H.: Die Freiheit ist der Ursprung des Satzes vom Grunde
Concert of New Music

30th of March 2007, 8 pm

Fabio Mina: fl, bansuri, di t'su, Agata Wenninger: ss, Markus Wenninger: scl


The floor of Praxis Hagen tells a long story. It used to be a white floor in a barber shop but now it is dark, covered with different layers of paint, scratches, tape – remains of the work of different artists.When Marcus Wenninger, Agata Wenninger and Fabio Mina from the ensemble “Appollinische Netze & Seifen” played there last November they saw in the floor a score of musical work. Organically grown. They took the floor as the base for their new composition: “H.: Die Freiheit ist der Ursprung des Satzes vom Grunde” (Heidegger) which will be shown and played at the 30th of march a 8 pm.

Markus Wenninger: 1969. clarinet (B), alto saxphone, shakuhachi, didgeridoo, dizi, composition.
Pack (B)(b)ecoming coplexism\ Felt \ rhizom, decidedly posttonal. Sleeps and hears exceedingly well, eyesight of a mole. Courses w \ and plays composition by Ogiermann, Hölzky, Armbruster, Supper, Brötzmann …Writes his Ph.D. on the semiotical\ logical relation of performance and score in New Music and Improvisation. Co-founded the ensemble “Apollinische Netze & Seife” in 1993. www.apollinischenetzeundseife.de

Fabio Mina: was born in 1984 in Rimini, Italy. He studied flute at the Conservatorio “G.Rossini” in Pesaro and since 2002 he has devoted himself also to composition. He is interested in new music, Indian ragas and Gregorian chant. He has played chamber as well as ancient and contemporary music and jazz. In his work as musician he wants to deepen the links between music and spiritual roots and place it in a contemporary context through the improvisation and the composition.

Agata Wenninger: Born 1971, PhD in philosophy. In between the countries, in between the languages, in between the sounds – music as a genuinely New Music, self emulating gesture. The decisive point in Improvisation is the playful inventing-of-oneself in musical space to be creatively exploited. My longing for the nonexistent Eigentlichkeit of sound experience.