Name: François Bayle Les Couleurs de la nuit (1982; rev. 2012) @SebastianArsAcoustica
Uploaded: 2026-09-21T08:17:00-05:00
Duration: 8 min 17 s
Description: François Bayle Les Couleurs de la nuit (1982; rev. 2012)

François Bayle Les Couleurs de la nuit (1982; rev. 2012)

Sebastian Ars Acoustica 2026-09-21 | François Bayle Les Couleurs de la nuit (1982; rev. 2012)

WDR3 Studio Elektronische Musik - Volker Müller

Sebastian Ars Acoustica 2021-03-29 | WDR3 Open Sounds: Studio Elektronische Musik - 06.03.2021

Sondersendung zum Tode von Volker Müller
Der Mann mit dem Allerweltsnamen – Volker Müller – war alles andere als verwechselbar. Er war als Mensch ein Unikat und für die Elektronische Musik ein Urgestein. Er ist im Februar gestorben. Zu seinem Gedenken haben ich die Sondersendung des WDR hochgeladen.

"Das Wesentliche, was ich in meiner Arbeit im Studio erlebt habe, ist, dass der ordnende menschliche Geist die Musik macht. Und nicht der Apparat." Volker Müller, 2001

Volker Müller – 1942 geboren – war von 1966 bis zu seiner Pensionierung 2007 beim Westdeutschen Rundfunk angestellt. Ab 1971 war er für das als Technischer Leiter der Produktionsstätte "Studio für Elektronische Musik" zuständig und hat – zusammen mit den Komponisten – gut 50 Stücke an Elektroakustischen Werken realisiert.

Er war in dieser Zeit die Seele des Studios, hat es stetig nach dem neusten Stand der Technik erweitert, den bestehenden Gerätepark gepflegt und die Geräte bei mehreren Umzügen zusammengehalten – damit keines verstumme oder verloren gehe. Auch nach seiner Pensionierung blieb er dem Studio verbunden. Bei unzähligen Demonstrationsveranstaltungen führte er ganze Horden von Neugierigen durch die ebenso komplexen wie faszinierenden Landschaften der Elektronischen Musik. Warum so viele der Besucher mit Fragezeichen im Kopf kamen und mit leuchtenden Augen gingen erhellt eine Reportage von Kornelia Bittmann aus dem Jahre 2001. Sie führt vor Ohren, wie lebendig Volker Müller zu erklären und sich auf seine Besucher einzulassen wusste.

Kornelia Bittmann
"Im Inneren der Klänge" – eine Reportage aus dem Studio für Elektronische Musik
Erstsendung: 11.04.2001

In Ergänzung der Reportage folgen einige Musikstücke, die Volker Müller – zusammen mit deren Komponisten – realisiert hat.

John McGuire
Pulse Music III (1978) Elektronische Musik, Kompositionsauftrag
Realisation: Volker Müller
UA: Musik der Zeit, Köln 20.01.1979

Laszlo Dubrovay
Sóhay (1974) Elektronische Komposition
Realisation: Volker Müller
Erstsendung: 12.12.1975

Rolf Gehlhaar
Fünf deutsche Tänze (1975) Elektronische Komposition (Auszug)
Realisation: Volker Müller
Erstsendung: 20.02.1976

Autorin: Kornelia Bittmann
Redaktion: Frank Hilberg

Video created with Kdenlive on a Debian 10 Linux System with KDE

Can - Tago Mago: Aumgn (1971)

Sebastian Ars Acoustica 2020-05-10 | Damo Suzuki – vocals
Holger Czukay – bass, engineering, editing
Michael Karoli – guitar, violin
Jaki Liebezeit – drums, double bass, piano
Irmin Schmidt – organ, electric piano, synthesizer; vocals on "Aumgn"

Tago Mago is the second album by the German krautrock band Can, originally released as a double LP in 1971. It was the band's second studio album and the first to feature Damo Suzuki after the 1970 departure of previous vocalist Malcolm Mooney. Recorded in castle 'Schloss Nörvenich' near Cologne, the album features long-form experimental tracks blending funk rhythms, avant-garde noise, jazz improvisation, and electronic tape editing techniques. Recording took three months to complete, with sessions often lasting up to sixteen hours a day. Czukay would edit these long, disorganized jams into structured songs. Czukay used only two two-track tape recorders to capture the sessions. Because of the limits of two-track recording the group favoured the castle's high-ceilinged entrance hall, an architectural reverb chamber, using the natural acoustics and placing the microphones optimally relative to their instruments. Due to the intense reverberation, Czukay took advantage of the sonic bleed and limited the band to three microphones, shared between vocalist Damo Suzuki and drummer Jaki Liebezeit. Keyboardist Irmin Schmidt experimented with sine-wave generators and oscillators in place of typical synthesizers on "Aumgn". The second LP features Can's more avant-garde efforts, with Roni Sarig, author of The Secret History of Rock calling it "as close as it ever got to avant-garde noise music." Featuring Holger Czukay’s tape and radio experiments, the tracks "Aumgn" and "Peking O" have led music critics to write that Tago Mago is Can's "most extreme record in terms of sound and structure." "Peking O" made early use of a drum machine, an Ace Tone Rhythm Ace, combined with acoustic drumming. "Aumgn" features keyboardist Irmin Schmidt chanting rather than Suzuki's vocals.

Video created with Sonic Visualizer 3.2.1, vokoscreen 2.5.0 and Kdenlive 18.12.3 on a Debian 10 Buster KDE Linux System.

Can - Tago Mago: Peking O (1971)

François Bayle - LExpérience Acoustique: III. La Preuve par le sens (1971)

Sebastian Ars Acoustica 2019-09-01 | la langue inconnue 10'14 qualité d'un grésillement rythmique qui s'épaissit, qui envahit - panique de l'écoute avril 1971
intervalles bleus 6'53 opposition d'une couleur tenue, et de zones de mouvements - tension de l'écoute juillet 1971
uirapuru 3'49 figure dans un jeu de couleurs qui vibrent juillet 1971

Realised between 1966-1972 using the best technology available at the time, this 2 hour opus "investigates the true nature of the listening process itself" according to the GRM's Christian Zanési & François Bonnet. It's an investigation of acoustic sound at its purest levels and borders on psychedelic in effect. Chopping material from the world around him, manipulating it and juxtaposing against other, unlikely sources with illusive sleight-of-hand and haptic textural sensitivity, Bayle organises a complex parallel universe of fractured occurrence, meshing linear and non-linear structures and myriad sonorities within immersive, intricate ecologies. There's a considered logic to every frequential relationship, yet there's also an abstract looseness and room for unpredictable, playful and shocking sounds which makes up each piece, whether in his surreal cut-ups of pop and rock songs against jarring dissonant blurts of electronics or intersecting pastoral scenes with (what could be) phosphorescing feathered creatures and sharp, alien shards of electronics. Conventional melody and harmony is jettisoned in favour of unnaturally arranged dissonance from natural sounds and the effect is utterly spellbinding and actually much closer to "real-life", to the end you almost forget you're listening to a recording and feel more like you're at the centre of some incredible situation unfolding in 4D all around you. No doubt Francois Bayle is putting into practise here the lessons he learned at the influential Darmstadt summer courses with Oliver Messiaen and Karlheinz Stockhausen between 1958-1962, and with the full might of Paris' pioneering GRM studio at his disposal from 1966 - he was appointed its head by Pierre Schaeffer that year - you also get the sense that he's absolutely relishing and making the most of the highly advanced facilities at his disposal. This is unprecedented music, which still sounds remarkable today. A massive recommendation.

Video realized with Audacity, vokoscreen, Sonic Visualizer and Kdenlive on a Debian 10 Buster KDE Linux System.

François Bayle - LExpérience Acoustique: II. Le Langage des fleurs (1971)

Sebastian Ars Acoustica 2019-09-01 | substance du signe 12'45 suite de « crises » - jeu de plans janvier 1971
thèmes-sons: figure – déchirure
métaphore + lignes et points 10'26 transparence – respirations – couloir et éclats 1966 / décembre 1970
thème-son: respiration
journal 3'10 glissements de sens et substitutions - 1969 – fév. 1971

Realised between 1966-1972 using the best technology available at the time, this 2 hour opus "investigates the true nature of the listening process itself" according to the GRM's Christian Zanési & François Bonnet. It's an investigation of acoustic sound at its purest levels and borders on psychedelic in effect. Chopping material from the world around him, manipulating it and juxtaposing against other, unlikely sources with illusive sleight-of-hand and haptic textural sensitivity, Bayle organises a complex parallel universe of fractured occurrence, meshing linear and non-linear structures and myriad sonorities within immersive, intricate ecologies. There's a considered logic to every frequential relationship, yet there's also an abstract looseness and room for unpredictable, playful and shocking sounds which makes up each piece, whether in his surreal cut-ups of pop and rock songs against jarring dissonant blurts of electronics or intersecting pastoral scenes with (what could be) phosphorescing feathered creatures and sharp, alien shards of electronics. Conventional melody and harmony is jettisoned in favour of unnaturally arranged dissonance from natural sounds and the effect is utterly spellbinding and actually much closer to "real-life", to the end you almost forget you're listening to a recording and feel more like you're at the centre of some incredible situation unfolding in 4D all around you. No doubt Francois Bayle is putting into practise here the lessons he learned at the influential Darmstadt summer courses with Oliver Messiaen and Karlheinz Stockhausen between 1958-1962, and with the full might of Paris' pioneering GRM studio at his disposal from 1966 - he was appointed its head by Pierre Schaeffer that year - you also get the sense that he's absolutely relishing and making the most of the highly advanced facilities at his disposal. This is unprecedented music, which still sounds remarkable today. A massive recommendation.

