![\"Eins](\"https:\/\/www.gruenrekorder.de\/Photos\/120_01.jpg\" "\\"Eins")
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Eins + | Mark Lorenz Kysela<\/a> Gruen 120\u00a0| Audio CD > [order<\/a>]<\/p>\n English<\/em> | Deutsch<\/a><\/p>\n Reviews<\/a><\/p>\nngg_shortcode_0_placeholder\n <\/p>\n Mark Lorenz Kysela plays contemporary music for a instrumental soloist, sound extensions and tapes<\/p>\n <\/p>\n 1_Christoph Ogiermann\u00a0| DRUCKBL\u00d6CKE und ZEICHENAKKUMULATIONEN BCC MP3<\/a> <\/p>\n 2_Thomas Stiegler\u00a0| Treibgut VI MP3<\/a> <\/p>\n 3_Martin Sch\u00fcttler\u00a0| sch\u00f6ner leben 7 MP3<\/a> <\/p>\n 4_Michael Maierhof\u00a0| splitting 13 MP3<\/a> <\/p>\n 5_Alvin Lucier\u00a0| IN MEMORIAM JON HIGGINS MP3<\/a> <\/p>\n 6_Uwe Rasch\u00a0| aus vierundzwanzig: drei MP3<\/a> <\/p>\n 6 Tracks (70\u203218\u2033) <\/p>\n <\/p>\n Eins +<\/strong><\/p>\n Mark Lorenz Kysela, Saxophones and Clarinet<\/p>\n <\/p>\n An artist on various saxophones and clarinet. Performs as a soloist, in combination with (live-) electronic or analogue enhancements and tapes. Mark Lorenz Kysela presents six completely different pieces: artistic individual positions focusing on the radical nature of musical language, on shaping and on the soloist.<\/p>\n <\/p>\n Christoph Ogiermann<\/p>\n DRUCKBL\u00d6CKE und ZEICHENAKKUMULATIONEN BCC<\/strong><\/p>\n \u00bbPlaying an instrument is an activity of a person requiring the full use of his body in a concrete situation. This can be exemplified by concentrating more on the act of generation by the players, independent of the resulting sound. In this case, keywords would be: instrumental choreographies, notation of action, movement that is independent of, or even opposed to the traditional playing of an instrument. \u00ab <\/p>\n In DRUCKBL\u00d6CKE und ZEICHENAKKUMULATIONEN BCC, the presence of the interpreter is accentuated in a special way. Ogiermann is looking to find the maximal presence of \u00bbHand-Fu\u00df-K\u00f6rperwerklichen\u00ab (\u00bbwhole-body activity\u00ab): \u00bbThe recording ensues from the performer\u2019s perspective and very close to him, if not even from INSIDE him: so, everything is recorded from a VERY close range, from the performance and breathing up to the final concentration. The performance room is small rather than large, even a little claustrophobic. \u00ab Moreover, the piece is designed as a radio play: instead of the documentation of a performance, the installation of different materials has priority.<\/p>\n <\/p>\n Thomas Stiegler<\/p>\n Treibgut IV<\/strong><\/p>\n Simplicity, comprehensibility and the deliberate restriction of musical material are the constituent features of Thomas Stiegler\u2019s compositions. The reduction on the level of material as well as on the level of structure leads to the concentration on one singular sound in Stiegler\u2019s work, which he tries to free from the \u00bb burden of significance\u00ab. Since the mid-nineties, this is how compositions emerge that combine musical material with a reserved approach. <\/p>\n In Stiegler\u2019s series Treibgut, which is in development since 2008, the starting point consists of a repetition on the tone \u2018e\u2019. Treibgut IV for soprano saxophone and tape also begins with the repetition of the tone \u2018e\u2019 and follows a strict formal plan afterwards, which Stiegler used for the first time in 2004 in the piece vertikal I and again in 2010 in his radio play\/audio piece Das Wetter in Offenbach.<\/p>\n <\/p>\n Everyday noises and mixtures of sinusoidal tones resonate in time units of a minute or of 30 seconds, they alternate and overlap. In the radio play, the everyday noises consisted of surrounding sounds of a bike ride from Frankfurt to Offenbach, in Treibgut IV those were similar \u00bbsecular\u00ab sounds like the rustling of a radiator, a valve radio, a water meter, the mechanics of a cassette recorder or the background noise of a backyard. <\/p>\n Martin Sch\u00fcttler<\/p>\n sch\u00f6ner leben 7<\/strong><\/p>\n A work which is disturbed as little as possible by external demands, compromises or concessions- that is how Martin Sch\u00fcttler conceives the ideal requirements of his compositional work and by implication criticises their heteronomy that is accepted as inevitable more and more: the autonomy of the aesthetic process is subordinated to dispositions that regulate it externally. His cycle sch\u00f6ner leben on the other hand, which he has been working on since 2004, he sees as a model that emphasises the self-determination of the composer: \u00bbThe pieces originate because I want to write them, because they refer to artists I cherish and would like to work with. In this sense, the music incorporates the conditions in which I want to work. In this respect, the title of this cycle should be taken literally: I would like to live in a more pleasant way, namely in the self-determination of my working environment and not in the realisation of an automatism, that increasingly seems without alternatives in the New Music Scene. \u00ab<\/p>\n <\/p>\n The pieces belonging to the cycle sch\u00f6ner leben vehemently oppose in their tonal appearance what Peter Ablinger once called the \u00bbintegrity of the external appearance. \u00ab Sch\u00fcttler is not interested in performing \u00bbstate of the art\u00ab New Music, which becomes obvious in the more or less skilled use of material that is considered to be \u00bbprogressive\u00ab.His music refuses the mere demonstration of technical experience. Instead, he makes use of unwieldy, unrefined sonorities \u2013 of the potential of a \u00bbsecular\u00ab materiality.<\/p>\n <\/p>\n sch\u00f6ner leben 7 for saxophone and electronics also consists of such elements. \u00bb I draw on material that is already available, which I have accumulated and already sorted. I also use material from unsuccessful attempts. I randomly gather stuff, whilst surfing, reading, trying out things, listening, going out and whilst observing trivial procedures. Most of it is useless. It is disproportional, boring or kitschy, tasteless or unsuitable in other kind of ways. That is exactly what interests me, that is what I start working with. \u00ab sch\u00f6ner leben 7 is a composition that feeds on the unsuccessful and insufficient: The soundtracks from Youtube videos in which saxophone beginners present their moderate progress, are a central material. Sch\u00fcttler uses these finds as raw materials that will be \u00bb decomposed, bleached and dissected. \u00ab<\/p>\n <\/p>\n The subtitle of the piece – \u00bb\u00c4u\u00dferlich auf dem Damm, aber verkorkst im Innern\u00ab (\u00bbRight as rain on the outside but messed up on the inside\u00ab) \u2013 is a quote from the story John Billy by David Foster Wallace. Wallace\u2019s voice also appears, namely in the form of a \u00bbpseudo-songtext\u201d \u00ab which was edited out of fragments from an interview with the author. On this basis, sch\u00f6ner leben 7 plays with the clich\u00e9s of the genre pop song (beat, voice, verses, chorus, etc), however the proportions are overstretched, the functions neglected \u2013 Sch\u00fcttler calls the result \u00bba messed up song\u00ab.<\/p>\n <\/p>\n Michael Maierhof<\/p>\n splitting 13<\/strong><\/p>\n \u00bbAccording to me, a renewal within the New Music nowadays is only possible by including reality. This would be the opposite conception of music regarded as a vanishing point, a means of escape, or crafts, as it would be called in the fine arts. \u00ab <\/p>\n It doesn\u2019t matter \u00bbwhether the composer deals with the established works of the master composers, with pop music, with urban soundscapes, with a working site, with a percussion drill or with the noises of a concert audience before the concert starts, when translating the acoustic reality experience. It doesn\u2019t matter whether he uses electronic sound possibilities, scans the acoustic qualities of everyday objects, keeps developing the possibilities given by traditional instruments, analyses the toilet flushing in an ICE, examines the complex rhythmic sound file of a rustling plastic bag or creates an acoustic flow trace of a fridge. \u00ab Despite all the connections to everyday reality which Maierhof demands, in his music he doesn\u2019t merely depict in the sense of \u00bbtransplanting\u00ab everyday sounds onto the concert podium. The analysis of such sounds is solely a starting point for an explicit musical access.