Projects
Connected Concepts - Poetry Of Logic
(2009: ZS-ART Gallery Vienna)
„Music is a mysterious mathematical process whose elements are part of infinity." (G.W. Leibniz)
For thousands of years now there has been no doubt about the mutually inspiring parallels between music and mathematics. The work of the music for common exhibition with Walter Angerer-Niketa and Harald Plochberger has offered to me - as mathematician and musician - the opportunity to combine both my passions in the most conscious of ways. My intense search for mathematics in music and music in mathematics inspired me to formulate two complementary compositions.
My piece "Structures" combines different technical and virtuous means which are all characterized by structural and therefore from a mathematical point of view interesting principles. Among them: symmetry, layering, overlapping patterns, repetition, minimalism, (poly)rhythm, (poly)harmony and melody. The sounds of various pianos, played on top of each other, corresponds to the principle of multi-layering. Music emerges according to the layers' pattern and inter-weaving levels. By shifting these layers against each other new forms evolve. Art in time (=music) alone is able to generate this quality. Through the Dolby Surround System the music also gains space. My pursuit of clarity, symbolism, logic, life in abstraction and a synaesthetic experience achieves fulfillment in this fourdimensional movement of music across time.
The fact that our numerical system constists of ten symbols (0, ..., 9) is - from a mathematical point of view - an arbitrary choice. Our number-alphabet could just as well be composed of two, eleven or twelve symbols. Our computers for instance operate on a basis of a dual system. The advantage is evident: The computer needs to know only two symbols (0 and 1, respectively On and Off). The dozen acts as base unity when trading on the market-place: Being easily divisible by three this system proves clearly advantageous. Moreover the number symbols of a dozen system can easily be translated into tones (the alphabet of music). True also for the number Pi.
The conversion is an unique one meaning that each decimto the assumptional corresponds to exactly one dozenal number. My selection to how to link numbers and tone pitch symbols is definitly inspired by the piano keyboard. Having said this the number Pi too can be interpreted as an infinitely long tone sequence, as melody. Would Pi "play" any imaginable melody, if we only waitied long enough? The above question remains up to now a yet unsolved mathematical problem. All empirical research - until today we know more than 1,2 trillion of decimal places - lead to the assumption that Pi might be a "dijoint" number. That's to say: Pi comprises any finite tone sequence. Current research tends even to classify Pi as a "normal" number, which means: Not only comprises Pi any tone sequence, but they would even appear with equal frequency.
In my sound installation I make use of this phenomenon: I vary 30 minutes of a tone sequence generated by converted Pi. The boundless, poetical logic of the number Pi offers us nothing less than the opportunity to share for one moment its very own infinity.
Listen to music-sample: Music
Order catalog: mail@benejahnel.de
Video under Video
Managementconsulting
(2009: Max.bab for the Audi AG)
May 2009: Max.bab had the pleasure to give a tweo day workshop for the Audi AG. The focus was patternbreaking in a virtuoso team. Our band served as a example for intuitive interplay in a highperformance team. On the second day Max.bab played aconcert together with the 14 topmanagers at Birdland Neuburg.
Download Info (in german): Lineout
Bizarre Begegnungen - Paintings look at you
(2009: Three small piano pieces for the exhibition in Penzberg)
For the portrait-exhibition: "Bizarre Begegnungen" at Stadtmuseum Penzberg in 2009, Benedikt had the honor to contribute three solo piano pieces. They reflect his musical impressions to paintings of Emil Nolde, William Straube and Käthe Kollwitz. The pieces are audible on the audioguide to the exibition as well as on a CD as part of the exibition-katalog.
Listen to Benedikts piece for Noldes "Mädchenkopf" from 1925: Childrens Piece
Ehwald & Jahnel | Doublequartet
(2007: “Music for String-Quartet and Jazz-Quartet”)
The idea for the presented record evolved during rehearsals for a concert in Weill Recital Hall at Carnegie Hall. Here they were invited to perform by the DAAD (German Academic Exchange Service). For this occasion they presented original music to the audience, collaborating with some of the best young classical players from Germany. In the following months they composed nine pieces for string-quartet and jazz-quartet.
Coming from an aspiring European community of improvised music, the two managed to merge that background successfully with the influences of the New York’s vivid Jazz scene. They also started working with a fantastic string quartet, featuring players from New York and Berlin. The two composers were very happy to assemble a superb group of musician on this date, including upcoming drummer Dan Weiss and wonderful Sara Caswell on first violin.
Check also: www.peter-ehwald.net
Das Kaktus 6ett
(2003: Berlin cohort)
The sextet led by the native Munich pianist Benedikt Jahnel combines musicians from all over Germany, who converged in the fresh maelstrom of the Berlin jazz-scene. Jahnel, who presently lives in New York and presented his Carnegie Hall debut a few weeks ago, releases this Cd as his first work as a leader. All compositions are penned by him and show his virtuoso ability of affiliating melodic songwriting, floating grooves and intoxicating improvisations. Everything is presented with exciting arrangements for three horns and rhythm section.
The press confirms: „Time changes and free rhythmic structures give a diversified complexity... frantic solos and turbulent group improvisations alternate with ballad like movements, resolving into gorgeous endings.“ (Schwäbische Zeitung)
The musicians: Susanne Folk (saxophone), Johannes Lauer (trombone), Benjamin Kraef (saxophone), Roland Fidezius (bass) and Jens Dohle (drums) represent more than just a part of the best in the young Berlin jazz-scene.
Review from the italian press:
The Kaktus 6tet is the most personal creature of bene (compared to the max.bab cds). The music is very sophisticated ("nocturne"), with classical influences, nordic, and despite the name of the group, without anything "thorny". the debut cd has been presented live at the carnegie hall in ny this year... (Jazz_Magazine 0407)
Listen to music-sample: Music
