https:\/\/www.localticketing.de\/events\/29491-klangzeit-munster-2021<\/a><\/p>\n\n\n\n
![\"\"](\"https:\/\/www.aufabwegen.de\/events\/wp-content\/uploads\/2021\/09\/jelinek_bogner-1024x772.jpg\")
<\/a>Jan Jelinek plays Ursula Bogner<\/strong><\/p>\n\n\n\n (1946 \u2013 1994) German pharmacist, artist and musician, she attended courses with Herbert Eimert, founder of the Studio f\u00fcr elektronische Musik in K\u00f6ln at the WDR, became interested in these new sounds and recorded synthesizer musics privately for many years. Long after, Jan Jelinek met her son by chance and learned about his mother\u2019s hobby, finally publishing a compilation of music from the scarcely marked reel-to-reel tapes and HiFi-cassettes. It seems almost incredible that Ursula Bogner\u2019s musical talents should have remained undiscovered until now. Yet in view of her biography, this might have been just as inevitable. According to the usual chronological benchmarks, Ursula Bogner\u2019s biography appears short and conventional: Born (*1946) and raised in Dortmund, she moved to Berlin at 19 to study pharmacy. Degree in hand, she immediately went to work for pharmaceutical giant Schering, followed by marriage, children and a successful yet by no means sensational scientific career within the multinational heavyweight. At the same time, she developed a keen interest in electronic music. Throughout her early twenties, she followed the activities of Cologne-based \u2018Studio f\u00fcr elektronische Musik\u2019, attended seminars by Studio founder Herbert Eimert, exhibited great enthusiasm for Musique Concr\u00e8te and, later on, shared her children\u2019s enthusiasm for British New Wave Pop. Nevertheless, Ursula Bogner never involved herself in any scene, never made her music public. Maybe this can be attributed to her boundless curiosity. Besides composition, she also tried her hand at painting, printing (the booklet features reproductions of two of her linocuts) and developed a strong fascination for Wilhelm Reich\u2019s \u2018orgonomy\u2019, the sexual researcher and psychoanalyst\u2019s bizarre late work on his discovery of \u2018orgonenergy\u2019. Reich aimed to focus resp. collect this particular type of solar energy and use it for healing purposes. To this end, he created an apparatus, a cabin of wood and metal otherwise known as an \u2018orgon accumulator\u2019 (see image). Inspired by several trips to \u2018Orgonon\u2019 (Maine, USA) \u2013 Wilhelm Reich\u2019s former workspace and home \u2013 Ursula Bogner decided to construct her own accumulator and stored it in the family\u2019s backyard. At this point, it becomes increasingly hard to shake the suspicion, later confirmed by Sebastian Bogner, that his mother was drawn to all things esoteric. Mounds of New Age literature and fringe science works would litter the Bogner household. And yet, throughout all this, she remained a Schering employee and thus firmly rooted in the sciences. Her compositions, too, betray few signs of esotericism, in fact they are closer to studies and sketches: humorous and \u2013 in view of her biography \u2013 almost silly rather than tied to any particular school of mysticism or science. Nevertheless, it is remarkably hard to grasp or classify her work as a whole. Over the course of 20 years, she dabbled in many different styles leading to a huge wealth of work and a bewildering variety of titles.<\/p>\n\n\n\n In the late 1960s, Ursula Bogner started to record her own music on reel-to-reel tapes. With some of these titles, we only found individual tracks of pieces recorded on a four-track-recorder \u2013 in these cases, I had to recombine the separate tracks to recreate the original piece. Unfortunately, I could not involve Ursula Bogner in the mixing process as she passed away in 1994. Invoking the original\u2019s authenticity might seem insensitive, yet there was no other way to release them in their entirety. Ultimately, only three of the tracks featured on this CD\/LP are such \u2018reworkings\u2019. All other titles were taken straight from the original reels. Covering a fairly short period of her creative career, they also convey a peculiar coherence in both form and content. A coherence that reflects her accessible, rhythmic and sometimes even \u2018poppy\u2019 side. Naturally, my own preference played a part in the selection process. All my personal favourites made it on the CD\/LP, and whenever I listen to this collection, I invariably succumb to the titles\u2019 light-hearted nonchalance. This might leave many hours of undiscovered gems, but a further compilation is already in the works.