Video realized with Audacity, vokoscreen, Sonic Visualizer and Kdenlive on a Debian 10 Buster KDE Linux System.

Karlheinz Stockhausen - PROZESSION (1967)

Sebastian Ars Acoustica 2019-08-29 | PLEASE SUPPORT THE ARTIST. You can order this music on http://stockhausencds.com/. Thank you!

Prozession (Procession), for tamtam, viola, electronium, piano, microphones, filters, and potentiometers (six performers), is a composition by Karlheinz Stockhausen, written in 1967. It is Number 23 in the catalogue of the composer’s works.

Christoph Caskel, Joachim Krist, Péter Eötvös, Harald Bojé, Aloys Kontarsky, Karlheinz Stockhausen

Conception
Prozession is one of a series of works dating from the 1960s which Stockhausen designated as "process" compositions. These works in effect separate the "form" from the "content" by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Prozession, the performers choose material from specific earlier compositions by Stockhausen. In the subsequent companion works, Kurzwellen for six performers, Spiral for a soloist, Pole for two, and Expo for three, this material is to be drawn spontaneously during the performance from short-wave radio broadcasts (Kohl 1981, 192–93). The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being "the same" (Kohl 2010, 137).

History
Prozession was begun during a train journey to Basel in May 1967 (Gehlhaar 1998, 53) and was written for and dedicated to the ensemble with which Stockhausen was regularly touring at that time: Alfred Alings and Rolf Gehlhaar (tamtam with hand-held microphone), Johannes Fritsch (viola), Harald Bojé (electronium), and Aloys Kontarsky (piano). Two performers are required for the tamtam: The world premiere was given by this ensemble in Helsinki on 21 May 1967, with subsequent performances in Stockholm, Oslo, at the Bergen Festival, in Copenhagen, London, and finally on 26 August 1967 at the Darmstädter Ferienkurse. Three performances were recorded in Darmstadt a few days later, and one was chosen for release on disc (Stockhausen 1971, 102–103). Earlier recordings had been made for radio broadcast, during rehearsals at the WDR in Cologne, on 9 and 10 May 1967 (Gehlhaar 1998, 55). In addition to recordings, over the scourse of three years this same ensemble performed Prozession approximately twenty-eight times (Gehlhaar 1998, 62).

Structure and technique
Prozession consists of a sequence of 250 events in each of the four parts. There is no written score. Stockhausen explained that in pieces like this, "the first step is always that of imitating something and the next step is that of transforming what you're able to imitate" (Cott 1973, 33). The tamtam players choose material from Mikrophonie I, the viola from Gesang der Jünglinge, Kontakte, and Momente, the electronium from Telemusik, and the piano from the Klavierstücke I–XI and Kontakte (Stockhausen 1971, 103).

Each plus, minus, or equal sign indicates that, upon repetition of an event, the performer is to increase, decrease, or maintain the same level in one of four musical dimensions (or "parameters"): overall duration of the event, number of internal subdivisions, dynamic level, or pitch register/range. It is up to the performer to decide which of these dimensions is to be affected, except that vertically stacked signs must be applied to different parameters (Stockhausen 1973, 1, 11, 21). Despite this indeterminacy, a large number of plus signs (for example) will result in successive events becoming longer, more finely subdivided, louder, and either higher or wider in range; a large number of minus signs will produce the reverse effect (Kohl 2010, 137). In this way, a continuing process of changes is controlled, and the work's title is taken from this concept at its core: German Prozeß = "process", Prozess-ion (Stockhausen 1971, 106), though of course it also means "procession" in the sense of a ceremonial parade or enfilade (Gehlhaar 1998, 55).

Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 10 Buster KDE Linux System.

Karlheinz Stockhausen - KURZWELLEN (Aufnahme vom 4. Mai 1968)

Sebastian Ars Acoustica 2019-08-22 | PLEASE SUPPORT THE ARTIST. You can order this music on http://stockhausencds.com/. Thank you!

Kurzwellen (Short Waves), for six players with shortwave radio receivers and live electronics, is a composition by Karlheinz Stockhausen, written in 1968. It is Number 25 in the catalog of the composer’s works.

Aloys Kontarsky, piano; Harald Bojé, electronium; Alfred Alings and Rolf Gehlhaar, tamtam with microphone; Johannes Fritsch, viola; Karlheinz Stockhausen, sound direction.

Conception
Kurzwellen is one of a series of works dating from the 1960s which Stockhausen designated as "process" compositions. These works in effect separate the "form" from the "content" by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Kurzwellen and three subsequent works (Spiral for a soloist, Pole for two, and Expo for three), this material is to be drawn spontaneously during the performance from short-wave radio broadcasts (Kohl 1981, 192–93). While this separate treatment of the genetic rules for development had existed in Stockhausen's earlier compositions, the emphasis on the process of transformation and less specificity of what is to be transformed is taken further than ever before in Kurzwellen (Stockhausen 1989, 114). The overall formal process is therefore fixed, whereas the sound materials are extremely variable (Frisius 2008, 224). The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being "the same" (Kohl 2010, 137). While the use of radios in concert works dates back at least to 1942 with John Cage's Credo in Us, and Stockhausen may well have gotten the idea of using radios from Cage, their approaches could not have been more different. For Cage, the type of radio is a matter of indifference, since their purpose is merely to fill in prescribed time units with any sort of sound at all. Stockhausen, on the other hand, prescribed short-wave receivers because of their capability of bringing in broadcasts from far away, and for the rich variety of available sounds. These sounds are also not used indiscriminately: the performers are to search for and select only materials suitable for improvisational transformations (Kohl 2010, 135–37).

Performance practice
The composer explained that in pieces like this, "the first step is always that of imitating something and the next step is that of transforming what you're able to imitate" (Cott 1973, 33). Each performer plays a series of events separated by pauses. An event may be played either with the radio or with an instrument, and it is also possible for a player to accompany an event on an instrument with the radio or vice versa, or to blend both together. Each event has a distinct duration defined by its subdivision into segments with a characteristic rhythm (Rigoni 1998, 235).

Each plus, minus, or equal sign indicates that, upon repetition of an event, the performer is to increase, decrease, or maintain the same level in one of four musical dimensions (or "parameters"): overall duration of the event, number of internal subdivisions, dynamic level, or pitch register/range. It is up to the performer to decide which of these dimensions is to be affected, except that vertically stacked signs must be applied to different parameters. Despite this, a large number of plus signs (for example) will result in successive events becoming longer, more finely subdivided, louder, and either higher or wider in range; a large number of minus signs will produce the reverse effect (Kohl 2010, 137).

Video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on a Debian 10 Buster KDE Linux System.

Edition ZKM: Ramon González-Arroyo - De lInfinito Universo et Mondi (1996)

Edition ZKM: Ludger Brümmer – Ambre, Lilac (1994)

Sebastian Ars Acoustica 2019-08-19 | Die erste CD präsentiert frisch und neu vier klassische Herangehensweisen in der elektro-akustischen Musik: reine Klangsynthese - das gesprochene Wort als Klangquelle - Synthese, gewonnen aus konkreten Klängen - Samplertechnologie.
In seinem Werk »Après les Grands Tours« verwendet Johannes Goebel Schritte, einen Glockenschlag und ein Zitat aus Tacitus’ »Germania« als akustische Erinnerungsstücke jener Grands Tours, die den nord-südlichen Austausch über die Alpen Jahrtausende bestimmten. Ein Ausschnitt aus einem indischen Raga mit Sitar und Tambura ist das Ausgangsmaterial für neue Klangwelten in Ludger Brümmers »Ambre Lilac«. Im Mittelpunkt von Ramón González-Arroyos Komposition steht die Balance zwischen Klangreichtum und Transparenz, während Georg Bönn in »fallout« alle Klänge von dem gesprochenen Wort »Hiroshima« ableitet.