<\/p>\n <\/p>\n Splitting is the most programmatic title in Maierhof\u2019s series, which is in development since 1999. Acoustic experiments form the basis of this cycle for solo instruments which address the splitting of sounds into polyphonic sounds and aim at undermining familiar sounds. In splitting 13, the alto saxophone is provided with a \u00bbvibratory system\u00ab: a plastic cup filled with marbles is attached to the bell of the instrument. The blown notes cause this construction to vibrate which, as a consequence, produces complexes of sound that differ strikingly from the familiar sound you would expect from a saxophone. An additional layer in splitting 13 consists of a tape that reveals another perspective of the system constructed around plastic cups and marbles: in this case, the \u00bbstimulator\u00ab is not the saxophonist but the electromotor.<\/p>\n <\/p>\n Alvin Lucier<\/p>\n In Memoriam Jon Higgins<\/strong><\/p>\n \u00bbIt doesn\u2019t often happen that a composer appears, whose work is so convincing and who differs essentially from his contemporaries and predecessors that we are in need of rethinking our fundamental (and often unconscious) assumptions – whether we like it or not – and have to revise our >self-evident axioms< about music. \u00ab The composer James Tenney describes his colleague Alvin Lucier as an avant-gardist in the best sense. The path he had to take was by no means straightforward. When he travelled to Europe at the beginning of the sixties, he noticed that the musical progress there didn\u2019t match his aesthetic expectations: \u00bbIt was taken for granted by Stockhausen, Nono and all the other composers to write such music \u2013 for me on the other hand, it would have been mere imitation, I would have had to speak in a foreign dialect. When I arrived back home, I didn\u2019t get any ideas until I came across the brainwaves amplifier\u2026 \u00ab<\/p>\n <\/p>\n Two electrodes placed on the scalp, a differential amplifier and a bandpassfilter, borrowed from a friend who is a physicist, became the basis of a way of composing in 1965 which Alvin Lucier was able to realise his individual perception of music with. While experimenting with the equipment, he found out that the alpha waves contained in the human brainwaves can be converted into audible frequencies with adequate amplification. Lucier used the energy that was set free to get different kinds of percussion instruments to reverberate by stimulating them with the help of speakers placed in front of them. Music for Solo Performer is the title of the piece that became the initial point of Lucier\u2019s ideal of a \u00bbphysical music\u00ab and which experienced all kinds of reshaping in the subsequent period.<\/p>\n <\/p>\n \u00bbI had to find a way to compose for acoustic instruments which resembled my former works. I saw working with the phenomenon of beat as a chance to realise my ideas. Beat is a physical process, not a poetic one: the sounds perform audible work. \u00ab <\/p>\n UWE RASCH<\/p>\n aus vierundzwanzig: drei<\/strong><\/p>\n For several years now, Uwe Rasch has been working on the project aus vierundzwanzig \u2013 a \u00bbheap of material\u00ab (Rasch) that refers to Franz Schubert\u2019s 24-part lieder cycle Die Winterreise. This collection of materials can be divided into modules that can be combined in different ways, depending on the space and performance situation. <\/p>\n aus vierundzwanzig: drei refers to the third song in the Winterreise: \u00bbGefror\u2019ne Tr\u00e4nen\u00ab (frozen tears). Here, the traveller is completely isolated, in despair and doomed in the cold world. His tears are unable to take on the cold \u2013 they turn into ice themselves. Uwe Rasch extracts the \u00bbwedge-shaped\u00ab staccato-accents, which are followed by long tenuto notes, from the song. Rasch takes both these elements out of the semantic-compositional context of the song and puts them together in new contexts.<\/p>\n <\/p>\n Michael Rebhahn<\/em> <\/p>\n <\/p>\n <\/p>\n Alvin Lucier<\/strong> <\/p>\n <\/p>\n Michael Maierhof<\/strong> Has had many international performances. <\/p>\n <\/p>\n Christoph Ogiermann<\/strong> <\/p>\n <\/p>\n Uwe Rasch<\/strong> Has worked with national and international musicians and ensembles such as the following: Klangforum Wien, Ensemble Aventure, Phoenix Ensemble Basel, Ensemble L\u2019art pour l\u2019art, the Kammerphilharmonie Bremen, Il Virtuosi della Fenice , Trio diritto, Michael Riessler, Gaston Sylvestre, Malcolm Goldstein and many more. <\/p>\n <\/p>\n Martin Sch\u00fcttler<\/strong> <\/p>\n <\/p>\n Thomas Stiegler<\/strong> Since 1994, works as assistant physician, since 2001 as senior physician at the Klinikum Offenbach (internal medicine\/ nephrology). His strength lies in laying dialysis catheters. Lives in Frankfurt\/Main.<\/p>\n <\/p>\n <\/p>\n Mark Lorenz Kysela wishes to thank all folks involved in this project, J\u00f6rg Koch, his parents and his backers:<\/p>\n <\/p>\n <\/p>\n Cover Picture: Rolf Schoellkopf<\/p>\n Mastering and corrections: Heiko Schulz<\/p>\n <\/p>\n Sound Art Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Susanne Benda | Stuttgarter Nachrichten<\/a><\/strong> <\/p>\n Thomas Shrubsole | The Sound Projector<\/a><\/strong> <\/p>\n Gruenrekorder are a label I associate mainly with thoughtful, diverse releases of field recordings (1). In this release they apply some of the transparent listening techniques familiar from those recordings of the world around us to the slightly more rarefied chambers of modern classical music. Or \u2018new music\u2019 as it prefers to be known in the well-annotated booklet.<\/p>\n <\/p>\n Mark Lorenz proves a quietly versatile performer on this showing, selecting a variety of compositions which showcase engagingly different approaches to his implicit curatorial themes. The six different composers\u2019 works come across as carefully selected and played with a quietly confident dedication to transparency and thoughtful interpretation. No instrumental grandstanding or showboating, as such, is indulged in (by him at least), the key here is quiet and active observation and listening. The ideas that emerge from the appealing air of modest studiousness are of pauses, spaces and silence. Of the internal and the external, of electronics and acoustics and of what is generated between the interactions of those elements. Most of all about technique, extending that technique and then subsuming that extended technique as a performer back into the music in such a way as to most effectively realise what each composition requires.<\/p>\n <\/p>\n The two opening tracks contain perhaps the most pleasantly surprising pieces, those by Christoph Ogiermann and Thomas Stiegler. You do get an Alvin Lucier piece, later. But, really, big Al\u2019s gonna bring the Sine Tones. We all know it, so surprising it ain\u2019t, exackkerly. However, thee opening pieces are a species of or related to h\u00f6rspiel \u2013 or radio plays. Although h\u00f6rspiel sounds so much more different, so appealing\u2026 Anyway, both share a concern with materials, textures, musical episodes and scenes, constructed of the most basic yet texturally pleasing materials, a sine tone, a softly played soprano saxophone, a snatch of what sounds like a foley recording of singing birds\u2026<\/p>\n <\/p>\n Indeed, Ogiermann, the first composer showcased, professes an interest in approaching his composition as an \u2018installation of different materials\u2019. This almost documentary quality is backed up with his description of the physicality of a \u201cwhole body\u201d involved in playing the saxophone and a \u201cconcrete situation\u201d.