Ute Wassermann

composition/voice & birdcall whistles/resonating objects

Ute Wassermann is known as a vocal soloist and composer/performer for her extraordinary, many-voiced and extreme vocal sound-language, which she has brought into experimental/contemporary music in diverse ways. She has developed techniques to “mask” the voice using birdcall-whistles, palate whistles or resonant objects, and designs sound-installations. A particular interest is the development of compositions for spaces with unusual acoustic qualities.

She studied visual arts (sound installation and performance art) at the Hochschule für Bildende Künste in Hamburg with Henning Christiansen and Allan Kaprow among others, and subsequently visual art, music and singing at the University of California, San Diego (with a DAAD grant). As a vocal soloist in contemporary and experimental music Ute Wassermann has performed in festivals, galleries and clubs throught Europe and also in Australia and Asia. As an improvising musician she performs regularly with musicians of the London scene (for example in John Russell’s Mopomoso and Fête Quaqua events) and in duos with Richard Barrett, Aleks Kolkowski and Birgit Ulher, in the quartet “speak easy” (with Phil Minton, Thomas Lehn and Martin Blume) as well as in larger formations such as the octet fORCH
. As an interpreter of contemporary music she has given premieres of numerous works composed specially for her voice, for example by Richard Barrett, Chaya Czernowin, Henning Christiansen, Hans-Joachim Hespos, Michael Maierhof, Michael Finnissy and Ana Maria Rodriguez, with the ASKO Ensemble, Elision, Munich Chamber Orchestra, KNM Berlin and others. She has taken part in music theatre productions by Matthias Kaul (Ensemble L’art pour l’art), Salvatore Sciarrino, Gerhard Stäbler and others, and performances with dancers, circus artists and visual artists; pedagogical projects and workshops with her choral composition “mimic” for festivals and cultural institutions.

Fotogalerie / Facebook



Ana Maria Rodriguez

Geschichts-, Philosophie,- Klavier- und Kompositionsstudium; später elektronische Musik und algorithmische Komposition. Viele ihrer Kompositionen beziehen den Raum als Parameter ein und / oder bieten den Musikern einen hohen Grad an Interpretationsmög-lichkeiten. Kompositorische Ideen, ausformulierte Partituren verbindet sie häufig mit installativen Präsentationsformen. Die Live-Elekronik ihrer Werke gestaltet sie im allgemeinen selbst – gemeinsam mit den Musikern auf der Bühne. Die oft ungewöhnlichen Lautsprecherdispositionen zeugen von einer künstlerischen Kreativität, die sich nicht mit Standartlösungen der Industrie und der Aufführungspraxis zufrieden gibt. Thematisch hat sich Ana Maria Rodriguez immer wieder mit der in das technologische Umfeld eingebundenen Beziehung zwischen Komponist und Interpret befasst, was neue Formen der Interaktion und der Notation von Musik beinhaltet. Ihre letzten Arbeiten kreisen um einen neuen Schwerpunkt, der mit der Relation aus Poesie und Technologie beschrieben werden kann. Zahlreiche Veröffentlichungen und Seminare zum Thema »Musik und Technologie«. Aufführungen zu den wesentlichen Festivals Europas und Südamerikas.


Chromorelax, 2011: zusammen mit Michael Vorfeld (light) und Lucio Capece (bassclarinet), live @ LaborGras Berlin, 11.11.11

Chromorelax at LaborGras from KNM Berlin on Vimeo.

Distancia(s) IIIb, 2011: Kirstin Maria Pientka • viola, live @ Literaturhaus Berlin, 07.12.11

Ana Maria Rodriguez_Distancia(s) IIIb from KNM Berlin on Vimeo.

Distancia(s) III, 2011: Arnulf Ballhorn • doublebass, live @ Ballettschule Sabine Roth Berlin, 04.11.11

Ana Maria Rodriguez_Distancia(s) III from KNM Berlin on Vimeo.

code • switching, 2004: Ana Maria Rodriguez • composition, Melita Dahl • video, Ute Wassermann • voice, live @ Hamburger Bahnhof in the frame of MaerzMusik festival 2004

Ana Maria Rodriguez Code Switching from KNM Berlin on Vimeo.

