„Rena is not only a singer – she is an Artist of the Voice – transmitting her heart with the voice.“

Shinobu Kikucho, vocalist at opera project „Bobble – Listen so we can really hear!“ with Bobby McFerrin, 2009

„Freie Vokalkunst als eine persönliche Form, Zeitzeugin zu sein. (…) Es sind Gesänge, die direkt dem Weltengedächtnis zu entstammen scheinen. (…) Alles in dieser Musik ist gewachsen, ist von organischer Schönheit. Rena Meyer Wiel erschafft stimmlich begangene und begehbare Landschaften – voice-scapes.“

Rolf Beydemüller, 2006

„Vo­kal­kunst, die die ganze Pa­let­te aus­schöpft, von in­stru­men­ta­lem Ein­satz der Stim­me über Songs, bis zum Vor­trag deut­scher Texte, die ist in der im­pro­vi­sier­ten Musik immer noch ziem­lich sel­ten. Eine Meis­te­rin darin ist Rena Meyer Wiel. Sie kommt nicht vom Jazz, son­dern ur­sprüng­lich von der klas­si­schen Musik, der Neuen Musik und Per­for­mance-Kunst. In­ten­siv be­schäf­tig­te sie sich mit der Musik frem­der Kul­tu­ren. Heute sieht sie die Stim­me vor allem als In­stru­ment spi­ri­tu­el­ler Er­fah­rung. Musik so­zu­sa­gen als Er­schlie­ßung eines sa­kra­len Rau­mes. Das ist auf ganz un­prä­ten­tiö­se und un­mit­tel­bar pa­cken­de Weise auch das Pro­gramm ihres Duos mit dem Gi­tar­ris­ten und So­und­scape-Ge­stal­ter Rolf Bey­de­mül­ler. White Can­vas, also „weiße Lein­wand“, die­sen Namen haben sich Rena Meyer Wiel und Rolf Bey­de­mül­ler ge­ge­ben, in An­spie­lung auf die Of­fen­heit, Un­vor­ein­ge­nom­men­heit und viel­leicht auch Leere des Be­wusst­seins, die Vor­aus­set­zung für die Er­fah­rung von Fülle und In­spi­ra­ti­on sind.“

Odilo Claus­nit­zer, WDR 3 „Jazz­sze­ne NRW“, 18. März 2010

„Man hört es gleich, das sind Her­zens­klän­ge. See­len­re­gun­gen, die zu Musik ge­wor­den sind. (...) White Can­vas. Das sind Lieb­ha­ber der Klän­ge einer viel­d­i­men­sio­na­len Welt und von Me­lo­di­en ein­fa­cher Le­bens­wei­sen. Musik für Aben­teu­rer, für Su­chen­de, für Men­schen, die gerne ein­mal hin­ter die Dinge lau­schen, oder bes­ser ge­sagt dem Klang der Welt zu­hö­ren, ganz un­vor­ein­ge­nom­men, mit of­fe­nen Ohren. Nur so kann man ja das Un­er­mess­li­che, die­ses Mys­te­ri­um, das uns um­gibt und von dem wir ein Teil sind, auch wirk­lich er­fah­ren.“

Micha­el Sey­fert, Play­ground, Klas­sik­Ra­dio rbb , 12. März 2013

„Prä­di­kat wert­voll (...) ein gutes Bei­spiel, wie man viele Gen­res mit­ein­an­der kunst­voll ver­bin­den kann. u.a. Ele­men­te des Jazz, der Welt­mu­sik, der Elek­tro­nik und der Neuen Musik. Dass diese mit­ein­an­der bes­tens har­mo­nie­ren und dazu noch so etwas wie eine emo­tio­na­le Tiefe ent­wi­ckeln, ist das große Ver­dienst der vier Mu­si­ker. (...) viel­schich­tig an­ge­leg­tes Ge­samt­kunst­werk“

sound & image, Fe­bru­ar 2013: White Can­vas - Cha­riad

[more]

