![\"Berlin](\"https:\/\/www.gruenrekorder.de\/Photos\/berlin_buelbuel_gruen_159.jpg\" "\\"Berlin")
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Berlin B\u00fclb\u00fcl | David Rothenberg<\/a> & Korhan Erel<\/a><\/strong> <\/p>\n There are three distinct ways nightingales sing and countersing to each other, beginning late at night and ending by dawn in the first weeks of spring. Most males are \u2018inserters<\/em>,\u2019 meaning that they wait about one second after a neighbor\u2019s song finishes before starting their own. Songs alternate between one bird and another. Then there are \u2018overlappers<\/em>,\u2019 who start their song about one second after their neighbor begins, as if to cover up or jam the neighbor\u2019s signal. It may be some kind of threat or a mask of the first song, cutting into his air time. Then there are \u2018autonomous singers<\/em>,\u2019 who sing and sing according to their own schedule, paying no heed to what any nearby nightingales are doing. Sounds like a good analysis of the three kinds of jazz musicians one might run into on the stage: the one who give you space and trades choruses, another who tries to interrupt everything you do, and finally the boss who cares about no one\u2019s licks but his own.<\/p>\n <\/p>\n Berlin is probably the best city in Europe to make music live with nightingales, because of its spacious parks and the large number of enthusiastically singing birds. Strangely enough, nighttime nightingale jamming doesn\u2019t seems to be as popular an activity as one might expect, but we have shown that it does actually work. Almost everything one plays to a nightingale will encourage him to sing more.<\/p>\n <\/p>\n Berlin biologist Silke Kipper is worried by the occasional penchant of the male nightingale to sing a strange buzz in the midst of his clarion whistles, clicks, and ratchets. She admits she finds this buzz sound unpleasant, and says that does not matter because the female nightingales find it especially pleasant. This sound already has something particularly cool that the nightingales would sing only occasionally, like an ornament, grace note, or more honestly a blue note, that cool in-between unclassifiable sound human music is known to offer up in many forms. When a female hears the buzz, she knows that this male singer is strong, solid, and a good choice with whom to mate. It gets her excited. She just might fly right into the midst of the nettles to find him\u2026<\/p>\n <\/p>\n What is it like to play along with a nightingale? It becomes a direct window into the unknown, a touch of communication with a being with whom we cannot speak. The play of pure tones jarring against click and buzz, it all becomes not a code but a groove, an amphitheater of rhythms in which we strive to find a place. Even when we are back in the studio the possibility of contacting the musical mind of the nightingale still influences us. What is special about this moment is that the birds are leaving space for each other, they are in that back and forth, territory-defining state, and thus they welcome me perhaps more than usual. Occasional human cries in the distance, that\u2019s right, everyone can find their place, all are welcome\u2026. Finally one screech\u2014is it someone blowing against a blade of grass?\u2014will that silence our bird? No, absolutely not, nothing will. For he is born to sing.<\/p>\n <\/p>\n <\/p>\n Track list:<\/p>\n <\/p>\n 01 \u2013 The Night the War Ends (9:03) 02 \u2013 A Long Note\u2019s Invisible Beam (3:10)<\/p>\n 03 \u2013 Unearthly Untaught Strain (3:51) 05 \u2013 Omnibus (4:11)<\/p>\n 06 \u2013 Nachtigall Imbiss (4:30)<\/p>\n 07 \u2013 Her Pipe in Growth of Riper Days (3:13) 10 \u2013 No Two Sound Alike (2:30)<\/p>\n 11 \u2013 Hasenheide Night Circus (4:11) 12 \u2013 Interfused Upon the Silentness (1:58)<\/p>\n <\/p>\n 12 Tracks (49\u203254\u2033) <\/p>\n <\/p>\n David Rothenberg, bass clarinet, clarinet, effects <\/p>\n Recorded at live on location and at Draakonipuu, Kreuzberg, Berlin, Spring 2014 <\/p>\n Special thanks to Chaos Chen and Xinglang Guo of Wie:Kultur for helping to make this project possible. To Dietmar Todt, Silke Kipper, Ofer Tchernichovski, Marc Naguib and Christine Roeske for sharing the science. And to all who joined us for our midnight concert in Treptower Park last May 9th, the night the end of the War is celebrated.