Ludger Brümmer – Ambre, Lilac (1994)
Stereo-Adaption des vierkanaligen Originals

Am ZKM
1993–2003 Gastkünstler am ZKM | Institut für Musik und Akustik
Seit 2003 Leiter des ZKM | Institut für Musik und Akustik
Seit 2017 Leiter des ZKM | Hertz-Labor

Biografie
Nach seinem Pädagogikstudium an der Universität in Dortmund studierte Ludger Brümmer Komposition an der Folkwang Hochschule in Essen. Er hatte eine Professur für Komposition am Sonic Research Centre in Belfast inne und übernahm 2003 die Leitung des Instituts für Musik und Akustik am ZKM⎥Zentrum für Kunst und Medientechnologie. Im Zentrum seiner Musik steht die Verwendung des Computers als künstlerisches Mittel zur Komposition und elektronischen Klangerzeugung. Zugleich bemüht sich Brümmer um die Realisierung multimedialer Projekte, u.a. der Integration von Video und Tanz. Weitere aktuelle Kompositionen mit Video sind u.a. »Xronos« (2002) und »surfaces« (2003).
1978-1983 - Musik-, Kunst- und Pädagogikstudium
1983 und 1989 - Kompositionsstudium bei Nicolaus A. Huber und Dirk Reith an der Folkwang Hochschule Essen
1991 und 1992 - Zusammenarbeit mit der Choreographin Susanne Linke und mit dem Nederlands Dans Theater. Aufführungen bei Computermusik-Konferenzen in San Jose, Tokio, Banff und Thessaloniki
1995 und 1996 - Mitglied der Jury des Prix Ars Elektronica. Kompositionsaufträge der Akademie der Künste Berlin, des ZKM Karlsruhe, der Klangart in Osnabrück und der ICMA für die ICMC 1997 in Thessaloniki

Ambre, Lilac handelt von einem Klangmaterial, das in den unterschiedlichsten Gestalten vor den Hörer tritt. Nicht nur Klangfarbe, Tonhöhe, Dauer und Struktur sind hier komponiert, sondern auch Dichte, die Bewegungsrichtung und Geschwindigkeit der Klangbewegung im Raum. Ich wollte Klänge schaffen, die so stark sind, dass man nicht nur Farben oder Körper mit Ihnen assoziiert, sondern sie selbst als Farbkörper empfindet. Dazu diente vor allem das quadrophonische Syntheseverfahren. Es ist zum Beispiel ein großer Unterschied, ob ein musikalisches Material, dass aus 10000 Events besteht, innerhalb einer Zeit von 100 Sekunden als zusammengesetzter Klang aus vier Lautsprechern erklingt oder sich als monauraler Klang zwischen den Lautsprechern bewegt. In diesem Stück wird ausschließlich mit Samples gearbeitet. Der Ausgangspunkt ist ein kleiner Ausschnitt aus einem indischen Raga, in dem eine Sitar und eine Tanpura erklingen.

Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 10 Buster KDE Linux System.

Edition ZKM: Johannes Goebel - Après les Grands Tours (1993)

Edition ZKM: Georg Bönn - fallout (1995)

Sebastian Ars Acoustica 2019-08-19 | Die erste CD präsentiert frisch und neu vier klassische Herangehensweisen in der elektro-akustischen Musik: reine Klangsynthese - das gesprochene Wort als Klangquelle - Synthese, gewonnen aus konkreten Klängen - Samplertechnologie.
In seinem Werk »Après les Grands Tours« verwendet Johannes Goebel Schritte, einen Glockenschlag und ein Zitat aus Tacitus’ »Germania« als akustische Erinnerungsstücke jener Grands Tours, die den nord-südlichen Austausch über die Alpen Jahrtausende bestimmten. Ein Ausschnitt aus einem indischen Raga mit Sitar und Tambura ist das Ausgangsmaterial für neue Klangwelten in Ludger Brümmers »Ambre Lilac«. Im Mittelpunkt von Ramón González-Arroyos Komposition steht die Balance zwischen Klangreichtum und Transparenz, während Georg Bönn in »fallout« alle Klänge von dem gesprochenen Wort »Hiroshima« ableitet.

The only sound material in this piece is the word ‚Hiroshima‘. It was spoken by friends of mine, Hidemi and Satochi Hata, an artist couple from Sapporo. The recording was subjected to extreme time-stretching with the phase vocoder SVP (a program developed at IRCAM), so that the sound of this word, in all of its transitions and modulations by the human voice, lasts longer than 15 minutes. In addition to this are word atoms, samples from which I isolated the consonants H, R, SH and M. Further processing of the material was carried out with the ISPW (IRCAM Signal Processing Work Station), on the NeXT computer. Here I primarily used variable delays, harmonizer, and an FFT-Equalizer, with which I changed the pitch and timbre according to my compositional impulses. The next phase involved composing the present version at a digital editing station. Fallout is a 2-channel loudspeaker music which I realized in the music studios of ZKM and was composed for the 40th anniversary of the founding of the Insitut Francais in Bremen and for the 50th anniversary of the dropping of the atomic bomb on Hiroshima.

Georg Bönn, was born in Krefeld, Germany. Composition studies with Jürg Baur and Krysztof Meyer at the Musikhochschule Köln until 1992. Computer music courses with Klarenz Barlow. 1993 Fellowship from the Stiftung Kunst und Kultur of Nordrhein Westfalen for a one year work/residency in Paris. Participation in the one year course for composition and computer music at IRCAM. Composition courses with Brian Ferneyhough and Klaus Huber. Computer scientist in the department of pedagody at IRCAM. Beginning in April 1995 Fellow at the Atelierhaus Worpswede and Guest Artist at ZKM Karlsruhe. Invitation to the first young Composers Forum of the Gesellschaft für Neue Musik with Ensemble Modern. Fellowship from the Foundation Royaumont for a work period with the Ensemble ‘L’ Itinerarie. Since October 1995 associate lecturer in Electronic music and Theory/Analysis at the Hochschule für Künste in Bremen where he is involved in the construction of a new electronic music studio. (from the booklet of the edition zkm cd)

Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 10 Buster KDE Linux System.

Manuel Castillo – Concierto para piano y orquesta n. 3 (1977) III. Intermezzo

Sebastian Ars Acoustica 2019-04-23 | Orquesta de Radio Television Espanola
Manuel Castillo, piano
Enrique Garcia Asencio, director

Grabacion realizada en el Palacio de Carlos V el 26 de Junio de 1978

This Concerto for piano and orchestra n. 3 was composed between 1976 and 1977, as part of his work under the „Queen Sofla Scholarship“ awarded to Castillo by Madri City Council. The work was premiered in the Charles V Palace in the Alhambra Palace in Granada on 26 Juni 1978, by the RTVE Symphony Orchestra, conducted by Enrique Garcia Asenio, and with Manuel Castillo himself as a Soloist. The composer commented in the programme notes of that concert: Among my compositions there are some piano pieces which clearly represent the stages of my evolution. Each of these moments corresponds to the composition of a concerto for piano and orchestra. Eight years passed between the first and the second, and eleven between the second and the third. Naturally, my language and technique have evolved, though perhaps less to the way I understand music, where I pay more attention to the result then the procedures used to achieve them. To sum up Castillos explanation of the formal structure of his work, it consists of four concise movements, to which cohesion is brought through a four note motif that is used to generate melody and harmony. The first freely recreates bi-thematic sonata form; the intermezzo has a lighter orchestration.

Video created with Sonic Visualizer, vokoscreen and Open Shot on a Debian 8 Jessie Linux System.

Manuel Castillo – Concierto para piano y orquesta n. 3 (1977) I. Poco Moderato

Jesús de Monasterio - Adiós a la Alhambra op 12 (1855)

Sebastian Ars Acoustica 2019-04-05 | Director: Juan de Udaeta.
Interpréte: Orquesta Ciudad de Granada
Edita: Junta de Andalucía. Consejería de Cultura
Dirección científica: Centro de Documentación Musical de Andalucía
Produce: Empresa Pública de Gestión de Programas Culturales

THE 'ALHAMBRISMO' MUSICAL IN SPAIN OF THE XIX CENTURY

More than a fully developed stylistic conception, nineteenth-century musical alhambrismo was a fad, a kind of sonority, which must be linked to the picturesque trend and to the recovery of the environments of Spanish music of the first half of the century. The picturesqueness had opened the door to two tracks in European orchestral music: that of idealism in the north, with Mendelssohn's The Grotto of the Fingal, and the orientalist with The Desert of David, and later the works of Massenet or Saint-Saëns. Spain is considered an Arab place because of its past, and, given the lack of knowledge of Arabic music, topical Andalusian resources are used, such as the Andalusian scales or the intervals of the second augmented, thus identifying the Arab with the Andalusian and this with the Spanish.

The nineteenth-century Spanish musical 'alhambrismo' has not been studied until now, with musicology occupied only by the period located in the early years of the 20th century. It is therefore difficult to propose a classification, because rather than a specific genre, we must speak of the representation of a picturesque tendency in musical works, sometimes composed for certain cultural events that, rather than looking for a musical language of their own, approach a European aesthetic through conventional equivalences, until becoming places prone to a surface Arabism.

The musical production `Alhambra 'begins in Spain around 1848, in the stage of changes after the European revolutions. The first period extends between 1848 and 1866, and we must link it to the dissemination of romantic literature in Spain during the Elizabethan period, especially, the Tales of the Alhambra of Washington Irving. Its predecessor is the magazine Alhambra, a journal of Sciences, Literature and Fine Arts, published in Granada between 1839 and 1843. In 1852, José Zorrilla's Orientales were published, and one year later, Spanish Arabic music, and the connection of music with astronomy, medicine and architecture, by Soriano Fuertes.

