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KONTUR-STRUKTUR-SYSTEM-ZERFALL Gerhard Laber |
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DER BAUCH oder EINES TOTEN MORGENS Variationen über einen Text und ein Gitarrensolo von Werner Schwab Liebhaberausgabe, limitierte Auflage 100 Stk |
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KRONPRINZ RUDOLFS TRAUM
Film Score to the Experimental Film Einsteins Traum by Karl Heinz Koller (1943-1995) Liebhaberausgabe, limitierte Auflage 100 Stk |
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confined entropy music & photographs by guy fleming This music is largely inspired by the strange and mystical atmosphere that surrounded the impressive crumbling ruin of the Pyrmont Incinerator in Sydney in 1990. I took many photographs and recorded a number of sound sources at the ruined incinerator, which formed the basis for many of the Confined Entropy audio compositions. |
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Chieko Mori, koto BEPPU PROJECT
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vinzenz schwab mäander 2 based on fieldrecordings from buenos aires & renon |
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vinzenz schwab dings #1 dings #1 is the beginning of my edition of works. in addition to improvised live electronics, the composition of computer music is my chief musical activity. starting from mostly self-recorded sound material, the pieces were developed with the vasp and amp programs. the script language of these programs enables a quick and “simple” working with a large number of sounds, routines and parameters. the pieces “musik ist ein dickes waldtier” (“music is a fat forest animal”), “variations from piano” and “quartett für gruben & sträucher” (“quartet for pits and shrubs”) are originally conceived for 4 to 8 loudspeakers. each loudspeaker is to be understood as an independent instrument in the space, whereby the polyphony and the metamorphoses of the sound characteristics of the individual voices become more comprehensible. the three pieces appear on the album in a specially customized stereo version. for dings #1 recordings, among others, by gloria damijan (piano), fm einheit (objects), michael moser (cello), field recordings of protests in athens and the recording of an improvisation of the late, great synthesizer virtuoso dieter feichtner were deconstructed, transformed and incorporated into concrete and abstract “thingamajigs” with mundane, extraordinary, personal and fictive traits. |
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THRENODY FOR NO PARTICULAR
REASON The sound of this music has been generated through a matrix which
produces multidimensional waves on the surface of a 10-dimensional
hypersphere. The matrix itself is derived from the countless variations
of a magic square 10x10. |
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LANDSCHAFT MIT PIANIST Everything that is not piano sound (or Friedrich Gulda’s voice), comes from tape;
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AIN’T THERE TV AFTER DEATH |
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Günther Rabl computermusic |
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Dieter Feichtner ANTHOLOGY vol.1
Dieter Feichtner (1943-1999) was definitely one of the most extraordinary musicians on the synthesizer ever since. Improvisation was his natural element. Not only did he deeply understand the nature of electronic sounds, he also was an excellent keyboard player. Many people still remember his concerts with musicians like John Surman, Barre Phillips and many others, or his stylistic parodies, spontanous sketches, unpredictable stories and actions (sometimes a horror for concert organizers and club owners). Beyond that he was engaged with his life's work for more than twenty years: direct solo recordings, in which he brought improvisation to a high architectonical and symphonic level, building the bridge between folkloristic elements and experimental forms with ease. |
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Günther Rabl Werke 1 "New, talking sounds, that wake up your ears: lines over brilliant patterns, clusters of silvery
sounds, sort of an erlastic organ, a colorous ostinato of opulent structures. All that is
combined with humour and livelyness in an attempt of a sinfonic developement ... This work
shows a temperament, which is quite rare here, like anywhere else." |
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Günther Rabl Werke 2 This recording seems to be an alien element within the collection of my works. It's neither electronic music, nor is it, what one may call 'contemporary' or 'serious' music (whatever this is). Just a simple compilation of tunes and overdubs, sometimes in a folkloristic manner. But in fact, FLASCHENPOST and MUGL ENTSTEIGT (Werke 1) are 'twins'. I produced them at the same time and they share some elements. And they are my roots. All the music I composed up to now, would miss a dimension without them. Günther Rabl |
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Günther Rabl Werke 3
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Günther Rabl Werke 5 The four pieces on this CD demonstrate the amazing possibilities of
'sound-alchemy' still with analog means. LANDSCHAFT uses only piano-music
by Friedrich Gulda as a basic material, EVE and KLEINE FUGE only