<\/p>\n <\/p>\n Artwork and design by Bernhard W\u00f6stheinrich, www.studioflokati.de<\/a><\/p>\n <\/p>\n All titles published by Mysterious Mountain Music (BMI) <\/p>\n Sound Art Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n PROGRESS REPORT<\/a><\/strong> <\/p>\n Opening track \u2018The Night the War Ends\u2019 is a nine-minute monster. After a call and response between the birds and clarinet, the album begins in earnest. Rothenberg\u2019s playing is underpinned by Erel\u2019s subtle electronics. Instead of coming in all guns blazing, he wraps Rothenberg in a swaddle of synths. At first you do not notice what he is doing, as your attention is drawn to the clarinet and birds, but he is there. However, when you do start to notice his work you cannot unnotice it. \u2018Omnibus\u2019 is the wonkiest of the tracks on \u2018Berlin B\u00fclb\u00fcl\u2019. Here Erel steps from out of the shadows and let us rip in places and glitches out. The juxtaposition of deep, warming clarinet tone and the stark static electronic sounds works wonderfully. In fact, it works slightly too well, as you are left wanting a bit more throughout.<\/p>\n <\/p>\n Ultimately \u2018Berlin B\u00fclb\u00fcl\u2019 is a comforting album. The music is soothing, while the samples of birdsongs grounds everything in the real world. We have all been distracted out of our daily lives by the sound of birds. Sometimes for the better, others for the worse. The album is reminiscent of Evan Parker\u2019s 2004 classic \u2018Evan Parker with Birds\u2019. Like \u2018Berlin B\u00fclb\u00fcl\u2019 his playing was backed by birdsong, but Rothenberg and Erel have a slight edge, as what Erel does with Rothenberg\u2019s clarinet. He takes the wafting melodies and grounds them in real life. While an album of Rothernberg honking and hooting is great, the inclusion of Erel\u2019s bird sounds soundscapes really lifts these solos. Here they rise and fall gracefully, while gentle maelstroms buffett around them.<\/p>\n <\/p>\n This is an album that you can truly get lost in. It is an album that with each listen revels more and more of its secrets. But most importantly it is an album that is incredibly fun that manages to take you out of the mundanity of life with every listen. <\/p>\n DM | VITAL WEEKLY<\/a><\/strong> <\/p>\n Guillermo Escudero | Loop<\/a><\/strong> <\/p>\n textura<\/a><\/strong> <\/p>\n The liner notes prove enlightening for the listener new to the nightingale’s song. There are, it appears, three ways by which they sing and countersing to each other, starting late at night and lasting until dawn during the early weeks of spring. The male is typically an \u2018inserter,‘ which means he waits a moment after another’s song ends before starting his own, and thus a resultant song is formed from their alternations. There is also, however, the \u2018overlapper,‘ whose singing begins about one second after another’s, and the \u2018autonomous singer,‘ who blithely sings according to his own schedule, indifferent to whatever else is happening nearby.<\/p>\n <\/p>\n Rather than retreating into silence at the sound of Rothenberg’s clarinet playing, the nightingales seem emboldened by its presence and respond to it enthusiastically, and the interactions between them can prove fascinating to witness. During \u201cThe Night the War Ends,\u201d a live \u2018duet‘ recorded at midnight in Treptower Park, Rothenberg alternates between repeating a nightingale’s chirp and serenading his feathered friends with bluesy runs, with all of it developing against a background of electronic thrum, live sampling, and audible traffic sounds and sirens. Another creature even gets in on the act during \u201cDark with Birds and Frogs,\u201d also laid down at midnight in Treptower Park.<\/p>\n <\/p>\n In a non-live piece such as \u201cA Long Note’s Invisible Beam,\u201d on the other hand, the clarinetest continues his blues-soaked musings but this time against a backdrop of insectoid whirr and click generated by Erel. But as generally interesting as the non-live settings are, there’s a side of me that would have liked to hear Rothenberg interacting with another musician, perhaps a saxophonist or violinist, in addition to Erel, a move that might have made for a more rewarding result, especially when the abstract textures created by Erel grow less interesting as the album advances. As splendid as Rothenberg’s playing is in both contexts, it’s ultimately the live pieces that are Berlin B\u00fclb\u00fcl’s primary drawing card and selling point. <\/p>\n \u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong> <\/p>\n Wiosenne miesi\u0105ce (kwiecie\u0144-maj) to doskona\u0142y moment na rozpocz\u0119cie obserwacji s\u0142owik\u00f3w przylatuj\u0105cych z Afryki. Mo\u017cemy je spotka\u0107 w prawie ca\u0142ej Europie i nie tylko. Co wa\u017cne, \u015bpiew tego ptaka jest niezwykle dono\u015bny, urozmaicony oraz posiada du\u017c\u0105 skal\u0119 ton\u00f3w. Dw\u00f3ch wy\u015bmienitych tw\u00f3rc\u00f3w postanowi\u0142o wej\u015b\u0107 z nimi w muzyczny dialog. Korhan Erel to turecki artysta d\u017awi\u0119kowy, improwizator i konstruktor, kt\u00f3ry obecnie mieszka w Berlinie. W swoich pracach korzysta zar\u00f3wno z elektroniki cyfrowej, jak i analogowej. Jest cz\u0142onkiem-za\u0142o\u017cycielem Islak K\u00f6pek \u2013 grupy tworz\u0105cej w duchu wolnej improwizacji. Uwa\u017ca si\u0119, \u017ce ten zesp\u00f3\u0142 w znacznym stopniu przyczyni\u0142 si\u0119 do rozwoju sceny improwizowanej w Turcji. Korhan kreuje systemy\/instrumenty komputerowe nazywane przez siebie Omnibus. W trakcie komponowania u\u017cywa konkretnych d\u017awi\u0119k\u00f3w (sampli, nagra\u0144 terenowych), a nast\u0119pnie je przekszta\u0142ca i przetwarza w czasie rzeczywistym.