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About Michael Fischer

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Musician

Michael Fischer works on the speech immanence of sounds and their sculptural and dramatic evidence, in the field of experimental free improvised music, sound-art and Instant Composition Conducting. His work in these areas has been presented at festivals, literary and visual arts institutions, universities, and radio stations; he has performed throughout Europe, in the Lebanon, Canada, the United States and Japan, and has undertaken extensive tours of the latter.

In 1999, he began to integrate the acoustic phenomenon feedback into his work and developed an exclusively analog, no-effect-based instrument, the feedback-saxophone, which was further developed at ZKM - Center for Art and Media, Karlsruhe or STEIM Amsterdam and presented at ZKM Globale festival/GER, POL festival/GER, Concertgebow Amsterdam, Ad Libitum festival/PL, Donaufestival/AT, New Adits festival/AT, Parallel Vienna Art Fair a.m.o..

About VIENNA IMPROVISERS ORCHESTRA

Results for pages tagged "instant composition conducting"...

Musician

VIENNA IMPROVISERS ORCHESTRA

Active since: 2004

With its praxis of Instant Composition Conducting, the Vienna Improvisers Orchestra (VIO) engages in a special discourse of experimental composition and complex improvised music for large ensembles. Based on a vocabulary of hand-signs, momentary compositions arise from the oscillation between ad hoc conducting that provides structure and ensemble improvisation. Instant Composition Conducting, which is based on Butch Morris' method of hand-sign-conducting called Conduction, has been developed by ad-hoc-conductor/art. dir. Michael Fischer since 2004 into a coherent praxis that follows certain principles:
1. absolute ad hoc creation - on the part of both the ensemble and the conductor; there are no prepared or agreed-upon modules/designs, 2. no rehearsals, only a short try-out of the hand-signs before the concert begins, 3. the musicians are grouped according to instruments, 4. few hand-signs (approx. 20) are used, which 5. are used as sparingly as possible, 6. the instant compositions have long, narrative sequences of 35-50 minutes, 7. each concert features a curated, ever-changing ensemble constellation and usually includes at least one new musician.