Uploaded October 2017 | Updated September 2026, 5 days ago
Anton Webern's Concerto for Nine Instruments, Op. 24 (German, Konzert für neun Instrumente, op. 24, 1934) is a twelve-tone concerto for nine instruments: flute, oboe, clarinet, horn, trumpet, trombone, violin, viola, and piano; containing three movements: I. Etwas lebhaft, II. Sehr langsam, and III. Sehr rasch; and composed with a derived row, often cited [such as by Milton Babbitt (1972)] as a paragon of symmetrical construction.
In the words of Luigi Dallapiccola: a work of incredible conciseness . . . and of unique concentration . . . . Although I did not understand the work completely, I had the feeling of finding an aesthetic and stylistic unity as great as I could wish for. [Prague, September 5, 1935].
The second movement limits quite severely the values of many domains, for example featuring only two durational values (quarter and half note[s]), and, partly as a result, features great uniformity in texture and gesture.
The opening displays [the Concerto's] distinctive trichordal structuring, four of which comprise an aggregate, or partition. The six combinations of [the partition's] trichords generate three pairs of complementary hexachords. Webern takes full advantage of this property [its fourfold degree of symmetry] in the Concerto, that under four appropriate transformations (T0T6I5IB), the tone row maintains its unordered trichords (j=019,091,etc., k=2te, l=367, and m=458). The hexachord featured is sometimes called the 'Ode-to-Napoleon' hexachord (014589).
Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System.
Anton Webern's Concerto for Nine Instruments, Op. 24 (German, Konzert für neun Instrumente, op. 24, 1934) is a twelve-tone concerto for nine instruments: flute, oboe, clarinet, horn, trumpet, trombone, violin, viola, and piano; containing three movements: I. Etwas lebhaft, II. Sehr langsam, and III. Sehr rasch; and composed with a derived row, often cited [such as by Milton Babbitt (1972)] as a paragon of symmetrical construction.
In the words of Luigi Dallapiccola: a work of incredible conciseness . . . and of unique concentration . . . . Although I did not understand the work completely, I had the feeling of finding an aesthetic and stylistic unity as great as I could wish for. [Prague, September 5, 1935].
The second movement limits quite severely the values of many domains, for example featuring only two durational values (quarter and half note[s]), and, partly as a result, features great uniformity in texture and gesture.
The opening displays [the Concerto's] distinctive trichordal structuring, four of which comprise an aggregate, or partition. The six combinations of [the partition's] trichords generate three pairs of complementary hexachords. Webern takes full advantage of this property [its fourfold degree of symmetry] in the Concerto, that under four appropriate transformations (T0T6I5IB), the tone row maintains its unordered trichords (j=019,091,etc., k=2te, l=367, and m=458). The hexachord featured is sometimes called the 'Ode-to-Napoleon' hexachord (014589).
Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System.
![Ludger Brümmer - Lizard Point [1997]](https://i.ytimg.com/vi/k6X1EybO7SU/mqdefault.jpg "Ludger Brümmer - Lizard Point [1997]
Lizard Point was created with the help of the ZKM (Center for Art and Media, Karlsruhe) using the software Genesis created by ACROE (Cadoz, Luciani, Florens) Grenoble. The piece simply relies on physical models using aspects of particle physics (see Cadoz and others ICMC 1995 Proceedings). The sounds were then further modified with conventional sample processing (CLM by William Schottstaedt).
The models are programed via patches which create vibrating structures. These structures are animated to control and understand the energy flow of the vibrating structures. The movements of single masses are recorded into a file and normalized to serve as a soundfile. The patches are created out of single masses and can be combined in a intuitive way. The masses are connected to each other via links. Masses have to be attached to fixed points. A simple vibrating structure can be understood as a guitar string with fixed attachments at both sides of the string. The string is represented by a chain of single masses. If one mass is displaced, like plugging the string, the energy of the displacement would be distributed over the whole chain of masses until it develops resonances dependent of the length of the string.
The result of this effort to model physical conditions are sounds which seem to have a natural background. Of course the natural background has a negative aspect as well: the reference to an existing physical environment decreases the excitement or the unusual aspects of a sound. Because of this other sample modification techniques are used as well to modify the sounds after the process of synthesis.
Lizard Point was created as a commission of the ICMA for performance at the ICMC 97 in Thessaloniki.
Video created with Sonic Visualizer and Vokoscreen on an OpenSUSE 12.3 Linux System.")
![Jean-Claude Eloy – Kâmakalâ (1971) [excerpt 1]](https://i.ytimg.com/vi/kVNO9gvnraI/mqdefault.jpg "Jean-Claude Eloy – Kâmakalâ (1971) [excerpt 1]
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Jean-Claude Eloy – Kâmakalâ
(excerpt)
Choir – Schola Cantorum Stuttgart, WDR Köln
Chorus Master – Herbert Schernus
Conductor – Bernhard Kontarsky, Jacques Mercier (3), Michel Tabachnik
Directed By [Schola Cantorum Stuttgart] – Dr. Clytus Gottwald
Orchestra – WDR Rundfunkorchester Köln
Kâmakala (Le Triangle des énergies) - Pour trois ensembles dorchestres, cinq groupes de choeurs, avec trois chefs
composed in 1971.
A Production of the Westdeutscher Rundfunk, Cologne, 1975.
Within the framework of the festival Begegnungen mit Indien (Meeting with India).
Studio recording at the WDR, Cologne, the 21 February 1975.
video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on an openSUSE 13.2 Linux System.")
![Jean Claude Eloy - Etats Limites / Borderlines [Excerpt] (2013)](https://i.ytimg.com/vi/kXNka4oXsRI/mqdefault.jpg "Jean Claude Eloy - Etats Limites / Borderlines [Excerpt] (2013)
PLEASE SUPPORT THE ARTIST. If youre interested in this music, buy the cds. music piracy is hurting the artist who created the cds. Check out this site to recieve legal music:
http://www.metamkine.com
Etats-Limites, ou les cries de Petra (2013)
Chants Pour Lautre Moitiè Du Ciel VII
Electroacoustique
Borderlines, or Petras shouts (2013)
Songs For The Other Half Of The Sky VII
Electro-acoustic
full length: 7929
debut performance in Cologne, Germany on 24th April 2015
a la memoire de / to the memory of: Petra Meinel-Winkelbach
Borderlines basiert auf einer Vielzahl vokaler Aktionen, die Jean-Claude Eloy Anfang der 1990er Jahre im Studio für elektronische Musik des Westdeutschen Rundfunks aufzeichnete. Auf der Suche nach geeignetem stimmlichen Material für seinen Zyklus Songs for the other half of the sky, in dessen Zentrum exzeptionelle Frauenpersönlichkeiten stehen, lernte er die Schauspielerin Petra Meinel- Winkelbach kennen. Obwohl er von der expressiven Qualität ihrer Stimme unmittelbar ergriffen war, wurden die Aufnahmen aus künstlerischen Gründen zunächst verworfen. Als Eloy sich viele Jahre später diesen Stimmelementen aufs neue zuwandte, wurde seine Arbeit vom Tode Meinel-Winkelbachs überschattet. Das Werk ist dem Andenken der Schauspielerin gewidmet.
Video created with vokoscreen and Sonic Visualizer on an Kubuntu 14.04 LTS Linux System.")