„Und so etwas pas­siert quasi in der Nach­bar­schaft: Die Band White Can­vas hat in Köln ein neues Album, „Cha­riad“, auf­ge­nom­men - und ein Stück große weite Mu­sik­welt im Rhein­land krei­iert. (...) Im Mit­tel­punkt steht die Stim­me von Rena Meyer Wiel, die über eine enor­me Band­brei­te ver­fügt. Mal klingt sie wie Meredith Monk, oder eine späte Kate Bush, mal wie Lau­rie An­der­son, scheint sich an klas­si­schen Sin­ger/Song­wri­te­rin­nen zu ori­en­tie­ren, um dann mit dem stimm­li­chen Drama in­ter­na­tio­na­ler Folk­lo­re-Di­ven oder auch Broad­way-Sän­ge­rin­nen auf­zu­war­ten. (...) Sanf­tes im­pro­vi­siert Wir­ken­des, ab­ge­dreh­te tat­säch­li­che Im­pro­vi­sa­tio­nen, klei­ne Folk-Mi­ni­a­tu­ren, die aus dem gro­ßen Kes­sel der bun­ten Welt­mu­sik schöp­fen. (...) Und das Re­sul­tat wirkt wie ein klei­nes Wun­der (...) Ein Hör­er­leb­nis - im wahrs­ten Sinne des Wor­tes.“

Axel Hill , Köl­ner Rund­schau - Köl­ner Kul­tur, Ja­nu­ar 2013: Drama auf dem Tep­pich ...

„Die Musik von White Can­vas ist mäch­tig, aber keine schwe­re Kost. Sper­rig und doch un­mit­tel­bar zu­gäng­lich. Be­seel­te im­pro­vi­sier­te Musik, die sich durch er­neu­tes Hören per­ma­nent ver­än­dert. Nicht um­sonst heißt ihre CD Hund­reds Of Ways.“

Franz X.A. Zip­pe­rer, Jazz­t­he­tik, März/April 2010: White Can­vas - ent­form­te Klän­ge ...

„There are hund­reds of ways to kneel down and kiss the ground – nach dem Ge­dicht des Sufi-Dich­ters Rumi ist das Album der Im­pro­vi­sa­ti­ons­sän­ge­rin Rena Meyer Wiel und des Mul­ti-In­stru­men­ta­lis­ten Rolf Bey­de­mül­ler be­nannt und be­zeich­net die viel­fäl­ti­gen Wege, die die bei­den ge­mein­sam in ihren Klan­grei­sen gehen. Der Band­na­me „White can­vas“ (die weiße Lein­wand) steht für die Leere, das Los­las­sen vom be­reits Exis­ten­ten, um in einer un­be­grenz­ten und of­fe­nen Be­geg­nung Neues zu er­schaf­fen. Aus Per­for­man­ces von Out­door-Auf­nah­men und Frag­men­ten von Kon­zert­mit­schnit­ten ver­wo­ben mit son­gähn­li­chen Stü­cken haben sie Ge­schich­ten ge­formt: „Er­zäh­lun­gen aus Tagen und Näch­ten an Ufern und Feu­ern, Ge­sän­ge von Berg und Wind, viel­zun­gi­ge Bot­schaf­ten von Men­schen und Wesen zwi­schen Him­mel, Erde und Meer“. Far­ben und Klän­ge einer viel­d­i­men­sio­na­len Welt und Erde, ohne Gren­zen und Stile, sehr ein­zig­ar­tig.“

Mane Steltzer, ME­LO­DI­VA, CD Tipp, März 2010

„Vö­gel­zwit­schern und eine hohe Stim­me sind zu hören. Und ein gleich blei­ben­der Sound. Dann schält sich noch eine Gi­tar­re lang­sam her­aus. „Hund­reds Of Ways“ des Duos White Can­vas be­ginnt sehr at­mo­sphä­risch, sehr lang­sam, sehr ruhig. Sän­ge­rin Rena Meyer Wiel und Gi­tar­rist und Sound­bast­ler Rolf Bey­de­mül­ler, die sich selbst ganz tref­fend als Frei­stil-Mu­si­ker be­zeich­nen, haben hier sech­zehn, zum Teil mi­ni­a­tu­ren­haf­te Sound­ge­schich­ten zu­sam­men­ge­stellt, Out­door-Auf­nah­men und Frag­men­te aus Kon­zert­mit­schnit­ten zu­sam­men­ge­bracht. Das Ganze klingt ver­träumt, ver­wun­schen, mal mehr nach Sound­ge­flecht als nach einem ech­ten Song, dann aber doch wie­der kon­kret und mit Song­struk­tur. Das Album ist eine an­ge­neh­me mu­si­ka­li­sche Reise durch Klän­ge und Stim­me, auch mal leicht ge­lo­opt, immer aber sehr stim­mungs­voll. In eine ein­zi­ge Schub­la­de passt diese Musik schwer­lich. Muss sie aber auch nicht.“

