Transart 2001

Archive: Transart 01

Windkraft Tirol


SAD Deposito

Via Avogadro 4
39100 Bolzano



Kasper de Roo > conductor

Bozzio > percussion

Charlie Fischer > percussion

Michael Riessler > saxophone


Andreas Schmidt. Michael Jäger. Michael Cede > flute

Doris Mende . Elena Trentini > oboe

Reinhold Brunner. Roberto Gander. Walter Seebacher > clarinet

Claudio Alberti. Giuseppe Settembrino. Philipp Tutzer > bassoon

Heinrich Lohr. Hans Rindberger. Johannes Schuster > horn

Manfred Lugger. Stefan Ennemoser. Robert Neumair. Martin Mairer > trumpet

Guntram Halder. Otto Hornek. Markus Wurzenrainer > trombone

Karlheinz Siessl > tuba

Norbert Rabanser. Stefan Schwarzenberger > percussion


Franz Hackl | Tirol Tirol Tirol . Gebrauchsstummusik in drei Sätzen > Italian première

Michael Riessler | Aponivi for sax, percussion and winds > Italian première

Harrison Birtwistle | Panic for sax, percussion and winds > Italian première


Composing at a desk on the one hand, active vamping on the other. A partial superposition and a mutual exclusion of these two approaches. The material ranges from jazz via contemporary e-music through to the experimental. Not to forget the variety of sources of inspiration that covers the whole world. This could be used as a title for a concert of Windkraft with works by Harrison Birtwistle, Michael Riessler and Franz Hackl. It is about crossing borders, about identification and constants. For instance Hackl’s “Tirol Tirol Tirol”, which thematizes the encounter between the artist’s homeland and cultures on the other side if the sea. Or Riessler’s “Aponivi” – in the language of the Hopi Indians “the wind that blows down the canyon” – and his personal relation to the world of this tribe with its deep insight in the connections between humankind and nature. Last but not least, Birtwistles unrestrained “Panic”, the cultic benediction-song for Dionysus, which functions as a modern rite of becoming undone. Different from Birtwistle, Riessler and Hackl see jazz as a constant of musical understanding. Yet, Birtwistles’s compositional universe, incessantly striving for clarity, is continuously seeking relations with Hackl and Riessler. Where Birtwistle is lead towards gestural composing, Riessler and Hackl work with various degrees of structuring that form a musical character located in between jazz and classical modern besides a flexible organization in coordination with the colleagues.


Reinhard Schulz e Rainer Lepuschitz