Shiva Feshareki, Foto: Rupert Earl

Shiva Feshareki – Multidimensional Thinking, #2 – 2020

Shiva Feshareki is a composer interested in experimentation, exploring aspects of acoustics, electronics, context and perspective in her practice. “Perhaps my transnational and multicultural background helps me to explore different aspects in my music with ease and depth at the same time. In the London area where I grew up, I lived in one of the very few non-Western families. When I combine this with my multicultural upbringing, where I experienced multiple perspectives, I recall a variety of models of thinking, creative processes and creative collaboration. Even today, I feel particularly comfortable moving between different artistic and social scenes, or being an outsider in a field or discipline.” Shiva Feshareki now holds a PhD in Music from the Royal College of Music (London) and numerous awards such as the Ivors Academy British Composer*s Award for Innovation (2017). For some time now, she has been composing more frequently and especially for orchestra, performing her works as a soloist with, for example, the BBC Concert Orchestra, London Contemporary Orchestra, Düsseldorf Symphony Orchestra, Orchestra Nationale de Lyon or Ensemble Modern. “In my electroacoustic compositions I focus on sound movement, space and the connection of sound with comprehensive physical phenomena. I want to create special listening experiences and expand the listener’s perspective with physical and spatial means. This is prevalent, for example, in my compositions “GABA-analog” and “Opus Infinity”: the listeners literally enter the compositions and receive their own version of the composition depending on the angle and perspective they are in the space. In my live electronic and turntable performances, I recycle sound as material and reinterpret it by manipulating it with tactile movements – almost like choreography – between myself and spinning circles. In this way I transform sound material into new dimensions and perspectives of infinite proportions. With “Opus Infinity”, my spatial composition for live electronics, turntables, amplified ensemble and sound system (world premiere with Ensemble Modern on 29 February 2020 in Frankfurt), I also involved a variety of practices in a multidimensional process – and here too the audience was free to choose its perspectives.”

“I want to create special listening experiences and expand the listener’s perspective through physical and spatial means.”

On 6 November 2020, the “4:3” festival will open at HELLERAU with BLACKBOX, a concert programme in three parts: Enno Poppe’s composition “Rundfunk” (2018) for nine synthesizers, Robert Henke’s project “CBM 8032 AV” (2019) for 5 computers and the world premiere of a new Spatial composition by Shiva Feshareki. All projects share a special curiosity about current as well as “historical” techniques of electronic music, about the peculiarities of fascinating “black boxes” such as synthesizers or computers. Enno Poppe uses sounds of the sixties and seventies such as FM synthesis or Minimoog, which he deconstructs and reassembles. Robert Henke explores the beauty of simple graphics and sounds using computers from the early 1980s, questioning the ambivalence between contemporary aesthetics and the use of now obsolete and limited technologies. Other programme items at “4:3” include recent works by Charlotte Triebus, OEIN/PHOENIX16 (see the text by Michael Ernst in this magazine on p. 28), concerts celebrating Helmut Lachenmann’s 85th birthday and world premieres by the “Next Generations”: with the Dresden Composers’ Class and the Ensemble Contemporary Insights.

06. – 08.11.2020
4:3 – Kammer Musik Neu
4:3 Kammer Musik Neu is supported by the Musikfonds e.V. with funds from the Federal Government Commissioner for Culture and the Media.