Chris­toph Giese, Jazz­t­hing, Fe­bru­ar/März 2010

„Hund­reds Of Ways“ – ein Album für Grenz­lau­scher mit Fai­ble für world­mu­si­ka­li­sche und vo­cal-jaz­zi­ge Aben­teu­er­trips. Ein di­rek­ter Ver­gleich fällt mir nicht ein, aber wem Dead Can Dance ohne die schick­sals­dräu­en­de Pose zu­sa­gen würde, wer bei Marie Boine das Nord­licht pul­sie­ren sieht, der Ero­tik Cas­san­dra Wil­sons Stim­me er­liegt und wer mit Bel Canto in Fan­ta­sie­wel­ten ab­taucht, der ist hier rich­tig!“

Nor­bert Neu­ge­bau­er, Rock­ti­mes, März 2010

Die Dame und die Herren machen eine Einordnung in die üblichen Schubladen nicht nur nicht leicht, sondern nahezu unmöglich. Gut so! (…) Diese Musik verlangt Ruhe sie zu hören. (…) Irgendwo im Niemandsland von Dead Can Dance (fliehende Klanglandschaften und flirrende Gesangspassagen), Laurie Anderson (Experimentierfreude, mediale Musikalität, Einsatz der Stimme) und Tori Amos (Frau, wenn auch andere Stimmlage, mit komplexen Songs und ebensolcher Klavierbegleitung) (...)

Stefan Leyendeckers über das Album „Chariad“, White Canvas Quartett

You can enjoy this like chocolate.

Amelie, 6 years – about the song „Deep in the heart of a rose“

PROJECTS

Hintergrund Intro

INSTALLATION ARTVOCAL IMPROVISATIONPERFORMANCE & COMPOSITIONREADINGS IN CONCERTINCIDENTAL MUSICWHITE CANVASCD ALL THAT MATTERSPRESENCE PERFORMANCE SILENCEWORKSHOPS AND LECTORS´ TRAININGSALTERNATIVE HEALING PRACTICE

INSTALLATION ART

Hintergrund INSTALLATION ART

>>  12 EXPRESSIONS OF MUSIC  <<

Installation Art with old brick forms, pendulum-/objects and photos,
a vocal performance documentary 1995 - 2019 in twelve perspectives:

I.   SILENCE
"ABSENT VIOLIN" for voice, violin corps and silence; 1995
II.   MOVEMENT
"PERPETUAL" for voice, movement and ripping fabric; 1997
III.   PRISM
"SOUND GLYPHS - VOICE IN PRISMA" for voice, soundscapes and waving ribbons; 2000

IV.   TIME
"TWENTY MILLION YEARS OR SO", Installaton for voice, body and whale vertebras; Performance by Eva Schmale / Rena Meyer Wiel; 1997
V.   DEATH AND LIFE
"TO BE WAS BEEN - CHANTS BETWEEN THE PORTALS" for voice, tamtam and soundscape; a vocal performance with texts from the Tibetan Book of Live and Death; 1999
VI.   RESURRECTION
"ALL AROSE. vocals, lyrics and instrumental voices"; 2006
VII.   CONTEMPORARY WITNESS
"ALL THAT MATTERS - songlines traveling contemporary sound art"; 2017
VIII.   COMMUNITY
"HUNDREDS OF WAYS", White Canvas Duo; 2010
and "CHARIAD", White Canvas Quartet; 2013
IX.   LANGUAGE
"TREE VOICES", vocal performance for a great birch tree, a goldsmith and a singer; 1999
X.   PRAYER
"CHANTS BEYOND THE SHORE OF TIMES", premiere of concert performance "World Prayers Performance Project"; 2010
XI.   PAUSING FOR A MOMENT
"WHAT IS IT THAT MAKES YOU PAUSE AND CONTEMPLATE?" cinema-concert with a documentary of the 2018 SILENCE Presence Performance Tour; 2019
XII.   SOUND
"THE TREE AFTER", Installation and Elegy Hiroshima 50; memorial performance for the 9th of august 1945; with Klaus Runze / Rena Meyer Wiel; 1995

