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Carreau Sonore

"Carreau sonore" is part of a series of ART POINT-Projects, which Sigune von Osten has developed for various locations over the past few years ("New Horizons" / Deutscher Pavillon EXPO 2000, "Novemberland" with Nobel prize winner for literature Günter Grass / Mainz / Phönix-Halle 2001, "Coexistence" / Berlin / Kuppelsaal of the Dresdner Bank "KlangWanderung" ?Sound Walk? / Dresden Days of Contemporary Music / Festival Hall Hellerau 2002, "Sounds of Trombach Valley" / Trombachaue and Trombacher Hof 2003). Its concept consists of an interactive play between music, sound objects, motion, light, space and the audience. The single components are combined seamlessly, the (industrial) relics of the room such as rails, balustrades, steel girders and pipes turn into instruments, the noise and movement of the audience becomes part of the overall composition. A choreography for light and spatial movement conflates everything to create unity.

The point of origin was the former Lorrainean coal area "Carreau Wendel". It premiered with the title "carreau sonore" ? sounding Carreau ? at the rendez-vous musique nouvelle in Forbach in the former Kauen building in November 2003. (cf. media coverage)
This 'Gesamtkunstwerk' can be repeated at various places, preferably far away from classical concert halls.

And the industrial space is alive!  

..."However, the night that Sigune von Osten planned and filled with music, sound sculptures, light and movement throughout the whole place outweighs .... Right from the beginning, while climbing the stairs made of steel one could hear iron bars pounding the balustrades and other metallic noises in the inoperative mine Carreau Wendel near Forbach. Then the concert "carreau sonore" opened with Knut Müller's piece "destructive science". Müller wrote a music consisting of word fragments, distortion of voices and sounds of music machines, which are being pushed through the hall during the piece. Sounding Carreau Wendel. A blend of threatening word scraps and noises that sound like Geiger counters and hard work. An apocalyptic atmosphere. Rarely has there been an industrial space that was revived through art in a more cohesive way. The soprano Sigune von Osten did not only manage to organise any concert in an old hall. Using the space of the mine von Osten, who also performed all night long as a soloist, developed an organic concept for a New Music concert. The result has been an evening with music sculptures, with her ensemble Musica Temporale Dresden, and with light and movement in the space. And with Iris ter Schiphorst "...wie ein Wasserfisch..." a music premiered that was refreshing and fascinating at once by combining strictly 'new sounds' and rock and pop styles in a relaxed way.... With a relatively large amount of premieres it promotes and supports newcomers and with projects such as the sounding Carreau Wendel it could help to revive the region and its industrial monuments...

Saarbrücker Zeitung 10.11.2003


The mine is living! But from what...

"The highlight of the small festival was, of course, a performance of Luigi Nono's by now forty years old "La fabbrica illuminata" for singing voice and audio tape, which the overwhelming Sigune von Osten, who was reciting in a variety of vocal styles ? together with other works of chamber music (by Knut Müller, Iris ter Schiphorst, Sion Wuge) as well as sound sculptures (mainly by Ursula Haupenthal, evoking almost magical vibrations) ? not only united all to form a 'Gesamtkunstwerk' . In the mine of the Carreau Wendel the place itself came alive: music as work, music for work although this mine is inoperative by now. That is a way of using an industrial park after all, even though the utopia of New Music once had been imagined differently." 

Frankfurter Allgemeine Zeitung  11.11.2003

Sounds instead of coal

In the waning moonlight the black colossus silently rises into the night sky. Soon he is swallowing the dark figures that are slowly approaching from the scarcely lit parking lots. And suddenly the setting is becoming alive: Sounds are audible, sporadically at first, then more often, rhythmically and melodically structured. Lavoir 3, the coal washing plant of the former mine Carreau Wendel in Lorrainean Petite Rosselle is coming to life on this cold November night as a setting for New Music...

Everyone of distinction came again to Claude Lefebvre: Pierre Boulez was here, Karlheinz Stockhausen went on a trip to Lorraine.

This year the heroine of contemporary singing, Sigune von Osten, honoured us with her presence. .... Sigune von Osten, the ensemble musica temporale from Dresden, Wu Wei with his Chinese instruments as well as Ursula Haupenthal and Erwin Stache as creators of music sculptures and music machines turned out to be masters of transitions. They called their 'Gesamtkunstwerk' "Carreau sonore" for the Lavoir 3, which included, among others original compositions by Iris ter Schiphorst and Knut Müller, also Luigi Nono's "Fabbrica illuminata". And it seemed, as if the inoperative coal washing plant had only waited for this."

Die Rheinpfalz

"? Le festival se déplava en soirée vers le Carreau Wendel de la Petite Roselle, devenu musée , où la soprano Sigune von Osten conduisit avec grand art un spectacle de jeu interactif pour lumière et son, espace et mouvement, interprètes et public: La fabbrica illuminata de Nono y opposa ses voix désespérées aux bruits des usines mortifères, des machines à musique y circulèrent pour Destructive science de Knut Muller, des sculptures d'Ursula Haupenthal y muèrent elles-mêmes en instruments.
La soprano et l'ensemble instrumental Musica Temporale de Dresde ont créé ensuite Wie einen Wasserfisch d'Iris ter Schiphorst, dans la tradition orale du conte. Mise en espace particulièrement travaillée aussi pour Mee Ting de Sion Wuge, où instruments chinois mêlèrent leurs timbres, interpellés toujours, tout comme le public, par la voix de la cantatrice. Beau symbole, dans ce désert post-industriel et dans le vide impressionnant du lieu, que ce thème de la rencontre universelle des cultures."

Dernières nouvelles d'Alsace, Strasbourg

Etonnant ? Carreau Wendel

"Le festival montait peu à peu à son zénith, atteint au Carreau Wendel, cet endroit emblématique accueillant un spectacle "environnement sons et lumière" monté de toutes pièces par la "vénus bleue", la cantatrice Sigune von Osten, véritable égérie des festival (de Metz à Forbach). Le "Lavoir " de Petite ? Roselle ? un miracle acoustique ? avait fait l'objet d'une installation lumineuse et sonore avec haut-parleurs et projots qui contribuait à l'étrangeté des lieux accommodés pendant plusieurs jours et nuits par une équipe technique et artistique au top niveau. Les spectateurs, pris par l'atmosphère étrange qui venait d'y être créée par les fonds sonores et les rais lumineux, suivirent l'évolution des artistes marchant sur les poutrelles, les passerelles, évoluant au sol, véhiculant, dans le clair obscur, des machines, insolites qui déclenchaient sur les parcours, des musiques percussives et futuristes. Les sculptures sonores d'Ursula Haupenthal entrèrent en action, les objets musicaux mobiles étaient articules par Erwin Stache, et les oeuvres de Knut Muller, le la Berlinoise Iris ter Schiphorst, subjuguèrent l'assistance qui avait été séduite d'abord par les instruments chinois de Sion Wuge?"

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