<\/p>\n <\/p>\n Z kolei David Rothenberg to ameryka\u0144ski klarnecista, kompozytor, profesor filozofii, absolwent Harvardu, a tak\u017ce wyk\u0142adowca na New Jersey Institute of Technology. Na koncie mam sporo p\u0142yt solowych, w tym album \u201eNa Cliffs of the Heart\u201d uznany przez magazyn \u201eJazziz\u201d za jedn\u0105 z dziesi\u0119ciu najlepszych p\u0142yt roku 1995. Jest autorem wielu interesuj\u0105cych ksi\u0105\u017cek [np. \u201eWhy Birds Sing\u201d (2005), \u201eThousand Mile Song\u201d (2008)] i film\u00f3w dokumentalnych, w kt\u00f3rych opisuje i bada muzyk\u0119 przez pryzmat \u015bwiata zwierz\u0105t. W ubieg\u0142ym roku ukaza\u0142o si\u0119 znakomite wydawnictwo \u201eCicada Dream Band\u201d (recenzja, Gruenrekorder) tria Pauline Oliveros\/David Rothenberg\/Timothy Hill, gdzie mieli\u015bmy improwizowane nagrania w otoczeniu odg\u0142os\u00f3w cykad, \u015bwierszczy, humbak\u00f3w, \u017cab czy ptak\u00f3w.<\/p>\n <\/p>\n Za spraw\u0105 tegorocznego kr\u0105\u017cka \u201eBerlin B\u00fclb\u00fcl\u201d przenosimy si\u0119 do \u015bwiata naznaczonego rozkosznym \u015bpiewem s\u0142owik\u00f3w. Rothenberg (klarnet basowy, elektronika) i Korhan (sampler, iPad, Omnibus) eksploruj\u0105 miejskie parki Berlina w poszukiwaniu odg\u0142os\u00f3w tych ptak\u00f3w, po czym nawi\u0105zuj\u0105 z nimi interaktywne porozumienie (szczeg\u00f3lnie wyr\u00f3\u017cniaj\u0105 si\u0119 \u015bwietne partie klarnetu). Berli\u0144ski biolog Silke Kipper od lat zg\u0142\u0119bia d\u017awi\u0119kowy aspekt \u015bpiewu s\u0142owika i towarzysz\u0105ce temu r\u00f3\u017cne zawi\u0142o\u015bci, polegaj\u0105ce m.in. na odmiennych tonacjach, jakie wydaj\u0105 z siebie samiec lub samica w r\u00f3\u017cnych okresach swego \u017cycia. Autorzy \u201eBerlin B\u00fclb\u00fcl\u201d oczywi\u015bcie skorzystali z wiedzy niemieckiego naukowca, aby jeszcze g\u0142\u0119biej dotkn\u0105\u0107 tematu.<\/p>\n <\/p>\n Soundartowe zabiegi duetu zosta\u0142y zaprezentowane w bardzo kreatywny spos\u00f3b. Niekiedy czysty \u015bpiew ptak\u00f3w staje si\u0119 r\u00f3wnoprawnym partnerem do wsp\u00f3lnej improwizacji, a innym razem zostaje poddany dodatkowej obr\u00f3bce, dzi\u0119ki czemu uzyskane \u201edeformacje\u201d nabra\u0142y jeszcze szerszego kontekstu i wymiaru. Elektroniczna tkanka wytworzona przez Korhana na pewno nie przeszkadza i nie stara si\u0119 dominowa\u0107, lecz doskonale uzupe\u0142nia ca\u0142o\u015b\u0107.<\/p>\n <\/p>\n Na \u201eBerlin B\u00fclb\u00fcl\u201d noise\u2019owo-glitchowy kalejdoskop uzyskany przez Korhana w fascynuj\u0105cy spos\u00f3b zaz\u0119bia si\u0119 z improwizuj\u0105cym klarnetem Rothenberga i wyrazistym \u015bpiewem s\u0142owika. Teraz pozostaje tylko wyj\u015b\u0107 do parku (polecam \u015bwit albo p\u00f3\u017any wiecz\u00f3r) i nawi\u0105za\u0107 w\u0142asn\u0105 ni\u0107 porozumienia z tymi ptakami, ale maj\u0105c w s\u0142uchawkach nagrania z \u201eBerlin B\u00fclb\u00fcl\u201d. <\/p>\n ZAMAN<\/a><\/strong> <\/p>\n Birbirini daha \u00f6nce hi\u00e7 g\u00f6rmemi\u015f, biri Amerika\u2019da biri Berlin\u2019de ya\u015fayan iki m\u00fczisyeni bir araya getiren nedir? Yapt\u0131klar\u0131 s\u0131ra d\u0131\u015f\u0131 i\u015fler olabilir mi? \u00c7ok muhtemel. Geleneksel ve kal\u0131pla\u015fm\u0131\u015f formlar\u0131n d\u0131\u015f\u0131na \u00e7\u0131karak m\u00fczik yapan David Rothenberg ile Korhan Erel\u2019e olan da tam olarak bu. Rothenberg, bir klarnet sanat\u00e7\u0131s\u0131 ve klarneti eline ald\u0131\u011f\u0131nda ona e\u015flik eden ku\u015flar, b\u00f6cekler hatta balinalar\u2026 Korhan Erel ise Almanya\u2019da ya\u015fayan bir bilgisayar m\u00fczisyeni. Onun da enstr\u00fcman\u0131 gitar, piyano, keman filan de\u011fil, bilgisayar ve akl\u0131n\u0131za gelebilecek her t\u00fcrl\u00fc do\u011fal ve do\u011fal olmayan sesler\u2026 Rothenberg, Berlin\u2019de oldu\u011fu bir s\u0131rada Korhan Erel\u2019in de sahnede oldu\u011fu bir konsere denk gelir. Kendisi gibi s\u0131ra d\u0131\u015f\u0131 i\u015fler yapan bu adamla tan\u0131\u015fmak ister ve birka\u00e7 ay sonra Berlin\u2019de ger\u00e7ekle\u015ftirece\u011fi bir konserine davet eder. Bu konserde ilk defa birlikte \u00e7alarlar, ard\u0131ndan da Treptower Park\u0131\u2019nda ikinci bir konser verirler. Bu kez onlara e\u015flik eden birileri daha vard\u0131r. B\u00fclb\u00fcllerin ta kendisi\u2026 Epeyce dinleyicileri vard\u0131r gece b\u00fclb\u00fcllerle canl\u0131 yap\u0131lan bu konserin. B\u00fclb\u00fcller gece \u00f6tt\u00fcklerinden g\u00fcn\u00fcn ilk \u0131\u015f\u0131klar\u0131na kadar s\u00fcrer konser. 