\nA<\/strong>udrey G. Perreault<\/strong> solo (Bass- und Kontrabassfl\u00f6te)<\/p>\n
das kleine 3\u00d72 ist eine neue Reihe, die die Kunst des Solospiels unterstreichen will. Um den Variantenreichtum eines Instrumentariums zu beleuchten, laden wir jeweils drei Protagonist:innen derselben Instrumentengruppe ein.
\nEine dreifache Zweierbeziehung.<\/p>\n
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![\"\"](\"https:\/\/echoraum.at\/site\/wp-content\/uploads\/2025\/06\/copyright-cristina-marx_photomusix-18621-1024x683.jpg\")
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Marina Cyrino<\/strong> solo (verst\u00e4rkte Altfl\u00f6te, Piccolofl\u00f6te)<\/p>\n transmogrification #87<\/strong> is an improvised set for solo flute based on a ‚hyper-amplification‘ system combined with a wide variety of DIY preparations, objects, and balloons attached to the instrument. Each one of the modified objects\/toys that I play with is the result of a process of Othering. I investigate how the relationship between the musician\u2019s body and the body of the musical instrument can become a space for the practice of vulnerability, positioning both the flute\u2019s body and the flutist\u2019s body as sites of transformation. These extensions and preparations that I develop emerge from a relationship with my instrument that prioritizes joy, pleasure, and vulnerability as pathways to invoke an oppositional imagination \u2014one that disobeys normativity and heteropatriarchy. Part chicken, part human, or monstrous, my \u201cFrankenstein flutes\u201d are assemblages of entangled embodiments, guided by the unpredictable becoming of others in the body\u2019s memory. Sometimes fabrication, sometimes deconstruction, sometimes fabulation, they emerge from a search for a radical re-imagining of how a flute should sound \u2014reclaiming my creative agency and sonic imagination, an embodied materiality that challenges the masculine constraints of a phallogocentric tradition in both flute playing and flute construction.<\/p>\n \u2028Marina Cyrino<\/strong> is a Brazilian flutist and sound artist based in Berlin, active in the fields of improvisation, composition and performative installations. Her flute playing is shaped by techniques developed through the use of internal amplification. Kaleidoscopic rhythmic patterns, the extensive use of objects and balloons attached to the instrument, and the use of disassembled flute parts are striking elements of her playing. She is a member of the Brazilian experimental music label Seminal Records.<\/p>\n https:\/\/marinacyrino.art.br\/<\/a> <\/p>\n Audrey G. Perreault<\/strong> solo (Bass- und Kontrabassfl\u00f6te)<\/p>\n Rebecca Saunders (1967). Bite\u00a0(2016). Bass flute. 12\u2019 Audrey G. Perreault<\/strong> is a Canadian new music flute player based in Vienna, Austria, with a special interest in combining the voice with the modern flute. She completed a Doctorate in flute performance in 2015 at the Universit\u00e9 de Montr\u00e9al (Canada) with Lise Daoust, and from 2019 to 2020, studied with the musicians of Klangforum Wien during postgraduate studies at the University of Music and Performing Arts Graz (Performance Practice in Contemporary Music).<\/p>\n She is a founder of the Austrian quartet between feathers and a member of Quasars Ensemble (Slovakia) as well as Ensemble N. G. Perreault has worked with ensembles such as Schallfeld Ensemble, Ensemble Reconsil, Ensemble XXI. Jahrhundert, and LaKT ensemble, and has performed at international festivals including La Semaine du Neuf in Montreal, Wien Modern in Vienna, Melos-Ethos in Bratislava, Mostra Sonora in Sprain, and the New Music Forum in Ljubljana.<\/p>\n <\/p>\n Camilo \u00c1ngeles<\/strong> solo (Fl\u00f6ten, Elektronik)<\/p>\n Los Mandatos del Aire<\/strong><\/p>\n Peruvian flautist and composer presents his first solo album, Los Mandatos del Aire (The Mandates of the Air). The music featured on this work offers a deconstructed approach to the flute and a deep exploration of ways to expand its sound spectrum, alongside resonant, dark, and complex melodic discourses recorded in a reverberation chamber. Extended techniques and preparations on the flute, microtonalities, electronic processing, and hyper-amplification are some of the tools that shape this sonic re-exploration of the flute\u2014a nontraditional approach crafted through his own history as a human being, as a peruvian immigrant, and as a Latin American artist.<\/p>\n Flautist, composer, sound artist, researcher, music curator and educator born in Arequipa, Per\u00fa, lived several years in Argentina, now based in M\u00e9xico City. Works with interest on the hybridization of aesthetics, standing outside specific genres, the search for an own aesthetic vision through a deconstructed approach on his own instrument and musical language; the sonorous re-exploration of the flute, a non traditional approach crafted by his own history as a human being, as an immigrant and as Indigenous Andean artist. The core of sound in his music is the search for an identity. His music is built of explosive sounds created with different extended techniques, preparations on the flute, microtonal textures, electronic processing and hyper amplification of the flute, altering it sounds to make microscopic air gestures become big waves of sound. He is constantly focussed on the obsessive study of ways to expand the sound spectrum of the flute. In his music, improvisation, composition, building sound installations, creating new electroacoustic instruments and all creative processes on his practice are procedures used for the same purpose: the construction of a particular identity and space for expression. He co directs his record label TVL REC among Violeta Garc\u00eda and Carlos Quebrada. And worked as the curator of the Lima Jazz Festival. He has presented his work in festivals, concert series, biennales and exhibitions around Europe, Africa and the Americas. https:\/\/camiloangeles.com\/<\/a><\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" mit Camilo \u00c1ngeles solo (Fl\u00f6ten, Elektronik) \u00b7 Marina Cyrino solo (verst\u00e4rkte Altfl\u00f6te, Piccolofl\u00f6te) \u00b7 Audrey G. Perreault solo (Bass- und Kontrabassfl\u00f6te) das kleine 3\u00d72 ist eine neue Reihe, die die Kunst des Solospiels unterstreichen will. Um den Variantenreichtum eines Instrumentariums zu beleuchten, laden wir jeweils drei Protagonist:innen derselben Instrumentengruppe ein. Eine dreifache Zweierbeziehung. […]<\/p>\n","protected":false},"author":2,"featured_media":5729,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5,4,8],"tags":[],"class_list":["post-5725","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-konzert","category-programm","category-reihe"],"acf":[],"_links":{"self":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/5725","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=5725"}],"version-history":[{"count":0,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/5725\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media\/5729"}],"wp:attachment":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media?parent=5725"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/categories?post=5725"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/tags?post=5725"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nhttps:\/\/www.instagram.com\/marina_cyrino\/<\/a><\/p>\n![\"\"](\"https:\/\/echoraum.at\/site\/wp-content\/uploads\/2025\/09\/bildschirmfoto-2025-08-15-um-221951-1024x763.jpg\")
\nIvan Buffa (1979). Aria (2009) version for contrabass flute. 5′
\nVoro Garcia (1978). Drowned Scream (2024). Bass flute. 10\u2019 UA<\/p>\n