When Ulrike Haage finishes producing or writing a radio play, everyone listens together. To do this, she travels from her home in Berlin to Munich – and presents her music to the studio team, or invites editors to listen to her studio in Berlin. These sessions are always special festivals of sound. Her unmistakable sound from first note with the greatest openness and absolute precision transports you into spaces you didn’t know existed before. Shared listening is preceded by a working process that begins with searching for, locating, and eventually finding the material. It sometimes only takes a few weeks for Ulrike Haage to submit text and tonal drawings after an initial project meeting.
With her almost infinite wealth of ideas, she manages to combine sounds, music, and sounds in such a way as to reveal poetic, acoustic realms of high intensity and affinity. I always want to talk about immersive audio experiences. I have been able to notice with fascination several times how situational Ulrike progresses, and how thoroughly she handles the text and audio material she is working with. In an interview with BR from 2014, she said, “When I did a radio play about artist Eva Hesse, who worked with everyday materials, she designed the structure the same way she approached her art. I wanted an architecture that doesn’t take her place in the studio, which is flexible, and takes into account.” Several rooms. I chose the old listening station in Teufelsberg in Berlin, and we assembled flexible recording equipment for it. The structure is always based on the content.”
Between improvisation and experiment
Also in production true stories Based on the texts of Sophie Kaley, who is adept at deciphering the boundaries between reality and fiction, radio playmaker Ulrike Haage comically approached Kalle’s approach: “For true stories We improvised texts by Sophie Calle in my apartment, on the roof, in the catacombs of an old brewery, on the tram and during a car trip through Berlin. I had complete freedom to experiment and with Damien Ribjitz, Bert Schnwink and Francoise Cactus, a fantastic trio who followed that path with enthusiasm.”
Ulric Haag with Andreas Amir
When Ulrich Haag came to the Bavarian radio drama in the 1990s, she was the pianist of the first big German women’s band, experimented with electronic music and was a member of the world-renowned pop group. rain birdswhich she founded in 1989 with Katharina Frank: in 1994 she composed the FM unit, percussionist at New buildings collapseLive radio theatrical production music End of the world live by Andreas Amer. It was in 1995 with Theatrical Award for Radio Blindness Award-winning, it is considered a milestone in the legendary BR productions of pop radio in the 1990s. This was followed in 1997 by Opera Space Radio Odysseus 7also with FM unit, Andreas Ammer and 7 Dances of the Holy Spirit.
Love the piano in all its forms
Ulrike Haage on piano for kids
It has always been one of Alaric Hagg’s main allies: the grand piano. Or also: children’s piano. Born in Kassel in 1957, she discovered her love of piano – and through her father’s recordings – of jazz at the age of eleven. She improvised and composed her own pieces on this instrument early on, then completed her studies at the University of Music and Dramatic Art in Hamburg. There, Haag taught orchestral conducting and improvisation for several years, then became an independent musician, composer, and vocal artist. Among other things, she was awarded the Broadcasting Theatrical Award for War Blindness, for her work Albert Mangelsdorf Prize (German Jazz Award), and Nordic Film Days Special Music Award and the Music Composer’s Award Gemma excellent.
On June 16, 2022, she will receive the Günter Eich Prize, announced by the Sparkasse Leipzig media foundation, which honors authors who have dedicated a range of substantive and formal competence to the radio genre: “Ulrike Haage has been writing, directing and composing for many years of radio plays, developing and developing The medium of radio is in a way that is impressive and constantly questioning and fruitfully challenges our listening habits”, says Stefan Seeger, CEO of the Media Foundation: “Haig’s work is clear in its line and streak. They have long established their own niche in the German-language radio play scene. They reach To a large audience the positions of the literary and artistic vanguard were closed to him.” Radio plays should be mentioned here as an example. With our lifestyle, it is very good to be invited to a party early And the Language, my star. hear holderlin On the late work of the poet Friedrich Hölderlin (Author: Ruth Joanna Penrath). Stefan Seeger continues: “Ulrik Haag’s work increasingly includes the medium of film. She has provided compositions for documentaries, among others. Onion Fish, Merritt Oppenheim. Surreal on its own wayAnd the seascape By Volker Koepp, in the documentary broadcast in 2020 Berlin 1945 – Diary of a Big City Directed by Volker Hayes and the critically acclaimed Doris Dory film Greetings from Fukushima.
“For me as an author, the world is sound. And I believe we can understand it in a specific way ourselves by listening and listening carefully. For example, radio plays with their poetic and political dimensions are not just a separate genre with Ulrike Haage books in 2020. It has been working together and exchanging ideas with her. A creative adventure of over ten years and the greatest with pleasure.