nLe Figaro, 3.10.2017<\/em><\/p>\n

Cette approche tr\u00e8s physique du son cr\u00e9e un th\u00e9\u00e2tre instrumental hypnotique, sans tomber dans la facilit\u00e9 du happening ou du bricolage. Ou comment retrouver la dimension rituelle de la musique.
\nLe Figaro, 3.10.2017<\/em><\/p>\n

Musique dont l\u2019\u00e9nergie raffin\u00e9e s\u2019impose comme une immense sculpture sonore tour \u00e0 tour compacte ou transparente, Yes<\/em> compte vingt-cinq modules vari\u00e9s r\u00e9partis dans l\u2019espace r\u00e9sonnant \u2013 \u00ab presque tous repr\u00e9sentent un \u00e9tat immuable, d\u2019une obstination \u00e9puisante, continu et toujours identique<\/em> \u00bb.
\nAnaclase, 28.09.2017<\/em><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n<\/div><\/div><\/div>

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