______________________________

This Installation Art "12 Expressions of Music" by Rena Meyer Wiel
is currently in exhibition at Frauenmuseum Bonn, from 02.02.2020 to 08.11.2020, as part of this year´s frame project BTHVN 2020 in Bonn

Frauenmuseum Bonn_Flyer_Beethovenjahr 2020_Ausstellung und Konzertprogramm

 

VOCAL IMPROVISATION

Hintergrund Vocal Improvisation

Man cannot discover new oceans
until he has the courage to lose sight of the shores.
André Gide

 

We speak many languages, there is song and music, we are surrounded by contemporary sound and noise and we have historical recordings. Music works and vocal performance are often first of all a dialogue with silence – and a perception of collaged layers of sound reality, an interweaving of texts and contexts, an act of listening and voicing of aswell inaudible movements and thoughts, traveling back and forth between moments in time.

Vocal improvisation can be experienced as the most immediate way of chant in resonance with space and audience, theme and situation. Performances forming in the current moment, in acoustic concert situations aswell as amplified and condensed by elements of live electronics, loops, soundscapes and lyrics. It sings.

WELTENGEDÄCHTNIS / WORLDS´ MEMORY – live, Klosterkirche / minster Lorch, Germany

PERFORMANCE & COMPOSITION

Hintergrund Performance & Composition

This will be our reply to violence:
to make music more intensely, more beautifully, more devotedly than ever before.
Leonard Bernstein

WPPP - WORLD PRAYERS PERFORMANCE PROJECT
concert performance with twelve sacred texts in twelve languages

The interweaving and toning synchrony of sacred texts representing different world religions and cultures symbolize an act of reaching hands between religions and spiritual traditions throughout times. Their harmonious encounter in the universal language of sound broaches the issue of dissolution of ideological demarcations towards a gesture of world peace.
The connection of the cultures´ textual expression is mirrored in the different worlds of sound meeting: classical vocalizing, archaic sounds and elements of world music and vanguard, various ethnical instruments accompanying the chants, and additional live electronics creating loops or pre-recorded soundscapes combining field recordings and instrumental voices.
The project has first been performed as a concert for voice and instrumental voices, and can also be drafted as workshop in collaboration with other musicians and singers.

Premiere at Hospitalkirche Stuttgart 2010, in collaboration with: Rolf Beydemüller, guitars / Alexander Lauterwasser, visual live-water-sound-projections

 

PERFORMANCES FOR VOICE AND VISUAL ELEMENTS
compositions with scenic accents for voice and live electronics, i.a.:

  • KLANG GLYPHEN / SOUND GLYPHS – VOICE IN PRISMA
    for vocals, sound collage and waving ribbons / premiere: Lahore, Pakistan 2000
  • TO BE WAS BEEN – GESÄNGE ZWISCHEN DEN TOREN / CHANTS BETWEEN THE PORTALS
    for voice, tam-tam and sound collage – a performance with excerpts from the Tibetan Book of Life and Death / premiere: Münsterplatz Bonn 1999
  • BAUM STIMMEN / TREE TUNING
    for a beech, a singer and a goldsmith / premiere: Siegburg 1999
  • DAZU DER MOND / THERETO THE MOON
    composition for a walk on an altar and singing voice / premiere: Cologne 1999
  • RITUAL SIEBEN / RITUAL SEVEN
    seven chants on seven evenings for violin, fire and voice in a bunker / premiere: above-ground bunker Cologne Ehrenfeld 1996

READINGS IN CONCERT

Hintergrund Readings in concert

„Remember this story“, Rabbi Bunam used to add, „and bear in mind what it tells you:
that there is something you can´t find anywhere in the world, and that there is a place where you can find it.“
Martin Buber, out of: The Way Of Man: According To The Teachings Of Hasidim

 

LYRICS AND VOICE - Reading and vocal performance of poetry or various subject-matters in concert

THE PSALM PROJECT
Scoring and performance of hebrew texts out of the biblical Psalter, for voice and live electronics /
vocal performance duration according to context

