Ondřej Adámek – Endless Steps (for orchestra) (2006-08)
Lucerne Festival Orchestra
Pierre Boulez (conductor)
Ondřej Adámek
Composer and Conductor
Premio Abbiati del Disco: The recording of Ondřej Adámek’s compositions Where are you? and Follow me with Magdalena Kožená, Isabelle Faust and the Bavarian Radio Symphony Orchestra conducted by Peter Rundel and Sir Simon Rattle has received the prestigious Italian critics’ award.
In the past season, Ondřej Adámek’s composition Where are you?, which was taken on a European tour by the London Symphony Orchestra under Simon Rattle with soprano Magdalena Kožená, received a great deal of attention. The work was premiered in March by the Bavarian Radio Symphony Orchestra under Simon Rattle and again performed at the Lucerne Festival, the Musikfest Berlin, as well as in Antwerp, Luxembourg, Dortmund, and Bucharest.
Follow Me, the violin concerto for Isabelle Faust premiered in 2017 by the Bavarian Radio Symphony Orchestra under Peter Rundel, was performed with the Orchestre de Strasbourg at Festival Musica and with the Helsinki Philharmonic Orchestra under Susanna Mälkki.
The recording of both works, released as CD No. 38 by BR-KLASSIK and musica viva, has now been awarded the prestigious Premio Abbiati del Disco. The award ceremony took place on 23 September 2022 in Cremona. Congratulations!
ONDŘEJ ADÁMEK
Follow me: Isabelle Faust, violin; Peter Rundel, conductor
Where are You?: Magdalena Kožená, mezzo soprano; Simon Rattle, conductor
Bavarian Radio Symphony Orchestra
CD Number: 900638
Airmachine
Ondřej Adámek a créé avec Carol Jimenez Airmachine, un instrument polyforme activé par l’air, soufflé ou aspiré périodiquement. Airmachine est jouée en concert par un interprète (pianiste, percussionniste…) et rend une musique très précise et virtuose constituée de sons inouïs selon un rythme groovy en solo ou en combinaison avec un groupe instrumental. Divers instruments et objets peuvent être connectés à cette structure qui manifeste conjointement son et mouvement. Airmachine se produit aussi dans des installations. Cet orgue humain et organique, accumulant instruments non accordés ou accordés en micro-tonalité, donne vie à des objets. C’est le rythme des poumons qui se donne à voir et à entendre. L’inspiration, l’expiration, autant que le moment de suspens qui les articule, manifestent le souffle in extenso. Airmachine le soulève jusqu’au dernier soupir. Elle déclenche, par ses images et ses cris, des visions grotesques d’une poésie énergique.
Airmachine est faite avec la collaboration de Carol Jimenez, Christophe Lebreton, Sukandar Kartadinata et avec le soutien de la GRAME, Berliner Künstlerprogramm des DAAD, SWR-Festival Donaueschingen, villa Médicis http://www.grame.fr/prod/airmachine-2
Adamek Airmachine + EOC concerto
Conséquences particulièrement blanches ou noires – concerto
Roméo Monteiro, Ensemble Orchestral Contemporain, Daniel Kawka
Lyon, répétition générale le 10 mars 2016
Airmachine
Airmachine is an instrument that consists of 2 vacuum cleaners (one blowing air in, the other sucking air out) and a system of automated valves opening and closing air outputs (water valves combined with servo-motors). By a Gardena connection system I connect all possible wind instruments, toy instruments and also balloons or other inflatable objects to each its air output (for example overtone flutes, balloons of different colors, forms and sizes, siren whistles, harmonic tubes, toy double reed instruments, car horns).
Self-moving handles of automated valves are also used to strike different percussion instruments.
The whole object, controlled through a MIDI controller by a percussion player becomes a surrealist visual and noise theatre.
Videos recorded in ZKM October 2013, cameras: Christina Zartmann, Paula Reissig, with the support of the Berliner Künstlerprogramm of DAAD and SWR – Festival Donaueschingen.
Airmachine
Airmachine is an instrument that consists of 2 vacuum cleaners (one blowing air in, the other sucking air out) and a system of automated valves opening and closing air outputs (water valves combined with servo-motors). By a Gardena connection system I connect all possible wind instruments, toy instruments and also balloons or other inflatable objects to each its air output (for example overtone flutes, balloons of different colors, forms and sizes, siren whistles, harmonic tubes, toy double reed instruments, car horns). Self-moving handles of automated valves are also used to strike different percussion instruments. The whole object, controlled through a MIDI controller by a percussion player becomes a surrealist visual and noise theatre. Videos recorded in ZKM October 2013, cameras: Christina Zartmann, Paula Reissig, with the support of the Berliner Künstlerprogramm of DAAD and SWR – Festival Donaueschingen.
Adamek Airmachine
Conséquences particulièrement blanches ou noires
for Airmachine 2 solo
version 12
playd by Ondrej Adamek
light, camera Mitra Farahani
Airmachine is a new music instrument, an automated valve systems working with air.
