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© Maurice Weiss

As creative as he is critical, as philosophical as he is experimental, George E. Lewis has helped shape the landscape of musical discourse in North America and sharpened awareness of the hegemonic structures that continue to determine musical life today, and not only in the USA.

About the concert

George Lewis Assemblage (2013)
für Flöte, Klarinette, Saxofon, Klavier, Harfe, Schlagzeug, Violine, Viola und Violoncello
Sarah Hennies Clock Dies (2021)
für Flöte, Klarinette, Violine, Viola, Violoncello, Klavier und Schlagzeug EEA
George Lewis Tales of the Traveller (2016)
für Solisten (beliebiges Instrument), Flöte, Klarinette, Trompete, E-Gitarre, E-Bass, Klavier, Violine, Viola, Violoncello und Schlagzeug

As a composer, jazz-trombonist, improviser, pioneer of computer music, researcher, professor and writer on music, George E. Lewis is a legend of the American new music scene. As creative as he is critical, as philosophical as he is experimental, the artist – who has performed on stage with greats such as Count Basie, Anthony Braxton and John Zorn – has helped shape the landscape of musical discourse in North America and sharpened awareness of the hegemonic structures that continue to determine musical life today, and not only in the USA.

The broad spectrum of his career informs every one of his works – and differently for each one. Inspired by the assemblage artworks of African American artists like Noah Purifoy, John Outterbridge and Betye Saar, in his restless composition Assemblage Lewis continually re-combines the most heterogeneous musical ingredients, whereas in Tales of the Traveller, he harmonises an ensemble part that is composed in the most minute detail with freely improvised solo parts.

Contrasting starkly with Lewis’ impulsive music of unexpected turns, Clock Dies, by the young American post-experimental composer Sarah Hennies, unfolds in meditative fashion. The artist, who is from Kentucky and is a generation younger than George E. Lewis, shares with him an extraordinary breadth of activity and engagement, which, in addition to composition, improvisation and percussion, includes the fields of film and performance art. Her interests revolve around socio-political and psychological themes, such as psycho-acoustics or queer and trans identity. Once we immerse ourselves in Sarah Hennies’ seemingly calm, even music, we also come across the unexpected in her work: a lively sound structure preserved in time and full of tiny impulses – micro stirrings and movements of hearing and reacting.  

Dates and tickets

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