double bass sounds, while BITTERSWEET confrontates both sources
in a melancholic mood. |
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computer music (1990-94) KATHARSIS / katharsis FUNKENFLUG / flying sparks WIND-INTERMEZZO / wind-intermezzo GROSSE FUGE / grand fugue The recording of a waterfall forms the basis of the full-length composition. However, more
important as its function as acoustic material, it serves as an inexhaustible reservoir of forms
and processes, which can be derived from it by means of varoious analytical methods. This
material is complemented by a number of 'imaginary acoustic objects' - numerical oscillators
(so-called physical models) designed especially for this purpose, which are brought to life by the actual sound of the water and its transformation. |
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Günther Rabl Werke 9 |
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Günther Rabl Werke 10 A commission by the wood carver Gerhard Maier for his exhibition of 1000 handmade wooden combs plus a heap of resulting shavings, or, as he would see it: a heap of handmade wood shavings plus 1000 combs resulting on this occasion. The primary task was, to refer to Gerhard Maier's living and working situation in his atelier in a formar raylway-station for horse-drawn carriages, which nowadays is a museum near a highly frequented cross-country road connecting Linz with Prague. The composition makes use of the advanced methods around the so-called Fourier Transformation. It begins with a parody on the morning-traffic on a cross-country road and ends up with the screaming of two million frequencies evoked by a few roaring glissandi. |
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Günther Rabl Werke 11 It's the story about the Basque miracle healer Betiri, a young man, who got his extraordinary
skills for the simple reason, that nobody was obstructing him. He receives his skills and he
looses them again at the end, as part of the same game. The part of Betiri (his story, his
monologs, his inner voices) is spoken by the actress Alexandra Sommerfeld, all the other
parts (Betiris family, his girlfriend, the king, the queen, the court) by the actor Thomas
Kamper. The music symbolizes all the different layers of the story and keeps them
permanently present. It is computermusic derived from a few basic materials, originally on 8
tracks. This CD contains a post-synchronization of the recording of a performance at the
Kunsthalle Krems 1999. |
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Electroacoustic composition in four parts |
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DER CORNET Sprecher Peter Cerny |
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Günther Rabl
NEBENGERÄUSCHE / sidenoise This recording contains three solos, one from the Konzerthaus
Vienna, one frome the Kongresshaus Salzburg, and a third one from a session on a housboat
in Paris.
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Friedrich Gulda – 3 PIANO PIECES Friedrich Gulda has played all three improvisations on a Bösendorfer Imperial at the Konzerthaus Vienna in March 1986, without any audience, only for the purpose of recording. They were intended to serve as a basic acoustic material for my work on LANDSCHAFT MIT PIANIST (landscape with piano player) – a piece for tape and piano improvisation. Indeed, all sounds and sonorous processes in my part LANDSCHAFT are derived solely from these recordings.Then, for many years, they were slumbering in my archives. |
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Günther Rabl STYX Styx introduces a point of view, a limit of thinking and feeling, from which the most
iridescent sound patterns can be conceived in their essential features and thus become
accessible for a musical composition. Derived from five basic sources, fragments of outdoor
recordings, endless metamorphoses of sounds and sonorous processes are produced in rising
and falling order by a constant change of electronic transformation and conctruction. remaining stock, available at canto crudo |
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Günther Rabl FAREWELL TEMPERED PIANO "... From rising and falling lines of numerical fractions derive all parameters of musical
creation... There are no layers to be heard that are not derived from formal series, no ornaments marr the face of scales, sounds and tempi... Farewell, welltempered tuning - one
could say with other words; it will be a farewell without tears : a farewell that leaves the hope
for the new as well as the reviving relief of old habits into the space beyond temper and
humours." Klaus Hollinetz 1992 remaining stock, available at canto crudo |
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Günther Rabl
ODYSSEE "... A travel developes that leads far beyond all accostumed. The illusion should not have been the wandering of Odysseus, but the fantastic experiences and views of a voyage that from time to time crossed the borders of the known world. The voyage ends in the head or maybe it starts there; confusingly the singing of the sirenes mixes with the rush of distant seas." Klaus Hollinetz 1992 remaining stock, available at canto crudo |
amadeo 437042-2 |  |
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CDs of canto crudo are available at:
Europe: Japan: art into life http://art-into-life.com |
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resizewizard.mp3