Uploaded October 2017 | Updated September 2026, 3 days ago
György Ligeti
Requiem For Soprano, Mezzo Soprano, Two Mixed Choirs & Orchestra (1963-1965)
Kyrie Section
Conductor – Francis Travis / Orchestra – The Bavarian Radio Orchestra
2001: A Space Odyssey is a soundtrack album to the film of the same name, released in 1968. The soundtrack is known for its use of many classical and orchestral pieces, and credited for giving many classical pieces resurgences in popularity, such as Johann Strauss II's 1866 Blue Danube Waltz and Richard Strauss' symphonic poem Also sprach Zarathustra (inspired by the writings of Friedrich Nietzsche). The soundtrack includes excerpts from four of Ligeti pieces: Atmosphères, Lux Aeterna, Requiem and Aventures
In addition to the majestic yet fairly traditional compositions by the two Strausses and Aram Khachaturian, Kubrick used the highly modernistic compositions by György Ligeti which employ micropolyphony, the use of sustained dissonant chords that shift slowly over time. This technique was pioneered in Atmosphères, the only Ligeti piece heard in its entirety in the film. Ligeti admired Kubrick's film, but in addition to being irritated by Kubrick's failure to obtain permission directly from him, he was offended that his music was used in a film soundtrack shared by composers Johann and Richard Strauss.
The Richard and Johann Strauss pieces and György Ligeti's Requiem (the Kyrie section) act as recurring leitmotifs in the film's storyline. The Requiem is heard three times, all of them during appearances of the monolith. The first is its encounter with apes just before the Zarathustra-accompanied ape discovery of the tool. The second is the monolith's discovery on the Moon, and the third is Bowman's approach to it around Jupiter just before he enters the Star Gate. This last sequence with the Requiem has much more movement in it than the first two, and it transitions directly into the music from Atmosphères which is heard when Bowman actually enters the Star Gate. No music is heard during the monolith's much briefer final appearance in Dave Bowman's celestial bedroom which immediately precedes the Zarathustra-accompanied transformation of Bowman into the Star-Child. A shorter excerpt from Atmosphères is heard during the pre-credits prelude and film intermission, which are not in all copies of the film. Other music used is Ligeti's Lux Aeterna and an electronically altered form of his Aventures, the last of which was so used without Ligeti's permission and is not listed in the film's credits. Lux Aeterna is heard in the moon-bus scene en route to the Tycho monolith.
Video created with Sonic Visualizer, vokoscreen, OpenShot, Sound Converter and Audacity on a Debian 8 Jessie Linux System.
György Ligeti
Requiem For Soprano, Mezzo Soprano, Two Mixed Choirs & Orchestra (1963-1965)
Kyrie Section
Conductor – Francis Travis / Orchestra – The Bavarian Radio Orchestra
2001: A Space Odyssey is a soundtrack album to the film of the same name, released in 1968. The soundtrack is known for its use of many classical and orchestral pieces, and credited for giving many classical pieces resurgences in popularity, such as Johann Strauss II's 1866 Blue Danube Waltz and Richard Strauss' symphonic poem Also sprach Zarathustra (inspired by the writings of Friedrich Nietzsche). The soundtrack includes excerpts from four of Ligeti pieces: Atmosphères, Lux Aeterna, Requiem and Aventures
In addition to the majestic yet fairly traditional compositions by the two Strausses and Aram Khachaturian, Kubrick used the highly modernistic compositions by György Ligeti which employ micropolyphony, the use of sustained dissonant chords that shift slowly over time. This technique was pioneered in Atmosphères, the only Ligeti piece heard in its entirety in the film. Ligeti admired Kubrick's film, but in addition to being irritated by Kubrick's failure to obtain permission directly from him, he was offended that his music was used in a film soundtrack shared by composers Johann and Richard Strauss.
The Richard and Johann Strauss pieces and György Ligeti's Requiem (the Kyrie section) act as recurring leitmotifs in the film's storyline. The Requiem is heard three times, all of them during appearances of the monolith. The first is its encounter with apes just before the Zarathustra-accompanied ape discovery of the tool. The second is the monolith's discovery on the Moon, and the third is Bowman's approach to it around Jupiter just before he enters the Star Gate. This last sequence with the Requiem has much more movement in it than the first two, and it transitions directly into the music from Atmosphères which is heard when Bowman actually enters the Star Gate. No music is heard during the monolith's much briefer final appearance in Dave Bowman's celestial bedroom which immediately precedes the Zarathustra-accompanied transformation of Bowman into the Star-Child. A shorter excerpt from Atmosphères is heard during the pre-credits prelude and film intermission, which are not in all copies of the film. Other music used is Ligeti's Lux Aeterna and an electronically altered form of his Aventures, the last of which was so used without Ligeti's permission and is not listed in the film's credits. Lux Aeterna is heard in the moon-bus scene en route to the Tycho monolith.