9 May\u0131s 2014\u2019te ger\u00e7ekle\u015fen konserde ve sonras\u0131nda kaydedilen \u00f6zg\u00fcr do\u011fa\u00e7lama kay\u0131tlar\u0131ndan olu\u015fan \u2018Berlin B\u00fclb\u00fcl\u2019 ad\u0131yla bir alb\u00fcm haz\u0131rlar Rothenberg ve Erel. Alb\u00fcmlerinin ilk lansman konseri ge\u00e7ti\u011fimiz hafta Borusan M\u00fczik Evi\u2019nde ger\u00e7ekle\u015fen iki sanat\u00e7\u0131yla \u0130stanbul\u2019dayken g\u00f6r\u00fc\u015fme imk\u00e2n\u0131 bulduk.<\/p>\n <\/p>\n \u2018Hayvanlarla m\u00fczik ser\u00fcvenim beni b\u00fclb\u00fcle ula\u015ft\u0131rd\u0131\u2019 <\/p>\n Rothenberg\u2019de durum bu. Peki Korhan Erel\u2019in daha \u00f6nce hayvanlarla m\u00fczik yapma deneyimi var m\u0131? Erel, akla gelebilecek her sesi kulland\u0131\u011f\u0131ndan bunun i\u00e7inde ku\u015flar da varm\u0131\u015f tabii. \u201cBenim uzun y\u0131llar kulland\u0131\u011f\u0131m bir enstr\u00fcman\u0131m vard\u0131. Evin cam\u0131na konan ku\u015ftan kay\u0131t ald\u0131\u011f\u0131m seslerden olu\u015fuyordu.\u201d diye anlat\u0131nca merak edip, \u201cEnstr\u00fcman derken?\u201d diye soruyoruz \u201cBilgisayarda enstr\u00fcmanlar tasarl\u0131yorum. \u00c7e\u015fitli kumandalarla \u00e7al\u0131yorum ve o enstr\u00fcmanlarda da genellikle yapt\u0131\u011f\u0131m kay\u0131tlar\u0131 kullan\u0131yorum. Evde, do\u011fada yapt\u0131\u011f\u0131m kay\u0131tlar. Veya bir yerde bir ses buluyorum ve o sesi al\u0131p bir enstr\u00fcmana \u00e7eviriyorum.\u201d diyerek a\u00e7\u0131kl\u0131yor yapt\u0131\u011f\u0131 i\u015fi. Bir de h\u00e2l\u00e2 kulland\u0131\u011f\u0131 bir enstr\u00fcman\u0131 var ki ger\u00e7ekten \u00e7ok ilgin\u00e7. K\u00f6pe\u011fin yemek yerken \u00e7\u0131kartt\u0131\u011f\u0131 a\u011f\u0131z \u015fap\u0131rdatma sesi… 4 ya\u015f\u0131nda piyano dersleri almas\u0131na, konservatuara gitmesine ve bir\u00e7ok aleti \u00e7almaya denemesine ra\u011fmen m\u00fczikte geleneksel kal\u0131plara kar\u015f\u0131 \u00e7\u0131karak bilgisayar m\u00fczisyenli\u011fine y\u00f6nelen biri i\u00e7in \u00e7ok da \u015fa\u015f\u0131rt\u0131c\u0131 \u015feyler de\u011fil anlatt\u0131klar\u0131.<\/p>\n <\/p>\n Sifonun dolma sesinden par\u00e7alar yapt\u0131 <\/p>\n Rothenberg, \u201cD\u00fcnyadaki b\u00fct\u00fcn diller ku\u015flar\u0131n \u015fark\u0131 s\u00f6ylemesinden bahseder. Ama biz bilmeyiz \u015fark\u0131 m\u0131 s\u00f6yl\u00fcyor yoksa konu\u015fuyor mu?\u201d deyince bu konuda onun fikrinin ne oldu\u011funu soruyoruz. Farkl\u0131 zamanlarda ikisini de yapt\u0131klar\u0131n\u0131 s\u00f6yl\u00fcyor: \u201cKu\u015flar\u0131nki ger\u00e7ekten m\u00fczik. \u00c7\u00fcnk\u00fc belli bir mant\u0131\u011fa sahip. B\u00fclb\u00fcl\u00fcn \u015fark\u0131s\u0131n\u0131n b\u00fcy\u00fcleyici olmas\u0131n\u0131n sebebi ciddi m\u00fczikal c\u00fcmleler i\u00e7eriyor olmas\u0131. Bu c\u00fcmlelerin giri\u015f, geli\u015fme, duygusal birikim ve bo\u015falma gibi t\u0131pk\u0131 m\u00fczikteki benzer yap\u0131lara sahip olmas\u0131 \u00e7ok b\u00fcy\u00fcleyici.\u201d Seslerini ileti\u015fim i\u00e7in de kulland\u0131klar\u0131 oldu\u011funu s\u00f6yleyen Rothenberg, \u201cK\u00fc\u00e7\u00fck bir ku\u015f di\u011ferlerini uyarmak i\u00e7in yukar\u0131dan ge\u00e7en \u015fahinin sesini \u00e7\u0131kar\u0131r, bu konu\u015fmad\u0131r. Ama \u015fark\u0131da b\u00f6yle bir ama\u00e7 yok. Erkek ku\u015flar di\u015fi ku\u015flar\u0131n ilgisini \u00e7ekmek i\u00e7in \u015fark\u0131 s\u00f6yler mesela. Baz\u0131 ku\u015flar bunu iki-\u00fc\u00e7 notayla yaparken b\u00fclb\u00fcl uzun seslerle yap\u0131yor.<\/p>\n <\/p>\n Kambur balinalar 24 saat aral\u0131ks\u0131z \u015fark\u0131 s\u00f6yl\u00fcyor <\/p>\n Holger Adam | testcard #25: Kritik<\/a> <\/strong> <\/p>\n RODOLPHE ALEXIS entf\u00fchrt mit The Glittering Thing On The Mountain erneut auf ferne tropische Inseln, wo V\u00f6gel wie Synthesizer klingen und mitunter auch b\u00fchnentaugliche Berlin B\u00fclb\u00fcl | David Rothenberg & Korhan Erel Gruen 159 | Audio CD > [Sold Out] Reviews There are three distinct ways nightingales sing and countersing to each other, beginning late at night and ending by dawn in the first weeks of spring. Most males are \u2018inserters,\u2019 meaning that they wait about one […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-13746","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/13746","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13746"}],"version-history":[{"count":36,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/13746\/revisions"}],"predecessor-version":[{"id":18461,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/13746\/revisions\/18461"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13746"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 159 | Audio CD > [Sold Out<\/font>]
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
\n
\nlive from Treptower Park at midnight, May 9, 2014<\/em><\/p>\n
\nMP3<\/a>
\n04 \u2013 Treptower Monument (3:46)