<\/p>\n\n\n\n My thanks go out to the Bogner family, especially Sebastian Bogner, who was generous enough to grant me access to the reels and supply me with invaluable insights into his mother\u2019s life. I hope that listeners will enjoy the same exhilaration I experienced on discovery of Ursula Bogner\u2019s music.<\/p>\n\n\n\n Jan Jelinek<\/p>\n\n\n\n <\/p>\n\n\n\n Seit 1996 ver\u00f6ffentlicht Rehberg auf Walter Ulbricht Schallfolien unter dem K\u00fcnstlernamen Ditterich von Euler-Donnersperg j\u00e4hrlich ein neues Heft seiner „Pelzwurstlieder“ (Reimdichtung im Geiste Klopstocks, mit elektronischem Zuspielband) unter Beigabe einer Picture-Single sowie in unregelm\u00e4\u00dfiger Folge weitere Tontr\u00e4ger. Zudem existiert unter diesem K\u00fcnstlernamen eine Split-LP mit Kommissar Hjuler auf dem Label Psych.KG, Euskirchen. Ein grauer Knurrhahn und Grummelsack, der eine Schule f\u00fcr Honiggewinnung und Schnittblumenzucht in Alt Wrietzen im Oderbruch betreibt. Steht neben Dr. Kurt Euler, dem Vorsitzenden der Parteikommission f\u00fcr Volksbildung und Kulturkampf beim ZK der Kommunistischen Einheitspartei Deutschlands (KED) in dem (ungerechtfertigten?) Ruf eines im Geiste Johann Gotthilf KLOPSTOCKs, des Lehrers einer irrenden Menschheit, wirkenden, sinnenfrohen Zuchtmeisters fehlgeleiteter junger, mitunter auch alter Menschen, welche in hemmungslosen Daseinsirrt\u00fcmern schwelgen und ihr Leben von dessen Ende her betrachten. Tritt seit dem R\u00fcbenwinter 1946\/47 als Sachwalter des Werkbundes und des traditionsreichen Tonverlages Walter Ulbricht Schallfolien unbedingt gegen Wirrnis und verstocktes, kleinb\u00fcrgerliches Schwarzsehertum auf und betreibt unter den Leitgedanken Verdunkeln! Der Feind sieht dein Licht! Beginne den Tag mit Sterben! Das \u201eScheitern als sch\u00f6ne Kunst\u201c. The steady ascent of ANA FOSCA, the moniker of Copenhagen\u2019s Linn Hvid, is unmistakable in its rousing articulation of experimental music\u2019s most visceral and noisy frontiers.<\/p>\n\n\n\n Hvid\u2019s initial forays saw her navigating arts institutions that run adjacent to, though remain relatively disconnected from, the rich underground of the city\u2019s music scenes. It\u2019s Mayhem in particular\u2014the infamous venue with its indispensable studio spaces for a plethora of local bands and musicians\u2014where Hvid first found herself in a community of kindred spirits and artists. Playing early shows in and around the noise circle in this fertile environment, and long a devotee of Mayhem Noise Fest, she was soon performing regularly across Denmark, Sweden, and Germany in the crucible of self-organised venues and squatted premises. Having forged ANA FOSCA in these heady circumstances, Hvid\u2019s performances and recordings are imbued with an intuitive immediacy that\u2019s rarely summoned so naturally.<\/p>\n\n\n\n ANA FOSCA is best captured by the novel labels that pirouette around the idea of noise as genre\u2014yet this remains a trap. Whether we describe Hvid\u2019s work as death industrial, dark ambient, or even drone, it\u2019s the turbulent pull between introverted and extroverted states that defines her music. Experimentation remains the driver, careening her work into tension with a multitude of sound practices and forms around the scaffolding of electroacoustics.<\/p>\n\n\n\n At once arresting and meditative, the intensity of ANA FOSCA remains delicate in structure. The urgency and shock of her synthesis and compositions can swiftly tumble into whispering grievances and suffocating reflections. Circling themes of sorrow and existential agitation, the terse intimacy of playing loud when playing live is balanced by Hvid\u2019s keen desire to communicate with the audience.