<\/p>\n <\/p>\n Subtle, like a Japanese tea ceremony, the sine tones and delicate beating microtones slowly seep and steep into the listening environment, colouring the listening environment a delicate, fresh transparent green (recorder).<\/p>\n <\/p>\n An image that has inspired me in the past and that I found returning unbidden to my mind like the gentle waft of a saxophone through an old apartment is the combination of tapes, filmic editing and saxophone found in Francis Ford Coppola\u2019s The Conversation. Here, too, there is a conversation, a subtle exposition and practical demonstration, between the different pieces. The sine tones both in Thomas Stiegler\u2019s and Alvin Lucier\u2019s compositions. The electronics, the radio play format.<\/p>\n <\/p>\n Only Martin Schuttler\u2019s composition, the third track, is a little more problematic, but it still works as a part of this conversation and contrast. The electronic elements, played by the composer, are twitchy to an almost parodic degree and coupled with sententiously intoned narration. Supposedly \u2018kitschy\u2019 ingredients, amateur (remember: lover) videos of progress in mastering the saxophone nabbed from random youtubers are used as raw material. This does raise questions about status and how the composer views himself and his work and indeed the trained contributions of Kysela regarding hierarchical institutions and the apparatus of new music (there are plenty of lists of awards received and academic achievements alongside the thought-provoking critical notes).<\/p>\n <\/p>\n Rather tight-arsed and modernisms result \u2013 not helped by the MIDI drums \u2013 with unanswered question marks about attitudes towards \u2018untrained\u2019 musicians. Perhaps the \u2018enfant terrible\u2019 angle is overstated in the notes (although this seems to be part of the composer\u2019s aim and is intended to contrast with what he views as reductive compositional orthodoxies within the narrow frame of reference of academic, institutionally sponsored \u2018new music\u2019 \u2013 presumably exemplified for him by other pieces on the CD?) however, this stance rather ironically reveals more similarities and shared origins with that supposed state of affairs than differences. At least he\u2019s trying, though, I guess, and as I said, in the context of this set it works as a bit of contrast and does offer yet another variation on the themes being gently and politely probed.<\/p>\n <\/p>\n From then on we get Splitting, an exercise in polyphony, a \u2018vibratory system\u2019 (consisting of a plastic cup and marbles) and tapes. Guttural didgeridoo buzzes from basic materials ensue. From Lucier we get a lucid formalism, and the whole thing finishes with a short deconstructionist piece based on Schubert, perhaps with a faint touch of the Maurizio Kagels.<\/p>\n <\/p>\n All in all a good package, well selected, played and presented in the studious classical tradition and will sit happily on the next shelf along from your Stockhausen and Xenakis reissues.<\/p>\n <\/p>\n All good. Next!<\/p>\n <\/p>\n (1) Although they have also released plenty of instrumental and computer music in their time, I see through Discogs. <\/p>\n Brian Olewnick | Just outside<\/a><\/strong><\/p>\n Six compositions by different composers performed by Kysela on clarinets and saxophones with electronic and tape accompaniment.<\/p>\n <\/p>\n 1) Christoph Ogiermann – Druckbl\u00f6cke und Zeichenakku-Multationen BCC. In which hyper-physicality is paramount, using exceedingly close miking, capturing every gestural sound in high res detail, Kysel cooperating by out K\u00fcchening K\u00fcchen in terms of materiality. Scraped footsteps, heavy breathing, visceral saxophonics, ultimately wispy contrails. An impressive display of the composer’s desired „whole-body activity“, if not my favorite approach to things.<\/p>\n <\/p>\n 2) Thomas Stiegler – Treibgut IV. A thoughtful piece, constructed in segments of 30 seconds or a minute, those portions consisting of a soprano saxophone playing a simple melodic line or held note (sometimes multi-tracked), steady sine tones and recordings of „secular sounds“ (valves, meter, yards), all shuffled and irregularly overlaid. Though livelier, it has the control of a Tom Johnson piece. Also I get the sense of turning over a series of cards, one two or three at a time, revealing images that are similar to an extent but varied, each set self-realted. I like this one a lot.<\/p>\n <\/p>\n 3) Martin Sch\u00fcttler – sch\u00f6ner leben 7. For saxophone and electronics, the latter consisting of, in good part, „soundtracks from You Tube videos in which saxophone beginners present their modest progress“. Sch\u00fcttler is interested in non-professionalism, detritus, assemblage worked up from discarded, banal material. The results are disjunctive enough, reminding me of something Zorn might have come up with circa „Locus Solus“ had he the available technology. I don’t mean that as a slight–the piece works well, a kind of combine, if not a paradoxically transcendent one.<\/p>\n <\/p>\n 4) Michael Maierhof – splitting 13. Using a plastic cup filled with marbles inserted into the alto saxophone’s bell, melding it with other such cups being electronically stimulated on their own. The music is, not surprisingly, buzzy but also very strained and, well, unpleasant. Which I’m sure fulfills Maierhof’s intentions. I’m reminded a bit of Thomas Ankersmit’s excruciating (and wonderful) experiments of some years back. Similarly here, the listener has to accept a large degree of discomfort, to give up searching for comfort zones of any sort. I found it worthwhile, but its a very tough go.<\/p>\n <\/p>\n 5) Alvin Lucier – In Memoriam Jon Higgins for clarinet and pure wave oscillator. Well, I’m a complete sucker for this stuff. A relatively early (1985) work, Lucier does his trademarked thing, her having a clarinet playing steady tones against slowly moving sine waves, developing beats that neither instrument is producing on its own but which are being created inside the ear of the listener. Kysela plays cleanly here and the piece takes off as Lucier’s tend to do.<\/p>\n <\/p>\n 6) Uwe Rasch – aus vierundzwanzig: drei. A short piece (about 2 1\/2 minutes), loosely inspired by Schubert’s „Die Winterreise“, not that you’d recognize any association on hearing–delicate, flitting soprano sax against clunking, intentionally awkward percussion. Rather humorous even without the reference though all snickering is brought to an end by a frowning gong smash.<\/p>\n <\/p>\n An enjoyable recording, extremely well played, covering a wide range of contemporary composers. What more could you want?<\/p>\n link<\/a><\/p>\n <\/p>\n Holger Adam | testcard<\/a> #23<\/strong> <\/p>\n Martin P | Musique Machine<\/a><\/strong> <\/p>\n Exquisitely packaged in a metal tin, with a glossy booklet full of liner notes and biographies, \u201cEins+\u201d is a collection of compositions performed primarily on clarinet and various saxophones by Kysela. These compositions come from six names, all but one new to me: Christoph Ogiermann, Thomas Stiegler, Martin Schuttler, Michael Maierhof, Alvin Lucier and Uwe Rasch. (No prizes for guessing who was previously known to me\u2026) The booklet explains each composition comprehensively and whilst I really do like releases that come with words, I must admit that in this case they initially hindered my listening. I\u2019m from the school of thought that believes its the sounds that must ultimately be judged; and often something thats interesting and clever on paper, doesn\u2019t translate into anything you might want to actually listen to. So, I found it more rewarding to just listen to the pieces, then return to the words later.