Uploaded May 2015 | Updated September 2026, 5 days ago
phonosophia.de
Siano, Leopoldo
«Nie zuvor haben Menschen so viel ‹gesehen› …»
Elektroakustische Musik als eine erste wahrhaft surrealistische Musik
erschienen in: Neue Zeitschrift für Musik 02/2014, Seite 44
Die Einstellung der Surrealisten gegenüber der Musik schwankte zwischen Gleichgültigkeit und Verachtung. Aufgrund ihrer Losgelöstheit von der konkreten Realität schien Musik ungeeignet, um die Zwecke der surrealistischen Kunst anzustreben, deren Voraussetzung die beständige Gegenwart der Realität war. Ende der 1940er Jahre allerdings wurde plötzlich eine Spätgeburt einer «surrealistischen Musik» ermöglicht: dank der Erfindung der Musique concrète durch Pierre Schaeffer. Mit elektroakustischen Mitteln ist es nicht nur möglich, Bruchstücke der Klangrealität als kompositorisches Material zu verwenden, sondern auch diese Realität durch die mannigfaltigsten Verfahren zu verändern. Die wesentlichen Techniken des Surrealismus (freie Assoziationen, Montagen, Verzerrungen, Entfremdungen, Metamorphosen) sind mit denen des elektroakustischen Komponisten eng verwandt. So ist es kein Zufall, dass sich prominente Komponisten der akusmatischen Tradition von der surrealistischen Kunst inspirieren ließen. (musikderzeit.de/de_DE/journal/issues/showarticle,37598.html)
Video created with Audacity and OpenShot on an Kubuntu 14.04 LTS Linux System.
phonosophia.de
Siano, Leopoldo
«Nie zuvor haben Menschen so viel ‹gesehen› …»
Elektroakustische Musik als eine erste wahrhaft surrealistische Musik
erschienen in: Neue Zeitschrift für Musik 02/2014, Seite 44
Die Einstellung der Surrealisten gegenüber der Musik schwankte zwischen Gleichgültigkeit und Verachtung. Aufgrund ihrer Losgelöstheit von der konkreten Realität schien Musik ungeeignet, um die Zwecke der surrealistischen Kunst anzustreben, deren Voraussetzung die beständige Gegenwart der Realität war. Ende der 1940er Jahre allerdings wurde plötzlich eine Spätgeburt einer «surrealistischen Musik» ermöglicht: dank der Erfindung der Musique concrète durch Pierre Schaeffer. Mit elektroakustischen Mitteln ist es nicht nur möglich, Bruchstücke der Klangrealität als kompositorisches Material zu verwenden, sondern auch diese Realität durch die mannigfaltigsten Verfahren zu verändern. Die wesentlichen Techniken des Surrealismus (freie Assoziationen, Montagen, Verzerrungen, Entfremdungen, Metamorphosen) sind mit denen des elektroakustischen Komponisten eng verwandt. So ist es kein Zufall, dass sich prominente Komponisten der akusmatischen Tradition von der surrealistischen Kunst inspirieren ließen. (musikderzeit.de/de_DE/journal/issues/showarticle,37598.html)
Video created with Audacity and OpenShot on an Kubuntu 14.04 LTS Linux System.
![Robert Normandeau - Venture (1998) [1/2]](https://i.ytimg.com/vi/RsypVil8TRg/mqdefault.jpg "Robert Normandeau - Venture (1998) [1/2]
Composer: Robert Normandeau
Commission: Codes daccès, with support from the CCA , Musiques & Recherches
Premiere: February 28, 1996, Échange Québec-Belgique, Lorchestre de haut-parleurs 2, Agora de la danse (Montréal, Québec)
To Catherine Béchard
The title refers to the 1960s musical group The Ventures (theirs was the first stereo album in my small but growing record collection) but also to all of the progressive rock music of that decade and the one that followed. It is exclusively made up of fragments of that music. These are used not as quotations but rather as the sonic archetypes that an entire generation of composers, my generation, was listening to as it was growing up. It was while I was working on Venture that I understood something about the origins of my compositions during that period. To this music I have added quotations from the sixteen movements of Mussorgskys Pictures at an Exhibition, which became a cult classic when Emerson, Lake & Palmer released a reworking of it in the mid-70s. This was the work that enabled me to move from rock to classical music.