The Alhambrista ambience is reflected in some zarzuelas, such as Boabdil, last king of Granada, by Saldoni (1845); The Conquest of Granada de Arrieta (1850); the Bolero of Los Diamantes de la Corona, by Barbieri (1854), or La conquista de Madrid de Gaztambide (1863), set in Muslim Madrid in the 11th century.

The most important instrumental work of this period is Adiós a la Alhambra, by Jesús de Monasterio, composed in 1855 and disseminated in Europe thanks to the performances of its author as a violinist. This work was performed by the Monastery in Berlin accompanied on the piano by Meyerbeer, who gave him great praise.

Video created with Audacity, Sonic Visualizer, vokoscreen and Open Shop on an Debian 8 Jessie Linux System.

Tomás Bretón - En la Alhambra, symphonic serenade (1887)

Sebastian Ars Acoustica 2019-04-05 | Director: Juan de Udaeta.
Interpréte: Orquesta Ciudad de Granada
Edita: Junta de Andalucía. Consejería de Cultura
Dirección científica: Centro de Documentación Musical de Andalucía
Produce: Empresa Pública de Gestión de Programas Culturales

THE 'ALHAMBRISMO' MUSICAL IN SPAIN OF THE XIX CENTURY

More than a fully developed stylistic conception, nineteenth-century musical alhambrismo was a fad, a kind of sonority, which must be linked to the picturesque trend and to the recovery of the environments of Spanish music of the first half of the century. The picturesqueness had opened the door to two tracks in European orchestral music: that of idealism in the north, with Mendelssohn's The Grotto of the Fingal, and the orientalist with The Desert of David, and later the works of Massenet or Saint-Saëns. Spain is considered an Arab place because of its past, and, given the lack of knowledge of Arabic music, topical Andalusian resources are used, such as the Andalusian scales or the intervals of the second augmented, thus identifying the Arab with the Andalusian and this with the Spanish.

The nineteenth-century Spanish musical 'alhambrismo' has not been studied until now, with musicology occupied only by the period located in the early years of the 20th century. It is therefore difficult to propose a classification, because rather than a specific genre, we must speak of the representation of a picturesque tendency in musical works, sometimes composed for certain cultural events that, rather than looking for a musical language of their own, approach a European aesthetic through conventional equivalences, until becoming places prone to a surface Arabism.

The musical production `Alhambra 'begins in Spain around 1848, in the stage of changes after the European revolutions. The first period extends between 1848 and 1866, and we must link it to the dissemination of romantic literature in Spain during the Elizabethan period, especially, the Tales of the Alhambra of Washington Irving. Its predecessor is the magazine Alhambra, a journal of Sciences, Literature and Fine Arts, published in Granada between 1839 and 1843. In 1852, José Zorrilla's Orientales were published, and one year later, Spanish Arabic music, and the connection of music with astronomy, medicine and architecture, by Soriano Fuertes.

The Alhambrista ambience is reflected in some zarzuelas, such as Boabdil, last king of Granada, by Saldoni (1845); The Conquest of Granada de Arrieta (1850); the Bolero of Los Diamantes de la Corona, by Barbieri (1854), or La conquista de Madrid de Gaztambide (1863), set in Muslim Madrid in the 11th century.

The consolidation of the 'Alhambra' trend took place during the years of restoration, especially between 1875 and 1891, a period in which there is an enormous profusion of musical works at the service of the salons, mainly songs with accompaniment and piano works. The reference to Arabic is nominal, rather than specific musical content. There is not, on the other hand, a creation of concrete orchestral works, except the Mozarabic Symphony of Giró, and the works of the beginning and end of the 80s. In the songs, the Alhambra component resides in the plot, associating the Andalusian theme with la mora, which creates an Arab-Andalusian atmosphere, fruit of which are the songs of Isidoro Hernández at the end of the 70s.

The most representative work for orchestra of the period is En la Alhambra, Serenata, by Bretón, composed in Rome during his retirement period, as a reminder of the composer's stay in Granada. It was premiered in orchestral version by the Concert Society of Madrid in 1888, under the direction of the author, and frequently performed, both in Madrid and in Granada and other places, being described by the musical critics as "piece of irreproachable melodic cut, wisely instrumented and full of inspiration and local flavor ".

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WDR3 Studio Elektronische Musik : Luc Ferrari

Sebastian Ars Acoustica 2018-10-20 | Elektronische Klänge sind heute Alltag. Luc Ferrari (1929–2005), der die Entwicklung dorthin miterlebte, ließ wiederum die Klänge des Alltags in elektronische Musik einfließen. Er horchte genau in die Welt, die ihn umgab, hinein.

Mit seiner "musique anecdotique" entwickelte er einen eigenen Stil, der die Grenzen zum Hörspiel nur allzu gerne überschritt. Zudem drehte der Franzose Filme über Musiker, schrieb elektronische Soundtracks und war Mitglied der Pariser Groupe de recherches musicales (GRM). Studio Elektronische Musik geht dem Leben und Schaffen des Komponisten auf die Spur.

Luc Ferrari
"Étude aux Accidents" (1958)
"Hétérozygote" (1963/64)
"Presque rien No.1 – Le lever du jour au bord de la mer" (1967–70)
"Cyclotron" (1978)
"Jetzt – oder wahrscheinlich ist dies mein Alltag, in der Verwirrung der Orte und Augenblicke" (1981–82)
"Unheimlich schön" (1993)

Von: Friedemann Dupelius
Redaktion: Frank Hilberg

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Narcotic Syntax & Eyephone (M. Behrens & J.D. Brown) - Im Woozy from My Leaky Mufflers (1995)

Sebastian Ars Acoustica 2018-10-19 | Recorded 1995 by James Dean Brown (aka Hypnobeat, Narcotic Syntax) and Marc Behrens (aka Eyephone). Availabel ala015.
released November 28, 2016

Hypnobeat hypnobeat.net
Narcotic Syntax narcoticsyntax.com
Eyephone eyephone.marcbehrens.com

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Marc Behrens - Mobilization of Ecstasy (2009)

Sebastian Ars Acoustica 2018-10-19 | A kind of ecstasy is supposed to be achieved through prayer and devotion to Allah. The believers are called into the mosque by the muezzin, where they ideally lift their lives from mere existence to spiritual fulfilment. But the one who has a priviledged position to reach a state of ecstasy by deep breathing and thereby changing his brain chemistry in order to realize the calls to prayer (Ezan), is the muezzin himself.
In January 2009 I drifted through Istanbul in an altered state of consciousness influenced by Malaria prophylactics, due to an earlier trip to the Amazon rainforest. The hammering craftsmen in the hidden alleys and backyards of the Grand Bazaar, and the horse stables of Büyükada island were profound sonic impressions, equal to listening to the prayer calls at sunrise. Can the craftsman mobilize ecstasy in his repetitive work? Can the horse mobilize it by being attached to its companions?

released May 1, 2016
Composed in 2009. Originally released on the compilation CD «Istanbul Split» (~tildmusic, Germany, 2011). Special thanks to Maile Colbert.

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Steve Roach – Artifacts (1993)

Sebastian Ars Acoustica 2018-09-25 | from the Album „Origins“

Composed By, Performer, Producer – Steve Roach
Didgeridoo, Flute [Native American], Kalimba, Noises [Bullroarer, Stones], Ocarina, Percussion [Oaxaca Water Pots], Sampler, Shaker, Synthesizer [Analog, Digital], Voice [Chant, Gravel] – Steve Roach
Drums [Aztec Long], Flute [Prehispanic], Percussion [Oaxaca Water Pots], Trumpet [Mayan], Voice
Guitar [Hypnotics] – Suso Sáiz

ORIGINS may be the pinnacle of an ascent into the mystic and primordial places Roach began to visit on DREAMTIME RETURN,the Suspended Memories project and WORLD'S EDGE. The circulating didjeridu patterns that fully imbibe this record are not only its' tonal centre, but the electro-acoustic nature that is the heart of its sound, and Roach meticulously, passionately utilizes its earthy ferocity and multi-timbral frequencies to its fullest. This is a recording that immerses the participant in daunting, expansive landscapes and deeply entrenched cultures permeated throughout by a darker, ominous resonance. Never before has Roach's electronic surface felt so earthen and weathered; all of the assertive ambience and environmental dissonance he's pressurized up to now reaches critical mass in ORIGINS molten core.

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Nawab Khan - The Mantra: The Message Of Humanity Vol-II (Excerpt)

Sebastian Ars Acoustica 2018-09-24 | http://www.nawabkhan.com
facebook.com/NawabKhanSantoor

Nawab Khan: santoor
Imran Khan: singer
Ikram Khan: Sarangi
Shaid: Sarangi
Kayur: Flute
Redahi: Sarod

The santoor is an indo-persian trapezoid-shaped hammered dulcimer or string musical instrument generally made of walnut, usually with seventy-two strings. It is the national musical instrument of Iran and a traditional instrument in northern India. It dates back to ancient times, and was called Shatha Tantri Veena in ancient Sanskrit texts. A primitive ancestor of this type of instrument was used in Mesopotamia (1600-911 BC) and Babylonia.