<\/p>\n <\/p>\n The contrast between the word-play of the composition notes and the pure sensual beauty of the sounds is often very marked. The obvious \u201cearthiness\u201d of a solo acoustic instrument, easily cuts through whatever words the composer has built on top of it. This is evident across all the pieces, but particularly on Maierhof\u2019s \u201csplitting 13\u201d; where the saxophone explores such a physicality in sound, that words aren\u2019t needed. (Indeed, one of the few negative elements of \u201cEins+\u201d is the use of \u201cpreset\u201d keyboard sounds on Schuttler\u2019s \u201cschoner leben 7\u201d; these give a sometimes \u201camateurish\u201d, cartoonish feel to the staccato jabs of the work – though later on, there\u2019s a very tense, eerie passage pitting keyboard drones against sax.) All of the pieces stand up on their own, as sound; presenting a comprehensive mix of cut-ups, drones, field recording techniques, tape-work, noise and electroacoustic techniques.<\/p>\n <\/p>\n I realise that the above is very cursory, but its really because I don\u2019t think \u201cEins+\u201d needs to be \u201csold\u201d to you. Its simply a great album. It contains a truly wide range of explorations of what a sax or clarinet can do, aided and abetted by tapes and electronics; with just as much attention paid to composition and performance, as to recording techniques and environments. Its unashamedly \u201cdifficult\u201d at times, but also has the starkly beautiful simplicity of Lucier\u2019s piece \u201cIn Memoriam Jon Higgins\u201d. Its not an album of easy pleasures – it rewards careful listening and is at times overtly \u201cacademic\u201d – but the sheer visceral pleasure of the sounds and their intelligent deployment make it unmissable. <\/p>\n Dietrich Hei\u00dfenb\u00fcttel | Neue Zeitschrift f\u00fcr Musik<\/a> 05\/2013<\/strong> link<\/a><\/p>\n <\/p>\n Wonderful Wooden Reasons<\/strong><\/a> <\/p>\n freiStil – Magazin f\u00fcr Musik und Umgebung<\/a> | #50<\/strong><\/p>\n H\u00e4lt man eine CD des Labels Gruenrekorder in H\u00e4nden, so vermutet man darauf field recordings, meist der feinsten, subtilen Art. Nicht so in diesem Fall. Mark Lorenz Kysela ist Saxofonist. Ein Saxofonist, der sich neuer, neuester Musik widmet, der in seinem Suchen nach neuen Werken dem Experiment zuneigt. Und der als Musiker und Interpret keine Scheu davor hat, live-elektronische oder auch akustische\u00a0 Zusatzinstrumente miteinzubeziehen. Entsprechend hat er auf seiner Solo-CD Kompositionen aus den vergangenen Jahren versammelt, sechs an der Zahl, die sich auf unterschiedlichste Art und Weise dem musikalischen Experiment widmen, deren sechs Komponisten klangliche Facetten des Saxofons untersuchen, die aber auch mit diversen Klangkontexten, sprich, Erg\u00e4nzungen oder (zus\u00e4tzlich aufgenommenen oder live-elektronisch generierten) Klangumgebungen experimentieren. Michael Maierhof mit Splitterkl\u00e4ngen, hervorgerufen durch Plastikbecher als Pr\u00e4parationen zum Beispiel. Oder Christoph Ogiermann, Thomas Stiegler und Uwe Rasch mittels Zuspielungen. Oder aber das mit Abstand \u00e4lteste St\u00fcck aus dem Jahr 1985 des Amerikaners Alvin Lucier f\u00fcr Klarinette und Sinusgeneratoren. Und irgendwie meint man doch immer wieder in Bruchst\u00fccken auch so etwas wie field recordings, wie den Alltag, die Umgebung, wahrzunehmen. Eine Sinnest\u00e4uschung? Und\/oder die berechtigte Verwischung der Grenzen zwischen Kunst und Realit\u00e4t im Klang? Auf jeden Fall: H\u00f6rempfehlung. (pol)<\/p>\n <\/p>\n Idwal Fisher | IDWAL FISHER<\/a><\/strong> <\/p>\n Imagine my surprise then, dear reader, to find Wallace\u2019s voice on the Mark Lorenz Kysela\u2019s release \u2018Eins+\u2019. There he is on Martin Sh\u00fcttlers composition \u2018Sch\u00f6ner Leben 7\u2019 in what I assume is one of his readings along with samples of people practicing their sax solos as culled from Youtube. Its almost like he\u2019s begging me to read the damned thing.<\/p>\n <\/p>\n On \u2018Eins+\u2019 Kysela\u2019s plays various Sax\u2019s, clarinets and assorted oddments in thee modern composition style, interpreting the work of several modern composers; Christoph Ogiermann, Thomas Stiegler, Michael Maierhof, Alvin Lucier, Uwe Rasch and the aforementioned Sh\u00fcttler.<\/p>\n <\/p>\n A casual read of the enclosed booklet leaves you in no doubt as to what kind of territory we\u2019re entering here \u2018…the autonomy of the aesthetic process is subordinated to dispositions that regulate it externally\u2019. Erm yeah. As ever its whats coming out of the speakers that count and what does emerge is truly captivating. On Michael Maierhof\u2019s\u00a0 \u2018Splitting 13\u2019 a plastic cup filled with marbles is inserted into the mouth of an Altosax the result being a series of shrill and dissonant vibrations capable of shattering anything brittle. Tremendously painful and piercing rattles that are followed by silences and low undertones that are the sort of hums you get from digeridoos. A bit like being given electric shocks and then a nice cup of tea in rotation. The entire 70 minute trip begins with a walk to the performing area and a Sax so closely miked as to be able to pick up everything from breaths, tone holes being covered and uncovered and a series of dissonant scrapes that screech like a length of suspension bridge cable being abused with a tenon saw. Electronic elements are introduced, most prominently on Sh\u00fcttler\u2019s piece where we begin with a gentle flickering of glitches, fried connections and disconnected telephone lines but perhaps most notably on Alvin Lucier\u2019s \u2018In Memorium John Higgins\u2019 where \u2018the vibrations of a stable clarinet tone and the vibrations of of a slowly rising and barely audible sinus tone meet\u2019. This being Kyslea\u2019s interpretation of Lucier\u2019s discovery that amplified brain waves could be converted into audible frequencies.<\/p>\n <\/p>\n We end with a a short but delightful composition from Uwe Rasch called \u2018For Sopranosaxophone and Volleyball\u2019. I\u2019ll assume you can work that one out for yourselves. The piece ends with the crashing of a piano lid. A fitting finale.<\/p>\n <\/p>\n Kyslea\u2019s task couldn\u2019t have been an easy one but he tackles these difficult pieces with a professional hand. A delightful if at times difficult listen and one that I feel I\u2019d be more comfortable with listening at home than in the live situation. Having seen plastic cups filled with water scraped in the name of contemporary composition I feel I have a platform to speak from. […] <\/p>\n Guillermo Escudero | Loop<\/a><\/strong><\/p>\n Mark Lorenz Kysela born in Stuttgart, Germany studied classical saxophone, chamber music and contemporary music in Frankfurt and the CNR Bordeaux in France. link<\/a><\/p>\n <\/p>\n textura<\/a><\/strong> <\/p>\n In this case, perhaps the best way to capture the recording’s content is to say a few words about each of the pieces. First up is Ogiermann’s \u201cDruckbl\u00f6cke Und Zeichenakkumulationen BCC,\u201d which, designed as a radio play, is more about whole body performance than music per se, and as such involves Kysela generating \u201cperformative noises\u201d in addition to the piercing squeals of the soprano sax. In the piece’s loudest moments, Kysela’s high-pitched playing becomes an industrial howl, while breathless panting also becomes part of the sonic mix. A querulous musical motif voiced by Kysela’s soprano saxophone lends Stiegler’s \u201cTreibgut VI\u201d an immediate musical dimension downplayed in Ogiermann’s piece. Stiegler operates in accordance with principles of simplicity and reduction, which also lend the work a refreshing amount of clarity and accessibility. There’s still an experimental edge to the piece\u2014the tape component consists of traffic and bird noises, a valve radio, a water meter, and so on\u2014but the superimposition of Kysela’s saxophone upon the mutating collage gives the piece a coherence and unity it might lack otherwise.