As part of the “Festival of Cooperations with Alexander Kluge & friends” organized by the Literaturhaus Berlin, a total of 15 participants (8 composers – including 6 composition students at the UdK – as well as 6 musicians from Solistenensemble Kaleidsokop and a director) exchanged ideas over a period of more than three months about how a musician-finding cooperation can function that questions conventional notions of separable individual works and individual authorship. Despite (or perhaps because of?) the permeability and cross-connections between the individual contributions, the results were surprisingly heterogeneous.
Next to performative-linguistic concepts, there are emphatically experimental, interactive as well as ‘conventional-musical’ or music-transcending approaches. The title of the final presentation, which refers to a very important motif for Alexander Kluge (and also characterizes the group discussions), refers to this kaleidoscopic plurality: Just as in the arrangement of the baroque Wunderkammer, the inhomogeneous-divergent of the individual parts is to be brought into a spatio-temporal context in such a way that the audience is moved into astonishment.