The sārangī is a bowed, short-necked string instrument from India as well as Nepal and Pakistan which is used in Hindustani classical music. It is the most popular musical instrument in the Western part of Nepal and is said to most resemble the sound of the human voice – able to imitate vocal ornaments such as gamaks (shakes) and meends (sliding movements).

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Nawab Khan - Serenity of Santoor (Excerpt)

Sebastian Ars Acoustica 2018-09-24 | http://www.nawabkhan.com
facebook.com/NawabKhanSantoor

Relax and unwind with the magical strings.

The santoor is an indo-persian trapezoid-shaped hammered dulcimer or string musical instrument generally made of walnut, usually with seventy-two strings. It is the national musical instrument of Iran and a traditional instrument in northern India. It dates back to ancient times, and was called Shatha Tantri Veena in ancient Sanskrit texts. A primitive ancestor of this type of instrument was used in Mesopotamia (1600-911 BC) and Babylonia.

The Serenity of Santoor is a string composition by Nawab Khan, who is living upto his name in the world of music. The strings of santoor melodiously mingling along with the soothing sounds of nature will overwhelm your senses. The magical tunes of santoor is complimented with certain electronic sounds which shall time travel you to the mystical paths of nature.
Floating through various sounds and by pushing his creativity, Nawab Khan always strives to give his audiences the best taste of Indian classical music in every form. This strings of collection of his aims not only to entertain but also heal and establish a spiritual connectivity through Indian classical music.

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Nawab Khan - The Mantra: The Message Of Humanity (Excerpt)

Sebastian Ars Acoustica 2018-09-24 | http://www.nawabkhan.com
facebook.com/NawabKhanSantoor

The Mantra comprises of five main elements:
- Yoga
- Indian Classical Music
- Meditation
- Diagnosis for music therapy
- Message of peace, harmony and unity

Nawab Khan - santoor
Imran Khan - singer and chant
Shahid - Sarangi
Ikram Khan - Sarangi
Salman Khan - Tabla
Moin & Naeem - percussion

The santoor is an indo-persian trapezoid-shaped hammered dulcimer or string musical instrument generally made of walnut, usually with seventy-two strings. It is the national musical instrument of Iran and a traditional instrument in northern India. It dates back to ancient times, and was called Shatha Tantri Veena in ancient Sanskrit texts. A primitive ancestor of this type of instrument was used in Mesopotamia (1600-911 BC) and Babylonia.

The sārangī is a bowed, short-necked string instrument from India as well as Nepal and Pakistan which is used in Hindustani classical music. It is the most popular musical instrument in the Western part of Nepal and is said to most resemble the sound of the human voice – able to imitate vocal ornaments such as gamaks (shakes) and meends (sliding movements).

Video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System.

Steve Reich - Its Gonna Rain (1965)

Sebastian Ars Acoustica 2018-06-09 | It's Gonna Rain is a minimalist musical composition for magnetic tape written by Steve Reich in 1965. It lasts about 17 minutes and 50 seconds. It was Reich's first major work and a landmark in minimalism and process music.

"It’s Gonna Rain … is a very heavy piece written in the shadow of the Cuban Missile Crisis, and the voice is a spectacularly moving, intense voice about the end of the world." (Steve Reich)

The source material of It's Gonna Rain consists entirely of a tape recording made in 1964 at San Francisco's Union Square. In the recording, a Pentecostal preacher, Brother Walter, rails about the end of the world, while accompanying background noises, including the sound of a pigeon taking flight, are heard. The piece opens with the story of Noah, and the phrase "It's Gonna Rain" is repeated and eventually looped throughout the first half of the piece.

For the recording, Reich used two normal Wollensak tape recorders with the same recording, originally attempting to align the phrase with itself at the halfway point (180 degrees). However, due to the imprecise technology in 1965, the two recordings fell out of sync, with one tape gradually falling ahead or behind the other due to minute differences in the machines, the length of the spliced tape loops, and playback speed. Reich decided to exploit what is known as phase shifting, where all possible recursive harmonies are explored before the two loops eventually get back in sync. The following year, Reich created another composition, Come Out, in which the phrase "come out to show them" is looped to create the same effect.

The work is in two parts of roughly equal length, the first using the "It's Gonna Rain" sample as mentioned above, the second using a separate section of the speech with short phrases cut together and the resultant pattern then phased as in the first part, but with additional tape delay to create a more processed sound.

During a lecture at the Long Now Foundation, electronic musician Brian Eno cited It's Gonna Rain as his first experience with minimalism and the genre that would come to be known as ambient music.

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Innocence - Soulscraper (2004)

Sebastian Ars Acoustica 2018-03-24 | Live at Kompass Kevelaer 2004

innocence-kevelaer.bandcamp.com

Innocence - From Jekyll To Hyde (2004)

Sebastian Ars Acoustica 2018-03-24 | Live at Kompass Kevelaer 2004

innocence-kevelaer.bandcamp.com

Innocence - Disturbed Soul (2005)

Sebastian Ars Acoustica 2018-03-24 | Live at Check Your Head Festival 2005
Kevelaer, Bühnenhaus

innocence-kevelaer.bandcamp.com

Leopoldo Siano - Klangaktion Hommage à Hermann Nitsch (2017)

Sebastian Ars Acoustica 2018-01-09 | Freitag, 13. Oktober 2017
Museo Nitsch, Napoli (Italien)
Dirigent: Leopoldo Siano

Diese Klang-Aktion fand im Rahmen eines Workshop über die Musik von Hermann Nitsch in Neapel unter der Leitung von Leopoldo Siano assistiert von Shushan Hyusnunts statt.

Aufführende waren Teilnehmer des Workshop (meistens Studierende der Kunstakademie und der Musikhochschule Neapels).

Gottfried Michael Koenig - Klangfiguren II (1955/56)

Sebastian Ars Acoustica 2017-11-27 | Video created with Sound Converter, Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System.

Gottfried Michael Koenig - Klangfiguren I (1955)

Sebastian Ars Acoustica 2017-11-27 | Video created with Sound Converter, Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System.

Luigi Nono - La Fabbrica Illuminata a soprano e tape (1964)

Sebastian Ars Acoustica 2017-11-26 | - Text von Giuliano Scabia und Cesare Pavese
- Sigune von Osten, Sopran
- Tonaufnahme des studio di fonologia der RAI Mailand (unter Einbeziehung von Aufnahmen mit dem Chor der RAI Mailand, Leitung: Giulio Bertola)

In der Komposition La Fabbrica Illuminata verwendet Luigi Nono:
- Tonaufnahmen in einem Walzwerk in Genua (kalt - heiß - Hochofen)
- Elektronisches Material, aufgenommen im Studio di Fonologie der RAI in Mailand
- Tonaufnahmen und vielfältige Interpretationen des Testes durch den gemischten Chor der RAI unter dem Dirigenten Giulio Bertola und durch die Mezzosopranistin Carla Henius.

Im Juni und Juli 1964 hat Luigi Nono im Studio die Fonologia Mailand das Material ausgewählt und verarbeitet sowie die endgültige Komposition fertiggestellt. Das Werk ist den Arbeitern der Italsider-Werke von Genua-Cornigliano gewidmet. Überdies verarbeitet Nono einen Text von Giuliano Scabia und ein Fragment aus "Due poesie a. T." vo Cesare Pavese. Bei Konzertaufführungen verbindet sich eine live-Gesangspartie (Mezzospran) mit der Tonbandwiedergabe. Die Partitur der live-Partitur orientiert sich an den Textvorlagen. Sie enthält außer Gesangstönen auch Sprechklänge mit oder ohne festgelegte Sprechhöhe, geflüsterte, fast geflüsterte oder fast gesprochene Klänge

Im Gespräch mit Hansjörg Pauli hat Luigi Nono 1969 erläutert, was er erlebt hat, wenn er diese Komposition italienischen Arbeitern vorgeführt und mit ihnen diskutiert hat:
"Niemand wunderte sich, ob das noch Musik sei, und niemand meinte, allenfalls ginge solche Musik als Begleitung zu science-fiction am Fernsehen. Ganz direkt wollten die Arbeiter wissen, wie das omponiert sei, wie aus Fabriklärm und Tarifverträgen Musik werden könne. Sie bezogen, was sie hörten, sofort auf sich. Undd dann warfen sie mir vor, die Geräusche in meinem Stück, in D"La fabbrica illuminata", seien bei weitem nicht so stark wie die, die sie gewöhnt seinen. Das fiel ihnen au. Sie sahen ein, daß sie bisher wie Roboter in die Fabrik gegangen waren und ihre Arbeit getan hatten, ohne weiter darüber nachzudenken. Jetzt wurde ihnen, durch den Vergleich, plötzlich bewußt, unter welchen akustischen Bedingungen sie arbeiteten, und sie begannen sich zu überlegen, ob das denn so sein müsse, und ob es nicht eine Möglichkeit gebe, das zu ändern."