<\/p>\n <\/p>\n One of the recording’s more radical settings, Sch\u00fcttler’s \u201cSch\u00f6ner Leben 7\u201d situates Kysela’s soprano and tenor sax playing within a fractured and convulsive field of abrasive glitches, stumbling beats, and recited text (the voice is that of the late writer David Foster Wallace). Sch\u00fcttler himself contributes live electronics and samples to the piece, the sum-total of which makes for the release’s most uncompromising setting. In Maierhof’s \u201cSplitting 13,\u201d the alto sax is equipped with a vibratory system\u2014a plastic cup filled with marbles that’s attached to the instrument’s bell\u2014and when notes are blown, the construction vibrates, producing unfamiliar sounds\u2014grinding, growling, screeching\u2014not typically associated with the saxophone. When heard after the Sch\u00fcttler and Maierhof pieces, Lucier’s \u201cIn Memoriam Jon Higgins\u201d seems almost quaint in its subdued, unprepossessing character. Scored for clarinet and pure wave oscillator, the 1985 piece finds the soft vibrations of Kysela’s clarinet tone aligning for twenty minutes with the gradually rising sinus tone, resulting in auditory beat patterns that prove hypnotic despite the minimal elements involved.<\/p>\n <\/p>\n Two minutes of saxophone flutter and percussion (iron sticks, drum sticks), Rasch’s \u201cAus Vierundzwanzig: Drei\u201d acts as a brief coda that extracts sounds from the third song in Franz Schubert’s 24-part lieder cycle Die Winterreise to situate them within a newly created context. By now, it should be clear that Eins + is hardly a conventional musical recording but instead one that questions the very notion of what constitutes music. It’s hardly easy listening, then, but one nevertheless comes away from the recording admiring Kysela for his resolve and dedication to experimental music-making.<\/p>\n link<\/a><\/p>\n <\/p>\n Julien H\u00e9raud | improv sphere<\/a><\/strong> <\/p>\n Mises \u00e0 part les deux pi\u00e8ces proches de l’eai d\u00e9j\u00e0 cit\u00e9es, les quatre autres sont plut\u00f4t minimales et ax\u00e9es sur des param\u00e8tres restreints. Des variations microtonales aux jeux de timbre sur un saxophone avec un r\u00e9sonateur en plastique int\u00e9gr\u00e9, MLK ajoute \u00e9galement des interventions \u00e9lectroniques simples et sommaires, mais toujours renouvel\u00e9es. Une suite de pi\u00e8ces exp\u00e9rimentales, entre l’improvisation, la composition et l’art sonore. Les fronti\u00e8res se brouillent, ce que j’adore, mais les id\u00e9es et l’interpr\u00e9tation manquent parfois de consistance. Le tout sonne plut\u00f4t bien, mais il y a un quelque chose de convenu et d’attendu qui affaiblit cette suite je trouve. Peut-\u00eatre est-ce simplement le fait que les fronti\u00e8res entre la musique contemporaine, l’art sonore et l’improvisation sont plus embrouill\u00e9es et manipul\u00e9es maladroitement que brouill\u00e9es comme je l’aime habituellement. Une suite assez originale et singuli\u00e8re, qui se veut un questionnement sur les performances solo et la nature radicale du langage musical, ce que je n’ai pas vraiment ressenti, mais qui reste tout de m\u00eame assez riche et diversifi\u00e9e, ainsi que puissante et intense par moments.<\/p>\n link<\/a><\/p>\n <\/p>\n
\n<\/strong><\/p>\n
\nden arschl\u00f6chern die durch ihren egoismus und ihre angst den wunsch nach z\u00e4rtlicher solidarit\u00e4t an der verwirklichung hindern
\nfor saxophone, light, video, tape (2002), stereo radio version (Bcc) (2011\/12) 9\u201932<\/p>\n
\nKysela \u2013 Soprano saxophone, performative noises
\nOgiermann \u2013 tape and radio version
\nRecording: Gerd Anders, Bremen 2011<\/p>\n
\nfor soprano saxophone and tape (2012) 14\u201904<\/p>\n
\nKysela \u2013 soprano saxophone
\nStiegler and Hannes Seidl \u2013 tape
\nRecording: Heiko Schulz, Leonberg 2012<\/p>\n
\nfor saxophones and elektronics (2011) 11\u201915<\/p>\n
\nKysela \u2013 soprano- and tenor saxophone, foot controlled keyboard, plugs, cables, midi- and fuzz tone pedal, aerosol can
\nSch\u00fcttler \u2013 live-electronics und preparation of the samples
\nText: Mara Genschel
\nVoice: David Foster Wallace
\nRecording: Sebastian Schottke, ZKM Karlsruhe 2012<\/p>\n
\nfor alto saxophone with vibratory\u00a0 system and tape (2010) 13\u201903<\/p>\n
\nKysela \u2013 alto saxophone with splitter
\nMaierhof \u2013 tape
\nRecording: Sebastian Schottke, ZKM Karlsruhe 2012<\/p>\n
\nfor clarinet and pure wave oscillator (1985) 19\u201956<\/p>\n
\nKysela \u2013 clarinet and sine wave generator programming
\nRecording: Kysela, Stuttgart 2012<\/p>\n
\nfor soprano saxophone and tape (2010) 2\u201926<\/p>\n
\nKysela \u2013 soprano saxophone and tape ( iron sticks, drum sticks, pillows)
\nRasch \u2013 shot in the piano
\nRecording: Rasch, Kysela, Amelie Haas, Bremen 2011, Stuttgart 2012<\/p>\n
\nCD (500 copies)<\/p>\n
\n
\nIn his compositions, Christoph Ogiermann tries to realise the presence he demands from the interpreter by means of directness and \u00bbexposure\u00ab: The aim is to blur the boundaries between the performers and the audience and establish a kind of musical „full contact“. \u00bbOn several occasions, I have experienced that the nicest moments whilst experiencing art are those in which my resistance crumbles. I want to be overwhelmed by what reaches me unfiltered, \u00ab Ogiermann says.<\/p>\n
\nOne can identify the repetition of musical-formal structures as the main characteristic of Stiegler\u2019s economical use of material: small units as well as larger sections are integrated into the repetitive sequences.<\/p>\n
\nThe saxophone superimposes itself on this layer of sounds with quiet and reserved actions – usually consisting of microtonal approach notes, always returning back to the initial tone \u2018e\u2019.<\/p>\n
\nIn his compositions, Michael Maierhof tries to turn away from the autonomous thinking space which New Music has secluded itself into more and more. The contemporary composer is confronted with the task to explore acoustic reality experience within the scope of aesthetic objects as well as acquire the appropriate form process of such a \u00bbtransfer\u00ab. Accordingly, Maierhof\u2019s conception provides for a drastic expansion of the current state of contemporary music.<\/p>\n
\nWith Crossings for small orchestra, Lucier created his first composition on the basis of beat phenomena in 1982. Here, the tones of the orchestra instruments cross the consistently rising signal produced by a sine wave generator. In Memoriam Jon Higgins, a piece that was composed two years later, follows the same principle: The vibrations of a stable clarinet tone and the vibrations of a slowly rising and barely audible sinus tone meet. Beats develop which are neither produced by the clarinet nor by the tone generator. What happens here happens on its own: in between.<\/p>\n
\nRasch\u2019s reference to Schubert\u2019s Winterreise doesn\u2019t concern the contents: \u00bbI start with a deliberate misunderstanding of the romantic approach: the disappointed romantic love doesn\u2019t offer an inducement for this work and Wilhelm M\u00fcller\u2019s texts only form a framework of connotations, starting points or resistance in search of music. \u00ab Instead, the activity of the protagonist is adopted: the aimless wandering of a shaken human being, the \u00bbcoldness of being on the road\u00ab, as Rasch calls it.<\/p>\n
\n Translation by Katie Hardwick<\/em><\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_120\/alvin_lucier.jpg\" "\\"\\"")
<\/p>\n
\nThe American Alvin Lucier, born in 1931, is one of the most distinctive representatives of experimental music. In his works, which are located between performance, composition and science, Lucier explores acoustic phenomena and their effect in space.
