Das Wort "HOAX", ursprünglich abgeleitet von dem Wort Hocus Pocus, beschreibt eine Unwahrheit, die sich als Wahrheit tarnt. Dieser Name steht für die Begeisterung dieses Quartetts für überraschende, rätselhafte, zweideutige, provozierende und packende Neue Musik. Das HOAX Quartet wurde 2017 von den vier jungen Gitarristen Agustin Nazzetta, Damiano Pisanello, Jinhee Kim und Tobias Krebs gegründet, die ihre Leidenschaft der modernen Musik für Gitarre widmen. Ihr breit gefächertes Repertoire umfasst nicht nur bereits existierende Werke in verschiedenen Stilrichtungen wie z.B. von Vinko Globokar, Steve Reich, Michel Roth, James Saunders, Beat Furrer und Georg Friedrich Haas, sondern auch die Zusammenarbeit mit jungen Komponisten wie Demetre Gamsachurdia, Joss Smith, Manuel Zweger und Tobias Krebs. Das HOAX Quartet sucht nach neuen Formen der Performance, z.B. mit Einbezug ungewöhnlicher Spieltechniken oder der Einbezug von audio-visuellen Elementen im digitalen Bereich. Ein besonderes Anliegen ist dem HOAX Quartet die Zusammenarbeit mit Komponist*innen, so dass die Auftragswerke in „Co- Composition“ entstehen. Der rege Austausch zwischen Interpret*innen und Komponist*innen wird somit für beide Seiten eine gewinnbringende und inspirierende Erfahrung. www.hoaxquartet.com
The word "HOAX", originally derived from the word Hocus Pocus, describes an untruth masquerading as truth. This name represents this quartet's enthusiasm for surprising, enigmatic, ambiguous, provocative and gripping new music. The HOAX Quartet was founded in 2017 by four young guitarists Agustin Nazzetta, Damiano Pisanello, Jinhee Kim and Tobias Krebs, who dedicate their passion to modern music for guitar. Their wide-ranging repertoire includes not only existing works in various styles such as those by Vinko Globokar, Steve Reich, Michel Roth, James Saunders, Beat Furrer and Georg Friedrich Haas, but also collaborations with young composers such as Demetre Gamsachurdia, Joss Smith, Manuel Zweger and Tobias Krebs. The HOAX Quartet is looking for new forms of performance, e.g. with the inclusion of unusual playing techniques or the incorporation of audio-visual elements in the digital realm. A special concern of the HOAX Quartet is the collaboration with composers, so that the commissioned works are created in "co-composition". The lively exchange between interpreters and composers is thus a profitable and inspiring experience for both sides. www.hoaxquartet.com
The new project of the HOAX Quartet is dedicated to acoustic feedback and presents a curated concert program with three commissioned compositions by renowned composers on this topic. The program offers a fascinating starting point, which is not only musically but also socially of great importance. Themes such as the importance of intact ecosystems and the interaction between humans and technology are addressed. Questions about the nature of closed systems and breaking out of the same are also addressed. The concert program uses acoustic and electric guitars, speakers and microphones in various functions and uses to bridge the interface between analog and electronic sounds. With this project, the HOAX Quartet aims to present an artistic exploration of the theme of feedback that does not leave the audience cold, opens their eyes and ears, makes them think and experience contemporary music in an immediate and touching way. The program includes five concerts in two language regions of Switzerland and is aimed at a broad audience from different art scenes.
Our lives are full of contrasts and contradictions - as individuals and as a society. From everyday decisions to the big questions of life, we have to make choices all the time. The Covid 19 pandemic has made this particularly clear in terms of ethical and moral issues, presenting us with challenges that are not commonplace in our affluent society. With our artistic project "RIFT" we would like to deal with this topic in a concrete and abstract way. We do not want to represent a political opinion or make propaganda, but rather to make the audience think and to create awareness of how important it is to move towards each other and to have an open and respectful dialogue. For this project we commissioned the Swiss composer Demetre Gamsachurdia to write a work for four electric guitars, and he wrote his piece "GREATER UNITY" on the theme of "RIFT", which was premiered by the HOAX Quartet in 2022.
ONE SIZE - OVERSIZE (2021)
Composer Manuel Zwerger (*1992, Bolzano, Italy) presents an innovative composition that pushes the boundaries of musical expression. In this unique piece, three electric guitars take center stage, but they are not played conventionally. Instead, they are connected to a single performer via fishing lines, transforming them into a large meta guitar. As the performer bows the fishing lines with a violin bow, the strings of the guitars resonate, creating a captivating and otherworldly sonic landscape. This unconventional approach highlights Zwerger's artistic vision and his exploration of new sonic possibilities. Zwerger's score is a demonstration of his meticulous craftsmanship, with complex structures, intricate rhythms, and detailed instructions. His reputation as one of the most precise composers of his generation is well deserved, and his name is set to become synonymous with innovation and creativity. Beyond his musical endeavors, Zwerger's compositional interests extend to the realms of performance and installation art. His work bridges the gap between music and visual elements, with neither subordinated to the other. Instead, they coexist, creating an immersive and multisensory experience. Within his compositions, Zwerger delves into the socio-aesthetic potential of our media-driven society. He explores intermedia concepts, incorporating theatrical and performative elements that challenge traditional notions of art. By drawing inspiration from everyday life, pop culture, anti-art, current trends, and science, Zwerger offers a fresh perspective on the act of making music and producing sound. Prepared instruments and new media play a significant role in Zwerger's artistic toolkit. By expanding the possibilities of traditional instruments through preparations and utilizing cutting-edge technology, he pushes the boundaries of sonic exploration even further.