{"id":3003,"date":"2022-12-13T23:15:02","date_gmt":"2022-12-13T22:15:02","guid":{"rendered":"https:\/\/nadarensemble.be\/?post_type=programs&p=3003"},"modified":"2023-04-08T09:20:40","modified_gmt":"2023-04-08T07:20:40","slug":"tomorrow-you-may-sing-in-paradise","status":"publish","type":"programs","link":"https:\/\/nadarensemble.be\/nl\/programmas\/tomorrow-you-may-sing-in-paradise\/","title":{"rendered":"Tomorrow you may sing in Paradise"},"content":{"rendered":"

Jessie Marino: Rot Blau<\/em> for 2 performers (2009)<\/p>\n\n\n\n

Simon Steen-Andersen: Study for String Instrument #1<\/em> for violin and cello<\/p>\n\n\n\n

Natacha Diels: An Economy of Means<\/em> for miniature drumset and electronics (2014)<\/p>\n\n\n\n

Cathy van Eck: zilveren adem<\/em>  for 3 performers with aluminium foil, contact loudspeakers and live electronics (2018)<\/p>\n\n\n\n

      Commissioned by Inspiratum Wijnegem and Nadar Ensemble<\/p>\n\n\n\n

Jennifer Walshe: 1984, it\u2019s OK!<\/em> for violin, cello, percussion and video (2015)<\/p>\n\n\n\n

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It must be a frustrating experience to be mistaken for a colleague, time after time. It happened to Jessie Marino (New York, \u00b01984). More than once she was addressed as her good friend, flutist and composer Natacha Diels. <\/em>In Rot Blau <\/em>this case of mistaken identity is made the topic of a vibrant performance piece. <\/p>\n\n\n\n

The Study for String Instrument #1<\/em>, too, is a visual masterpiece. Danish Simon Steen-Andersen (\u00b01976) leaves no doubt about it: this composition has to be equally interesting for a blind listener as it is for a deaf spectator. <\/p>\n\n\n\n

Whereas percussionists often have to drag an immense array of instruments to the stage, the set-up Natacha Diels\u2019 (Los Angeles, \u00b01981) An Economy of Means <\/em>barely exceeds the size limits for hand luggage. With nothing more than a miniature drum kit, his voice and a battery of electronic effects, the percussionist develops into an impressive one man band<\/em>. <\/p>\n\n\n\n

In 1984, it\u2019s OK! <\/em>by Jennifer Walshe (Dublin, \u00b01974), the stage is dominated by a huge projection screen and a giant bass amplifier. Under the all-seeing eye of the camera, the musicians are required not only to play their instruments, but also run, jump and fight. <\/p>\n\n\n\n

The program is completed by a piece by Dutch-Belgian composer Cathy van Eck (\u00b01979), zilveren adem<\/em>. She, too, presents the musicians as performers, trying to bring across their message with transducers and aluminum foil.<\/p>","protected":false},"featured_media":3008,"template":"","class_list":["post-3003","programs","type-programs","status-publish","has-post-thumbnail","hentry","sticky"],"acf":[],"_links":{"self":[{"href":"https:\/\/nadarensemble.be\/nl\/wp-json\/wp\/v2\/programs\/3003","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nadarensemble.be\/nl\/wp-json\/wp\/v2\/programs"}],"about":[{"href":"https:\/\/nadarensemble.be\/nl\/wp-json\/wp\/v2\/types\/programs"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nadarensemble.be\/nl\/wp-json\/wp\/v2\/media\/3008"}],"wp:attachment":[{"href":"https:\/\/nadarensemble.be\/nl\/wp-json\/wp\/v2\/media?parent=3003"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}