PSALM 133 – Vocal improvisation, Rena Meyer Wiel

INCIDENTAL MUSIC

Hintergrund Incidental Music

And those who were seen dancing were thought to be insane by those who could not hear the music.
Friedrich Nietzsche

SIDDHARTA SOUNDSCAPE / about the incidental music score to the staging of „Siddharta“: Music comprehends the possibility of being accessible to another realm, and to draft the interweaving voices of a sounding cosmos flowing through one another – so in the composition to the staging of „Siddharta“, the birds´ calls become aswell the monks´ voices in their gathering, and the singing of the human voice becomes likewise the river´s voice. The music is not intended to accompany and comment the story line, but enters the scene as an invisible teammate and engages in a living and perceiving dialogue with the represented persons. Therein, the music stands for our own accessibility to the essence of being, and occurs throughout the staging more and more as an audibly and inaudibly present element, and as a growing anticipation of what is called AUM or OM.
Staging of Herman Hesse´s „Siddharta“ by and with Heike Bänsch und Andreas Kunz, information and booking: info(at)heikebaensch.de

BEYOND BORDERS, composition for a stage performance by Heike Bänsch and Bruno Tendera, premiered in the framework of Mediensommerakademie Bonn 2011 on the topic of political journalism. BEYOND BORDERS is a memorial performance and homage to the worldwide media correspondents who have been murdered for political reasons. According to an indication by Reporters Without Borders, in the last ten years at least 695 professional journalists have been killed associated with their work.
Performance duration: ca 20 min.

WHITE CANVAS

Hintergrund White Canvas

There are hundreds of ways to kneel down and kiss the ground.
Mevlana Dschelaladdin Rumi

WHITE CANVAS – a project in duo and quartet – connecting archaic and modern sounds, songs and improvisation

WHITE CANVAS sounds many worlds, interculturally aswell as in the combination of individual musicians with different backgrounds.
Various videos and sounds of WHITE CANVAS productions can be visited on: www.white-canvas.de.

  • VIDEO White Canvas in concert, Theater im Ballsaal, Bonn, Germany
  • DUO: Rena Meyer Wiel_voice and live electronics / Rolf Beydemüller_guitars, soundscapes, loops and more
  • QUARTET: Rena Meyer Wiel_voice / Rolf Beydemüller_guitars / Christoph Selbach_piano / Christoph Schumacher_percussion

CD ALL THAT MATTERS

Hintergrund CD All That Matters

Recreating, that is offering resistance.
Offering resistance, that is recreating.
Stéphane Hessel

 

ALL THAT MATTERS
songlines traveling contemporary sound art*

newhearlandrecords / ALL THAT MATTERS, this album is a remarkable piece of sound art and dedicated contemporary witness of our times, composed and produced by vocal and performance artist Rena Meyer Wiel. An audiobook interweaving field recordings, songs, lyrics, quotes and resonances to historical events, past as well as contemporary, with a general reflectiveness layered into compositions of collaged music becoming an own and personal language of reflectiveness. To the artist, this „contemporary sound art biotope“ represents a process of finding language for contexts of speechlessness.

All in all, the very diversity of collaged pieces leave a consolatory mark although not hiding away the eyes from the irresolvable questions facing us in the world. With the album ALL THAT MATTERS, Rena Meyer Wiel succeeds in combining contemporary sound art, the art of song, a reflective approach to present challenges and the listening to a multiply threatened world. Her sound thoughts concerning humankind carry a passionate vision for an integrated and healing perspective.

 

Tracklist:

  1. All That Matters (6:42)
  2. Fire, Read My Book (6:29)
  3. Da, wo der Mensch steht (6:59)
  4. Theologische Realenzyklopädie (0:58)
  5. Vom Paradies (2:08)
  6. Beyond Borders 2016 (7:04)
  7. Regen Regen (4:32)
  8. Falls sich die Dinge immer wiederholen (0:44)
  9. What Is Deeper – The Ocean Or Hope (7:09)
  10. Arctic Lament (7:37)
  11. Spiegel Epilog (3:40)

Total: 54:15

album cover All That Matters

CD  12,- + shipping

Available via newhearland records and Rena Meyer Wiel,
since september 2017 also for order via Amazon and jpc.

