{"id":6598,"date":"2026-05-22T19:00:53","date_gmt":"2026-05-22T17:00:53","guid":{"rendered":"https:\/\/echoraum.at\/?p=6598"},"modified":"2026-05-08T17:21:01","modified_gmt":"2026-05-08T15:21:01","slug":"nachhall-17-every-song-ever-ii","status":"publish","type":"post","link":"https:\/\/echoraum.at\/site\/nachhall-17-every-song-ever-ii\/","title":{"rendered":"Nachhall #17: Every Song Ever II"},"content":{"rendered":"

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\u00a9 Pat Arnao<\/figcaption><\/figure>\n

Nachhall #17: Every Song Ever II<\/strong><\/p>\n

Paul Wallfisch<\/strong> \u2013 Tasten, Stimme, Elektronik
\nMartin Siewert<\/strong> \u2013 Gitarren, Lap Steel, Elektronik
\nEmily Stewart<\/strong> \u2013 Stimme, Violine<\/p>\n

\u201cThe spectacle of an active mind processing a world in constant flux,\u201d is how Hua Hsu, writing in The New Yorker, describes Ben Ratliff\u2019s remarkable book Every Song Ever<\/i><\/b>. Subtitled Twenty Ways to Listen in an Age of Musical Plenty<\/i>, Ratliff\u2019s book is divided into twenty chapters appended by playlists that confound and transcend traditional ways of of categorizing music. David O\u2019Neill found \u201c\u2026the most galvanizing aspect of [Ratliff\u2019s] project is that it leaves room for the DIY spirit to emerge\u2026[Every Song Ever] reignites our sense of longing for connection\u2026\u201d<\/p>\n

Collaborating with curator Alisa Beck and my co-conspirator, multi-instrumentalist Martin Siewert<\/strong>, we are indeed inspired to make Ratliff\u2019s surprising and enlightening book come alive for you in four\u00a0programs throughout 2026<\/strong> as part of the Nachhall series at echoraum.<\/p>\n

For Every Song Ever II<\/strong>, featuring internationally acclaimed violinist & vocalist Emily Stewart<\/strong>, we will perform selections from chapters 5-8 of the book:<\/p>\n

Quiet \/ Silence \/ Intimacy: WE DON\u2019T NEED NO MUSIC
\nStubbornness and the Single Note: CHURCH BELL TONE
\nVirtuosity: ELEVATION
\nSadness: BLUE RULES<\/p>\n

The music will include our unique arrangements and reimaginings of compositions by Hamiyet Y\u00fcceses, Nick Drake, Arthur Russell, Chris Connor & Joan Whitney, Slayer, Curtis Mayfield, Arsenio Rodrigues, Mozart, and Billie Holiday. Plus a medley of single note solos from compositions by the following artists: The Ramones, Neil Young, The Coasters, Brian Eno, The Who, Katrina & the Waves, Creedence Clearwater Revival, Slint, Aztec Camera and Edgar Blanchard.<\/p>\n

It\u2019ll all go by in flash. And you ain\u2019t never seen or heard anything like it, so come on down; share and enjoy. Clap and scream if you feel so inclined! Yell at us and throw things if you feel the urge.<\/p>\n

We\u2019ll be happy to answer any and all questions not sufficiently addressed during the concert after the performance.<\/p>\n

\u201cReal intimacy has no stated goal. It\u2019s full of its own untranslatable reasons.\u201d<\/strong>
\n~Ben Ratliff<\/p>\n

„We don\u2019t need no music; we got soul.\u201d<\/strong>
\n~Curtis Mayfield<\/p>\n

We look forward to your participation in our Viennese adventure and invite you to help select the repertoire for upcoming programs. Playlist with selections to choose from will be available at your seats.<\/p>\n

See you soon!
\nPaul Wallfisch<\/p>\n

 <\/p>\n

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\u00a9 Mich\u00e8le Yves Pauty | Scott Irvine (v.l.n.r.)<\/figcaption><\/figure>\n


