{"id":6051,"date":"2007-09-26T14:13:55","date_gmt":"2007-09-26T12:13:55","guid":{"rendered":"https:\/\/mathis-nitschke.com\/?p=6051"},"modified":"2019-06-02T20:42:03","modified_gmt":"2019-06-02T18:42:03","slug":"visual-music","status":"publish","type":"post","link":"https:\/\/mathis-nitschke.com\/en\/visual-music\/","title":{"rendered":"Visual Music"},"content":{"rendered":"<p>I also compose with pictures. I make films that originate from the sense of form of a music composer. The result are artist films and videos and pieces that combine film with live musicians. Here are a few examples.<\/p>\n<p><iframe loading=\"lazy\" title=\"Sing what you hear!\" src=\"https:\/\/player.vimeo.com\/video\/86502284?dnt=1&amp;app_id=122963\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h4>Sing was du h\u00f6rst!<\/h4>\n<p>This piece is pretty similar to the child game \u00abChinese whispers\u00bb. The original is a singing improvisation which I recorded onto Minidisc. This singing I gave 13 friends on headphones, each with the assignment to sing along what they\u00b4re hearing. While doing so I filmed them with my video camera. The resulting series of portraits is screened silently while the voice of these so portrayed people is given again on headphones of the music performer on stage \u2013 with exactly the same assignment: play along what you\u00b4re hearing as exactly as possible.<\/p>\n<p>With: (in order of appearance)<br \/>\nMendel Hardeman, Jasna Velickovic, Amos Elmalia, Kaat Hellings, Federico Reuben, Miguel Clerk Perada, Grzegorz Marciniac, J\u00f6rg Euteneuer, Juan Sebastian Lach Lau, Duncan Macloud, Clarissa Miller, Dganit Elyakim, Anette Schmid-Burgk, Ophir Ilzetzki<\/p>\n<p>Performances:<br \/>\n17.3.2006 Schlossberghalle Starnberg, Piano Possibile (Premiere Ensemble Version)<br \/>\n25.3.2006 Muffatwerk Club Amp\u00e8re M\u00fcnchen, Piano Possibile<br \/>\n21.4.2006 Korzo Theatre Den Haag, Otto Bakker \u2013\u00a0Cello (Premiere Solo Version)<\/p>\n<p>Flute: David Eschmann, Oboe: Dietrich Schmidt, Clarinet: Heinz Friedl, Trombone: Erwin Gregg, Glockenspiel: Stefan Eblenkamp, Violin: Gertrud Schilde, Cello: Mathis Mayr<\/p>\n<p><iframe loading=\"lazy\" title=\"Leftovers\" src=\"https:\/\/player.vimeo.com\/video\/86508646?dnt=1&amp;app_id=122963\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h4>Leftovers<\/h4>\n<p>\u2018Leftovers\u2019 is made of leftovers from my own film work, as well as pieces from recent music history. The Super8 images were shot at Munich Main Station.<br \/>\nPeople are being observed while waiting, going, eating and buying newspapers, or using the telephone. The projectionist has a collection of real objects, equivalent to the ones used or carried by the people in the image. One by one he puts those objects in the projection beam, so that the objects in the image are doubled in shadow.<br \/>\nThis combined image, projected onto a small screen, is being captured by a video camera, which again projects it over the heads of the musicians onto the back wall of the stage. The musicians are not only doubling the noise of the Super8 projector with musical imitations and embellishments, but they also double the gesture of putting objects into the projection beam. This tautological matrix is finally dissolved by an ironic layering of one-tone-pieces from Scelsi, Grisey, Berio, Jobim and Ligeti.<\/p>\n<p>Performances:<br \/>\n28.1.2005 Korzo Theatre Den Haag (Premiere)<br \/>\n6.6.2005 Villa Ockenburgh Den Haag<\/p>\n<p><iframe loading=\"lazy\" title=\"Quasi Rublev Fragment\" src=\"https:\/\/player.vimeo.com\/video\/187062141?dnt=1&amp;app_id=122963\" width=\"1140\" height=\"641\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h4>Quasi Rublev<\/h4>\n<p>\u201cQuasi Rublev\u201d (2006\/07) is a 50-minute project created by three artists: Katarina G\u0142owicka, Mathis Nitchke and Go\u015bka Isphording. It was inspired by the films of Tarkovsky\u2019s metaphorical long shots and slow transformation in which the spectator loses his sense of time. It was this particular bell casting scene from the film \u201cAndrei Rublev\u201d which was the starting point for the project. Glowicka created\u00a0processed, dark bell-like sounds on the harpsichord with electronics.\u00a0Nitschke found his contemporary equivalent of the holy bell at the Vienna Prater. The film is shot on black and white Super8.<\/p>\n<p>The project was developed with funding from the Performing Funds Netherland and the Arts Council of Northern Ireland and was premiered on September\u00a026th, 2007 at Sonic Arts Research Institute in Belfast.