\nIn his best-known piece I Am Sitting in a Room (1969), Lucier plays back an audio recording he recorded himself in a normal-sized room and records it at the same time. This procedure is repeated until the voice on the recording can\u2019t be understood anymore, only the multiplied room-acoustic remains audible. In his piece Music for Solo Performer (1965), Lucier uses a device that amplifies brainwaves and turns them into acoustic vibrations. With those brainwaves, he manages to get the membrane of connected speakers to vibrate so much that it enables him to make percussion instruments reverberate.
\nIn his sound installation Empty Vessels, Lucier lets several people recite a text into hollow bodies, such as a barrel, a vase, or an ostrich egg in order to change and distort the voices in a natural way. Lucier wants to avoid artificial amplification of voices by electric devices in many of his works. A series of chamber pieces and orchestral works that deal with pure sounds in a minimalist way are also part of his works. Thus he created a piece, in which musicians generate sounds on different instruments and try to get snare drums to reverberate, which are spread across a room, only with help of the generated sound waves. In another piece, the musicians accurately try to imitate sounds randomly created by feedback of a speaker, which however, never succeeds entirely.
\nIn fact, the sounds that were \u2018left to themselves\u2019 in Luciers work always have a mysteriously \u2018expressive\u2019 quality. \u201cSometimes I think that speechless nature is talking to us here. Indeed, in the works of Alvin Lucier, it is recognisable that nature has a very eloquent voice.\u201d James Tenney<\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_120\/michael_maierhof.jpg\" "\\"\\"")
<\/p>\n
\nBorn 1956, self-employed composer and improviser, lives in Hamburg. He studied music and maths in Kassel as well as philosophy and art history in Hamburg. First compositions in 1989. Since 1990, the emphasis lies on room related music for ensembles of different instrumentation, on the development of preparation and undertone technology for string instruments as well as on research on the gyration on different surfaces. He is working on a music which isn\u2019t organised according to pitch levels.
\nHe held lectures about his music at Trinity College\/Dublin, at the State University of Music and the Performing Arts Stuttgart, at the Mozarteum in Salzburg, at the California Arts Institute in Los Angeles, at the Centre for Contemporary Music in Dublin, at the Central Conservatory of Music in Beijing\/China and at the University of Music Freiburg.<\/p>\n
\nVarious prizes and scholarships, latest prizes: 2008 Prize for composing of the provincial capital Stuttgart, 2009 Prize for composing in the contest \u201cad libitum\u201d, 2011 scholarship holder of Villa Aurora in Los Angeles.
\nCellist in the quartets \u201cNORDZUCKER\u201d and \u201cStark Bew\u00f6lkt\u201d.
\nCo-founder of the association for current music Hamburg. Member of stock11.<\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_120\/christoph_ogiermann.jpg\" "\\"\\"")
<\/p>\n
\nBorn 1967. Began composing in 1990 at the instigation of Erwin Koch-Raphael and has been writing music ever since. Collaboration in dance and theatre projects in Bremen, Berlin and D\u00fcsseldorf. He is active as speaker and singer and is violinist and pianist in the fields of free improvisation and European art music.
\nCompleted his composition studies with Younghi Pagh-Paan at the University of the Arts Bremen in 1999\/2000. Further important musical and philosophical studies with Georges Nicolas Wolff and Nicolas Schalz.
\nStay at the Archivio Luigi Nono\/Vienna in the winter of 1999\/2000. He was guest lecturer for composition and improvisation in Pitea\/Sweden in 2002 and guest composer at the Institute of Electronic Music and Acoustics in Graz as well as guest in the studio for electronic music in the Technische Universit\u00e4t Berlin in 2003.
\nHe was scholarship holder of the Heinrich Strobel Stiftung in Freiburg im Breisgau and beneficiary of the Cit\u00e9 des Arts in Paris in 2005\/2006.
\nSince 2007, he is father of twins.
\nIn 2008, invitations as lecturer for composition and electronics from Edinburgh and Quer\u00e9taro.
\n2009, guest at the Akademie Schloss Solitude.
\n2011, prize winner of the composing competition \u201cad libitum\u201d of the Winfried B\u00f6hler Kulturstiftung.
\nHas a teaching assignment in \u201cmusical performance\u201d at the University of Hildesheim.
\n2012, he won the art award from the Art Academy Berlin (music advancement award).
\nHe was co-founder of the ensemble x-pol-batterie and of the groups \u201cf\u00fcnf\u201d, \u201cTraurige Tiere\u201d and \u201cKLANK\u201d. He is a member of the \u2018projektgruppe neue musik bremen\u2019 and arts director of the series REM for electronic music.
\nMember of stock11.
\nLives in Bremen.<\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_120\/uwe_rasch.jpg\" "\\"\\"")
<\/p>\n
\nBorn 1957. Studied at the University of Bremen and at the University of the Arts Bremen in Rolf Riehm\u2019s composition class, Frankfurt. Scholarship holder of the University of the Arts Bremen. Freelancer at Radio Bremen. Lecturer at the University of the Arts Bremen, music teacher, co-founder and collaborator of the \u2018projektgruppe neue musik bremen\u2019.
\n2001, prize winner of the international composing competition of the Freiburger Elisabeth-Schneider-Stiftung. 2007, invitation to the international workshop in the Cselley-M\u00fchle in Oslip\/Austria. 2009, prize winner of the composing competition \u201cad libitum\u201d in Stuttgart.<\/p>\n
\nCommissions for the WDR (West Deutscher Rundfunk) and participation at festivals: Eclat-Festival in Stuttgart, Pro musica nova in Bremen, Konzerthaus Wien and others. Member of stock11.<\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_120\/martin_schuettler.jpg\" "\\"\\"")
<\/p>\n
\nBorn 1974, studied composition with Thomas Bruttger and Diego Feinstein in Kassel and with Nicolaus A. Huber and Ludger Br\u00fcmmer at the University of the Arts Folkwang in Essen. Has worked as a guest artist at the ZKM (Center for Art and Media Karlsruhe) between 2000 and 2004. Furthermore, Sch\u00fcttler is lecturer for music theory at the Frankfurt University of Music and Performing Arts and at the Philipps-Universit\u00e4t in Marburg. He held guest lectures and speeches at the Berlin Weissensee School of Art, at the Internationale Ferienkurse f\u00fcr Neue Musik, Darmstadt, and at the Takefu International Music Festival, Japan, to name but a few.
\nMartin Sch\u00fcttler has worked with numerous well-known artists and ensembles, with the Ensemble Modern, Evan Parker, the Trio Accanto, with the Neue Vokalsolisten Stuttgart, suono mobile and the RSO Frankfurt, amongst others. His works are regularly performed at international festivals and concerts within Europe but also in North America and Japan.
\nHe received commissions and chances to perform his music at the Takefu International Music Festival, at the Internationale Ferienkurse f\u00fcr Neue Musik, Darmstadt, at the Donaueschinger Musiktage, at the Tanztheater International Hanover, at Dartington Summer School, at the Kaaitheater in Brussels and at the Theatre Mohammed V Rabat\/ Morocco.
\nSch\u00fcttler has been awarded numerous prizes for his compositions, the prestigious Kranichsteiner Prize for composition of the Darmst\u00e4dter Ferienkurse in 2002, being one of them. They range from pieces as a soloist or for chamber music ensembles, to pieces for choir, orchestra, live-electronics and productions with tape music to sound installations, media art, theatre and film music, as well as to music for dance performances.
\nIn 2009, a CD with music by Martin Sch\u00fcttler was released in the series Edition Zeitgen\u00f6ssische Musik from the German Music Council. Member and co-founder of stock11.<\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_120\/thomas_stiegler.jpg\" "\\"\\"")
<\/p>\n
\nBorn 1966 in Meschede\/ Sauerland.
\n1987-1993, study of medicine in Cologne, Freiburg and Frankfurt\/Main
\n1991-93, study of composition in Freiburg with Emmanuel Nunes and Mathias Spahlinger.
\n1997, won first prize at the international composition competition Boswil (for quasi una fantasia)
\n2007, portrait CD in the series from the German Music Council.
