{"id":19,"date":"2010-07-12T10:18:23","date_gmt":"2010-07-12T08:18:23","guid":{"rendered":"http:\/\/www.natascha-nikeprelevic.de\/en\/?page_id=19"},"modified":"2025-02-27T16:36:17","modified_gmt":"2025-02-27T15:36:17","slug":"duo-transverbal","status":"publish","type":"page","link":"https:\/\/www.natascha-nikeprelevic.de\/en\/duo-transverbal\/","title":{"rendered":"DUO TRANSVERBAL"},"content":{"rendered":"<h1>DUO TRANSVERBAL<\/h1>\n<p>&nbsp;<\/p>\n<p>Natascha Nikeprelevic and Michael Vetter are known for connecting harmonics with an intensely physical language of spontaneous musical communication for the purpose of a post modern synthesis. For many people the union of &#8222;the simply beautiful&#8220; and &#8222;the truly unheard&#8220; yields a surprising new access to that wich may be called music today.<\/p>\n<h2 style=\"text-align: left;\">New: 2 Videos &#8211; EXPO for 3 &#8211; Final Rehearsal and Premiere<\/h2>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube-nocookie.com\/embed\/IzNbYQ2eXow?rel=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>EXPO for 3 &#8211; Karlheinz Stockhausen<\/strong><br \/>\nMusicians: Michael Vetter \/ Voice, Recorder &#8211; Natascha Nikeprelevic \/ Voice, Megaphone<br \/>\nF.X.Randomiz \/ Electronics.<br \/>\nExcerpts of the final rehearsal, Section 7-8, Eventnumbers 46-56<br \/>\nStockhausen Courses K\u00fcrten, Aug. 2013<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube-nocookie.com\/embed\/a-o6eM6J03w?rel=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>EXPO for 3 Premiere &#8211; Karlheinz Stockhausen<\/strong><br \/>\nExcerpts of the world-premiere, Stockhausen Courses K\u00fcrten, Aug. 2013<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube-nocookie.com\/embed\/6J97DeF1cPc?rel=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>POLES for 2 (Stockhausen) at Tonhalle Z\u00fcrich, Suisse (Oct. 2008)<\/strong><br \/>\n&#8222;POLES for 2&#8220; demands a kind of dialogue which assumes that there are polar opposite positions. In consequece the interpreters have to get involved into musical extremes to really explore accustically the whole range of their existence. In so far as everything occurs structurally in a musical sense, there is no &#8222;right&#8220; and &#8222;wrong&#8220;, but only &#8222;plus&#8220; and &#8222;minus&#8220;. And in fact the notation of the piece consists, primarily, of plus signs and minus signs, wich have to be operated in any combination and sequence on all parametres&#8220; (Michael Vetter)<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube-nocookie.com\/embed\/SEIFFOUgWCw?rel=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>Zen-Musik &#8211;<\/strong>Scene 3: Moon and Nightingale at Kreuzkirche Bonn (February 2007)<br \/>\nDuet for voice and recorder<br \/>\nNatascha Nikeprelevic and Michael Vetter are considered masters of improvisation and can be heard as an artist duo for more than 10 years with their archaic-experimental music &#8211; &#8222;moon and nightingale&#8220; points once again what can be a musical dialogue.<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube-nocookie.com\/embed\/SMFf5gYQYmQ?rel=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>Okyo at Kreuzkirche Bonn (Februar 2007)<\/strong><br \/>\nThey are virtuoso at overtone singing. With their program &#8222;Okyo&#8220; they show the sound dimensions between phonetic and instrumental overtone aspects.<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube-nocookie.com\/embed\/tS99gcZNUSA?rel=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>No Noh at Kreuzkirche Bonn (February 2007)<\/strong><br \/>\nThe Vocal-Duet derive inspiration in their program &#8222;No Noh&#8220; on the one hand from contemporary new music, on the other hand, from the music and the theatrical art of Japan. The newspaper Neue Z\u00fcricher Zeitung called their art &#8222;at the same time neodadaistic and Far Eastern inclined&#8220;.<\/p>\n<p>&nbsp;<\/p>\n<h2>Repertoire &#8211; Concert Programs<\/h2>\n<table style=\"height: 100%;\" border=\"0\" width=\"653\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"10%\">&nbsp;<\/td>\n<td valign=\"top\" width=\"90%\">&nbsp;<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">&nbsp;<\/td>\n<td valign=\"top\" width=\"90%\">&nbsp;<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">2008<\/td>\n<td valign=\"top\" width=\"90%\"><strong>Canti armonici<\/strong> &#8211; Overtone dialogues with Tambura<br \/>\nPremi\u00e8re: May 2008, <strong>Residenzkirche, Munich<\/strong><br \/>\n<strong>POLES for 2<\/strong> (K. Stockhausen) &#8211; Musical Theatre in seven scenes for voices, recorder, signal-instruments and shortwave-receivers<br \/>\nPremi\u00e8re: Oct. 2008, <strong>Musique au Chateaux, Autigny, Suisse<\/strong><br \/>\n<strong>Dialogues between Europe, India und Japan<\/strong><br \/>\nPremi\u00e8re: Dec. 2008, <strong>V\u00f6lkerkunde Museum, Munich<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">2007<\/td>\n<td valign=\"top\" width=\"90%\"><strong>At the periphery of J. S. Bach I<\/strong> &#8211; Dialogues of experimental vocal music with the solo sonatas and partitas of Bach for violin, interpreted on recorder.