Componisten
Akiko Mik 
Jim van der Steege 
Mateusz Godlewski 
Firtina Kiral 
Lydia Gardiner 
Nikos Galenianos  

Uitvoerenden (Doppelgängers)
Orgel: Ere Lievonen, Annie Spink
Precussie: Marcel Wheatley, Keith Ng
Zang: Vanessa Guinadi, Kristia Michael

Programma

Akiko Mik

– (un)intentional (twee sopranen, kistorgel en kabinetorgel)

c o n c e p t  During sound and silence there is a change in the perception of yourself, your thoughts, your embodiment in space and your senses change focus. These different modes of self-reflection form each other's doppelganger in this piece.

Jim van der Steege

– Organs (twee percussionisten, twee sopranen en geprojecteerde tekst) 

c o n c e p t  The four instrumentalists create a doppelgänger of the organ together. Within this instrument duos also act as each other's doubles, alternately overlapping and departing from one another.

 Firtina Kiral

– Conversations with an Evil Twin (percussieduo)

c o n c e p t  In some traditions, the word doppelgänger has been equated with an evil twin. This piece is a collection of serious and occasional satirical interactions between imaginary twins. Being influenced by the other, therefore constantly changing their roles, blurring the identity of which one is the doppelgänger.

 Nikos Galenianos

– Morfé Δemoníon, disquietness (Van Straten-orgel en Verschueren-orgel; twee sopranen) 

c o n c e p t  The piece is based and uses fragments from Euripides' Bacchae. It is an ancient tragedy in which the Bacchic force triumphs over the city's Gods. The dipole of Dionysian possession against the common sense is the main drive of the piece, which also relates to the theme of Doppelganger.

 Lydia Gardiner

– For the Call of the Running Tide (Van Straten-orgel en hyperorgel)

c o n c e p t  I started to think about how dopplegängers appears in nature, such as the way the surface of the ocean reflects the colour of the sky. Both the sky and the ocean could be seen as the dopplegänger; the sky as the ghostly counterpoint to the more solid ocean, or the ominous, deep ocean compared to the clear and habitable open air. Placing these two natural bodies side by side seems logical at first glance: two things separated by the invisible line that is the horizon. However, in reality, the intangible nature of the sky (where does the sky start?) makes it impossible for the two to ever really ‘touch.’ To reflect this I have employed the two (or really, three) organs that are most disparate to each other; the Van Straten mean tone organ and the Hyperorgan, having the instruments reflect each other’s styles in one way or another, without ever being precise copies.

 Mateusz Godlewski

– Left Eyelid. Rest. Right Eyelid. Rest. (kabinetorgel, harmonium, twee zangers en percussie) 

c o n c e p t  The musical instruments strive to embody each other's doppelgängers, endeavoring to replicate one another with varying degrees of success. The composition lacks traditional bars in its score, relying solely on auditory cues as signals for the performers. This design imposes a heightened focus on attentive listening, encouraging the musicians to merge into a cohesive organism as they seek to mirror and synchronize with their fellow performers.