<\/p>\n<p><iframe loading=\"lazy\" title=\"Timestretching #1\" src=\"https:\/\/player.vimeo.com\/video\/273302591?dnt=1&amp;app_id=122963\" width=\"1140\" height=\"641\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h4>Timestretching<\/h4>\n<p>An artist is interviewed on a rowing boat. He attempts to explain the reasons why he shot the photographs of his last exhibition the way they are. His efforts in searching for the right words are disturbed by the wind, the waves, bird twittering and the creaking paddles of the boat. At the point where the artist encounters the biggest difficulty in expressing what he wants to say, a chorale of stretched cello tones that had been slowly building up culminates, drowning out his voice. The ear stops paying attention to the content of the words, and from now on prefers to hear all sounds and conversation scraps as music. In the end, only the sound of the paddles, the waves and the birds remain.<\/p>\n<p>The \u2018Timestretching\u2019-algorithm of the Samplitude audio editing suite, if used repeatedly with extreme parameters, ends up producing artificial overtones and a wobbly, glass-like sound, which I used to my own benefit in this piece. I took fragments from improvisations recorded specially for the occasion, and stretched them to 32 times their original length. The results are layered in a chorale structure, in order to achieve a music that deliberately reminds the works Gy\u00f6rgy Ligeti made in the 1960\u2019s.<\/p>\n<p>Music created 2000, Video 2018<br \/>\nwith Niklas Nitschke and Alu Walter<br \/>\nCello: Mathis Mayr<\/p>\n<p><iframe loading=\"lazy\" title=\"All about me - Trailer\" src=\"https:\/\/player.vimeo.com\/video\/187055811?dnt=1&amp;app_id=122963\" width=\"480\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h4>All about me<\/h4>\n<p class=\"first\">I created the\u00a0short film \u2018All about me\u2019 as a reaction to French films like \u2018Baise-moi\u2019, which inspired me to attempt a form of radical subjectivity.\u00a0What\u00a0fascinates me about those fictitious first-person narratives is that one never knows if this maybe is\u00a0indeed auto-biographial, after all.<\/p>\n<p class=\"first\">\u2018All about me\u2019 is about the feelings of guilt when desiring pornographic images, and the futile attempt to contain those desires through conciously sought oversaturation. The film approaches the theme through different poetical episodes from the life of an apple. The apple is born out of the sea, and it is eaten, traded and mechanically processed until it flies toward heaven. The use of stop-motion animation and simple Super8 tricks creates a nostalgic impressivity that both supports and intercepts the disarming subjectivity of the author through poetry.<\/p>\n<p>Length: 19 minutes<\/p>\n<p>Language: English<\/p>\n<p>Shooting format: Super8 (a Beaulieu 4008ZMII, a Nizo 4080 and a Eumig Nautica on Kodachrome and Vision 500T (candle footage). Transfer is DIY.) and digital photography.<\/p>\n<p>Year of production: 2004-2005<\/p>\n<p>Although not used in the originally intended meaning the film contains some adult material. So it is definitely not recommended for children or people who feel offended by explicit images.<br \/>\nIf you\u2019re interested to watch the complete film, send me a message so I can send you a password protected link.<\/p>\n<p>Presented in June 2006 in the photography museum Huis Marseille, Amsterdam as world premiere.<\/p>\n<p>A film by Mathis Nitschke, copyright 2005.<\/p>\n<p><strong>What others say:<\/strong><\/p>\n<p>\u201cYour animations work. \u2026you bring us to so many different places\u2026\u201d (The Brothers Quay)<\/p>\n<p>\u201cits power relied on a kind of confessional intimacy that was honest but unasked for \u2013 it was if you were telling us something in order to convince yourself .\u201d (Antony Gormley)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I also compose with pictures. I make films that originate from the sense of form of a music composer. The result are artist films and videos and pieces that combine film with live musicians. Here are a few examples.<\/p>\n","protected":false},"author":1,"featured_media":6038,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[138,110,45,124],"tags":[131],"class_list":["post-6051","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-installations","category-music","category-music-theatre","category-extra","tag-xt-en","clearfix",""],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Visual Music - Mathis Nitschke<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mathis-nitschke.com\/en\/visual-music\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Visual Music - Mathis Nitschke\" \/>\n<meta property=\"og:description\" content=\"I also compose with pictures. 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