\nWon first prize at the Ensemblia-Competition M\u00f6nchengladbach (for Und,Ging,Au\u00dfen,Vor\u00fcber,IV)<\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_120\/logos_gruen_120.jpg\" "\\"\\"")
<\/p>\n
\nGermany \/ 2013 \/ Gruen 120 \/ LC 09488 \/ GEMA \/ EAN 4050486089590<\/p>\n
\n
\nKl\u00e4nge f\u00fcr Saxofon und Elektronik
\nLaute Schritte n\u00e4hern sich. Ger\u00e4usche, harte Schnitte. Was macht Mark Lorenz Kysela da? Spielt er Saxofon oder Klarinette, oder spielt er mit Gegenst\u00e4nden? Was ist realer Klang, was das Ergebnis elektronischer Verfremdung? \u201eMark Lorenz Kysela spielt aktuelle Musik f\u00fcr einen Instrumentalsolisten und klangliche Erweiterungen\u201c, beschreibt sich die CD \u201eEins+\u201c selbst. \u201eAbenteuerreisen f\u00fcr H\u00f6rende\u201c h\u00e4tte man die Einspielung auch nennen k\u00f6nnen. Im Mittelpunkt der St\u00fccke von Christoph Ogiermann, Thomas Stiegler, Martin Sch\u00fcttler, Michael Maierhof, Alvin Lucier und Uwe Rasch stehen die Lust am Spiel und am Experiment. Nichts zum Nebenbei-H\u00f6ren, eher etwas zum
\nHineinfallen. Eine sch\u00f6ne, sehr andere CD.<\/p>\n
\nPlaying The Rekorder
\nEins +, translated: solo saxophone (soprano mostly, alto once) and clarinet, plus electronics, tapes, modifications etc.<\/p>\n
\nlink<\/a><\/p>\n
\nDrei\u00a0Ver\u00f6ffentlichungen vom Frankfurter Gruenrekorder-Label, jede versehen mit h\u00f6heren akademischen Weihen und ebenso konzeptuell aufgeladen. Kopf-H\u00f6rer-Musik. An begleitenden Texten zu den Ver\u00f6ffentlichungen mangelt es folglich nicht, und es ist in der Tat gut zu wissen, was sich jeweils hinter dem, was man zu h\u00f6ren glaubt, verbirgt. Dabei sind, zumindest im Falle von David Rothenberg und Budhaditya Chattopa dhyay, bereits die Titel sehr sprechend: Rothenberg hat buchst\u00e4blich live im Feld mit allerlei Insekten Musik gemacht. Begleitend zur CD ist auch ein Buch erschienen: \u00bbHow Insects Gave Us Rhythm And Noise\u00ab \u2013 und die Erfahrung einer beeindruckend mikrotonalen Klangumgebung hat vielleicht der eine oder die andere selbst schon gemacht: in der Wiese liegend, Grillen lauschend. Rothenberg hat die Kl\u00e4nge dieser und anderer Insekten eingefangen, sie als Musik h\u00f6rbar kontextualisiert und um eigene T\u00f6ne dazu erg\u00e4nzt. Das Zusammenspiel der entomologischen Orchester mit den menschlichen Gastmusikern klingt zumeist abwechslungsreich und beein druckend, an der einen oder an deren Stelle spielen die Menschen etwas zu gef\u00e4llig zum feingliedrigen Noise der Insekten \u2013 an den Tieren liegt es nicht! Budhaditya Chattopadhyays Eye Contact With The City ist das Pendant zu einer Video-\/Klanginstallation, die Bilder und Sounds aus den Stra\u00dfen Bangalores ausstellt. Nachbearbeitet erinnern die sph\u00e4risch verwehten Kl\u00e4nge allerdings nur noch entfernt, wie durch Fensterglas wahrgenommen, an die Ger\u00e4usche einer Zehn-Millionen-Metropole. Ich nehme an, dass die Bilder zu den Kl\u00e4ngen der Installation hier und da nicht zueinander passend pr\u00e4sentiert wurden, was den Verfremdungsefekt verst\u00e4rken w\u00fcrde. Die Recordings auf Eye Contact With The City lassen zumindest keine eindeutige Zuordnung der Ger\u00e4uschquellen mehr zu. Die Stadt als Klangk\u00f6rper verschmilzt zu einer Industrial-Noise-Klangfl\u00e4che, die dazu einl\u00e4dt mit den Ohren erkundet zu werden. Wenn die Ohren nach den Insekten und der Stadt noch nicht m\u00fcde sind, dann gibt es mit Mark Lorenz Kyse las Eins+ u. a. noch zu h\u00f6ren, wie der Musiker klingt, wenn er Musik macht. Mikrofone r\u00fccken Kysela, der auf diese Weise ein kompositorisches Konzept des Komponisten Christoph Ogiermann realisiert, so sehr auf die Pelle, dass nicht nur das Instrument und die Kl\u00e4nge die es erzeugt, geh\u00f6rt werden k\u00f6nnen, sondern auch der sich mit dem Instrument bewegende K\u00f6rper des Musikers. Insgesamt steht der physische Akt des Musikmachens im Zentrum, nicht so sehr das damit einhergehende klang liche Ergebnis. Dieser Logik, nach Kl\u00e4ngen diszipliniert unter verschiedenen Bedingungen und nach Ma\u00dfgabe aller vorhandenen M\u00f6glichkeiten der Instrumente zu forschen, ohne ein Klangerlebnis im Sinne einer \u00bbsch\u00f6nen Musik\u00ab zu beabsichtigen, folgt Eins+ \u00fcber 70 Minuten lang, in denen Kysela noch f\u00fcnf weitere Kompositionen von Alvin Lucier, Uwe Rasch und drei weiteren Vertretern Neuer Musik realisiert. Eine Herausforderung, Meta-Musik zu der man das beiliegende Textbuch studieren muss, um eine erweiterte Vorstellung davon zu erhalten, was es jeweils zu h\u00f6ren gibt. Keine Musik f\u00fcr jeden Tag, aber das ist auch sicher mit keiner der drei\u00a0Ver\u00f6ffentlichungen beabsichtigt.
\nlink<\/a><\/p>\n
\nWell, this is one of those releases that I could possibly never stop writing about – but instead, I\u2019m going to say very little indeed.<\/p>\n
\nlink<\/a><\/p>\n
\nIn den sechs Werken der CD verbindet Mark Lorenz Kysela (geboren 1971 in Stuttgart) ger\u00e4uschhafte Grenzbereiche des Saxofonklangs mit elektronischen Materialien. Umgebungsger\u00e4usche einzubeziehen impliziert dabei auch eine Kritik der Verh\u00e4ltnisse zwischen Komponist und Gesellschaft, Interpret und Publikum.
\nAllerdings l\u00e4sst sich der \u00abVollkontakt\u00bb zum Publikum, den Christoph Ogiermann einfordert, in der Aufnahme allenfalls simulieren. Ogiermann l\u00f6st das Problem, indem er die H\u00f6r\u00adperspektive in das Innere des Sopransaxofons verlagert, sodass Atem- und Klappenger\u00e4usche aus n\u00e4chster N\u00e4he erfahrbar werden. Die \u00abPr\u00e4senz des Interpreten\u00bb artikuliert sich in den einleitenden Schritten des Saxofonisten auf ein imagin\u00e4res Podium in hektischen Atemger\u00e4uschen. Diesen Zeichenakkumulationen des Titels stehen Druckbl\u00f6cke gegen\u00fcber, eine Folge obsessiver, in sich bewegter, aber in ihren Umrissen statischer Klangfl\u00e4chen, abrupt unterbrochen von langen Pausen. Am Ende fiepen Sinus- und Saxofont\u00f6ne um die Wette, bis das St\u00fcck leise ausklingt.