Video created with Sonic Visualizer, vokoscreen, OpenShot, Sound Converter and Audacity on a Debian 8 Jessie Linux System.
![Tangerine Dream - Zeit 2nd Movement - Nebulous Dawn [1972]](https://i.ytimg.com/vi/SG5UmB3qzFc/mqdefault.jpg "Tangerine Dream - Zeit 2nd Movement - Nebulous Dawn [1972]
Unlike most classic albums where listeners are ultimately able to come to a loose consensus on whether its good or not, Zeit remains a hot topic, forty years after its release. Even Tangerine Dreams core fanbase often finds itself divided on the issue, with some listeners deeming it among the greatest, most groundbreaking electronic albums ever made, and others marginalizing it as bong-addled nonsense. In a sense, Tangerine Dreams third record is the Tales from Topographic Oceans of progressive electronic music; a quintessential love it or hate it affair, with convincing arguments on both sides. Ultimately, its up to the individual listener to make up their own mind on the matter. Its an album that could be incredible or trite, simply based on the time and place a listener is when they listen to it. For all of its surface listlessness however, Zeit is as rich an ambient experience as they come. It is as challenging today as it was forty years ago, and though its possible only Tangerine Dreams more devoted fans will have the patience for its listlessness and quiet hum, theres a massive atmosphere here that could never have happened any other way.
Taken at face value, its a sprawling, drawn out sound experiment, turning its nose on melody, harmony and rhythm in order to focus solely on the texture of sound. Its as if the neoclassical composer Gyorgy Ligeti composed an electronic album. Although Tangerine Dreams golden, pre-soundtrack era was defined by longwinded compositions and spacey atmosphere, Zeit seemingly takes the composition out of the equation, leaving Froese and co. to focus solely on the way the music sounds. Zeit is the German word for Time, and its curious that Tangerine Dream would give that title to a piece that seems to eschew the concept entirely.
Nebulous Dawn is similarly abstract, but changes the palette of sound considerably. Here, Tangerine Dream evoke a much spacier impression, with sounds ranging from a looming hum, to ominous bubbling and the sounds I can only imagine would be heard most comfortably in the anal probing room of a UFO. Unlike Birth of Liquid Plejades however, there is less sense of progression, save for the gradual increase of the background hum. Once again, there are no melodies or apparent rhythmic structures- only a thick slab of sonic experimentation. Throughout the track, there is the perpetual image of a nano age super highway in a far future metropolis. Think the crowded, dark realm of Blade Runner, and that may be a good indication where Nebulous Dawn leads the listener.
text taken from http://www.prog-sphere.com/specials/tangerine-dream-zeit/#sthash.24qPjxlo.dpuf")
![Hans Tutschku - Rojo [2004]](https://i.ytimg.com/vi/SiYA35vR6z8/mqdefault.jpg "Hans Tutschku - Rojo [2004]
8-kanalige elektroakustische Komposition / Auftrag: Radio Berlin-Brandenburg / Studio : Klang-Projekte-Weimar / 2004 /
Dauer: 15:06 min / Jonty Harrison gewidmet / Uraufführung in der originalen 8-kanaligen Version am 20. Januar 2004
zum Festival Ultraschall Berlin / Erster Preis beim Wettbewerb Musica Nova Prag 2006
Rojo ist ein Herantasten an den Gedanken der Gleichzeitigkeit unterschiedlichster, über den Erdball verstreuter Klangphänomene. Die Komposition verbindet Aufnahmen verschiedener Kulturen und verschmelzt sie in ein tiefrotes Klangritual. Klang-Erinnerungsfetzen mehrerer Reisen vermischen sich, wechseln ihre Idendität, verlassen ihre Erkennbarkeit und werden zu Klangmassen andere behalten ihre solistischen Eigenschaften und markieren Orte und Zeit.
8-channel electroacoustic composition / commissioned by Rundfunk Berlin Brandenburg / studio : Klang Projekte Weimar /
2004 / duration: 15.06 min / dedicated to Jonty Harrison / first performance in the original 8-channel version on
January 20, 2004 Festival Ultraschall Berlin / first prize Musica Nova Prag 2006
Rojo is an imagining of simultaneous musical activities throughout the world. Recorded memories from several trips join and exchange their qualities. Sometimes they change into huge sound masses, and occasionally their original environment is preserved. As it unfolds, the composition creates an imaginary ritual where many sources meet and play together.
Video created with Sonic Visualizer and vokoscreen on Kubuntu 14.04 (Linux).")
