A journey into the unknown realms of poetry, mysteries and enthralling melodies. Plus 4 new studio tracks. Death Industrial in its purest form, and surely you have one of the more disturbing releases ever to be released on Malignant. Plus 13,95 two new studio tracks.
Dark history enriched by beauty of balkan folklore. And what about adding a very unique and personal female voice in Hungarian to this?! Not heavenly, but hellish and folkish. Fourty minutes of music in nine tracks created in specific orchestral vein. Very interesting music, not so many mighty, bombastic phrases, but a lot of moving atmospheres. The music evokes a variety of soundscapes, found noises, classical miniatures, and rocky grooves If you like strange electronic oscillations and have an open mind, give this a try.
Martial ambient sounds mixed with industrial elements and nostalgic old samples. Devoted to crusades. Pigdaddy contains some of the most fucked up, histrionic and downright bizarre vocals ever recorded. It comes on pure white vinyl with a A4 sized insert in textual sleeve with embossed band name.
The value of the album lies in the absence of digital sound generating means in the recording. It's noise music in the most classical sense of the word.
Believe the 15,00 unbelievable! Editing Tapes his first tapes the end of the 80's he finally got signed on Hymen in Cryptic, menacing atmospheres erupt from droning chasms of feedback. Breathtaking thrilling industrial. The single ca. Haunting, curiously rhythmic, with dark edges.
Steeped in tradition and mystery,all those recordings feature Annabel Lee and M. Secret bonus track on side B not featured on the CD version. Highly recommended!
The CD consists of a single track. This completely remastered disc features the complete 'Christ Knows' LP plus 3 previously unreleased bonus tracks.
Classic old-school British Industrial. Reworked and remastered legendary Toroidh records. Fine A5 gatefold cover. Two rare vinyls as one CD. The ritual face of Troum! Nice digipack with 8 pages booklet. Military ambient and industrial noises. Melodies made with the help of loads of caffe and amaretto, sounds full of black and strong Sardinian wine. Includes various inserts, a 7" and a 10" of Russian children songs.
Also contains 2 postcards, several paper inserts, a scalpel. In the style of Novy Svet with dutch vocals. Also included is a Russian traditional song, "Leader's Daughter". Psychedelic drones, ritual drums, processed sounds, glimpses of acoustic harmony, and original sound documents are blended to grant a holistic sensory experience PRICE 45,00 14,00 13,90 LTD. Limited to only copies. Ranging from post-rock, to post-core, to post- black metal.
Get yourself familiarised with the sounds of the Belgian underground. It is with the same requirement in the selection of unreleased tracks that. Dvd case size black leather like digibook type of packaging, extensive 28 page dvd size booklet featuring the most explicit artwork Hirsch, Drahomira Song O. A MUST! This compilation explores the darker side of British folk music, evoking the mystery of our ancient past and peoples, 18,00 VV.
Comes with the large deluxe 18 pages booklet The total of nine music projects partook in the festival, however, the rest were not included into the DVD due to a variety of reasons. Limited edition Artwork made by Jacek Liminowicz.
Folding textile cover with wax-seal. Rod contributes granular synthesis among other sonic alchemy to the duo's sound. Luigi Russolo known for Therabaqud Leic and S. Biasin Trio works on music with his wellknown theory and practice approach. A frightening and immersive journey through shadows, somewhere between crepuscule and nightfall, far from the flashing rays of daylight.
Their brand of guttural expression strips away the rock n roll base and leaves nothing for the listener than the caustic reality of the darkest side of life. This does not mean that the orchestra is only used here and there, intermittently in the sense of producing discrete vertical accents ; indeed passages featuring a regular interplay between orchestra and the solo instrument occur throughout, as in en sourdine starting at letter s.
In the ensemble cycle sonic eclipse, the topic of space and spatial arrangement is transposed to the vastness of the universe. Here the phenomenon of one heavenly body being gradually covered by another, which in the extreme case leads to a solar eclipse, is used as a metaphor for the process of composition itself. In this three-part work, various phases of an astronomical phenomenon are compositionally modeled using particular configurations between the solo instrument and orchestra. In celestial object I, dem ersten Teil von sonic eclipse , ist das Soloinstrument eine Trompete, im zweiten, celestial object II, ein Horn, im dritten Teil, der finalen occultation, eine Trompete und ein Horn.
Bildlich entspricht dies genau der Eklipse. In celestial object I, the first part of sonic eclipse, the solo part is a trumpet, while it is a horn in the second, celestial object II; in the third and final part, occultation, there are two solo instruments: a trumpet and a horn.
The orchestral forces in all three parts are nearly identical, consisting of woodwinds with English horn and contrabassoon instead of oboe and bassoon in parts one and two — even here Pintscher shows his preference for high and low registers , harp, piano, two percussion players, and strings.