\nlive from Treptower Park 1am, May 1, 2014
\nMonika Dorniak, whistling<\/em><\/p>\n
\nMP3<\/a>
\n08 \u2013 Dark with Birds and Frogs (6:01)
\nlive from Treptower Park at midnight, May 9, 2014<\/em>
\nMP3<\/a>
\n09 – \u00a0From That Moonlit Cedar What a Burst (3:34)<\/p>\n
\nlive from Hasenheide Park at midnight, April 15, 2014<\/em><\/p>\n
\nCD (1000 copies)<\/p>\n
\n
\nKorhan Erel, Samplr on iPad, Omnibus
\nnightingales live in the parks of Berlin<\/p>\n
\nProduced by David Rothenberg<\/p>\n
\nMany title names adapted from lines in Edward Hirsch, ed. To a Nightingale: Poems from Sappho to Borges<\/em> (George Braziller, 2007)
\n\u00a9 & \u2117 2015 Terra Nova Music | University Heights | Newark, NJ 07102 | USA | TN 1511
\nwww.terranovamusic.net<\/a><\/p>\n
\nGermany \/ 2015 \/ Gruen 159 \/ LC 09488 \/ BMI \/ EAN 4050486928066<\/p>\n
\n
\nWhilst listening to David Rothenberg and Korhan Erel\u2019s \u2018Berlin B\u00fclb\u00fcl\u2019, roughly translated as \u2018Berlin Nightingale\u2019, its hard not to smile. This comes from the intricate interplay of the playing. Rothenberg\u2019s runs are graceful but belie the complexity that lies beneath. Erel\u2019s electronics fill some of the gaps left by the sonorous clarinet. Instead of trying to fill all the space with dense sound, here they let each other have room to breath and work. The results are striking, whilst being enjoyable. Then there is the sound of birds, peppering each track. As they cheap, and flutter about, it gives the sounds a sense of rhythm they would not have had. And it is this rhythm that is fundamental to the album\u2019s charm. <\/p>\n
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\nRothenberg we have met earlier on Gruenrekorder releases, like \u2018Bug music\u2018(2013) and \u2018Cicada Dream Band\u2019 (2014), that he recorded with Pauline Oliveros and Tomithy Hill. From that you may remember that this composer takes inspiration from nature. It is here that Rothenberg likes to find his fellow musicians. For instance he composed several works that depart from sounds produced by insects. But let us not forget that he also played with Marilyn Crispell, Jan Bang, Scanner, Glen Velez, Peter Gabriel, a.o. and has twelve cds out under his own name. On his new recording he collaborates with Berlin-based Turkish electronic musician Korhan Erel. Computer musician, improviser, sound designer Erel was one of the pioneers of the free improvisation scene in Turkey. He works in very different contexts (dance, video, installations, theatre, etc.). On \u2018Berlin B\u00fclb\u00fcl\u2019 Rothenberg and Erel report from their midnight sessions with singing nightingales. Rothenberg plays clarinet and bass clarinet plus effects. Erel uses samplers. Everything we hear is recorded live in a park in Berlin. Rothenberg and Erel interact with nightingales. \u201cWhat is it like to play along with a nightingale? It becomes a direct window into the unknown, a touch of communication with a being with whom we cannot speak. The play of pure tones jarring against click and buzz, it all becomes not a code but a groove, an amphitheatre of rhythms in which we strive to find a place\u201d. Of course there are also some other environmental sounds in the background, like a siren of an ambulance for example. It is difficult to determine from the recording whether the nightingale\u2019s are stimulated in whatever way by the playing by Rothenberg and Erel. Both gentlemen however are, which makes this an interesting and pleasant experiment.
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\nThis is a collaboration between the German musician, composer, author and philosopher-naturalist David Rothenberg on bass clarinet, clarinet and effects and computer musician, improviser, sound designer Turkish Korhan Erel based in Berlin on computer, iPad and live sampling.
\n‚Berlin B\u00fclb\u00fcl‘ (which means nightingale in Turkish) is a living recording on location and at Draakonipuu, Kreuzberg, Berlin (an important heritage area of the city with several parks and museums).
\nAccording to the liner notes about nightingale behaviour there are \u201cthree ways by which they sing and countersing to each other, starting late at night and lasting until dawn during the early weeks of spring. The male is typically an \u2018inserter,\u2019 which means he waits a moment after another\u2019s song ends before starting his own, and thus a resultant song is formed from their alternations. There is also, however, the \u2018overlapper,\u2019 whose singing begins about one second after another\u2019s, and the \u2018autonomous singer,\u2019 who blithely sings according to his own schedule, indifferent to whatever else is happening nearby\u201d.
\nThe prolific interaction between the sinuous Rothenberg clarinet sounds and sound explorations with electronic abstractaciones Erel, maintains an ongoing rich in nuance dialogue between music and nature.