![Jean-Claude Eloy - Âhata-Anâhata (Anâhata I Partie 2) [1986]](https://i.ytimg.com/vi/T3KvYTo_2Ts/mqdefault.jpg "Jean-Claude Eloy - Âhata-Anâhata (Anâhata I Partie 2) [1986]
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 sites to recieve legal music:
http://www.metamkine.com (worldwide)
http://www.dronerecords.de (Germany)
Jean-Claude Eloy – Anâhata
Âhata-Anâhata (Le Son Frappé - Non Frappé) - Anâhata I Partie 2
Ô-hichiriki – Yaotani Satoru
Percussion – Michael W. Ranta
First Voice Of Monk - Tendai Sect – Ebihara Kôshin
Second Voice Of Monk - Shingon Sect – Arai Kôjun
Electro-acoustic, Sound Projection, General Coordination, Mixed By – Jean-Claude Eloy
Subtitled: Vibration primordiale / Cérémonial sonore à caractère contemplatif - Primordial Vibration / Sound ceremonial with a contemplative character.
Composed in 1983-1986. Electroacoustic parts created at the Sweelinck Conservatorium in Amsterdam/Bachstraat (early 1984), at GRM in Paris (1984/85), at ART in Geneva (1985), at TU in Berlin (1985/86), and completed in 1986 at Sweelinck Conservatorium in Amsterdam/Van Baerlestraat.
Premiered in November 1986 as part of a coproduction between the Paris Autumn Festival, the Bordeaux Sigma Festival and the Contrechamps Group in Geneva.
Studio recording made during the Donaueschingen festival 1990 (Donaueschingen Musiktage). Technical team of the SWF Baden-Baden (today SWR).
video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on an openSUSE 13.2 Linux System.")
![François Bayle - Rien nest réel 2...perceptions [2009-2010]](https://i.ytimg.com/vi/XGBeUeqVFOM/mqdefault.jpg "François Bayle - Rien nest réel 2...perceptions [2009-2010]
François Bayle - Rien nest réel [2009-2010]
(Nichts ist real, nothing is real)
Part 1: 0:00
Part 2: 2:49
Part 3: 8:05
Es existiert und es existiert nicht. Es ist real und abstrakt. Es ist als Objekt Tei der Zeit und zugleich außerhalb dieser. Hörbar und unhörbar. Simultan. Worauf aber bezieht sich dieser Knoten von Paradoxien? Auf das musikalische Werk. (R. Ingarden)
Rien nest réel 1...sensations (Empfindungen, sentinence)
Bereits in der Empfindung gibt es Erinnerung. Sis ist keineswegs nur reine Gegenwart, sondern vielmehr eine geteilte: Ein Pfeil ist der Vergangenheit zugewandt (die an die Oberfläche zurückkehrt), ein anderer bewegt sich in Richtung Zukunft (die flüchtig erwähnt wird):
Anrufung / Abwarten / Vorahnung
So entsteht im Augenblick einer Empfindung ein gleichzeitiges Geflecht aus unüberschaubaren Emotionen und Gegenwarten. Unter meinen Klangtupfern ist vielleicht dieses glühend-stickige Gebilde zu erkennen, welches gewissermaßen aus der Kreuzung ihrer Zeichnungen strömt, aus ihrer tonalen Körnung mit schroffen Konturen.
Rien nest réel 2...perceptions (Wahrnehmungen, perception)
Was diese Wahrnehmung anbelangt, so ist sie eine andere Geschichte, die eines Werdens. Die des Pinsels, der herumspaziert (der Pinsel meines schwebenden Begehrens); ein Kommen und Gehen, das verweilt, von hier nach dort springt, sich mit dem Davor in Form von Erinnerung und dem noch im Werden begriffenen Danach verknüpft.
Diese Gedanken kamen mir während der Realisation der zehn Kompositionsteile in den Sinn. Jeder Zuhörer wird - gemäß seinen Neigungen - einem eigenem Weg folgen. Ganz nach der Laune seiner Empfindungen, seines Hörinteresses?
Bei der Diskussion von Roman Ingardens Text Was ist ein musikalisches Werk? zitiert Duika Smoje folgenden Passus, der unmittelbar meine eigene Erfahrung berührt:
Weil die Materie auf der Ebene des Atoms in der Irrealität bleibt, im Zustand der angehaltenen Belebtheit, bis ein Beobachter eingreift ist nichts real, wenn es nicht beobachtet wird. (J. Gribbin 1984)
François Bayle (ins Deutsche übersetzt)
Video created with Sonic Visualizer, Vokoscreen, Kdenlive and Audacity on an OpenSUSE 12.3 Linux System.")
