{"id":2051,"date":"2022-04-28T20:00:36","date_gmt":"2022-04-28T18:00:36","guid":{"rendered":"https:\/\/echoraum.at\/?p=2051"},"modified":"2026-07-22T17:50:13","modified_gmt":"2026-07-22T15:50:13","slug":"tahereh-nourani-solo-%c2%b7-zbigniew-chojnacki-solo","status":"publish","type":"post","link":"https:\/\/echoraum.at\/site\/tahereh-nourani-solo-%c2%b7-zbigniew-chojnacki-solo\/","title":{"rendered":"Tahereh Nourani \u00b7 Zbigniew Chojnacki"},"content":{"rendered":"

Tahereh Nourani<\/strong> solo: Akhshigan (Fl\u00f6te, E-Bass, Wabuwaboo, Stimme, Live-Elektronik) \u00b7
\nZbigniew Chojnacki<\/strong> solo (Akkordeon, Live-Elektronik)<\/p>\n

\"\"
\u00a9 Maria Frodl<\/figcaption><\/figure>\n

Tahereh Nourani \u2013 Akhshigan<\/strong><\/p>\n

\u201eAkhshigan ist ein uraltes Kind, eine Reisende, eine Vagabundin. Sehns\u00fcchtig nach Ekstase im Einklang mit ihrem inneren Puls. Akhshigan ist Wasser, Feuer, Erde, Luft.\u201c<\/p>\n

Dieses sehr alte persische Wort mit der Bedeutung der vier Urelemente, die in der Religion des Zarathustra heilig waren, ist zum Alter Ego f\u00fcr Tahereh Nourani geraten. Mit ihm birgt sie ihren inneren Klangkosmos und bringt ihn au\u00dferordentlich experimentell auf ihrem Instrumentarium zum Ausdruck. Dazu geh\u00f6ren Querfl\u00f6te und E-Bass genauso wie Loop-Pedal, Elektronik und eigens erfundene Instrumente, wie das Wabuwaboo. Tahereh Nouranis Musik unterliegt keiner Dramaturgie, sondern setzt den Klang an den Beginn einer Entdeckungsreise, die das Vergehen der Zeit f\u00fchlbar macht. Mit freier Improvisation, unkonventionellen Spieltechniken, Live Elektronik und einer sehr langsamen Herangehensweise erzeugt sie au\u00dferordentlich reduzierte, post-minimalistische bis archaische Klangarchitekturen.<\/p>\n

Als Fl\u00f6tistin erhielt die Klangk\u00fcnstlerin im Duo mit der Pianistin Nassim Nik-Nafs den 2. Preis beim Fajr International Music Festival. Nach dem Studium der Querfl\u00f6te in Teheran und Wien, lernte sie bei Wil Offermans in Granada und weiter bei Wolfgang Puschnig, Franz Hautzinger und Achim Tang. F\u00fcr ihre Komposition \u201eThe Funambulist\u201c erhielt sie den PhonoECHOES Preis 2021. 2019 erschien Tahereh Nouranis Solo-Deb\u00fct \u201eancient child\u201c. Neben Engagements f\u00fcr das Camerata Orchestra unter Keyvan Mirhadi, dem Mundst\u00fcck Blasorchester, Oficina Art Vienna gef\u00fchrt von Alegre Correa und dem Vienna Improvisers Orchestra unter Michael Fischer arbeitete sie in transdisziplin\u00e4ren Projekten mit zeitgen\u00f6ssischem Tanz und Performance bei \u201ePrerogative Lips\u201c des Tanz Labor Labyrinth sowie bei \u201eAmorph\u201c von Rhizomatic Circus, und kollaborierte mit Solisten wie Matthias Loibner, Jelena Popr\u017ean, Christian Reiner, Raphael Preuschl, Valentin Duit, Jakob Schneidewind, Salah Addin und vielen anderen. Sie konzertiert sowohl als Soloperformerin aka Akhshigan als auch in verschiedenen Konstellationen wie bei \u201eThe Witch and the Poet\u201c mit Mona Matbou-Riahi und Adele Knall oder dem \u201eTrio TAK\u201c mit Katharina Klement und Angelina Ertel.<\/p>\n

