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Misgiving Song (

this production was realized with kind support by Senatsverwaltung für Kultur und Europa Berlin Berlin Bricolage Ensemble @ Kühlhaus Berlin, Sept 30th 2021 Jonas Schoen-Philbert - dir., altosax Moses Yoofee Vester - piano Kai Brückner - git Haggai Cohen Milo - bass Heinrich Köbberling - drums 1st violin: Clemens Linder, Tilman Hussa, Katharina Wildhagen, Rodrigo Bauza, Emilija Kortus 2nd violin: Uwe Utrecht, Elias Schädel, Emanuel Hahn, Marjolaine Locher, Christian Büttner viola: Kristina Menzel-Labitzke, Tobias Mehling, Sara Rilling, Ralph Günthner, Katharina Hage cello: Eva Freitag, Nikola Springler, Zoé Cartier, Diego Hernandez bass: Peter Nitsch, Fátima Agüero Vacas, Theo J.W. Lee flute: Helena Weinstock-Montag, Charlotte Stubenrauch oboe: Max Vogler, Myriam Navarri clarinet: Ruben Staub, James Scannel bassoon: Laura Lorx, Basak Kömürcügil trumpet. Florian Menzel, Mai Takeda french horn: Abigail Sanders trombone: Maxine Troglauer recorded and mixed by Matthias Middelkamp filmed and edited by Philipp Schultze project management: Olivia Pohlenz graphic design: Hilmar Stehr PR: Ulrike Schrader Composers notes: The whole work originates from a film score I wrote for ‚Schneeblind‘ (SWR; woodwater films; directed by Arto Sebastian). Due to the plot I decided to use Zither and string quartet in the original. I borrowed a Zither and started experimenting with e-bow and bottleneck, the music grew beautifully out of that process. There is a fateful vibe to the first part ‚Misgiving Song‘. Most characteristic is the arpeggio with fifths in the guitar (the incredible Kai Brückner, who is not in the picture at all – we were short of one camera!) and the folkloristic alternate bass figure. Domestic Gliss evolves directly from ‚Misgiving Song‘ and is much less rooted than its predecessor. Starting from the pedal that connects all three pieces it is the unfolding of a series of clusters each allowing associations to different harmonies. The piece has no audible time and has something creepy and threatening to it. It confronts us with a reflex to understand and interpret what we hear. The title relates to the plot of the movie and the phrase ‚domestic bliss‘. The idea of this piece closely relates to the Zither. It has a fretboard with very high frets. If you hit them strongly right in the middle you get two notes. When moving to the next fret, one note rises its pitch, the other gets lower. In these pairs I found the progression that this piece is based on. I found three different pitches for the progression to work magically with the pedal note (mentioned above, it connects the three parts of this extended work). Also the voices cross in the middle of each variation. I couldn’t expect and still can‘t believe how appealing the result of such a rational approach would be. The coda only exists in this orchestration and creates textures of everything that happened before. There is an orchestration for bigband available on the album 'Crosscurrent' (Jonas Schoen with Marc Secaras Berlin Jazz Orchestra) on bandcamp and streaming platforms.