<\/p>\n\n\n\n Now a resident at Mayhem, Hvid\u2019s debut album, SOMA, was released on the Russian label Nazlo Records in 2020 and received admirable attention. It was selected by the Helen Scarsdale Agency as one of the best releases of the year, and was acclaimed by the independent experimental music site Uko\u015bnik. Appearing with Sortlegeme at Mayhem Noise Fest 2020\/2021, Martin Breidahl selected the performance as one of the best of the year for Passive\/Aggressive. Hvid has also recently played collaboratively with Vanity Productions, Posh Isolation\u2019s Christian Stadsgaard. Other appearances include The 48HOURS Festival in Copenhagen, ETER Festival in Lund, Sweden, as well as Berlin\u2019s Autonoma Industriale.<\/p>\n\n\n\n 2021 already sees Ana Fosca performing at DNA Festival Kolonia Gda\u0144sk and at LUFF Film Festival Lausanne on a special full-range quadraphonic PA.<\/p>\n","protected":false},"excerpt":{"rendered":" aufabwegen was invited to curate two nights at KLANGZEIT in M\u00fcnster for the theme of „Exit“. The first night on 24.09.2021 presents three different artistic positions – Jan Jelinek presents the life and work of the mysterious composer Ursula Bogner, Ditterich von Euler-Donnersperg plays fragmented electronic music and Ana Fosca immerses the audience in her […]<\/p>\n","protected":false},"author":2,"featured_media":1434,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[338,144,185,280,4,339],"tags":[],"class_list":["post-1432","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ana-fosca","category-ditterich-von-euler-donnersperg","category-festival","category-jan-jelinek","category-konzert","category-muenster_theater-im-pumpenhaus","entry","has-media"],"_links":{"self":[{"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/posts\/1432","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/comments?post=1432"}],"version-history":[{"count":4,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/posts\/1432\/revisions"}],"predecessor-version":[{"id":1440,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/posts\/1432\/revisions\/1440"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/media\/1434"}],"wp:attachment":[{"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/media?parent=1432"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/categories?post=1432"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/tags?post=1432"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
In the late 1960s, Ursula Bogner started to record her own music on reel-to-reel tapes. With some of these titles, we only found individual tracks of pieces recorded on a four-track-recorder \u2013 in these cases, I had to recombine the separate tracks to recreate the original piece. Unfortunately, I could not involve Ursula Bogner in the mixing process as she passed away in 1994. Invoking the original\u2019s authenticity might seem insensitive, yet there was no other way to release them in their entirety. Ultimately, only three of the tracks featured on this CD\/LP are such \u2018reworkings\u2019. All other titles were taken straight from the original reels. Covering a fairly short period of her creative career, they also convey a peculiar coherence in both form and content. A coherence that reflects her accessible, rhythmic and sometimes even \u2018poppy\u2019 side. Naturally, my own preference played a part in the selection process. All my personal favourites made it on the CD\/LP, and whenever I listen to this collection, I invariably succumb to the titles\u2019 light-hearted nonchalance. This might leave many hours of undiscovered gems, but a further compilation is already in the works.
My thanks go out to the Bogner family, especially Sebastian Bogner, who was generous enough to grant me access to the reels and supply me with invaluable insights into his mother\u2019s life. I hope that listeners will enjoy the same exhilaration I experienced on discovery of Ursula Bogner\u2019s music.