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Giacinto Scelsi - Anahit, for violin & 18 instruments (1965)

Sebastian Ars Acoustica 2017-11-25 | Scelsi subtitled this splendid work "Lyrical Poem on the Name of Venus," "Anahit" being the ancient Egyptian name for the goddess Venus. The piece is a major work of Scelsi's and among the most important works of the 1960s. It is basically a chamber-sized violin concerto, although the relationship of the soloist to the ensemble is anything but the one expected in a concerto. Instead of a dialogue between orchestra and soloist, every instrument is washed into an ever-shifting, incandescent color field. Each instrumental part is extremely difficult, the violin part is only more so because it plays through more of the 13-minute duration of the piece than the rest. Making the soloist's life still more difficult, the instrument is re-tuned to G-G-B-D to give it a more intense and ethereally plaintive sound. Scelsi also notated the violin part in a special tablature, string by string, treating each string as a separate sound-making entity. Conversely, the entire ensemble is treated like a single instrument that Scelsi plays upon like some heavenly synthesizer. Throughout the piece, he has the violin tensely slide about in microtones, moving along a gradually ascending path, and nothing more. This severe restriction of material means that tremendous concentration is required of he soloist and the terrific tension involved in just holding on to the part comes through in performance. Around this core of diamond-thread, Scelsi pours the tremendous oceanic noise of the rest of the ensemble. The "solo" violin is quite often submerged in the sound, disappearing with the rest of the instrumental voices into the slow, wide-angle shriek of changing sound. Frequent cadential effects, usually underlined with orchestrational changes like an outburst of brass or shrill statements from the flutes, provide a sense of ebb and flow and a tasteful degree of formal definition. At around the eight-minute mark, there is a cadenza for violin solo that slyly creeps in while the supporting instruments gradually evaporate, a process that is repeated less fully in the very last passage. Anahit develops itself with an ascetic's patience and doesn't ever arrive at any kind of explosive climax. Instead, it hovers on the tentative edge of crisis, like a photograph of something hateful endlessly developing, out of which no clear image ever emerges. The pseudoscientific word "liminal" comes to mind: of or relating to a sensory threshold, barely perceptible, on the cusp of response. The beautiful tension of Anahit is partly the tension of a half-formed premonition and similar to the tension of having a lost word "on the tip of the tongue," that slightly panicked mental grasping for something sensed and present, but unreachable. Unlike almost all of Scelsi's music, some of which was not performed publicly until 30 years after its creation, Anahit was performed with Devy Erlih on violin a year after it was composed.

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Anton Webern: Konzert für neun Instrumente, op. 24 - III. Sehr rasch (1934)

Sebastian Ars Acoustica 2017-10-31 | 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).

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Anton Webern: Konzert für neun Instrumente, op. 24 - II. Sehr schwungvoll (1934)

Anton Webern: Konzert für neun Instrumente, op. 24 - I. Etwas lebhaft (1934)

Anton Webern - Symphonie op. 21 für Kammerensemble: II. Thema, Variationen I-VII (1927/1928)

Sebastian Ars Acoustica 2017-10-29 | Anton Webern - Symphonie op. 21 für Kammerensemble: II. Thema, Variationen I-VII (1927/1928)

Die zweisätzige Symphonie – ein skizzierter dritter Satz wurde wie bei den Opera 20 und 22 verworfen – entstand 1927/28. Auch sie verwendet (wie es schon der Titel nahelegt) klassische Formmodelle. Der erste Satz ist nach dem Vorbild eines Sonatensatzes gestaltet; wie in Werken der Frühklassik wird die Wiederholung von Exposition wie von Durchführung und Reprise vorgeschrieben. Der zweite Satz bringt sieben Variationen mit Coda über den Krebs der Grundreihe. Wie schon im Streichtrio op. 20 ist auch hier die Sonatenform des ersten Satzes für den Hörer nicht nachvollziehbar. Auf die von zwei um eine Mittelachse gespiegelten Doppelkanons in sonorer Lage bestimmte Exposition folgt ein aufgelöster Durchführungsteil und eine bis zur Unkenntlichkeit variierte Reprise; die kompakten, tiefen Klänge des Beginns werden in zarte und zerflatternde der hohen Register übergeführt. Jede Variation des Schluss-Satzes ist ab ihrer Mitte genau rückläufig, wie horizontale und vertikale Symmetrien für dieses Werk – für Weberns Spätwerk überhaupt – von größter Bedeutung sind. Sie tragen wesentlich zum statischen Eindruck dieses Werkes bei. Webern hat hier auch erstmals eine besonders konstruierte Reihe verwendet: Die zweite Hälfte ist gleich dem (um einen Tritonus transponierten) Krebs der ersten. So korrespondiert hier in typischer Weise die symmetrische Großstruktur mit der Bildung der kleinsten Bauelemente, die Reihenform wird zum bestimmten Prinzip, zum Keim der Großform. (Manfred Angerer)

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Anton Webern - Symphonie op. 21 für Kammerensemble: I. Ruhig schreitend (1927/1928)

Sebastian Ars Acoustica 2017-10-29 | Anton Webern - Symphonie op. 21 für Kammerensemble: I. Ruhig schreitend (1927/1928)

Die zweisätzige Symphonie – ein skizzierter dritter Satz wurde wie bei den Opera 20 und 22 verworfen – entstand 1927/28. Auch sie verwendet (wie es schon der Titel nahelegt) klassische Formmodelle. Der erste Satz ist nach dem Vorbild eines Sonatensatzes gestaltet; wie in Werken der Frühklassik wird die Wiederholung von Exposition wie von Durchführung und Reprise vorgeschrieben. Der zweite Satz bringt sieben Variationen mit Coda über den Krebs der Grundreihe. Wie schon im Streichtrio op. 20 ist auch hier die Sonatenform des ersten Satzes für den Hörer nicht nachvollziehbar. Auf die von zwei um eine Mittelachse gespiegelten Doppelkanons in sonorer Lage bestimmte Exposition folgt ein aufgelöster Durchführungsteil und eine bis zur Unkenntlichkeit variierte Reprise; die kompakten, tiefen Klänge des Beginns werden in zarte und zerflatternde der hohen Register übergeführt. Jede Variation des Schluss-Satzes ist ab ihrer Mitte genau rückläufig, wie horizontale und vertikale Symmetrien für dieses Werk – für Weberns Spätwerk überhaupt – von größter Bedeutung sind. Sie tragen wesentlich zum statischen Eindruck dieses Werkes bei. Webern hat hier auch erstmals eine besonders konstruierte Reihe verwendet: Die zweite Hälfte ist gleich dem (um einen Tritonus transponierten) Krebs der ersten. So korrespondiert hier in typischer Weise die symmetrische Großstruktur mit der Bildung der kleinsten Bauelemente, die Reihenform wird zum bestimmten Prinzip, zum Keim der Großform. (Manfred Angerer)

video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System.

John Cage – 433 (1952)

Sebastian Ars Acoustica 2017-10-28 | 4′33″ (pronounced "Four minutes, thirty-three seconds" or just "Four thirty-three") is a three-movement composition by American experimental composer John Cage (1912–1992). It was composed in 1952, for any instrument or combination of instruments, and the score instructs the performer(s) not to play their instrument(s) during the entire duration of the piece throughout the three movements. The piece consists of the sounds of the environment that the listeners hear while it is performed, although it is commonly perceived as "four minutes thirty-three seconds of silence". The title of the piece refers to the total length in minutes and seconds of a given performance, 4′33″ being the total length of the first public performance.

Conceived around 1947–48, while the composer was working on Sonatas and Interludes, 4′33″ became for Cage the epitome of his idea that any sounds may constitute music. It was also a reflection of the influence of Zen Buddhism, which Cage studied since the late 1940s. In a 1982 interview, and on numerous other occasions, Cage stated that 4′33″ was, in his opinion, his most important work. The New Grove Dictionary of Music and Musicians describes 4′33″ as Cage's "most famous and controversial creation".

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György Ligeti - Lontano für großes Orchester (1967)

Sebastian Ars Acoustica 2017-10-21 | György Ligeti – Lontano (1967)

NDR Sinfonieorchester
Conducted by Günter Wand
Aufgenommen 1987 in der Hamburger Musikhalle

Ligetis Orchesterwerke haben einen sehr eigenen und unverkennbaren Charakter. Seine Musik entwickelt sich nicht mit Hilfe der gewohnten formgebenden Stilmittel, wie motivisch-thematischer Arbeit, Kadenzierungen und traditionellen Formprinzipien. Die Atmosphäre entsteht vielmehr auf eine völlig neue Weise: Aus einem einzigen Ton im pppp entwickelt das in Einzelstimmen geteilte Orchester kanonartig immer dichtere polyphone Strukturen, die sich gegenseitig überlagern. Auf diese Weise gelingt es Ligeti, eine durchdringende Spannung aufzubauen, die auch von berühmten Filmregisseuren erkannt und verwendet wurde. Sowohl in Stanley Kubricks Horrorfilm The Shining als auch in Martin Scorseses Psychothriller Shutter Island ist Lontano wichtiges Hilfsmittel, um die unheimliche Stimmung aufzubauen und zu halten.

