iris ter schiphorst

left ensemble: violin, cello, prep. piano/sampler,
right ensemble: string quartet, electric guitar

Introduction

'Erlaube, Fremdling, dass ich dich berühre II' combines and synthesises instrumental sounds, samples and scenic moments into an intense composition about the tense and conflict-laden processes of globalised networked communication, which fundamentally and irreversibly changes our category of space and time. Whether we participate in these processes or are excluded from these elementary changes will determine the future of our societies and our world. In her musical-theatrical suite, Iris ter Schiphorst undertakes an examination of our technologically revolutionised present, recalling the 1963 work 'The Box' by Franco Evangelisti and Franco Nonnis.

Two independent ensembles communicate with each other on stage: a trio consisting of piano/sampler, violin and cello on the left and a traditional string quartet plus electric guitar on the right. This communication process, which takes place in MUSIK, is at the centre of the performance. The two instrumental ensembles and two players/singers define the social framework: through them we perceive 'individuals' or 'subjects' in this soundscape. The 'networked self' and its relationship to the unknown 'stranger', who becomes a reflective and deceptive projection surface for the networked society, which possibly shows it nothing other than its own desires, obsessions and fears.
(Peter Staatsmann)

Some comments on the connection between "Erlaube Fremdling, dass ich dich berühre" and "Die Schachtel" by Franco Evangelisti

The question that guided me in my project from the very beginning was: is it possible to portray a socio-political issue such as the 'digital divide' in, with or through MUSIC? And what historical role models are there for such an endeavour? "The Box" by Franco Evangelisti and Franco Nonnis kept coming to mind, which I have always found extraordinary, both formally and artistically-aesthetically, as well as in its political aspirations. It also seemed to me to be 'similar' to my project in terms of content, as SCHACHTEL also thematises a 'new' media reality, a 'new' media social condition, i.e. the 'new' media reality that has existed since the 1960s.At the time when SCHACHTEL was created, its political and social effects were just as decisive and revolutionary as the worldwide web is today.

In this respect, "Die Schachtel" not only became a kind of 'pre-image' for me during the creation process of 'Fremdling', but also very specifically a 'template' from which I adopted some basic constellations and characteristics, e.g. the cast and the way the language is treated. There are also players, projections and tapes in my work. In my work, too, the few texts come from tape and - as in SCHACHTEL - are neither poetic nor independently literary, but simply 'slogans' on the subject of the worldwide web, as they appear everywhere in the media.
In addition, I have adhered in a certain way to the basic division of the SCHACHTEL. More precisely: the headline on which every 'structure' of the SCHACHTEL is based. In this way, I also arrive at 6 parts, each of which relates to the respective heading in terms of content and structure and is also indicated in my score. Parts A, B1, B2, B3, B4 and C, as they appear in the SCHACHTEL, correspond to the movement titles in "Erlaube Fremdling, dass ich dich berühre II":

1st sentence A "Discourse on personality" / constellation of the disparate

2nd sentence B1 "Liberating reactions"

3rd sentence B2 "Neurosis as a means of escape"

4th sentence B3 "The lyrical evasion" / The feeling as a means of escape

5th sentence B4 "The reaction to mass psychology;
Dissociation of language and gestures; the escape into hectic activity."

6th sentence C Finale/ "Glorification of the system of least resistance."

As in SCHACHTEL, there are of course instrumentalists, but in my case there are two ensembles without a conductor. A significant difference. Because I wanted - more than is the case in the SCHACHTEL in my opinion - to process 'my theme' IN THE MUSIC itself, in the compositional treatment of these two ensembles. I also wanted to 'tell' about it in the music. In my opinion, the presence of these two independent ensembles makes this possible. The communication process between the two ensembles is at the centre of the performance for me. By retracing and experiencing its progress and processes, I try to make audible what is happening and at stake in our present. The spectrum ranges from 'isolation' to 'togetherness', 'coexistence', 'opposition', 'successful communication' or even 'failure of communication'.
The two players have the task of defining the social framework: their presence provides the opportunity to introduce two different 'individuals' or 'subjects' into this soundscape and to limit the infinitely broad associative horizon of the music in terms of the theme through tiny 'scenes'.

In this respect, 'Erlaube Fremdling, dass ich dich berühre' is musically and aesthetically very different from "Die Schachtel", which works in part with open forms, improvisation and a timeline to be determined by the director and conductor themselves. But despite these differences, my work is connected to the SCHACHTEL in a special way. Yes, perhaps I can even say that FREMDLING would not have existed without DIE SCHACHTEL. And this statement is not least to be understood as a bow to a great piece of music history.

Iris ter Schiphorst (8 November 2005)