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\n[…] A woodwinds-based duo recording of radically different character from Komplex is Berlin B\u00fclb\u00fcl (nightingale in Turkish), which features clarinetest David Rothenberg working with Korhan Erel, who’s credited with computer, iPad, and live sampling on the fifty-minute CD. Ostensibly a follow-up to Rothenberg’s 2013 Bug Music release, Berlin B\u00fclb\u00fcl finds the musician shifting the focus from insects to nightingales. The two are a natural fit: Rothenberg is an intrepid musician who regards non-human creatures as sparring partners; for his part, Erel, a Turkish electronic musician now residing in Berlin, enjoys sampling birds in their natural habitat. Many pieces on the twelve-track collaboration are live recordings of human-nightingale encounters at various Berlin parks, while the others are constructed tracks fusing clarinets and electronics.<\/p>\n
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\nJak to jest gra\u0107 razem ze s\u0142owikami?<\/p>\n
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\nSesi \u2018b\u00fclb\u00fcl gibi\u2019 sanat\u00e7\u0131lar\u0131n alb\u00fcm\u00fcne al\u0131\u015f\u0131\u011f\u0131z da bizzat b\u00fclb\u00fcl\u00fcn enstr\u00fcmanlara e\u015flik etti\u011fi bir alb\u00fcm yabanc\u0131 bize. Fakat bu kez sahne b\u00fclb\u00fcllerin. David Rothenberg ve Korhan Erel, Berlin\u2019de bir parkta gece boyunca b\u00fclb\u00fcllerle m\u00fczik yapt\u0131. Ortaya \u2018Berlin B\u00fclb\u00fcl\u2019 adl\u0131 alb\u00fcm \u00e7\u0131kt\u0131.<\/p>\n
\nRothenberg\u2019e ilk sorumuz \u2018Hayvanlarla m\u00fczik yap\u0131labilece\u011fini nas\u0131l ke\u015ffettiniz?\u2019 oluyor. Rothenberg, s\u00f6ze hayvanlar\u0131n \u2018bizim \u015fu anda m\u00fczik diye adland\u0131rd\u0131\u011f\u0131m\u0131z \u015feyi\u2019 insanlardan \u00e7ok \u00e7ok daha \u00f6nce yapan canl\u0131lar oldu\u011funu ve onlar\u0131n d\u00fcnyas\u0131nda \u015fark\u0131 s\u00f6ylemenin di\u011fer b\u00fct\u00fcn dillerden fazla oldu\u011funu anlatarak ba\u015fl\u0131yor. Ayn\u0131 zamanda felsefe profes\u00f6r\u00fc olan Rothenberg, 15 y\u0131l \u00f6nce hayvanlarla m\u00fczik yapan ki\u015fileri ara\u015ft\u0131rarak bir kitap yazm\u0131\u015f. Rothenberg\u2019in bu kitab\u0131n\u0131 okuyan Michael Pestel adl\u0131 bir ba\u015fka m\u00fczisyen kendisine Pittsburg\u2019daki Ulusal Ku\u015f Park\u0131\u2019na gitmesini \u00f6nermi\u015f. Parkta klarnetiyle \u00e7alarken baz\u0131 ku\u015flar hi\u00e7 ald\u0131r\u0131\u015f etmezken baz\u0131lar\u0131 dikkat kesilmi\u015f. \u201cO parkta g\u00fclen ard\u0131\u00e7 ku\u015fu, \u00f6zellikle klarnete e\u015flik edince fark ettim ki di\u011fer canl\u0131larla ileti\u015fim kurmak i\u00e7in m\u00fczi\u011fi kullanabilirsiniz. Ve birlikte hi\u00e7bir canl\u0131n\u0131n tek ba\u015f\u0131na yapamayaca\u011f\u0131 t\u00fcrde bir m\u00fczik yapabiliriz. Bu beni bir yola soktu ve eninde sonunda b\u00fclb\u00fcle ula\u015ft\u0131m.\u201d diyen Rothenberg, nedenini ise \u015f\u00f6yle a\u00e7\u0131kl\u0131yor: \u201cB\u00fclb\u00fcl, Amerika\u2019da ger\u00e7ek bir hayvan olmaktan \u00e7ok efsanevi bir canl\u0131. \u00c7\u00fcnk\u00fc yok. Biz b\u00fclb\u00fcl\u00fc hep Avrupa edebiyat\u0131ndan \u00f6\u011freniyoruz. B\u00f6yle sesi fl\u00fcte benzer bir hayvan zannediyoruz, halbuki ger\u00e7ekte elektronik m\u00fczi\u011fe benziyor. B\u00fclb\u00fcl sesini hi\u00e7 bilmeyen insanlar daha \u00e7ok \u015fiirleri, fabllar\u0131 okudu\u011funda onlara b\u00fclb\u00fcller sizce nas\u0131l \u00f6t\u00fcyor, diye sordu\u011funuzda, \u00e7\u0131kartt\u0131klar\u0131 seslerle b\u00fclb\u00fcl\u00fcnk\u00fc aras\u0131nda alaka bile olmad\u0131\u011f\u0131 cevab\u0131n\u0131 verdikleri anla\u015f\u0131l\u0131yor.\u201d<\/p>\n
\nKorhan Erel\u2019e bu zamana kadar enstr\u00fcman olarak kulland\u0131\u011f\u0131 en s\u0131ra d\u0131\u015f\u0131 sesi soruyoruz. Gitti\u011fi bir kafede bozuk olan sifonun dolma sesinden bahsediyor: \u201cFark etti\u011fimde hemen kay\u0131t cihaz\u0131m\u0131 ald\u0131m ve tuvalete kapan\u0131p 15 dakika sesi kaydettim. Daha sonra bir\u00e7ok par\u00e7ada o sesi kulland\u0131m. S\u00f6ylemezsem kimse anlam\u0131yor sifon sesi oldu\u011funu. Fl\u00fct, saksafon hatta kap\u0131 g\u0131c\u0131rt\u0131s\u0131 sesi oldu\u011funu zannedenler var.\u201d<\/p>\n