Die italienische Vortragsanweisung ‚lontano‘ bedeutet übersetzt ‚weit weg‘ bzw. ‚entfernt‘ und gibt an, dass ein Spieler beispielsweise hinter der Bühne zu spielen hat, damit seine Stimme klingt als komme sie aus großer Entfernung. Ligeti hat diese Spielanweisung zum Formprinzip entwickelt. Das Spiel mit der Distanz war jedoch nicht seine einzige Innovation: Als Gegenentwurf zur seriellen Musik seiner Zeitgenossen kreierte er die Klangflächenmusik, ein Stilmittel, das Ligeti als das „Einander-Ablösen und Ineinander-Verfließen klingender Flächen und Massen“ beschreibt. Diese Satztechnik arbeitet vorwiegend mit übereinandergelegten Akkorden sowie vertikalen und horizontalen Tonverbindungen in Form von Clustern und Glissandi. Dabei sind Takt und Taktstriche nur zur Orientierung der Musiker vorhanden und setzen keine metrischen Schwerpunkte. Ligeti selbst erklärt seine neuartige Kompositionstechnik so:

„Die ‘harmonische Kristallisation’ innerhalb des Sonoritätenbereichs führt zu einem intervallisch-harmonischen Denken, das sich von der traditionellen Harmonik – auch von der atonalen – grundsätzlich unterscheidet. Technisch wird dies mit polyphonen Mitteln erreicht: Die fiktiven Harmonien sind Ergebnis der komplexen Stimmverwebung, die allmähliche Trübung und das Neu-Herauskristallisieren ist das Resultat der diskreten Änderungen in den einzelnen Stimmen. Die Polyphonie selbst ist fast unmerklich, ihr harmonisches Ergebnis jedoch stellt das eigentliche musikalische Geschehen dar: Geschrieben ist die Polyphonie, zu hören die Harmonik.“

Video created with Sonic Visualizer, vokoscreen, OpenShot, Sound Converter and Audacity on a Debian 8 Jessie Linux System.

György Ligeti - Lux Aeterna (2001: A Space Odyssey)

Sebastian Ars Acoustica 2017-10-21 | György Ligeti - Lux Aeterna (1966)
The Stuttgart Schola Cantorum, Clytus Gottwald

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 Kyrie Section (2001: A Space Odyssey)

Sebastian Ars Acoustica 2017-10-21 | 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.

Sebastian Ars Acoustica - Channel Introduction

Sebastian Ars Acoustica 2017-10-21 | This trailer features music from:

Bela Bartók: Music For Strings, Percussion & Celesta, SZ 106 – Adagio (1936)
François Bayle: Théâtre d'ombres - ombres blanches (1988)
Jean Claude Eloy: Gaku No Michi - Fushiki-E / Mokuso (1977-1978)
Jean Claude Eloy: YO IN - Act4 - Night. Exorcism. Ritual of liberation Scene 2-3 (1980)
Jean-Claude Risset: Sud I – The Sea in the morning (1985)
Karlheinz Stockhausen: Kontakte für elektronische Klänge (1960)
Pierre Schaeffer: Étude Aux Objets - Objets Exposés (1959)

Can you figure all of them out?

Video created with OpenShot and Audacity on a Debian 8 Jessie Linux System.

Michael Ranta ‎– Yuen Shan: III. I‐Shr (2015)

Sebastian Ars Acoustica 2017-07-06 | YUEN SHAN ist ein auskomponiertes Stück, bestehend aus 4 Sätzen, die, vom Hinduismus inspiriert, das Leben in 4 Zyklen unterteilen.
„Spiritualität und Anarchie treffen sich in bestem Einverständnis„.

1. Yin Shu – Geburt, Kindheit
2. Gu-Luan (Ritual I) – Jugend, Lernen, Experimentieren
3. I-Shr (Ritual II) – Erwachsenheit, Profitieren aus dem Gelernten und Experimentierten
4. Li-Huai – Alter, Askese, Tod

Dauer: 78 Minuten

In 1970 Michael Ranta was at the EXPO in Osaka as percussionist, performing Karlheinz Stockhausen’s works in the spherical German Pavilion almost every day over a period of 6 months. During the breaks between and after the performances, Ranta had the opportunity to attend classes of tai-ji-quan, the internal Chinese martial art, a spiritual discipline based on the principles of suppleness and naturalness, whose goals are good health, longevity – and, eventually immortality.
Ranta was in such a way fascinated by the dancing-meditative character of tai-ji-quan, that, after the EXPO he went to China in 1972 – or, more precisely to Taiwan, in order to deepen the knowledge of this discipline in it’s native country. Initially he intended to remain in Taipei for only about 6 months, but he stayed there for seven years, until the end of 1979 (this could remind one of Hans Castorp’s story in Davos, as told by Thomas Mann in The Magic Mountain…). In Taiwan, Ranta dedicated himself intensively to the practice of tai-ji-quan and to chinese philosophy, in particular the way to Taoism (one must remember that Taoism – like all other religions – was suppressed during the first decades of the People’s Republic of China, but was still practiced in the Republic of China (i.e. In Taiwan, as well as in Hong Kong and overseas chinese communities in Asia). Ranta learned chinese and was lecturer in music history and percussion at various music colleges; in the late 1970’s he became professor of music at the Hwa-Gang Fine Arts High School. The engagement with tai-ji-quan and in general with chinese culture was decisive for Ranta’s artistic development. For instance, it influenced his way of playing percussion. In several compositions of Ranta and of other composers whose works he performed – particularly those of Jean-Claude Eloy – there are long periods in which the percussionist has to keep still in meditative positions.

Ranta’s place of daily practice of tai-ji-quan under master Wang Yen-Nien was Yuen Shan, a hill on the north side of Taipei. Here, in 1972 during the beginning exercises, Ranta had the first idea of a musical composition based on the four life cycles, that later would be entitled Yuen Shan, as homage to this place. In chinese, „shan“ means „mountain,“ while „yuen“ means „round“ or „perfect.“ Ranta explains furthermore that, in japanese, the word „yuen“ can take on additional meanings, like „peace“ and „harmony.“ This additional symbolical meaning of the title constitutes somehow the spiritual program of the work: the ultimate quest for balance between opposites, in a Taoist sense. (The Taoist tries to avoid the extremes, to be neither „too sad“ nor „too happy“…). The poetical programm of Yuen Shan is also somewhat influenced by indian astrological theories, according to which the human life consists of four cycles: the first one corresponding to birth and childhood, the second to youth, the third to adulthood and the fourth to old age. It is typical in indian tradition, that the householder, after having ensured the future of his family, retires from worldly attachments and goes alone into the forest (aranya) leading an ascetic and meditative life in order to prepare himself for death. Corresponding to the four stages of life, Yuen Shan consists of four parts, all with chinese titles.
(Dr. Leopoldo Siano)

Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System.

WDR3 Studio Elektronische Musik: Das Label Metamkine

Sebastian Ars Acoustica 2017-07-02 | Im zweiten Teil der Sendung Studio Elektronische Musik mit Jérôme Noetinger widmet sich der Komponist dem in Süd-Frankreich beheimateten Musiklabel "Metamkine", das er zusammen mit einem Freund betreibt.

lektroakustische Musik, Klangreportagen und Fieldrecordings, freie Improvisation und Lautpoesie: Für all das steht "Metamkine" – ein Label und eine gemeinnützige Organisation – 1987 gegründet von Jérôme Noetinger und Thierry Monier. Als Anlaufstelle für musikalische Raritäten, Musikliteratur und schwer auffindbare Platten bietet das Projekt zudem einen Online-Versandhandel und damit einen breiten Werkkatalog der zeitgenössischen experimentellen Musik.
Jérôme Noetinger beleuchtet die Geschichte hinter dem Label, schildert unkonventionelle Aufnahme- und Produktionstechniken und erläutert sein Verständnis von experimenteller Musik – natürlich mit Musik aus den Archiven von "Metamkine".

Mit Ausschnitten aus:

John Cage
Indeterminacy (1959)

Axel Dörner
Trumpet (2001)

Chris Watson
Hippopotami (1994)

Aaron Dilloway
Shatter all organised activities (2008-2011)

Sarah Hennies
Release (2016)

John Tilbury / Derek Bailey
Playing with a dead person (2016)

Video created with OpenShot on a Debian 8 Jessie Linux System.

WDR3 Studio Elektronische Musik: Das Synclavier

Sebastian Ars Acoustica 2017-07-02 | Das Synclavier ist ein Studio im Studio: Die Kombination aus digitalem Synthesizer, polyphonem Sampler und einem Harddisk-Recorder machte das Instrument zum raumgreifenden Klangerzeugungs- und Produktionssystem. Entworfen und entwickelt wurde es in den 70er Jahren im Dartmouth College.

Das erste Synclavier kam Ende der 70er Jahre auf den Markt. Sein integrierter digitaler Synthesizer stellte neben der FM-Synthese als einer der ersten Synthesizer auch die additive Klangsynthese bereit. Diese ermöglichte Klangerzeugung durch Aufschichtung einzelner Sinuswellen, deren Kombination die Klangfarbe bestimmte. Im Gegensatz dazu bot die FM-Synthese - ursprünglich ein von John Chowning entdecktes Klangerzeugsverfahren - die Veränderung der Klangfarbe durch Modulation der Ausgangsfrequenz mit einer weiteren Frequenz. Das Verfahren erzeugte neue, komplexere Wellenformen und obertonreiche Spektren. Spätere Synclavier Modelle konnten zudem modular durch einen Sampler und eine Festplatte ergänzt werden, was für den damaligen Stand der Technik sündhaft teuer war.

