UBUMutants
in Music

Glassy sounds in the mist. The fairy tries not to make a sound, strokes and feels, floats and yet sinks into the black of the lake. A world rises whose boundaries blur before the listening eye.

Rendezvous with uBu in the score of B.A. Zimmermann's cello concerto “en forme de pas de trois”: the musical text, a fictitious place somewhere between ballet music and instrumental concerto, is full of allusions and explosions of associations alongside the playing instructions.

uBu's interpretation experts nestle in the soundscapes and imagery. They skillfully pave paths that open up between playing and moving. They meet the mythical creatures that live here between sound and image and look deep into their eyes.

The ensemble doesn't just turn the score page by page, no, it folds it into a paper bird and lets it float in the deep black, shiny nothingness. Zimmermann's pluralism rises out of the fog, wonderfully alienated and quite ludicrously staged. The score pages shine in the moonlight and look like swans. Or like paladins?

Ultimately, not a concert. Because it is neither about hearing nor seeing, but about the unexpectedly fantastic that awakens when moving from one to the other.

Ensemble uBu legt sich in “Mutants in Music: II.Becoming uBu” selbst auf den Grill, um herauszufinden: Braucht es überhaupt eine musikalische, tänzerische oder sonstige Identität, oder kommt man auch ohne klar?

In uBu's three-part concert series "Mutants in Music", artists and audiences are confronted with the question of how music exerts power over the human body.

Transformation, manipulation, cooperation. For this purpose, two newly created works meet in the first edition of "Mutants in Music: I. Minimal Dominion".