\nRothenberg\u2019e birlikte m\u00fczik yapmaya en m\u00fcsait hayvan\u0131n hangisi oldu\u011funu soruyoruz. G\u00fcneydo\u011fu Asya k\u00f6kenli bir t\u00fcr olan \u2018g\u00fclen ard\u0131\u00e7 ku\u015fu\u2019ndan bahsediyor. \u0130sminden de belli zaten, g\u00fclme sesine \u00e7ok yak\u0131n bir ses \u00e7\u0131kard\u0131\u011f\u0131 i\u00e7in bu ismi alm\u0131\u015f. Bir de kambur balinalar var. \u00dc\u00e7 hafta \u00f6nce Dominik Cumhuriyeti\u2019nde onlarla m\u00fczik yapm\u0131\u015f. 24 saatten uzun bir s\u00fcre boyunca hi\u00e7 aral\u0131ks\u0131z \u015fark\u0131 s\u00f6yleyebiliyormu\u015f kambur balinalar. Dominik Cumhuriyeti\u2019ndeki son deneyimi ise i\u015fitme engelli \u00e7ocuklarla olmu\u015f. Kambur balinalar\u0131n m\u00fczi\u011finin notaya d\u00f6k\u00fclebilen bir m\u00fczik oldu\u011funu s\u00f6yleyen Rothenberg, \u201cSa\u011f\u0131r \u00e7ocuklar elini al\u0131p balinan\u0131n g\u0131rtla\u011f\u0131na koydu\u011funda o sesi hissedip kendileri de \u015fark\u0131 s\u00f6yledi. \u015eark\u0131 s\u00f6yletmek, onlar\u0131 konu\u015fturmaktan daha kolay.\u201d diyor.
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\nDraussen vor der T\u00fcr: Field-Recordings und Sound-Art von Gruenrekorder
\nIn der letzten Gruenrekorder-Kolumne war ja bereits die Rede davon, dass man ziemlich herum kommt mit den Ohren, wenn man sich mit den CDs des Labels besch\u00e4ftigt, und das war nat\u00fcrlich ausschlie\u00dflich positiv gemeint. Die Aufnahmen, die Gruenrekorder ver\u00f6ffentlicht, werden ansprechend pr\u00e4sentiert und sind ein Abenteuer f\u00fcr die Ohren. So auch dieses Mal. <\/p>\n
\nNamen wie Ruddy Kingfisher tragen! Es zirpt Tag und Nacht, und noch viele andere Ger\u00e4usche dringen aus dem Urwald ans Ohr. Wie immer atemberaubend, spannend und entspannend. Noch relaxter geht es bei HAFIS BJARNAD\u00d3TTIR zu, deren Sounds Of Iceland \u00fcberraschend reduziert r\u00fcberkommen. Es pl\u00e4tschert, taut, blubbert, rauscht und kocht – je nachdem ob das Mikrophon vor B\u00e4che, Gletscher, hei\u00dfe Quellen, Wasserf\u00e4lle oder Lavastr\u00f6me gehalten wurde. Wasser, Gezeiten, Naturgewalten und gigantische Naturschauspiele, die \u00fcberraschend intime Sounds generieren. Trotzdem wird es beizeiten recht kalt oder hei\u00df gewesen sein, wobei es sich in angemessener Funktionskleidung sicher neben dem Mikrophon hat aushalten lassen. Die Aufnahmen selbst machen wenig fr\u00f6steln, im Gegenteil, sie w\u00e4rmen eher – auch wenn einem der Wind um die Ohren bzw. aus den Kopfh\u00f6rern pfeift. Gro\u00dfes Kopfkino liefert auch, man mag es nicht meinen, der Rhein. Es muss nicht immer Island sein, Karlsruhe hat es auch in sich. Das Duo RHEIN _ STROM bestehend aus Lasse-Marc Riek (Aufnahmen) und Thomas M. Siefert (Location Scout), dokumentiert den Klang des Rheines und seiner nahen Umgebung Von der Rheinquelle bis Hafen Karlsruhe auf der ebenso benannten CD. Das sind ein paar Hundert Kilometer, festgehalten in 21 Ausschnitten. Und – im Unterschied zur zivilisationsfernen Wildnis einer tropischen Insel oder der relativen Unber\u00fchrtheit Islands – um den Rhein herum menschelt es, Flugzeuge \u00fcberfliegen den Fluss und Schiffe befahren ihn, Autos und Z\u00fcge begleiten ihn. Auch das h\u00f6rt man. Und so stellt das Booklet zur CD die Frage: \u00bbWie k\u00f6nnen wir als heutige Menschen zu diesem Fluss in Beziehung treten, ohne in der Begegnung mit seiner an manchen Stellen erhaltenen Sch\u00f6nheit wieder einem Romantizismus zu verfallen bzw. im Konfrontiertsein mit den irreparablen Eingriffen sich frustriert und desillusioniert abzuwenden?