<br \/>\nPremi\u00e8re: May 2007, <strong>National Hospital, Seoul <\/strong><br \/>\n<strong>Okyo II<\/strong> &#8211; phonetical prayer for two overtone voices<br \/>\nPremi\u00e8re: Nov. 2005, <strong>University of the Arts Taipei, Taiwan<\/strong><br \/>\n<strong>Quint-Essence<\/strong> &#8211; Overtone dialogues in quint intervall<br \/>\nPremi\u00e8re: May 2007, <strong>Goethe Institute Osaka, Japan<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">2006<\/td>\n<td valign=\"top\" width=\"90%\"><strong>Duetto Vocale<\/strong> &#8211; Music of the moment for voices, noises, singing bowls and gong<br \/>\nPremi\u00e8re: Feb. 2006, <strong>St. Elisabethkirche, Bonn<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">2005<\/td>\n<td valign=\"top\" width=\"90%\"><strong>Labyrinth, Drama, Requiem, Rain Song, Okyo III<\/strong> &#8211; Music for voices and sond-stones<br \/>\nPremi\u00e9re of the cycle: Oct. 2005, <strong>Atelier Elmar Daucher, Ulm <\/strong><br \/>\n<strong>No Noh<\/strong><br \/>\nPremi\u00e8re: May 2005, <strong>Bai-O-In Temple, Tottori, Japan<\/strong><br \/>\n<strong>Okyo II<\/strong> &#8211; phonetical prayer for two overtone voices<br \/>\nPremi\u00e8re: Nov. 2005, <strong>University of the Arts Taipei, Taiwan<\/strong><br \/>\n<strong>Speaking Islands Singing Oceans<\/strong><br \/>\nPremi\u00e8re: Dec. 2005, <strong>University of the Arts Taipei, Taiwan<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">2004<\/td>\n<td valign=\"top\" width=\"90%\"><strong>Shamanic Music<\/strong><br \/>\nPremi\u00e8re: Nov. 2004, <strong>Dreik\u00f6nigskirche Frankfurt Main<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">2003<\/td>\n<td valign=\"top\" width=\"90%\"><strong>Open Secrets II<\/strong><br \/>\nPremi\u00e8re: Sept. 2003, <strong>Kongresshaus W\u00fcrzburg<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">2002<\/td>\n<td valign=\"top\" width=\"90%\"><strong>Zen-Music<\/strong> &#8211; Six szenes for voices and instruments<br \/>\nPremi\u00e8re: April 2002, <strong>Stiftskirche, Baden-Baden<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">2000<\/td>\n<td valign=\"top\" width=\"90%\"><strong>Faust III <\/strong> &#8211; Music Theatre for childrens choir<br \/>\nPremi\u00e8re: June 2000, <strong>Expo 2000, Hannover<\/strong><br \/>\n<strong>Canti dolci e secchi<\/strong> &#8211; Overtones and &#8222;spoken music&#8220; in harshly exchange<br \/>\nPremi\u00e8re: May 2000, <strong>Domforum, Cologne<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">1999<\/td>\n<td valign=\"top\" width=\"90%\"><strong>White Line on White Ground<\/strong> &#8211; Theatre for two voices, dancing brush and vivid canvas<br \/>\nPremi\u00e8re: June 1999, <strong>Jooksan Arts Festival, Korea<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">1998<\/td>\n<td valign=\"top\" width=\"90%\"><strong>Coast kiss Coast<\/strong> &#8211; Transverbal Theatre about vicinity and distance<br \/>\nPremi\u00e8re: 1998, Per&gt;son Festival, <strong>College for Media, Cologne<\/strong><br \/>\n<strong>Ph\u00f6nix<\/strong><br \/>\nPremi\u00e8re: April 1998, <strong>St. Elisabeth, Darmstadt<\/strong><br \/>\n<strong>Michaelion (from Light), K. Stockhausen<\/strong><br \/>\nPremi\u00e8re: June 1998, <strong>Prinzregententheater M\u00fcnchen<\/strong><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" width=\"10%\">1997<\/td>\n<td valign=\"top\" width=\"90%\"><strong>Missa Dialogica<\/strong><br \/>\nPremi\u00e8re: Dec. 1997, <strong>Abtei S. Ludgerus, Essen-Werden<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>DUO TRANSVERBAL &nbsp; Natascha Nikeprelevic and Michael Vetter are known for connecting harmonics with an intensely physical language of spontaneous musical communication for the purpose of a post modern synthesis. For many people the union of &#8222;the simply beautiful&#8220; and &#8222;the truly unheard&#8220; yields a&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-19","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.natascha-nikeprelevic.de\/en\/wp-json\/wp\/v2\/pages\/19","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.natascha-nikeprelevic.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.natascha-nikeprelevic.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.natascha-nikeprelevic.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.natascha-nikeprelevic.de\/en\/wp-json\/wp\/v2\/comments?post=19"}],"version-history":[{"count":128,"href":"https:\/\/www.natascha-nikeprelevic.de\/en\/wp-json\/wp\/v2\/pages\/19\/revisions"}],"predecessor-version":[{"id":1646,"href":"https:\/\/www.natascha-nikeprelevic.de\/en\/wp-json\/wp\/v2\/pages\/19\/revisions\/1646"}],"wp:attachment":[{"href":"https:\/\/www.natascha-nikeprelevic.de\/en\/wp-json\/wp\/v2\/media?parent=19"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}