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Seven Feedback_Sax-drums duos
Baggiani / Fischer met after a performance Michael Fischer did at the Theatershool in Amsterdam in 2003, initiated by Marcos Baggiani they ended up performing together that very evening at OT301.
Starting some projects shortly after this first meeting, they developed their work also within 'on-the-edge' experimental performances such as the Bimhuis' laboratory for music & dance impro 'The Meeting Point'
(nowadays 'Monday match').
Along with them played great musicisians and performers such as Daisuke Terauchi, Tamaho Myiake, Hilary Jeffery, Felicity Provan, Wilbert de Joode, Ivo Bol, Alan 'Gunga' Purves, Erik Boeren, Gregory Kazaroff,
Oscar Jan Hoogland, Burton Greene, Angel Faraldo and dancers Valeria Primost, Makiko Ito, Marisa Grande, Diana Gadish or Eileen Standley a.o. at venues like: Zaal 100, Loos Foundation-Den Haag, Bimhuis,
Festival Artacts-St. Johann / A, MediaArt Fest Tussenland-Kasteel Groeneveld / NL, Trytone Fest, Touring Austria 2006, WUK-Vienna, Bethanienklooster, OT301, Theater Kikker-Utrecht, Kraakgeluiden/DNK...
Michael Fischer (*1963), viennese improviser/instant composition conductor; after finishing institutional studies in Vienna in 1990 expanded exploration of the saxophone and the harmony theory in jazz;
his musical language is also based on studies of european improvised music, 'neue musik', free jazz and noise. By exploring the language immanency of sound, including the phenomenon of the feedback (since 1999)
Michael Fischer is permanently working on new contextualisations of the saxophone. In 2005 he founded the Vienna Improvisers Orchestra which has one focus on merging spoken experimental poetry and musical textures;
instant composition conductings for improvising orchestras at festivals in Spain, Japan, Germany, Austria. As acoustic and electroacoustic improviser Michael Fischer worked in collaborations and projects since 1996
with John Edwards, Hilary Jeffery, Michael Vatcher, Felicity Provan, Mark Sanders, William Parker, Irene Schweizer, Denis Charles, Peter Kowald, Daisuke Terauchi, Tamaho Miyake, Ito Atsuhiro, Ken Okami, Peter Jaquemyn
a.m.o. Extended collaborations with writers in experimental literature, amongst them Petra Ganglbauer, Dieter Sperl, Dimitrij Prigow (t doyen of russian concept art), Gerhard Rühm (*1930, Wiener Gruppe)
and with artists such as Marc Adrian (t avantgarde filmer, op-art) or Lore Heuermann (installation and performance artist) a.o.
As ensemble leader and member, concerts and festival appearances throughout Europe, Japan, NY; his last Japan tour in 2010 included 14 concerts in 9 cities.
Marcos Baggiani was born in Buenos Aires, Argentina, in 1973. He started drumming at the age of 8. Seduced by different music genres (listening grunge and South-American folk,
funk and free jazz) and influenced by his early contact with jazz-men in Argentina, he learned different music styles and played with many bands and projects. In 2001, after years of musical development in Bs.As.
he moved to Amsterdam where he completed his formal studies (Master/Jazz) at the Conservatorium van Amsterdam. Enlightened by his encounter with the impro-music scene in Amsterdam, Marcos evolved as a very creative
and powerful musician, versatile and joyful. Nowadays he’s co-leading The Ambush Party and the Celano/Baggiani group. Also remarkable is his work with Lily’s déjà vu or the "Royal Improvisers Orchestra".
He has worked with great improvisers such as Ellery Eskelin, Sylvie Courvoisier, Michael Moore, Ingrid Laubrock, John Edwards, Ernst Rijsiger, Eric Boeren, Gorka Benitez, Yedo Gibson, Han Bennink, Daisuke Terauchi,
Wolter Wirbos, Achim Kaufmann, Wilbert de Joode, Burton Greene, Andy Moor, Luc Ex, Oscar Jan Hoogland, Alfredo Genovesi, Natalio Sued and Harald Austbo among others. His work has been released on Trytone Label,
DePlatenBakkerij, Riot Records, Musifactor, BAU and MDR.
Conception about music
free improvisation - an agreement, the aim to find in common quest within this unrepeatable moment in time and space;
the pre-understanding to start from different viewpoints and musical strategies, different musical models, con- and divergences;
musical texture and meaning generated by a group of spirits, as a subject, which is appearing and disappearing every moment;
exploring the fringes-opening from the unknown, no matter how insignificant;
the possibility to realize the yet-not-emerged…
We are all great beings of this world.
Our lives have a unique meaning and at the same time we all are one.
We belong to this system, our planet, which is just a small part of a bigger system... and so on.
Every single thing we do affects the whole, every single act it's "the last act".
Love comes to us to open our eyes and see this wonderful world we have around us.
And we are the creators of our own worlds, we are the "meaning-givers" of everything around us.
Music is a pray that sings to the eternal present, to the mother-nature.
Improvisation is a tool that tune us with the universe, with the here & now.