Anfang der 90er Jahre kam die Produktion zum Erliegen. Der Hersteller New England Digital, konnte der immer günstiger werdenden digitalen Konkurrenz nicht mehr standhalten. Legendär wurde die Synclavier-Apparatur trotzdem: Musiker wie Chick Corea, Kraftwerk, oder Frank Zappa komponierten damit nicht wenige ihrer Werke.

Video created with OpenShot on a Debian 8 Jessie Linux System.

WDR3 Studio Elektronische Musik: Fairlight CMI

Sebastian Ars Acoustica 2017-07-02 | Die Mutter aller digitalen Sampler kommt aus Australien. 1979 bauten Peter Vogel und Kim Ryrie die ersten Exemplare des Computer Music Instrument (CMI): Prozessor, Bildschirm mit Lichtgriffel, druckempfindliches Keyboard und Sounddateien auf Floppy Discs.

Für den ersten CMI-Synthesizer mit Samplingfunktion mussten die Musiker noch 1 Million US-Dollar auf den Tisch legen. Seinen Siegeszug durch die Welt des Pop und der experimentellen elektroakustischen Musik hat der stolze Preis nicht verhindert. Im Gegenteil: das Fairlight CMI hat den Sound der Achtziger und Neunziger geprägt. Heute gehört es zu den historischen Instrumenten, aber einige Komponisten greifen dennoch wieder zum Lichtgriffel.

Mit Ausschnitten aus:

Thomas Kessler
Drum Control (1983) für Schlagzeug und Computer

Peter Gabriel
Peter Gabriel (1980)

The Art of Noise
Into Battle (1983)

Jonathan Harvey
One Evening (1994) für Sopran, Mezzosopran, Ensemble und Elektronik

Jean-Michel Jarre
Magnetic Fields (1981)

Hubert Bognermayr & Harald Zuschrader
Erdenklang – computerakustische Klangsinfonie (1982)

Kirsten Reese
the lightest words had the weight of oracles (2014)
für Fairlight CMI und E-Gitarre, Seth Josel

Alain Thibault
God's Greatest Gift (1985) Elektroakustische Musik

John McGuire
A Cappella (1990-97) für Sopran und Tonband, Beth Griffith

Younghi Pagh Paan
Tsi-Shin-Kut, für vier Schlagzeuger und Computerklänge (1991/94)

Martin Wesley-Smith
White knight and beaver (1984) für Posaune, verstärkte Violine/Viola und Fairlight CMI, Australia Ensemble

Hugh Davies
Vision (1985/87) Elektroakustische Musik

Autorin: Martina Seeber
Redaktion: Frank Hilberg

Video created with OpenShot on a Debian 8 Jessie Linux System.

WDR3 Studio Elektronische Musik: Programmiersprachen

Sebastian Ars Acoustica 2017-07-02 | Elektronische Musik ist heute in weiten Teilen Computermusik und es ist bis heute ein Signum avancierter Komponisten, dass sie sich nicht des vorkonfigurierten Instrumentariums der Industrie bedienen, sondern ihre Werke auf Basis eigens programmierter Algorithmen und selbst programmierter Software realisieren.

Für die Synthese elektronischer Werke und die Kalkulation von Partituren steht inzwischen eine Vielzahl ausdifferenzierter Computersprachen zur Verfügung, von denen Programmieroberflächen wie MAX/MSP, Pure Data oder Super Collider die bekanntesten sind. Anhand historischer und aktueller Musikbeispiele zeichnet die Sendung die Entwicklung und Ausdifferenzierung einschlägiger Programmiersprachen wie C und C++ nach und gibt einen Ausblick auf Sprachen und Programmieroberflächen, die in der aktuellen Musik Verwendung finden.

Mit Ausschnitten aus:

Newman Guttman
Silver Scale, elektronische Musik (1957)

Lejaren Hiller
Computer Cantata, für Ensemble und Elektronik (1963)

Charles Dodge
Changes, Computermusik (1970)

Peter Zinovieff/Alan Sutcliff
ZASP, elektronische Musik (1968)

John Chowning
Stria, Computermusik (1977)

Philip Manoury
Pluton, für Klavier und Elektronik (1989)

Siegfried Koepf
Frieze, Computermusik (2016)

SKIF
for toon, Computermusik (2006)

Rolf Geelhaar
Multiverse, Computermusik (2006)

Klarenz Barlow
Verhältnisse 6, für Computer, Synthesizer, Bassklarinette und Schlagzeug (1986)

Bernd Härpfer
Velocity Delays, für Klarinette und Live-Elektronik (2016)

Bobby Whelan
Surface Forgotten Dream, Computermusik (2008)

Moderation: Hubert Steins
Redaktion: Frank Hilberg

Video created with OpenShot on a Debian 8 Jessie Linux System.

WDR3 Studio Elektronische Musik: Denis Smalley

Sebastian Ars Acoustica 2017-07-02 | Der zweite Teil der Sendung Studio Elektronische Musik widmet sich dem 1946 in Neuseeland geborenen Komponisten Denis Smalley. Obwohl Smalley nur eine einjährige Ausbildung in elektroakustischer Musik in Paris absolvierte, war er es, der die akusmatische Tradition Frankreichs auch in Großbritannien heimisch machte, wo er seit den frühen 70er Jahren lebt.

Denis Smalley hatte bereits als 20-Jährigiger sein Orgelstudium abgeschlossen, und kurz darauf auch das Kompositionsstudium. In Paris besuchte er parallel zur Kompositionsklasse von Olivier Messiaen einen Ausbildungskurs bei der GRM – der Group de Recherches Musicales. Dieser Kurs, den Smalley erst 1971 bei seiner Ankunft in Paris entdeckte, wurde für ihn bald wichtiger als die Stunden bei Messiaen. Und GRM prägte sein weiteres Schaffen so stark, dass seine offizielle Werkliste keine Werke vor 1973 enthält.
In Paris blieb Smalley jedoch nicht all zu lang: Die GRM-Ausbildung absolvierte er in einem statt der vorge schriebenen zwei Jahre. Kurz darauf ging er nach England und promovierte dort an der University of York. 1994 erhielt er schließlich eine Professur an der City University in London, und wurde so zu dem akusmatischen Lehrmeister Großbritanniens.

Mit Ausschnitten aus:

Denis Smalley
Pentes

Karlheinz Stockhausen
Kontakte

Luc Ferrari
Presque Rien

Denis Smalley
Empty Vessels
Clarinet Threads
Base Metal
Debussy‘s Cathedral
Fabrezan Preludes

Video created with OpenShot on a Debian 8 Jessie Linux System.

Francis Dhomont - Chroniques de la lumière - Météores (1989, 2005)

Sebastian Ars Acoustica 2017-01-14 | stereo tape
Commission: SMCQ, with support from the CCA
To Annette Vande Gorne

These “Chronicles” are an impressionistic sonic version of visual elements — an undoubtedly metaphorical act -, a personal daydream of light based on a concept by Montréal visual artist Luc Courchesne. An evocation of luminous phenomena, natural rays or multiple artifacts, Chroniques de la lumière (Chronicles of Light) is comprised of three movements: Miroitements (Shimmers), Artifices, Météores (Meteors) or adagio, allegro and presto-finale.

An evolution from slow to fast, calm to agitated, piano to forte, static to mobile, simple to complex.

Chroniques de la lumière [Chronicles of Light] was realized at the composer’s studio and premiered on April 26, 1989 at the Doppler Concert of the Société de musique contemporaine du Québec (SMCQ), at the Spectrum in Montréal. The proportions of Météores went through slight modifications in 2005; that particular movement is thus a new version. Chroniques de la lumière was first released on the Halogènes compact disc produced by the Université de Montréal on the UMMUS-Actuelles label (UMM C 101). Météores (1989) was released by empreintes DIGITALes in 1991 on Mouvances~Métaphores (IMED 9107/08), and in 1996 on Les dérives du signe (IMED 9608). Miroitements was selected by the 1995 International Computer Music Conference (ICMC95) in Banff (Canada); Artifices was selected by the 1994 International Computer Music Conference (ICMC94) in Aarhus (Denmark); Météores (1989) was selected by the International Society for Contemporary Music (ISCM) for the 1990 World Music Days in Oslo (Norway), and by the 1993 International Computer Music Conference (ICMC ’93) in Tokyo (Japan). Many of the sounds were realized at Studio 123 and with the SYTER real-time sound synthesis system of the Ina-GRM (Paris, France). Special thanks to Yann Geslin, Daniel Teruggi and the late Bénédict Mailliard for their invaluable advice. Chroniques de la lumière was commissioned by the SMCQ and realized with support from the Canada Council for the Arts (CCA).

Video created with sonic visualizer, OpenShot and vokoscreen on an openSUSE 13.2. Linux system.

Francis Dhomont - Chroniques de la lumière - Artifices (1989, 2005)

Francis Dhomont - Chroniques de la lumière - Miroitements (1989, 2005)