As for the brass, each instrument that is not being used as a solo player horn in part one, trumpet in part two joins with the orchestral ensemble, which also includes tenor-bass trombone. The contours of both pieces are quasi superimposed in the third part so that even though the material of these two pieces is completely heterogeneous, it coalesces at the moment they come together. I was interested in examining the repertoire of two very different instruments that nevertheless belong to the same family and in letting both instruments sound very different from each other.
This completely heterogeneous repertoire of sounds and shapes is slowly brought together and layered one above the other; finally, the ensemble is drawn in as well, so that everything really coalesces into a single voice, a single instrument and sound gesture, and then afterward comes apart once again.
Figuratively, this corresponds precisely to an eclipse. In Takt sind nur noch Rudimente der Triolenfigur vorhanden, aber in allen Orchesterstimmen. In Matthias Pintschers Werken der letzten zehn Jahre gibt es somit differenziert wechselnde Konstellationen zwischen Solo- und Orchesterparts, deren wichtigstes kompositorisches Prinzip in der Tat die Ausrichtung von Klang im Raum und in der Zeit bildet.
In contrast, the solo trumpet in celestial object I has only a mini-cadenza. The orchestral trumpet in celestial object II as well, in contrast to the solo horn, shows nothing comparable to the presence described above. In occultation this characteristic difference in material between the two solo instruments is already reduced at the beginning of the piece up until the dissolution.
Subsequently the material appears in changing orchestral groups, which is especially easy to observe in the col legno-triplet passages starting at bar 39 in the viola, which are taken up by the tam-tam starting at bar 68 , and at last by the violins from bar 73 , by the piano and bongos from bar 94 18, and gradually, as the composer describes it, by all parameters of the texture. In bar only rudiments of the triplet figure remain, but in all the orchestral voices.
The most important compositional principle of this in effect generates a directionality of sound in space and in time. The interface between line and prism provides the foundation for sonic explorations. Weltkrieg vgl. In: Geschichte der Musik im Jahrhundert: — Jahrhunderts, Band 4 , S. Kassel , S. In: FAZ vom Januar , S. Matthias Pintschers zweites Violinkonzert. Orientierungspunkte bei Matthias Pintscher. In: was noch kommt. Der Komponist Matthias Pintscher. Mainz , S. Ensemblezyklus von Matthias Pintscher.
Part one from sonic eclipse. Part two from sonic eclipse. Part three from sonic eclipse. Jahrhundert: —, ed. Jahrhunderts, Band 4 , p. Kassel , p. Der Komponist Matthias Pintscher, Mainz , p. Music for violin and orchestra.
Und doch beginnt in gleichen Moment etwas ganz anderes. Noch ungreifbar, noch eine Welt, die im Moment nur der Dirigent kennt. Nun gilt es, das Werk in der Zeit zum Fliessen zu bringen. A man beats time and the musicians play. And yet precisely at this moment something quite different begins to happen.
And yet his attitude makes you already sense how the work might take wing to reveal its greatness and complexity. The entire work, which fills up many pages of score, exists at each discrete moment as a complete entity represented by the conductor who has studied it.
Now what matters is for the conductor to make the work flow in time. Take Transir , a flute concerto in which he deploys the flute in a way that causes breath to flow through the entire orchestra — breath as the vital, age-old pulse and rhythm of humanity. Hans Werner Henze championed the talented young man in the s.
He also learned how to set down in notes what he sensed as boundless, free, and indescribable — without killing off its spirit. There are no hour-long speeches, no show, no dictatorial outbursts or posturing. The gestures are pleasant, accompanied by friendly facial expressions — a smile suffices to confirm agreement. Pintscher guides the shared workflow, which is characterized by a very affirmative demeanor.
This is a conductor who reads with the perspective of the composer — a perspective, in other words, always directed outward as well as inward.
Whether the score in question is by Mozart or Pierre Boulez, the important thing is to play what is written. Of course opinions as to just how the score is to be read are deeply divided, but that is just what makes the world of classical music so exciting. The rehearsals become a process in the course of which agreement is reached about a shared collective interpretation for the moment of performance. The composer and conductor Matthias Pintscher is well aware of the snapshot in time represented by that shared moment.
He finds the basis for his approach through analysis, but this is not limited to musicological speculation. For the composer, it is taken for granted that scores are encrypted messages. He himself constantly has to encode his own ideas, continually facing the challenge of translating the non-material into notes and of trusting the power of his musical notation to inspire whoever in turn reads it. As a conductor I would really like to get as close to fulfilling the requirements of a score as I can, given what I know at that moment.
The articulation and timbre with which you approach a Beethoven symphony are of course completely different from what they are in contemporary music. I find it especially interesting to identify where there is common ground, such as during the moments of upheaval in the musical literature. Zu begreifen, dass ein Forte piano in der zweiten Sinfonie von Beethoven nichts mehr damit zu tun hat wie es in der achten Sinfonie funktioniert.