\nEmily Stewart<\/strong>, in London geboren und in Costa Rica aufgewachsen, ist eine klassisch und im Jazz ausgebildete Geigerin und lebt seit 2002 in Wien, \u00d6sterreich. Schon fr\u00fch setzte sie sich mit Improvisation und diversen anderen Musikrichtungen auseinander, was sie zu einer sehr gefragten K\u00fcnstlerin gemacht hat, vor allem in experimentellen und Crossover-Projekten und als Studiomusikerin. Mit Soap&Skin, Violetta Parisini, dem schwedischen Jazz Pianisten Jan Lundgren, u.a. ist sie bereits auf mehreren Festivals und Spielst\u00e4tten Europaweit aufgetreten. Als Theatermusikerin kooperiert sie seit 2016 mit der amerikanischen Performance Gruppe Saint Genet, war von der Spielzeit 2017\/2018 bis zur Spielzeit 2020\/2021 in verschiedenen Produktionen am Wiener Burgtheater als B\u00fchnenmusikerin engagiert, und war Mitwirkende bei Jacqueline Kornm\u00fcllers Ganymed in Power (2020\/2021) und Ganymed Bridge (2023) Produktionen im Kunsthistorischen Museum Wien. Sie komponierte 2021 den Soundtrack f\u00fcr Sebastian Brauneis Film 1 Verabredung im Herbst, sowie die Theatermusik f\u00fcr Fritzi Wartenbergs Inszenierung von The Writer am Berliner Ensemble . Ihr erstes Album The Anatomy of Melancholy ist 2020 auf das Wiener Label col legno music erschienen. Sie ist seit November 2022 Dozentin f\u00fcr Ensemble und Ensembleleitung am Institut f\u00fcr Popularmusik der mdw-universit\u00e4t f\u00fcr Musik und darstellende Kunst Wien. https:\/\/www.emily-stewart.com\/<\/a><\/p>\n

Paul Wallfisch<\/strong>\u2019s music can be heard on countless American TV shows and several feature films. He has performed and\/or recorded with Firewater,\u00a0Love & Rockets,\u00a0Swans, Little Annie,\u00a0Angela McCluskey,\u00a0Syl Sylvain,\u00a0Stiv Bators,\u00a0Marissa Nadler, Rose McGowan, Joey Arias\u00a0and many more. From 2010-2015 Paul was Music Director at Schauspiel Dortmund, subsequently working with acclaimed director Kay Voges at the most important houses in German-language theatre.\u00a0Paul co-created the musical theatre piece\u00a0Republic of Wolves<\/em>\u00a0(Dortmund\/Volksbuehne 2014) and\u00a0\u201eDies Irae: An\u00a0<\/em>Endtimes Opera\u201c<\/em>\u00a0(Burgtheater 2019), composing and performing the scores live. Paul recently ended his run as Music Director and Curator\u00a0at \u00a0Volkstheater, Vienna<\/a>\u00a0where he co-wrote and performed the music to\u00a0Anna-Sophie Mahler\u2019s<\/a>\u00a0production of Tennessee Williams\u2019\u00a0Camino Real<\/em>\u00a0with the band\u00a0Calexico<\/a>. Paul\u2019s music has been released on numerous labels including Mute Records, Trost, Southern and Rent A Dog. https:\/\/www.paulwallfisch.com\/<\/a><\/p>\n

Martin Siewert <\/strong>arbeitet als Gitarrist & Improvisator, aber auch als Komponist in akustischen und \/ oder elektronischen Kontexten; zahlreiche Kollaborationen, und Kompositionen f\u00fcr Theater, Tanz & Film. https:\/\/siewert.klingt.org\/<\/a><\/p>\n

Aktuelle Projekte u. Bands u.a.:
\nRADIAN
\nDUO CHRISTIAN REINER \/ MARTIN SIEWERT
\nALSO (Duo mit Katharina Ernst)
\nF\u00dcNF (mit Christian Reiner, Jim Black, Christian Weber, Philip Zoubek)
\nDUO SIEWERT \/ KLEMENT (mit Katharina Klement)
\nDUO BIRGIT MINICHMAYR & MARTIN SIEWERT
\nDRY THRUST (mit Georg Graewe & Didi Kern)
\nDuo Reinhold Friedl \/ Martin Siewert
\nFAKE THE FACTS (mit dieb13 & Mats Gustafsson)
\nTHE PEELED EYE (mit Boris Hauf, Steve Heather & Christian Weber)
\nTRAPIST (mit Martin Brandlmayr & Joe Williamson)<\/p>\n","protected":false},"excerpt":{"rendered":"

  Nachhall #17: Every Song Ever II Paul Wallfisch \u2013 Tasten, Stimme, Elektronik Martin Siewert \u2013 Gitarren, Lap Steel, Elektronik Emily Stewart \u2013 Stimme, Violine \u201cThe spectacle of an active mind processing a world in constant flux,\u201d is how Hua Hsu, writing in The New Yorker, describes Ben Ratliff\u2019s remarkable book Every Song Ever. Subtitled […]<\/p>\n","protected":false},"author":2,"featured_media":6599,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[17,5,4],"tags":[],"class_list":["post-6598","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-diskurs","category-konzert","category-programm"],"acf":[],"_links":{"self":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/6598","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=6598"}],"version-history":[{"count":0,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/6598\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media\/6599"}],"wp:attachment":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media?parent=6598"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/categories?post=6598"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/tags?post=6598"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}