QUELLGEISTER #3 "BUSSD" (LP / DIGITAL) 2019 MORPHINE RECORDS
QUELLGEISTER #2 "WURMLOCH" (LP / DIGITAL) 2016 INTERSTELLAR RECORDS
QUELLGEISTER #1 (CD / DIGITAL) 2014 CHMAFU NOCORDS
QUELLGEISTER ARE WINDOWS TO HEARAFTER: LP'S, LIVE-PROJECTIONS, TEXT OR MOVIE.
A recent text about results and future perspectives i have written during times of alien lockdown: How to deflate history via abandoned pipe-organs or How to escape Mars.
„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)
the hammered dulcimer (santur, hackbrett, cymbal, zambal,... ) is a stringed instrument being traditionally used in different forms and temperaments in-between the himalayas and the alps. Thereby the instrument represents the art of weaving an invisible rug. Being the grandmother of the modern day piano, it takes an important role in popular music all around the regions of the former austro-hungarian monarchy as well as in classical ottoman and persian music.
Never having learnt any dulcimer in a traditional sense, i apply different traditional humors and temperaments to investigate into their agencies unfolding a language of things. There is a vast universe of musical tunings at disposition, for different processes and realities. Having founded the acoustic ensemble "Ornamentrauschen" with european and middle eastern actors we search for new ways of acoustic performances. As well I play solo shows with different amplified dulcimers to investigate into the possibilities of temporalities, territories and narrations in-between pre-modern states and contemporary techniques.
"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)
Related to the work "Quellgeister" this old 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 / live and for research