It has been constructed between 2011 and 2015 by Ondrej Adámek, Carol Jimenez, Christophe Lebreton
with the support of Grame (Lyon), Berliner Künstlerprogramm des DAAD, SWR – Donaueschinger Tage für Neue Musik and Académie de France à Rome (Villa Médicis).
Ondřej Adámek – Körper und Seele (for air-machine, choir and orchestra) (2014)
air-machine: Christoph Grund
SWR Vokalensemble Stuttgart
SWR Sinfonieorchester Baden-Baden und Freiburg
conductor: François-Xavier Roth
Just for promotion.
Please write me a direct message if you have complains about this upload concerning copyright issues. In that case, I will delete the video immediately.
Airmachine est un instrument polyvalent, en cours de développement, fonctionnant avec de l’air soufflé ou aspiré de manière rythmique et auquel des instruments et des objets divers peut être connectés afin de créer un son ou un mouvement accompagnant un son.
• Les gaines électriques annelées servent de tubes harmoniques pour créer un son spécifique : un arpège d’un spectre harmonique qui peut devenir fort et perçant.
• Les tubes en PVC sonnent comme des instruments à cuivre ; une légère touche sur la membrane en latex modifie la hauteur du son et produit des glissandi si rapides et larges à la fois que seuls peuvent concurrencer quelques instruments traditionnels Indiens, tels que le nagaswaram.
• Les langues de belle-mère deviennent grotesques quand elles s’énervent. Elles donnent des coups de poing en poussant un cri animal, puis se rembobinent à toute allure sous l’effet de l’air aspiré dans un froissement de papier.
• Les flûtes en PVC sont des copies de fujara (flûtes de bergers slovaques) dont les harmoniques changent très vite en fonction de la pression de l’air. Elles sont accordées en micro-intervalles. Quand les moteurs s’arrêtent, l’air s’affaiblit et l’orgue exhale son dernier soupir.
Ondřej Adám
N.E.S.E.V.E.N.
N.E.S.E.V.E.N.
(Never Ending Searching for Exact Vocal Expression and Nuances)
Production management:
Marie Hoffmann
mariethehoffmann@gmail.com
Wittener Tage für neue Kammermusik
ONDŘEJ ADÁMEK
TŘESK for 6 vocal soloists und 4 percussionists
a production of Eklekto and N.E.S.E.V.E.N.
© Eric Oberdorff
Reaching Out, Festival Propagation, 14/05 2022, Mraseille, © Eric Oberdorff
Reaching Out, Festival Propagation, 14/05 2022, Mraseille, © Eric Oberdorff
The idea to form N.E.S.E.V.E.N. originated during the elaboration of Seven Stones, an opera composed by Ondrej Adamek and directed by Eric Oberdorff for the International Lyric Art Festival in Aix-en-Provence. The six singers of N.E.S.E.V.E.N. all participated in Seven Stones and were selected for their great vocal and instrumental flexibility.
N.E.S.E.V.E.N. deconstructs the cultural barriers that artificially isolate traditional, classical and instinctive music, in order to give music back its physicality. We believe this to be the key to unlocking our most unconscious perceptions.
In the same vein as the opera Seven Stones, N.E.S.E.V.E.N.’s work focuses on the search for the natural aspect of the voice, authenticity and the exactness of vocal expression. To achieve this, the six musicians of N.E.S.E.V.E.N. use their mastery of numerous vocal expression techniques: lyrical vocal technique, natural voice similar to speaking voice, chest voice for women, Malagasy chants, Corsican chants or Korean Pansori.
In 2018 the ensemble was invited to the Wittener Tage für Neue Kammermusik, in 2020 invitation to Paris (Festival Présence/Radio France), in 2022 Marseille (Festival Propagations) and Venice (Biennale Musica).
N.E.S.E.V.E.N. members
- Ondrej Adámek: composer, conductor,
- Eric Oberdorff: choreography
- Anne-Emanuelle Davy: voice, objects
- Olga Siemieńczuk: voice, objects
- Shigeko Hata: voice, objects
- Landy Andriamboavonjy: voice, objects
- Nicolas Simeha: voice, objects, mandolin
- Steve Zheng: voice, objects
- Paul-Alexandre Dubois: voice, objects
Festival Présence, Radio France, Paris Februar 2020
Rehersing with Kent Nagano
ONDŘEJ ADÁMEK
Man Time Stone Time for 4 vocal soloists, objects, video
© Eric Oberdorff
Wittener Tage für neue Kammermusik
ONDŘEJ ADÁMEK
Man Time Stone Time for 4 vocal soloists, objects, video
© WDR/Claus Langer
Festival d’Aix-en-Provence, Juli 2018
ONDŘEJ ADÁMEK
Seven Stones
Opera a capella for four soloist singers and twelve chorister singers
Libretto by Sjón