\nThomas Stiegler rhythmisiert Alltagsger\u00e4usche. Das ergibt einen reizvollen Klangteppich, unterbrochen gelegentlich vom homogen runden Klang einfacher Sinuston-Intervalle. Dem Saxofonisten bleibt dabei kaum mehr \u00fcbrig, als den elektronischen Zuspielungen versetzt eine zweite Ebene einfacher, ged\u00e4mpfter Tonfolgen oder Umspielungen des zentralen Tons e hinzuzuf\u00fcgen.
\nMartin Sch\u00fcttler beginnt mit einem sehr hohen, von Knackger\u00e4uschen unterbrochenen Zirpen und geht dann, nach einem Sinus-Akkord in Mittellage, zu einer kratzenden Attacke auf die Geh\u00f6rnerven \u00fcber, sodass sich die Frage stellt, ob der Titel sch\u00f6ner leben 7 als pure Ironie zu verstehen ist oder sein Wunsch nach selbstbestimmtem Komponieren nicht in letzter Instanz eine Verabschiedung vom Publikum bedeutet. Der fragmentierten Realit\u00e4t der heterogenen instrumentalen und elektronischen Kl\u00e4nge f\u00fcgt die Stimme des Schriftstellers David Foster Wallace einen ebenso fragmentierten weiteren Kommentar hinzu.
\nMichael Maierhof arbeitet mit Murmeln in einem Plastikbecher \u2013 im Schalltrichter des Altsaxofons ebenso wie maschinell durchgesch\u00fcttelt. Dies als \u00abdrastische Erweiterung des Materialstands zeitgen\u00f6ssischer Musik\u00bb zu bezeichnen, wie dies Michael Rebhahn im Booklet tut, erscheint denn doch als gro\u00dfkalibrige Rhetorik. Wie weit der Gedanke tr\u00e4gt, zeigt sich in der Aufnahme, wo der optische \u00dcberraschungseffekt entf\u00e4llt: Eine gewisse Monotonie des H\u00f6rerlebnisses ist schon nach weniger als 13 Minuten zu bemerken.
\nNoch weiter herunterschalten muss man bei Alvin Luciers In Memoriam Jon Higgins, das \u00fcber fast zwanzig Minuten hinweg meditativ Schwebungen von Sinus- und Klarinettent\u00f6nen auskostet. Kurzweilig beginnt dagegen Uwe Rasch, der die \u00abgefrorenen Tr\u00e4nen\u00bb aus Schuberts Winterreise mit Eisenstange und Kissen zerhackt, bis der Komponist selbst einen Schuss in den Fl\u00fcgel abfeuert, der dann noch lange 47 Sekunden verhallt.<\/p>\n
\nIf I was ever to add awards to WWR the one for excellence in packaging each year almost certainly go to Gruenrekorder. They really do send some sublime looking things my way and the metal tin that houses ‚Einst+‘ is a beauty.
\nThe label has a few strings to it’s bow and as such you’re never quite sure, until you hit the play button which aspect has made an appearance. this time out it’s the turn of the sound art series with a collection by German saxophonist and clarinetist Kysela.
\nHere he provides interpretations of pieces by a variety of modern composers such as Christoph Ogiermann, Thomas Stiegler, Martin Schuttler, Michael Maierfof, Alvin Lucier and Uwe Rasch. Of the 6, I must admit it is only Lucier with whom I’m familiar so it’s with excited ears I make the plunge.
\nMusically it’s utterly rooted in a very modern sensibility. Sonically it’s, for the most part, centred around Ksela’s instruments of choice which allows the proceedings a sense of familiarity albeit on subject to occasional lunges in unexpected directions along with the sometimes sudden, sometimes subtle interjections from the array of other sound sources.
\nFor me it is the Lucier piece that is the most engaging as it’s drones are most close to my heart but the rest are never less than intriguing and often are far more.
\nModern composition isn’t an area of music that I really ever have that much contact with but is certainly one that holds my interest on the rare occasion that I do and this was an unexpected treat that has gone round and round on my player for the last week as I tried to get to grips with it.
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\nI\u2019ve been looking at Dave Foster Wallace\u2019s book Infinite Jest for some years now. Since it was published in 1996 in fact. I used to pick it up in the Bradford branch of Waterstones\u00a0 and marvel at its sheer size [all 1,067 pages of it] and wonder if one day I\u2019d find the time, or the courage, to read it. Seeing as how I\u2019ve now managed to club Pynchon into a corner with a knotty stick I decided the time was right and finally bought a copy.<\/p>\n
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\nKysela works in the field of modern composition, electroacoustic and computer music improvisation and play different types of saxophone and clarinet that combines with electronic devices and tapes.
\nOn ‚Eins +‘ Kysela plays six pieces of composers Christoph Ogiermann, Thomas Stiegler, Martin Schuettler, Michael Maierhof, Uwe Rasch and Alvin Lucier. In the six piece Kysela add tapes, sine waves and electronics.
\nOn ‚DRUCKBL\u00d6CKE und ZEICHENAKKUMULATIONEN BCC‘ Kysela plays soprano saxophone and makes noises with his own body and Ogiermann plays tapes and radio versions. The noises sound very close and are combine with saxophone’s babble of Kysela.
\nThe recordings of bird songs deep into the woods on ‚Treibgut VI‘ is composed by Thomas Stiegler, who plays the tapes alongwith Hannes Seidl and Kysela on sax.
\n‚Sch\u00f6ner leben 7‘ is composed by Martin Sch\u00fcttler who plays live-electronics and prepared samples, Kysela on soprano and tenor sax in addition to electronic devices, alongwith Mara Genschel on text and David Foster, voice. The result is a series of electric noises and improvised sax blows and texts which I can not connect with the music as my limitation I guess.
\n‚Splitting 13‘ Michael Maierhof use tapes while Kysela plays strongly alto sax which is processed and hardly cames out the original sound of the sax.
\n‚In Memoriam Jon Higgins‘ is French’s Alvin Lucier composition in which Kysela plays clarinet and pure tone generator programming. This is also an abstract piece as the rest.
\nThe final composition is ‚Aus vierundzwanzig: drei‘ of Uwe Rasch who makes accurate blows at the piano and Kysela plays soprano sax, tapes and percussion recordings. Here it can be appreciate a noise generator that produces different sound waves.<\/p>\n
\nLet’s not mince words: Mark Lorenz Kysela’s Eins + is challenging music, to say the least. Yes, the Stuttgart-born Kysela does play soprano sax (and clarinet), but he’s no Kenny G or Grover Washington. Attractively packaged in a steel case and supplemented by a full-colour booklet containing background information (in both English and German), Eins + features contemporary works by Alvin Lucier, Christoph Ogiermann, Martin Sch\u00fcttler, Thomas Stiegler, Michael Maierhof, and Uwe Rasch, all of them experimental settings that pair Kysela with electronic or analogue enhancements and tapes.<\/p>\n
\nAlors l\u00e0, voici une \u00e9trange suite de pi\u00e8ces interpr\u00e9t\u00e9es aux saxophones alto, t\u00e9nor et soprano ainsi qu’\u00e0 la clarinette par Mark Lorenz Kysela. Autant de bois syst\u00e9matiquement accompagn\u00e9s d’\u00e9lectronique, d’ondes sinuso\u00efdales et de bandes l\u00e9geres et discr\u00e8tes la plupart du temps. Au moins sur deux pistes, on croirait entendre de l’improvisation \u00e9lectroacoustique (surtout les pistes 1 et 3), mais il s’agit pourtant bien de musique \u00e9crite – peut-\u00eatre pas mal \u00e0 partir de partition graphique ou d’indications sommaires. Quant aux compositeurs, ils me sont tous – hormis Alvin Lucier – compl\u00e8tement inconnus: Christoph Ogiermann, Thomas Stiegler, Martin Sch\u00fcttler, Michael Maierhof, Uwe Rasch.<\/p>\n