Jan Jelinek<\/p>\n\n\n\n
It was on a flight to Vilnius that I met Sebastian Bogner, Ursula\u2019s son, who told me he was on a business trip for a pharmaceutical company. The usual small talk soon led to the topic of his mother Ursula, who also \u2018liked to play around with synthesizers\u2019, albeit purely on an amateur level and in a dedicated music room fitted especially for this purpose in the parental home. Among her acquaintances, it was simply considered one of her many eccentric hobbies and not paid a great deal of interest. At a cursory glance, Ursula Bogner\u2019s life seemed simple and bourgeois to the core: a pharmacist, wife and mother, firmly ensconced in a detached house. A setup that made her obsession with electronic music all the more bizarre, an obsession that drove her to build her own studio for extensive recording and experimentation.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.aufabwegen.de\/events\/wp-content\/uploads\/2021\/09\/ditterichvoneuler-donnersperg_by_RobertSchalinski-1024x685.jpg\")
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Unter gleichem Pseudonym erfolgten auch Ver\u00f6ffentlichungen in diversen einschl\u00e4gigen Musikmagazinen, wie z. B. als Autor des Hamburger Independent-Magazins Odradek, das sich in unregelm\u00e4\u00dfigen Abst\u00e4nden mit der Erforschung und Dokumentierung elektroakustischer, experimenteller, elektronischer Musik befasst. 2015 drehte Rehberg als von Euler-Donnersperg den Spielfilm Sieg der Vernunft, eine Satire auf politische Propaganda.<\/p>\n\n\n\n
Im Jahre 1980 gr\u00fcndete Euler-Donnersperg die WALTER ULBRICHT SCHALLFOLIEN Hamburg, welche sich im Geiste Walter Ulbrichts, des damals meistgeha\u00dften Menschen der Erde, des Erbauers des Berliner Antifaschistischen Schutzwalls, unbedingt der Langsamkeit verpflichtet f\u00fchlen und unter dem Leitwort NEU KONSERVATIW die ehernen Werte des klassischen \u201eIndustrials\u201c zu pflegen bestrebt sind (vgl. SPK: The Cathedral of Death – Die Kultur der Todesverdr\u00e4ngung). Bis Ende der 80er Jahre des 20. Jahrhunderts veranstaltete Euler-Donnersperg zahlreiche Auftritte mit geistverwandten Klanggestaltern, u. a. mit Illusion of Safety, Jim O\u2019Rourke, The Hafler Trio, Bourbonese Qualk, Nocturnal Emissions, Whitehouse, Gerechtigkeitsliga, The Legendary Pink Dots, Laibach, Asmus Tietchens. Gleichzeitig geben die Walter Ulbricht Schallfolien Dokumente der Gruppen SPK, Throbbing Gristle, Laibach, John Watermann, Asmus Tietchens, The Hafler Trio, Werkbund, Mechthild von Leusch, Column One, Evapori und Hyph heraus. Im Nebenamt Sachwalter des WERKBUNDES tritt Euler-Donnersperg mit Lesungen und Klangsch\u00f6pfungen eigener Werke hervor \u2013 unter anderem mit Michael von Hausswolff, Leif Ellgren, Kent Tankred, The Hafler Trio, Asmus Tietchens, Dan Burke, Organum, John Duncan. Seit 1996 j\u00e4hrliche Herausgabe eine Heftes der Pelzwurstlieder, Bildschallplatte im handgestalteten Portfolio, Reimdichtungen im Geiste Klopstocks mit elektronischem Zuspielband: Zustandsbeschreibung der Welt mit den Augen der Listspinne, der Trugnatter, der Assel, der Klappnase, des Stachlers.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.aufabwegen.de\/events\/wp-content\/uploads\/2021\/09\/AnaFosca_by_EdGumuchian-1024x732.jpg\")
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