Capitan Luiso Ferrauto, 2013
after a short story by Juan Rodolfo Wilcock
for three musicians, dancer, performer, video and live-electronics
dance • Annapaoloa Leso, performance/texts • Andreas Liebmann, video/concept • Ladys González, music/concept • Ana Maria Rodriguez, musicians • Ensemble KNM Berlin

Ana Maria Rodriguez / Ladys González: Capitán Luiso Ferrauto from KNM Berlin on Vimeo.

Sabine Ercklentz

Sabine Ercklentz first studied law at the FU Berlin before she turned to the trumpet at the Hochschule für Musik Hanns-Eisler, Berlin. She lives and works in Berlin as a composer, musician and performer. Her works often stretch the borders of music and challenge the definition of genres. She  frequently collaborates with other artists. She has peformed in numereous concerts and festivals. Such as FIMAV in Victorialville, Canada; Red Cat in Los Angeles, USA; Recontres Choreographiques in Paris; Moderna Museet in Stockholm; Taktlos in Zürich; City of Women in Ljublijana; Wittener Tage fur Neue Kammermusik; Donaueschinger Musiktage; Tanzplattform Deutschland, Dresden; ZKM in Karslruhe.

L.A.lienation, 2008 video
(ercklentz neumann togehter with Anja Weber)

Videobrücke Berlin – Stockholm (5 punkt 1)
Performance by ercklentz neumann at Art’s Birthday 2008 im Moderna Museet, Stockholm


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Composers/Performer Ensemble

Les Femmes Savantes was founded in 2005 as an interdisciplinary composer-performer ensemble by five Berlin-based female composers/musicians from Germany, Argentina, and Sweden.

Years of collaboration have enabled Les Femmes Savantes to create a specific acoustic identity that exceeds the mere sum of its individual aesthetic languages: The compositions/performances/installations are developed and performed through tight-knit collaboration. Each participant alternately assumes the role of composer, collaborator, interpreter, or director. This shifting distribution of roles results in the development of concert/performance programs in which individual as well as collective works are presented.

The musical spectrum ranges from New Music, Echtzeitmusik and jazz to electronic music and sound art. A wide variety of media are incorporated into Les Femmes Savantes’s compositions: the performer’s body becomes the instrument, public space becomes stage, the computer intervenes in the event compositionally, videos become fellow players.

Sabine Ercklentz – composition, trumpet, electronic
Andrea Neumann – composition,  inside piano, mixer
Ana Maria Rodriguez – composition, electronics
Ute Wassermann – composition, voice, birdcall whistles, resonating objects

press opinions
“What Sabine Ercklentz, Andrea Neumann, Ana Maria Rodriguez, Hanna Hartman, and Ute Wassermann present in shifting formations corresponds to the synesthetic multiplicity that nowadays characterizes composing in the broadest sense: sound art, vocal virtuosity, play-action, visual means of expression, and spatial dramaturgy converge.” (Gerhard Rohde, Frankfurter Allgemeine Zeitung)

About Les Femmes Savantes (CD 2013, olofbright)
„The eight short compositions in this edition (most of them recorded in 2011) are flawlessly produced. Revealing their wide range of configurations, from quintet to solo, the group showcases a collective engagement with a fascinating kind of music-making in the style/form of a women’s artists’ collective. The listener is transported right to the heart of the dynamic spatial sound distribution and finds themself quite close to the instruments: details, energetic combinations, tone colors, textures, and equally explicit rhythms swarm and tingle. The sceeching, disjointed and porous way Sabine Ercklentz (trumpet), Hanna Hartman (amplified objects), Andrea Neumann (inside piano, mixer), Ute Wassermann (voice), and Ana Maria Rodriguez (electronics) process the world gives occasion to swoon.” by Guillaume Tarche, http://grisli.canalblog.com/