There are many kinds of borders: territorial, cultural, social, or even the borders of our daily lives. These different types of borders are all related to each other. So in a way, it does not matter what kind of border we are confronted with. If we take a closer look at any kind of border demarcation, we can of course choose to cross the border, but we can also decide to keep conscious of the differences between each side and use these differences in a productive way. All works to be performed for this project are part of this venture. They cross borders - those between tradition and avant-garde, between Korea and Europe, between steadfastness and spontaneity and not least between rhythm and pitch. They were written by four groundbreaking composers of the 20th century. What excites us about the program is the fact that the pieces contrast from each other radically, but still are quite related to one another. Of course there is also the shift between more quiet pieces and music that is immediately intoxicating and thrilling.
The system of culture (as Niklas Luhmann would say) has the advantage of opening up a space where society may test behavior. Borderwalks offers you an opportunity to try this out, and in concert you will even see four different ways of hearing. The elole.workshop focuses on one of these pieces and gives the audience a deeper understanding of the music to be presented in concert during an interactive rehearsal. You will gain insight into rehearsal processes, discuss details on differences in interpretation and of course the opportunity to rehearse part of the piece by Christian Wolff yourself, and lastly you will be able to sharpen your perception in a way not possible when just attending the concert.
The target group includes all those who are open to unusual music. Who are curious to hear music which is different from music heard everywhere else. Who are not satisfied with passively listening to something they have already heard for the umpteenth time. Music lovers who give their undivided attention when music is being performed.
If we succeed in offering a brilliant concert to your open ears, to whet your curiosity a bit so you keep wanting more and to make you actively listen so that listening is your main activity for the evening, then we have reached our goals.
Culture is not only a bit of fun which our society produces to alleviate the boredom of daily life. Culture is an essential part of all social developments. Cultural organizations that are off the radar of most media attention are having an especially difficult time to survive. Your support of this project is a tile in the great mosaic of culture in our lives. That is indeed something!
The financial and moral support of the crowd will also enable us to donate a large number of free tickets to the charitable organization Kulturloge Dresden - which will then pass them on to people with low income. This of course includes refugees and asylum seekers, people who are of great importance to us at this time.
- Concert venue rental
- Recording of the concert
- GEMA (licensing) fees
- Thank yous and Startnext fees
- Travel and organizational costs
- Musicians' fees
"elole is the almost anarchic answer (...) to the smooth-as-glass structures audiophile audiences are used to. Stefan Eder (piano), Uta-Maria Lempert (violin) and Matthias Lorenz (cello) create concert moments full of tension in which every moment breathes - players and listeners go together on a voyage of discovery." (dresdner (culture magazine), 09/03)
elole's work is focused on new music in all its diversity. elole also serves as a foil for outstanding works of the early 20th century, an important part of their repertoire. The elole piano trio was founded in 2001. Their work is dedicated to answering the question of why new music should be written, rehearsed and listened to, sometimes using unconventional concert forms to present the fruits of their efforts.
In their collaboration with composers, elole strives to inspire new works along with laying the groundwork for long-term partnerships. Since its founding, the trio has premiered over forty pieces and has performed four composer portrait concerts. In the fall of 2006, it held an international composition competition "Dresden 2006 - Klang↔Stadt↔Stille" (Sound↔City↔Silence). The highlight of the 10th anniversary season in 2011 was a "birthday concert" with 3 premieres at the Tonlagen Festival.
The musicians of the trio do not limit themselves to just playing their instruments - they also seek to meaningfully expand the conventional concert format. To this end, they have collaborated with dancers, integrated music and spoken word, performed with live electronics and of course had full-evening concert performances.
elole puts the elitist concept of the normal concert situation, the dichotomy of active performance and passive listening, into question. This is why elole creates concert situations that enable interpreters and audience members to leave their customary roles.
Daniel Costello, a native New Yorker, has been associate principal horn of the Anhaltische Philharmonie Dessau, Germany, since 2001.
In new music circles, Costello has collaborated with Zinc & Copper Works, helping research microtonal, half-valve and other extended brass techniques. He has also performed all over Europe as a member of Ostravska Banda, an international ensemble for new music based in the Czech Republic, and has also appeared as a soloist at Jazz am Wendelstein, the LeipJAZZig Orchester, the Leipzig Bach Orchester and the Radar Ensemble. He was also responsible for over 25 world premieres as music director of the Encore Brass Quintet. Costello has recently translated a book into English on experimental brass technique for Breitkopf & Härtel.