Sarah Nemtsov
"white eyes erased", pour piano et batterie
"amplified imagination", pour flûte, haut-parleurs, electribe sx, bandes, video live
"drummed variation", pour percussion et KaossPad
"implicated amplification", pour clarinette basse amplifié et 3 pédales d'effets
"zimmer I-III", pour 8 musiciens, pour harpe amplifié, kaoss pad, flûte basse amplifié, clarinette basse, laptop et quatuor à corde amplifié

Ensemble adapter
Ensemble mosaik
Quatuor sonar

In complex layers of sound, Sarah Nemtsov creates a polydimensional utopian vision of urban life – confusing, energetic, and sometimes nerve-wracking: “It has to do with the tension between consequence and chaos.” In “Zimmer I-III”, Nemtsov explores the extremes between an “aesthetic of fragility” and “the courage to be ugly”, making use of analog effect devices and theatrical gestures to produce abstract visions of reality. Three of her chamber music pieces can be viewed as “extensions” of the “Zimmer” series. In these pieces, the electronic element of the music functions as “inherent counterpoint”: “amplified imagination” juxtaposes various layers of acoustical reality, “drummed variation” evokes the patterns of technoid music, while “implicated amplification” uses a looping station to create manic worlds of repetition. In “white eyes erased“, Nemtsov releases a flood of energy that pushes far beyond the academic propriety of much New Music. This recording brings together three of the most exciting New Music ensembles of our time: the Sonar Quartet, the Adapter Ensemble, and members of Ensemble Mosaik.