CESSE Conference / Workshops
Born 1969 in Budapest, Zsolt Sőrés (sometimes Ahad) is an improvised/electroacoustic and noise musician, sound artist, sound ecologist, performance and conceptual artist. He is playing on viola, 5-string viola, toy synthesizers, circuit bent toys, dictaphone tapes, lo-fi sound sources, contact microphones, effects, objects, electronics. He is working both as a musician and composer with the use of conventional instruments and viola that he use in unconventional ways (for preparation, conversion and through new playing techniques), and partly by the use of unusual music – and sound instruments.
Genrewise his music lays in the focal point between jazz, rock and modern classical music. This form of music can be best described as lasting a part of modern improvised music (”instant composing”) that has developed through collaboration between musicians from all over the world since the mid-1960s. His experimental music characterised by formation strategy and immediate transitions; the use of unstable acoustic systems and continuous sound layers, which can develop towards a sound economy, very similar to minimalism’s compositional solutions such as micro-structural and sound reduction space arrangement. His music is characterised by the dramaturgy of the situation of intensive concentration and reaction times (slower and quicker processes) because of a sense of suspension, where sounds/noises are looped for a longer or shorter time, recycled and changed only slightly. Comprising an improvised method of editing, it confronts the listener with an evolving sense of time and duration that transcend questions of musical to focus in the idea of shape, in the potentialities of a sound representation as stream of consciousness. During the last 25 years of activity he performed hundreds of festivals, international collaborations, special events worldwide. Active groups and projects (selected): Inconsolable Ghost (with Hilary Jeffery and Gideon Kiers), collaboration with the legendary krautrock band faUSt (with Jean-Hervé Péron Art-Errorist, Werner ”Zappi” Diermaier), member of the Electro-Acoustic Ensemble Sonic Mountain (with Christian Kobi, Klaus Filip, Franz Hautzinger, Tomas Korber, Hans Koch, Thomas Peter, Taku Sugimoto), collaboration with Marcel Zaes composer, trio with Richard Barrett and Milana Zarić, duo with Franz Hautzinger, I Belong to the Band (with Adam Bohman, Oli Mayne and Jean-Michel Van Schouwburg), trio with Christian Kobi and Richard Scott, collaboration with thr Theme (a project by Stuart Carter and Richard Johnson since 1997), he worked with the Hyperion International Ensemble (artistic directors: Ana-Maria Avram /1961-2017/, Iancu Dumitrescu, with Yoni Silver, Tim Hodgkinson etc.), Ahad & ChrS (duo with Christian Skjødt), Noise Flowers (with András Wahorn, Oli Mayne), Spiritus Noister (with Katalin Ladik, Endre Szkárosi, László Lenkes) etc.
Since September 2014, he teaches film music analysis, electronic music notation, sound design, contemporary music and chamber music at the Electronic Music Media Art Department at the Liszt Academy of Music in Budapest.
His field of interest and music activity includes the borderline and the margin of different art forms, too. He is also collaborate with artists from different fields of art (filmmakers, videomakers, coreographers, stage directors, fine artists). Between 2003-2010 he was the main organizer of the underground film screening series called Invisible Films’ Club at the Ludwig Museum in Budapest. From 1996 to 2002 he was one of the artistic director of Pause-Sign International improvised (later: Experimental) Music Festival and from 2008 to 2010 he was the main organizer of Relative (Cross)Hearings International Independent Contemporary Music Meeting in Budapest. In 2005 he was the series editor of the Szünetjel Könyvek (Pause Sign Books), and published the Hungarian versions of the following books: Jozef Cseres: Musical Simulacrums (Hudobné simulakrá); Michael Nyman: Experimental Music. Cage and Beyond; Edwin Prévost: No Sound is Innocent. AMM and the Practice of Self-Invention. Meta-Musical Narratives. Essays. In 2008 he edited one of his last book and wrote a preface study about New Chances of Autonomy with the texts by Peter Lamborn Wilson aka Hakim Bey among other onthological anarchists. He is an author of two books with the collection of his poetry. Since 2009 he is collaborating with the cult horror/underground/surreal film director Andrey Iskanov from Khabarovsk, Russian Far-East. In 2012 he was the Hungarian curator of the international Sound Exchange sound art project (http://www.soundexchange.eu/). In 2014 he was the curator of the first collective international sound installation exhibition in Hungary called On the Edge of Perceptibility – Sound Art at Kunsthalle, Budapest. (http://www.mucsarnok.hu/new_site/index.php?lang=en&t=804).
Collaborations in ad hoc groups, radio art and sound art/new music projects, on festivals and various events: with Milan Adamčiak, Martine Altenburger, AMM (Eddie Prévost, Keith Rowe, John Tilbury), Johannes Bauer, Simon Berz, Alessandro Bossetti, Arturas Bumšteinas, John Butcher, Tomek Chołoniewski, Thanos Chrysakis, Peter Cusack, Diatribes + Friends, Phil Durrant, Isabelle Duthoit, John Edwards, James Johnston), Michael Fischer, Alexander Frangenheim, Fred Frith, Wolfgang Fuchs, Seppo Gründler, Mats Gustafsson, Helge Hinteregger, Erhard Hirt, Stuart Jones, Barbara Kaiser, Ernő Király (1919-2007), Martin Klapper, hans w. koch, Piotr Kurek, Thomas Lehn, Paul Lovens, Toshi Makihara, David Maranha, Daniel Matej, Rafal Mazur, Szilárd Mezei, Phil Minton, Torsten Müller, Phill Niblock, Le Quan Ninh, Balázs Pándi, Evan Parker, Paulo Raposo, Jerzy Rogiewicz, John Russell, Carlos Santos, Elisabeth Schimana, Ingrid Schmoliner, Dorothea Schürch, Richard Scott, Burkhard Stangl, Raymond Strid, Pat Thomas, Alan Tomlinson, Miroslav Tóth, David Thomas (from Pere Ubu), Roger Turner, Birgit Ulher, Dieter Ulrich, Voicecrack+Günter Müller, Veryan Weston, Jerry Wigens, Christopher Williams, Manon-Liu Winter among others.