PRESENCE PERFORMANCE SILENCE

Hintergrund Presence Performance Silence

What is it the makes you pause and contemplate?
Qu´ est-ce qui vous fait marquer un temps d´ arrêt?
¿Qué es lo que te hace parar y reflexionar?
Waarvoor zou je still blijven staan?
Wofür halten Sie inne?

This question motivates my street-performance SILENCE, traveling to various cities in Europe. And this question is my inner answer to contemporary history in time - as I feel asked by the global events of the day what it is that is my answer. So I would like to pass on this question "What is it that makes you pause and contemplate" to people I don´t know, living at various places in very various ways, and who encounter the question on the street maybe by chance and might refer to it or not, might even not perceive that it is there, or do very well perceive it and then maybe pick it up just in thoughts, but maybe then also reply in writing down their answers on the paper band that will be placed on the ground during the performance. I would like to ask the question sculpturally and in the language of performance, in Silence and without a spoken word. It is written down on the paper band. I am interested in the daily event of the energy of a momentary encounter, inspiring us to grasp it or not. And with the Presence Performance, I would like to move a space of Silence through the urban spaces that people are welcome to refer to or not.

The exact places in the cities and the times of performance during the day will fall into place along the movement of the tour. A very short-term information will be on my homepage.
With the collection of paper bands, following the Presence Performance, an exhibition and concert will be developed, as a compilation of performance results in concert.

Presence Performance SILENCE with Rena Meyer Wiel
may to july 2018 in settled weather conditions in the urban public space

LOGROÑO  28.5. * Calle Portales, 17.00

PAMPLONA 3.6. * Plaza del Castillo, 17.00

PARIS 10.6. * Rue St Merri / Centre Georges Pompidou, 12.00

STUTTGART 18.6. * Königstrasse / Schlossplatz, 11.00

MUNICH 19.6. * Marienplatz, 17.00

KONSTANZ 21.6. * Münsterplatz, 12.00

ZURICH 24.6. * Weinplatz / Rathausbrücke, 15.00

BERN 25.6. * Münstergasse / Mosesbrunnen, 17.00

BASEL 26.6. * Marktplatz, 15.00

FREIBURG 27.6. * Martinstor, 15.00

AMSTERDAM 3.7. * Dam, 15.00

LONDON 10.7. * South Bank, The Queen´s Walk / Gabriel´s Wharf, 12.00

BERLIN 28.7. * Museumsinsel, 17.00

BONN 31.7. * Münsterplatz / Vivatsgasse, 17.00

WORKSHOPS AND LECTORS´ TRAININGS

Hintergrund Workshops and Lectors´ Trainings

Rabbi Pinchas said: "When someone sings and can´t raise his voice, and someone else comes singing with him and raises the voice, then he aswell can raise his voice. This is the mystery of spirit inhering in spirit."
Martin Buber: Tales Of The Hasidim

Vocal improvisation workshops and lectors´ trainings are educational formats surrounding an integrated study and work with voice and text, including body perception and spatial awareness. The Workshops are about perception and self awareness with the possibilities of vocal work, and of experiencing our „listening voice“. This phenomenon „listening voice“ exceeds the possibility to find and intone an inner expression of ourselves: Vocalization and finding voice also represent speech and song as a formless form of finding language itself. And this implies also: finding language as an expression of what we hear, and even only get to hear once we enunciate or vocalize it. As we sing or intone, we are not only in dialogue face to face with each other and with ourselves, but also with the sounding and silent connection and context we all together belong to. Workshops for vocal improvisation either focus on body and healing work or in form and content on literature resonating with contexts of contemporary events. In this regard, vocal work can be seen as a process of finding language or answers to that what leaves us otherwise perplexed in our world and life.

ALTERNATIVE HEALING PRACTICE

Hintergrund Alternative Healing Practice

(…) Just don´t grow weary,
rather to the miracle,
silently,
as if to a little bird,
hold out your palm.
Hilde Domin

What does one thing have to do with the other – making music and being music? Rather a lot.
About facilitating our life melodies when turning dissonant or remaining in a state of caesura for a longer and considerable time, there is more information about alternative healing practice within my artistic work - room for integrative body and vocal work in the areas of dialogue, performance and therapy, with cranio-sacral S.E.L.F. waves and vocal teaching elements: www.earthmerged.com.