https:\/\/taherehnourani.com\/<\/a><\/p>\n

 <\/p>\n

\"\"
\u00a9 Ewa Zaremba<\/figcaption><\/figure>\n

Zbigniew Chojnacki<\/strong><\/p>\n

Zbigniew Chojnacki \u2013 accordion\/live electronics player, improviser. The music and sounds sees the ease and conventionally. The most important is dialogue and encounter with another human. Any form emit a sound, it is facilitated to make contact with people, is inspired by the elements most often not directly related to music, as he says \u201eold washing machine, a blade of grass, the sound of the engine of the bus, or even usually a chair in the middle of a scene can be inspiring. Every concert is completely different. The only constant element is the instrument.\u201c He has performed at such important festivals as A L\u2019Arme Festival in Berlin, Sharpe Festival in Bratislava, LEM Festival in Barcelona or the Oct Loft Jazz Festival in Shenzhen and Ring Ring Festival in Belgrade. Despite his young age already he worked with many distinguished musicians improvised music scene, among others, Adam Piero\u0144czyk, Krzysztof Knittel, Joelle Leandre, TOC, Marcin Albert Steczkowski, Anna Gadt. Krzysztof Gradziuk, David Kollar, Ramon Prats, Yuhan Su. Fixed co-creates a BACKSPACE with \u0141ukasz Czeka\u0142a, which meets, grows and creates music, which he says has the expression \u201eimprovised contemporary music\u201c.<\/p>\n

\u201eChojnacki\u2019s deconstructed and reimagined what this traditional (and often archaic) instrument is through effects pedals, gadgets and nobs, producing a cacophony of strangeness from his deep meditative creative trance. The drones squelches and reverberations that emanated from the stage were difficult but enthralling, sounding like both the end of the world and a way to rebuild it.\u201c by James Thornhill (Under the Radar Magazine)<\/p>\n

\u201eI suppose when playing an accordion, you can\u2019t help but see it as an extension of the body. But Chojnacki doesn\u2019t just depend on its wheezes and gasps to fill a sound or create a musical alter ego. Rather, the accordion is there to add a counterpoint \u2013 often blunt, or expressionistic in approach \u2013 to the carefully constructed procession of electronic blurbs, beats and ticks. It\u2019s like seeing someone slowly build up a tower of drinks straws only to knock it down when bored. At times the noises Chojnacki conjures up straddles Cluster\u2019s early, pre Zuckerzeit electronic gasbag vibe. A fascinating show.\u201c by Richard James Foster (Louder than War Magazine)<\/p>\n","protected":false},"excerpt":{"rendered":"

Tahereh Nourani solo: Akhshigan (Fl\u00f6te, E-Bass, Wabuwaboo, Stimme, Live-Elektronik) \u00b7 Zbigniew Chojnacki solo (Akkordeon, Live-Elektronik) Tahereh Nourani \u2013 Akhshigan \u201eAkhshigan ist ein uraltes Kind, eine Reisende, eine Vagabundin. Sehns\u00fcchtig nach Ekstase im Einklang mit ihrem inneren Puls. Akhshigan ist Wasser, Feuer, Erde, Luft.\u201c Dieses sehr alte persische Wort mit der Bedeutung der vier Urelemente, die […]<\/p>\n","protected":false},"author":2,"featured_media":2052,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-2051","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-programm"],"acf":[],"_links":{"self":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/2051","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/comments?post=2051"}],"version-history":[{"count":0,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/2051\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media\/2052"}],"wp:attachment":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media?parent=2051"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/categories?post=2051"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/tags?post=2051"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}