\u00ab Eine Audio-Aufnahme des Flusses und seiner nicht nur nat\u00fcrlichen Ger\u00e4uschkulisse mag da einen weniger voreingenommenen Zugang gew\u00e4hren. Der Rhein als Fluss und von Mensch und Maschine geformte und genutzte Ressource klingt hier und da wie eine elektro-akustische Komposition (im Hafen Karlsruhe etwa, wenn sich unter Wasser aufgenommene Schifffahrtsger\u00e4usche in der Aufnahme wiederfinden). Das klingt alles recht spannend und wirft anregende mithin schwerwiegende Fragen auf, die nach Umweltschutz beispielsweise. Eine \u00f6kologische Frage, auch f\u00fcr die Ohren. Was muss man nicht alles h\u00f6ren, tagein tagaus! Und was will man nicht h\u00f6ren bzw. was h\u00f6rt man \u00fcberhaupt, wenn es zirpt und raschelt? So harmlos geht es nicht zu, so unber\u00fchrt ist die Natur nicht. Wie (drohende) Umweltverschmutzung als Field-Recording klingt, diese Erfahrung kann man sich am Beispiel von MIKEL R. NIETO und seinem Dark Sound eindr\u00fccklich vor Augen bzw. Ohren f\u00fchren. Die Aufnahmen kommen zusammen mit einem pechschwarzen Buch und dokumentieren Naturaufnahmen aus dem Yasuni-Nationalpark in Equador, dessen indigene Bev\u00f6lkerung und tierischer Artenreichtum durch Bohrungen nach einem \u00d6lvorkommen tief unter dem Naturschutzgebiet nicht mehr nur bedroht ist – die Zerst\u00f6rung und Vertreibung ist bereits in vollem Gange. So stellt sich beim Zuh\u00f6ren die Frage, ob der Tropenregen schon auf aufgew\u00fchlte Erde f\u00e4llt, die von Roh\u00f6l verschmutzt ist, und es knattern auch die F\u00f6rdermaschinen auf der CD, die dem schwarzen Buch beigelegt ist. Man k\u00f6nnte fragen, ob nicht mit dem schwarzen Buch (schwarzer Druck auf schwarzem Papier) der p\u00e4dagogische Holzhammer herausgeholt wurde – andererseits entspricht das schwarze, beinahe unlesbare Buch in seinem Aussehen den \u00f6lverklebten V\u00f6geln und Meerestieren, deren Bilder in Europa noch am ehesten mit \u00d6lkatastrophen assoziiert werden, und insofern ist die Aufmachung genau passend. Dark Sound zeigt eindr\u00fccklich die politische und unbequeme Seite dessen, was Field-Recordings auch sein k\u00f6nnen. \u00c4hnlich unheimlich auch die Aufnahmen von CHRISTINA KUBISCH \/ ECKEHARD G\u00dcTHER , die auf Unter Grund Grubenwasser zu Geh\u00f6r bringen, das sich in stillgelegten Untertagebausch\u00e4chten sammelt und dort abgepumpt und umgeleitet werden muss, damit es das Trinkwasser in der Region nicht verunreinigt und den Grundwasserspiegel nicht derart anhebt, dass sich das Ruhrgebiet mit der Zeit in \u00bbeine riesige Sumpflandschaft\u00ab (so ein Zitat aus dem Beiheft zur CD) verwandelt. Langzeitfolgen des Kohlebergbaus, gruselig, hier nachzuh\u00f6ren. Verlassen wir diesen Horror und wenden uns noch kurz der Field-Recording basierten Klangkunst und Musik zu. KG AUGENSTERN sind per Kanalschifffahrt von Berlin bis Maguelone am Mittelmeer gelangt. Das scheint zu gehen und sie haben auf Tentacles ein Klangexperiment festgehalten, das sich wie folgt erkl\u00e4ren l\u00e4sst: Lange Stangen auf dem Kahn kitzelten bei jeder Durchfahrt unter einer Br\u00fccke deren Eisenkonstruktion und der dabei entstehende jeweils spezifische Sound wurde festgehalten und im Rahmen von Klanginstallationen in diversen Museen zug\u00e4nglich gemacht. Das klingt aufwendig und phantasievoll, es scheppert auch ordentlich, aber auf der Reise stelle ich mir das Spektakel interessanter vor, als das konservierte Ergebnis klingt. Das je eigene Klangprofil der Br\u00fccken, von dem KG Augenstern im Booklet zur CD schreiben, es kommt nicht so recht r\u00fcber. Kommen wir zu DAVID ROTHENBERG \/ KORHAN EREL. Rothenberg hat ja schon mit Zikaden musiziert, und auf Berlin B\u00fclb\u00fcl spielt er zu Field-Recordings von Nachtigallen Klarinette. Das ist nach all dem Rauschen und den \u00f6kologisch katastrophalen Perspektiven je nach Geschmack l\u00e4ppisch oder erholsam. Es ist beides, lang lebe der Zwiespalt. Ganz unzweideutig Nerven zerfetzend ist das Ergebnis von CLUB BLEU , die auf Dark- Asian- Energy Field-Recordings der Stadt Singapur elektronisch erg\u00e4nzen, verfremden und bis zur Unkenntlichkeit verzerren. Heraus kommt dabei ein elektro-akustischer H\u00f6llenritt. Mir zu stressig, aber m\u00f6glicherweise hervorragend geeignet, morgens statt mit Kaffee mit dieser Musik in die G\u00e4nge zu kommen. Lieber greife ich abschlie\u00dfend zu Sonic Drawings von ROLAND ETZIN , die CD liefert auch nicht gerade Easy-Listening, aber das Soundmaterial ist weniger chaotisch organisiert. Etzin kombiniert Field-Recordings unterschiedlicher Herkunft und verfremdet sie ebenfalls elektronisch. Das geht, um es mal etwas flapsig zu formulieren, bei ihm eher in Richtung Nurse With Wound und nicht – wie bei Club Bleu – in Richtung Atari Teenage Riot. Das mal als lahmer Vergleich zum Abschluss.
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