Clemens Gadenstätter
Clemens Gadenstätter

Clemens Gadenstätter was born in 1966, and has studied flute and composition. He has had commissions and performances worldwide, has several CDs available, and has published articles on aesthetics and compositional poetics. Gadenstätter teaches as a professor at the University of Music and Performing Arts in Graz/Austria, and in 2013 he was a guest professor of composition at the University of Music Carl Maria von Weber in Dresden. Central aspects of his compositions are „Listening – Comprehending – Composing“, works on the conditions of understanding in listening, on (ostensible) banality and on the polymodality of perception.
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4 scenes after Goya
Etchings of Goya (Caprichos) were the starting point of these 4 songlike mini-dramas. Social scenes; cruel, nasty, devious and one added as a „happy ending“ are projected into the spoken language and the guitar music. Crucial is the aspect of one person speaking and playing which is varyingly differentially bound together: each media causes the time structure and rhythmical qualities to shift. The mediae are also bound together aurally and semantically, though always mobile.
These scenes might be heard as an answer to the „singer-songwriters“ tradition of songs. All four scenes work together as an opera on its minimal limits: words and music and the guitar player – they build all the elements of a pocket-opera. Music and words are sometimes quasi acoustic sceneries, as well as the guitar player and his choreography is a theatrical element: the treatment of the guitar is both composing sounds idiomatically out of the instrument under certain thematic conditions, and the condensed picture of the inner and outer movement of what happens to the protagonists in the scenes.

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Vaporizing words and sounds, the semantics and materiality of both, of images and inside all media leeds to dust, „litter“ and „waste“ that speaks about our social and our perceptive environment. The artistic target the is that waste should no longer be wasted but becomes a treasure of crucial importance, of great impact and beauty and of high level energy.
In order to work on this aspects of material and organisation in all the media simultaneously, we decided to set up a matrix of a narration that leads us through the different stadiums of the manipulation of our material that we obtain from the matrix. This ends up in a drama-like setting.
Spatial aspects are also thematized inside all mediae and also by means of spatialisation through projection of sound into the space: transducers on Tamtams project the stage sound into the audience space, sounds nebulise into space and seem to dissolve the boundaries of the spatial settings given.