TILT / A QUEDA DO CÉU
THE BIG BAKERY ROBBERY
La philosophie dans le labyrinthe 2007/2006
WÄLT DER ZWISCHENFÄLLE 2005/2004
Christian Kesten, Mafalda de Lemos, Photo: Regine Körner
Astonishment at nature, greed, the instrumentalisation of natives, the right to exploit, being regarded as a legal action.
Schedl doesn´t illustrate. Schedl does not melodize text. Schedl overwhelms the spectator. His composition is based on pure sound, developed on computer. He extracts parts of this - by itself - amorphic sound substance, puts them into score, and passes it on to the fabulous ensemble piano possibile to interpret it. Computer-generated recorded sounds and the live orchestra imitate each other. The sound is full of brute force and fragile tenderness. Industrially abstract and than totally concrete again; the few singing-particulates comply with sound material, are rather eavesdropped than composed. Intellectually you hardly perceive anything, what is acted and sayed by these three live and at the same time enormorously enlarged projected performers (among them the fabulous composer - colleague Moritz Eggert). But the emotional force of this extreme music tells you a lot more about the european journeys into the heart of your own darkness, than the following, barely spelling could ever do. In an incredible clarity future appears, mean, sharp, vast.
Egbert Tholl, Süddeutsche Zeitung, 11.05.2010
"Tilt" (Directed by Michael Scheidl, stage design: Nora Scheidl), still somehow correspinds with conventional expectations: there are performers, a story, evident correlations between music and text, and a dulaity between stage and audience. The way, how the music - effectively presented by the ensemble piano possibile conducted by Heinz Friedl - turns the space into an event itself, dispatches the audience´s attention on a very special trip and opens the view towards the archaic moment of reckless gold-rush, which happens constantly again again til today...
..."THE FALL OF THE SKY"
What remains, is the space-defined voice art of theensemble and the sensible, maverick order of the electronically elaborated soundworld.
Hans-Jürgen Linke, Frankfurter Rundschau, 10.05.2010
"In this event whitness is beared (on highest emotional level) to how greed and dread invaded the rainforest.. The spheric, but partly effectively garage-rocky, computer- supported music performed by the ensemble "piano possibile", varies sometimes quite far away from "The Doors", and the scene has the kind of apocalyptic touch, that Marlon Brando made us feel in Coppola´s Vietnam-movie. "Amazonas": Pertinent, thrilling and through Klaus Schedl´s music it has a sound grasp of contemporary developments.
Mirko Weber, Stuttgarter Zeitung
Walter Raleigh´s records of his expedition at the end of the 16th century in the large valley of Orinoco and his quest of "El Dorado" constituted the substance of a one-houred performance. Faces, projected on huge screens of two men and one woman, sing, talk and scream live.
fascination, urge to posses, ignorance and finally brutal conquest culminate symbolically, when the gold-painted face of the woman becomes an object of avidity, becomes felt up by noumerous men´s hands. In the end the projections collapse in a cracked shift with the music getting louder and louder, which is in its synthetically created attack almost perciveable thruogh your body.
Klaus Kalchschmid, Die Welt, 17. Mai 2010
"Tilt" dallies with the dialectic between performers and their live projected faces (directed by Michael scheidl), sound datas and computer generated, acoustic structures stand for the violence, which is the driving force in exploiting our last natural resources since the 16th century.
In contrast to that the middle part of the project, "The Fall of the Sky", appears like an Intermezzo of real nature, that shows the Yanomami and the threat the suffer from, in a totally different scenery. All with a sudden theater becomes physical and concrete again, quasi real: The sounds and the figures of indigenous people and their shamans, zhy lyrics of the forest, all that talks to us in a wonderous natural, so to say magic way (directed again by Michael Scheidl, conducted by Heinz Friedl). The audience experiences this Intermezzo ambulantly in a way, becomes part of the event, influences it - and suddenly everything, what we call crisis in Europe, is focused exemplarily: With our merely unlimited devices and possibilities we strike ourselves dead, rescue, clarification would only be available out of the literally "other".
Georg-Albrecht Eckle, Der Tagesspiegel, 12.05.2010
The first part is dedicated to the europeans, who dveloped the region in 16th cntury and started to exploit it. Klaus Schedl wrote his music on this, "Tilt" it is called, percussive, loud, agressiv, performed by the ensemble piano possibile, conducted by Heinz FRIEDL and electronically amplified. Three performer are coining the direction of Michael SCHEIDL.
Three screens show their faces, and behind these projections the whole human beings, to whom these face projections belong to, shine through from time to time. Moritz EGGERT, Mafalda DE LEMOS and Christian KESTEN declame, sing, call, shout texts of Sir Walter Raleigh, the conqueror in charge of Quenn Elizabeth I. from England. The encounter with the alien, which fascinates, but has to be wrestled down and dominated by all means. The focus on the faces of these intensively acting performers fascinate, the text moves by its conflicting nature.
Michael Weiser, Bayernkurier