Works

Ornamental Noise / زمزمه زینت / barzakh / برزخ

acoustic and electronic conceptions for dulcimers, interval crisis and invisibility mediating individual perception and asymmetric tongues

perceptional codes screened as transformable circles mirroring possible landscapes of relations / noises of the real / distorting hegemonial realms / the art of weaving an invisible rug / structural chaos / uneven repetition / imaginary vectors indwelling broken linearity / a code of noise / harmony / space / inside / outside / dissolving into abstract laws

برزخ
Live

barzakh (hereafter / in-between) - "at the gates of the union"

"Krems’ striking Minorites Church houses several of the more sonically severe and darker acts on the bill, and Stefan Fraunberger’s set in the echoey stone setting is the very best. This Austrian artist is also a linguist, fluent in several Middle Eastern languages, and finding inspiration from his insight into old Arabic text in the case of a newly commissioned work برزخ - at the gates of the union. The piece is performed by Fraunberger playing a Persian dulcimer (a Santur) with a handful of field recordings from Syria, Pakistan and Iraq mixed in, and the title (pronounced barzakh) refers to the ‘barrier between the physical and spiritual worlds’. The billowy array of scrapes, plucks, and tickles he puts the dulcimer’s strings through is uniformly beautiful, diverging a couple of times away in favour of booming doom that lingers in the slowly decaying sonics of the space. The amplified strings veer between melodies and noise washes, and never stop being engaging and provocative for over an hour. Entering the room feels quite like a barrier between worlds too. It’s almost entirely pitch black aside from the gentle light on Fraunberger seated on a small stage in the middle of the crowd. It takes several minutes for one’s eyes to adjust, so new audience members can be watched walking in from the outside, temporarily blind. They shuffle slowly, arms outstretched, helpless and ghostlike in the darkness. Fraunberger’s soundtrack couldn’t be more appropriate." (The Quietus / Tristan Bath concerning the premiere of the comissioned work "barzakh" at minoritenkirche / donaufestival 2016)

Quellgeister

The series 'Quellgeister' is focusing on semi-ruined organs in deserted churches

/ sonic signs of transformation / migration / vacant space / time vortex /

/ beatings / conditions / event-horizon / imaginary sculpture

/ derangement / organic machines / electroacoustic dust

recordings / dwellings / compositions /// quellgeister # 1-8 recorded / to be recorded in different villages in transylvania, recently undergone complete change through migration /// already released and to be released on different media and perceptions

„During the years of communist rule in Romania following the Second World War, many ethnic Germans fled Transylvania, leaving countless vilages, churches und church organs abandoned to gradually succumb to nature's decay. Fraunberger's Quellgeister (Source-Ghosts) project sees him travel through the region to record improvisations on these woozy mechanical beasts, like they're rusty spaceships he's guiding through clouds of dissoncance, bendy notes and parps of pipe dust. The project truly came into its own when he recorded the second Quellgeister in a village whose German name Wurmloch translates as Wormhole, eschewing the pomp of sacred music for the fragile drone of an organic death knell. „Quellgeister is about the influence of nature on culture,“ says Fraunberger. Yet the project is also an oblique manifesto for utilising Europe's vacant and disused spaces, places and things. 'Why should i buy a new modular synthesizer if there's lots of unused organs standing around?' he asks. The inhuman vocalisation audible in the project's second volume do indeed resemble nature's very own modular patch, implanted in decaying keybords waiting to be discovered.“ (The Wire, 10.2016)

realities / states / liminality
موجودات | احوال | حدود

well picked acoustic reality-theft / microperceptional entities / the hearafter / nonexistence / the other

strange perceptions for strange mindsets recorded by Stefan Fraunberger all around (2005-now) with different media and characteristics of being / presence

Radikalismen / sonic-linguistics
الحروف وحركاتها / حرف زدن

„Radikalismen“ is circling around the noise of consonants and their effect on perception and possibility / meaning dancing outta semiotic cage /

Radikalismen / „sonic-linguistics“ is choreography / concept / sonic hermeneutics / composition as embodiment / liminality / asymmetric noise of being / birds

Zambal

postkraut / non branded possibilities / conditions / strings / wood / hammer

works for an old romanian dulcimer which i found 2010 laying in the grass at an old things market in negreni / apuseni mountains / carpathians / it was said to have served the 50 years before it came into my hands in a traditional oltenian wedding band / i use it solo and with the band shrack / on and off stage. http://shrack.klingt.org

CODES OF LANGUAGE

(psycho-imprints / possible scores of being / tongues / cultural-relations / lingual architecture)

german (mothertongue) / english (british austrian pidgin) / romanian (literal / streetslang) / arabic (literal 'fusha', basic dialectal skills) / french (necessary skills) / persian (basic literal- and streetskills) / latin (nonexistent) / hereafter (basic skills) / sanskrit & chinese (too lazy to learn it) …