Amproprification #8.1: Allegro con brio, Eroica, C.F.Ebers, L.v.Beethoven

Finished 2018
Ensemble and automated amplification
duration: 15'30"

"Amproprifications" is a series of pieces for performers and electronics. The title is a combination of the terms "Appropriation" and "Amplification": In short, all Amproprifications are elaborate amplification layers for preexisting pieces by other composers. The parts of the performers consist in the performance of scores by other composers. One specific score is performed for each piece in the series. Not a single note of the original's text is being altered, nothing is added, nothing is omitted, nothing is being changed in any way. The electronics on the other hand solely consist of amplification. No additional sound whatsoever is being produced. The possibilities of interference span a large variety of movements, from almost inaudibly slow fadings to extremely fast and brutal chopping. In a figure of speech, all Amproprifications are "silent" pieces. They themselves do not contain or produce any sound. They do, however, constitute filters, readings, processings of the original pieces. The development of the amplification layers are very different each time and stem from aspects regarding structure and content that are based in the respective original: The originals are being superimposed with external layers which have their origin in the works itsself. In Amproprification #8, the original is a chamber music version of the the first movement of Beethoven’s third Symphony, arranged by Carl Friedrich Ebers in 1818. Within the Amproprification-layer, two elements are especially important: First, a constant pulse, focusing certain aspects of the original. The first movement of the Eroica is written in a 3/4-metrum, which is quite unusual for a classical symphony. The pulses superimpose additionally odd tempi onto the music, turning the metrum into strange ratios. The second element is a rhythmical structure derived from the first chapters of the draft for a european constitution, which was written exactly 200 years after the Eroica, and which was stopped by referendums in the Netherlands and France in 2004. In general, Beethoven is especially interesting for an Amproprification because his works put up resistance against it, from within. Beethoven never poses as a canvas. Additionally, the Eroica carries a layer of political meaning, with references towards a liberal ideal of Europe. Insisting on the values of a liberal and open Europe is – unfortunately – very important once again. To think ahead and develop new models and visions for Europe based on those ideals maybe even more so.


Additional Files:

Past Performances:

Jan 28th, 2019
SWR2, Radio, “Alter Meister immer neu?”, feature by Rainer Nonnenmann
Sep 29th, 2018
Mexico City, MUAC Auditorio, Foro Música Nueva
Jul 3rd, 2018
DLF Kultur, RADIO, “… musikalische Opfer …”, Ensemble UnitedBerlin
Jun 24th, 2018
Berlin, Konzerthaus, Ensemble United Berlin, V. Jurowski


Amproprification #8: EROICA

Recording of the first performance, Konzerthaus Berlin, June 24th 2018 Ensemble UnitedBerlin Vladimir Jurowski, cond M. Marcoll, sound projection