Venture is made up of six movements that refer to different states of existence: Innocence, Stabilité [Stability], Tension, Délire [Frenzy], Violence, Sérénité [Serenity], and preceded by an Introduction. These are punctuated by variations on an ever-present movement, Tunnel (a metaphor for the transition between these states) which runs through the work.
[English translation: Tom Carter]
Venture was realized between 1996 and 98 in the composers studio and at the Faculté Polytechnique de Mons (Belgium). It was mixed at the studio of Queens University in Belfast (Northern Ireland, UK). Thanks to Todor Todoroff and Michael Alcorn. The work was commissioned by Codes daccès (Montréal) and Musiques & Recherches (Ohain, Belgium) and was made possible by the support of the Canada Council for the Arts (CCA). The first version was performed on February 28th, 1996 at Agora de la danse (Montréal) as part of the festival Échange Québec-Belgique.")
![Hans Tutschku - Eikasia [1999/2007]](https://i.ytimg.com/vi/Rz_gKP6h61I/mqdefault.jpg "Hans Tutschku - Eikasia [1999/2007]
8-kanalige elektronische Komposition / Studio : Klang Projekte Weimar / 1999, neue Stereo-Version 2007 / Dauer: 09:15 min / Michael von Hintzenstern gewidmet / Uraufführung in seiner 8-kanaligen Originalversion am 18. September 1999 beim Festival elektronischer Musik in Luzern (Schweiz)
Eikasia - Repräsentation - Modell - Abbild - Vergleich - Mutmaßung.
Diese Komposition ist meine erste Arbeit mit physical modelling. In all meinen vorangegangenen elektroakustischen Stücken wurden immer existierende Klangquellen weiterverarbeitet. Mit Eikasia unternehme ich den Versuch, eine vergleichbare Klangkomplexität mit reiner Synthese zu erreichen, wie wir sie auch von akustischen Objekten kennen. Am Anfang der Arbeit stand die Formalisation existierender Metall- und Saitenklänge mittels physikalischer Repräsentationen im Computer. Während der Realisation verglich ich die Syntheseklänge mit der Objektivität der realen Ausgangsklänge und schuf schließlich eine breite klingende Skala: von Abstraktion bis zur realistischen Abbildung der Originale. Die Zeitstukturierung der Formteile resultiert aus den Klängen selbst, sie ist sozusagen während des Arbeitsprozesses gewachsen. Alle Klänge wurden mit dem Programm Modalys vom IRCAM realisiert.
8-channel electroacoustic composition / studio : Klang Projekte Weimar / 1999, new stereo version 2007 / duration: 12:15 min / dedicated to Michael von Hintzenstern / first performance in the original 8-channel version on September 18, 1999 at the festival of electronic music Lucerne (Switzerland)
Eikasia - representation - model - picture - comparison - conjecture.
This composition was my first work using physical modeling. In all my previous electroacoustic works, real sound sources have been processed. In Eikasia, I was trying to achieve a comparable sound complexity through pure synthesis. I started with formalized computer models of actual sounds. During the work prozess, I compared the synthesized models with their original sounds and came up finally with a large sound palette that ranges from abstraction to reality. The formal structure is a result of the complexity of the sounds; it evolved during the working process. All sounds were realized with the program Modalys from IRCAM.
Video created with Sonic Visualizer and vokoscreen on Kubuntu 14.04 (Linux).")
![Jean-Claude Eloy – Le Minuit de la Foi - Dämmerlicht (2014) [Excerpt]](https://i.ytimg.com/vi/S-8lPLVWQPI/mqdefault.jpg "Jean-Claude Eloy – Le Minuit de la Foi - Dämmerlicht (2014) [Excerpt]
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 (worldwide)
http://www.dronerecords.de (Germany)
Jean-Claude ELOY
Le minuit de la foi - Dämmerlicht (5006)
Le minuit de la foi (The midnight of the faith) (2014) for electronic and concrete sounds, around selected sentences by Edith Stein recorded by German actress Gisela Claudius. New work from Jean-Claude Eloy, a long piece under the power of expanded sounds and sacred words.
Le minuit de la foi is a double album, each CD of which forms a stand-alone entity. Each CD can therefore be listened to separetly. However, you do need to listen to the full album for it to become meaningful through its complementary balances, and to grasp its very essence.
video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on an openSUSE 13.2 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.")