Significative sensations do you expect to provoque while performing?
Michael: the one of the inner and outer reality, by imagination and poetic resonance
Marcos: I prefer to be careful about expectations, as a friend of mine said "expectations are the way to a frustrated live"
... and with this recording?
Marcos: Another great frase about it "the peace starts when the expectations finish"
Do you consider that experimental and improvised music scene is
changing? If yes, how?
Michael: collaborations of improvisers from diverse musical and non-musical backgrounds increased within the last years, also musical performances within fine arts. (Vienna)
Marcos: Yes, I think it is constantly changing, together with the societies, the musical concepts and the new sources - instruments. (Amsterdam)
Michael, about the weekly radio show CONNEX:
radio-show connex started in February 1998; at this time improvised music was barely on air in Vienna. I intended to present new releases and historical recordings in acoustic and electro-acoustic improvised music,
contemporary composed music, experimental soundinvestigation and also local/"ethnic" music. After one year I started using the radio-studiosetup as an instrument (feedback-loops produced by head-phones on microphones,
turntables, amplified springs from the microphone stands, found objects within the radio-studio) which lead to the noise-feedback series 'strange aid'. This work was part of the international radio art project
"intimacy & distance" (Tiblisi, Budapest, Berlin, Vienna) and the international radio-art network 'radia'.
Since 2005 cooperations with writers in experimental literature lead to another series called
connex : context - live experimental literature recitation and soundscapes on three CD-players.
Core idea producing these radio art pieces is the not distinguished status of language and sound before the metaphors of words spoken were established. Writers of experimental literature and 'soundscaper'
explore these thought within the moment of their joint operation. Meanwhile this setting is also performed live at main performance spaces in literature.
connex : context archive: m.fischer.wuk.at/connex.htm
Musicians and propositive projects:
Marcos: Ruth Barberan, Angel Faraldo, Rooie Waas (band), Cactus truck (band), Royal Improvisers Orchestra.
Michael: Daria Semegen, Daphne Oram, Pandit Nikhil Panerjee, Atsuhiro Ito, Lauren Newton, John Edwards, Morphogenesis, Ross Bolleter, Peter Evans, Ken Okami, Jonny Hawai,
Genetic Choir Amsterdam, John Butcher, Evan Parker, Phil Minton, Yasunao Tone, Daisuke Terauchi, Tony Oxley, Cecil Taylor, Jimi Hendrix, Iannis Xenakis, Peter Kowald, …
Advantages and disadvantages of independent curatorial spaces:
Marcos: Advantages and disadvantages are 2 faces of the same coin, so easier to name some facts: there is -almost always- not enough money involved, there is a criteria on the selection
that is not related to monetary reasons, the curators are mainly musicians or people very interested on certain music or certain developments.
Michael: Just two advantages: the creative capability of course, and the idea of writing a new chapter of a space's history. The main disadvantage: mostly a lack of financial ressources…
Marcos: There is no mistakes, everyone is involved in a learning process
related to his condition and possibilities.
Michael: I agree with Marcos
How do improvised music impacts in your life?
Michael: A different estimation of the moment in time.
Marcos: No idea
Michael: the correspondences of musical texture and speech.
Marcos: I would like to keep on working on what I'm working, I hope I can manage it.
OT 301 - /ot301.nl/
Zaal 100 - zaal100.nl
OCCII - occii.org
In Buenos Aires: I'm not very updated about places and performers,
a person to check: Ada Rave, she is doing a lot for the free impro music
in Buenos Aires.
Michael | Austria:
wwwbkp.musicaustria.at all kinds of ressources
mittwochs-exakt.net maru’s concert series and festival
www.amannstudios.com great recording concert series
www.celeste.co.at improvised music sessions
velak.klingt.org concerts once a month
www.mediaopera.org main space for the vj-scene
www.daswerk.org vernue for all kinds of activities
mmooee.org independent venue for music and fine arts
www.zintzen.org literature and arts
I'm very happy to share this material we have recorded with Michael. I'm not
fitted to work with electric and electronic devices, some how my personality
does not compatibilized with it
(it is already a pain in the ass to check my emails), but I do like the music
they produce and I certainly like a lot to play with musicians devoted to it.
A pleasure that this unexpected moment in time back in 2003 provided
the option to meet and develop our work all over these years, - as a duo and
within these different constellations of artistic ideas.
Michael Fischer and Marcos Baggiani, June 2012
Seven Feedback_Sax-drums duos
Michael Fischer, feedback_saxophone*
Marcos Baggiani, drums, small instruments
*The feedback_saxophone sound production is strictly analog, no effects, no computer; a microphone and an amp
(in this case ‘Bogner Ecstasy Classic’ Top and Bogner closed cabinet 4x12 speaker)
Recorded and roughly mixed by Hans Koomans. Studio Tracking Room, Amsterdam - 11th & 12th of June 2010.
Roughly remixed from stereo-tracks (no effects, eq’s only) by Michael Fischer. Picture by Stefan Nussbaumer.
Design by Aniana Heras.