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Paul Pankert: Remote 2.0

  • Date(s) and time(s): Friday, December 10, 2021 (8:00 p.m.)
  • Price: 8-16€
  • Place: Eupen, Alter Schlachthof

 

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Paul Pankert, composition

Hiroshi Wakamatsu, choreography
Luna Ananda Martinez, dance

Achim Bill, percussion
Anne Davids percussion
Vedran Mutić, bass guitar
Centre Henri Pousseur, live electronics


Remote 2.0 is a dance and music performance for flute, drums, bass guitar and dance. In this performance, the dancer’s movements are analysed by sensors and thus influence in real time electronic sound filters that transpose, distort, disintegrate, amplify… Other sound effects are controlled by random generators. Thus, the musical expression is no longer exclusively in the hands of the three musicians, but is largely determined by extraneous elements.

The inspiration for this piece came from the dystopian novel ‘The Power’ by Naomi Alderman, which deals with power, manipulation, alien control and abuse of power. In the introduction, a fleeting melody played by the flute is repeated several times and electronically manipulated in an increasingly insistent manner. The menacing sounds of the bass guitar increase until the first demonstration of power. The expressive flute phrase that follows also struggles to assert itself against the recurring bass and percussion sound elements.
The central main section is a passacaglia, a form of three-quarter time variation common especially in Baroque music, which deals with the abuse of power described in the novel, at first subtle, then increasingly obvious, leading eventually to the complete destruction and collapse of the social structure. This is followed by Bach’s chorale Aus tiefer Not schrei ich zu dir, reduced to three voices. Glasses filled with water, operated by a violin bow, give a fragile sound to the main voice.
The novel ends in a destroyed, hopeless society, represented musically by a recurring five-bar bass line whose monotony is lightened by a few percussion elements. To this is added a disillusioned descending melody on the bass flute, which finally fades into nothingness.

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