OSTINATO

The OSTINATO project by Deutsches Symphonie Orchester Berlin (DSO) was initiated by Frieder Nagel to integrate synthesizers like the Prophet, DX7 or Juno – by now already classics – into the orchestra. OSTINATO recalls the transition period from Renaissance to Baroque when shifting formations or orchestrations, premieres – as well as (unknown) new instruments playing solo – characterized the creative process of writing and performing music. A spirit of discovery which is well known today in the global underground of the electronic music scene.

 

Before the symphonic orchestra became standardized in the old days, new instruments had constantly stimulated the creative process of writing and performing classical music. Deutsches Symphonie-Orchester Berlin collaborates with David August and Frieder Nagel to re-activate this habit.

 

Where others try to deconstruct or experiment, the approach of OSTINATO is straightforward: to integrate electronic instruments into the orchestra without breaking its tradition. This genuine attempt could alter the perception of symphonic music by understanding new methods of instrumentation not as an exception but as the origin of the genre.

 

In electronic music the idea of a set as a musical journey comes pretty close to a symphony in terms of intensity, length and structure. Especially in a live-set with its variety of instrumental voices the parallels are even more striking.

 

On three nights David August´s “X – Poéme Symphonique” and Frieder Nagel´s “Ostinato”-Symphony premiered together with Deutsches Symphonie-Orchester Berlin. Now the complete show was released via the leading underground platform Boiler Room.

 

 BACKGROUND

 

For the first time in history analog signal processing and the invention of the condenser microphone made it possible to reach a wider audience without a corresponding number of musicians. The interplay of orchestration and instrumental groups – developed over centuries in accordance to the acoustics and architecture of concert halls – were suddenly put into question. Recordings and their distribution through mass media challenged the exclusivity of concerts and opera events as even playing music entirely without its interpreters became feasible.

 

A whole new variety of genres and styles emerged through the invention of amplified instruments and the capacity of certain recording techniques to "design" sound. While the musical landscape was flourishing during the 20th century, a gap was created between traditionally exercised music and modern forms of amplified music. The consequences can be seen until today by the setting and instrumentation of the orchestra. Comparable innovations like hammerclavier or the development from chalumeau to clarinet found their way into the orchestra, whereas electronic instruments could not establish themselves in the same way - until ... NOW!

 


I

 

„OSTINATO“

Adagio
Allegro
Allegretto
Adagio lugubre
Allegro con fuoco

 

II

 

„X - POÈME SYMPHONIQUE“

 

LUX

`VIL-LIVE

RÊVE

SHAME

TAKE IT ALL AND FOREVER

IRIS

PATH TO

THE SAVIOR

HUMAN

STATE OF WONDER

KARMA

X

 


pics by Moritz Hüttner

CREDITS


Composed by:

Frieder Nagel, David August

Deutsches Symphonie-Orchester Berlin (DSO)

conducted by Norbert Nagel


performed and recorded at Radialsystem V Berlin

 

Tonmeister | Recording Engineer

Holger Schwark

 

film produced by

Zoe Kahlert


audio recorded by

Sebastian Nattkemper


mixed by

Frieder Nagel, David August

 

Scenography

Tim Vermeulen (SIDF)


supported by

Holger de Buhr (VUE Audio)

 

a Deutsches Symphonie-Orchester Berlin (DSO) production 2016

 released via Boiler Room Berlin

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