Diese Bedeutungen versuche ich auch im Kontext der jeweiligen Kammermusikwerke zu erfassen, die zur gleichen Zeit einer jeweiligen Sinfonie geschrieben wurden. Das ist ein Studium, das ich einfach faszinierend finde. Aus der Position des Schlagzeugers heraus beobachtete er fasziniert, wie sich der Klang der verschiedenen Instrumente mit unterschiedlicher Energie im Raum entfaltete und welche Instrumente akustisch wie miteinander verschmelzen konnten.
Matthias Pintscher macht von Anfang an beim Proben bewusst, dass es um die Energien geht, um die Interferenzen auf der Mikro- und Makroebene. Matthias Pintscher liest die Noten immer auch wie eine Zeichnung. These seamless transitions through which, all at once, you get an insight into the flow and articulation of late Brahms — and of course that can provide a means of decoding a Schoenberg score. I additionally try to understand these implications in the context of the chamber music works that were written at the same time as each of the symphonies.
This is a topic of study that I simply find fascinating. As a conductor, Matthias Pintscher has also been influenced by his experiences playing in orchestras. When he was a teenager he played violin in a youth orchestra in the city of Marl, where he was born in From the position of the percussionist he was fascinated to observe how the sound of different instruments unfolded with varying energies in the acoustic space and to notice which instruments could acoustically blend together.
As soon as rehearsal starts, Pintscher makes the players aware that it is a question of combined energies at both the micro level individual players or sections and the macro level of the ensemble. Like a hunter, he chases them along their own tracks to motivate them. The challenge consists in revealing different meaningful musical perspectives — but without in the process freighting these with interpretations that are not intrinsic to the music.
What he aims to accomplish might be liked to sunshine that causes a motley variety of flowers to blossom. Pintscher always reads the notes on paper as an artistic drawing. The sources of inspiration or insight as well as comprehension are of course diverse; they differ for each person. Das ist einfach so. Denn das ist ja letztendlich das, was ich auch jeden Tag tue.
Ein Beispiel. Nun gilt es, seine Visionen in das Orchester hinein zu erweitern, damit alle gemeinsam diesen Klangraum der Musik erschaffen. Ausgelotet wird der physikalische Raum bis in immediately sets sounds and music free within me. This is simply the way it is.
This closeness I feel to visual art was always there — especially when it comes to the act of drawing. For me works on paper are very exciting indeed — everything involving what happens when you draw on paper, no matter what the medium.
For an orchestra, the first reading rehearsals with Pintscher are simultaneously illuminating and painstaking. While the musicians have studied their respective individual parts at home, now for the first time they are in a position to understand the whole work in context.
This way in which music becomes transformed during rehearsals with Pintscher is clearly observable. To give one example: the high noise content in scores by composer Mark Andre initially led the orchestra to play with great stress.
The notes remained strangely colorless and aggressive; they seemed brittle and lifeless. This quality resulted from its substantial transformations, its transitions between indistinct rustling and sound, between intensity and noise, between sound and silence. The important thing was then to convey his visions to the orchestra so that all the players could jointly create this sound space. Pintscher had the musicians together listen closely to individual notes, to the motions of the sound, its structures; he made them aware of its transitions from one state to another, isolating each in a kind of freeze-frame.
The musicians intuitively grasped how to find the right sound: it was at heart their philharmonic sound, the sound that they had developed through the years in all its vital beauty. The physical space was probed to its limits; the limits showed where it could go further, making it possible to think beyond the physical-acoustic limits — the important thing was to let the music unfold freely across the space and beyond it. The sounds were equally concrete and ethereal: on the verge of the audible, on the verge of noise.
Pintscher invited the musicians to explore this new linguistic space; he gave them the vocabulary that made communication and agreement possible. Pintscher obtains what is essential not through words and explanations but through listening and an attitude of humility regarding the written notes. Whoever develops trust in the conductor — trust that there are great discoveries to be made — is not disappointed and jointly comes to experience the new as something enriching, discovering a beauty all his or her own.
For orchestral musicians, it is especially exciting to learn the works of Pintscher the composer with Pintscher the conductor. He himself is also eager to hear his works performed by other conductors. Of course I know my own scores, yet I also have to admit that if I conduct a piece by myself that dates back, say, 12 or 15 years, I really do have to sit down at home and learn the score.
For me, trusting is also a very important attitude to have for my life and my career. Admittedly I go to meticulous extremes in how something is notated, the guidelines are precise, but then I truly do set a work free. When Pintscher stands in front of an orchestra as conductor, he has no need for outwardly authoritarian posing. The rehearsals seem almost objective, unemotional. Und die Sinne … Auf dass wir Dinge erfahren, die uns selbst einzigartig sind!
Jeder kommt aus einem ganz anderen edukativen Kontext, aus einem anderen stilistischen Kontext. Er nutzt sie als Komponist als Mittel der Verwandlung, im Barock wie im And the way in which Pintscher describes the problems of orchestral playing already contains within itself the path to this shared experience: My aim is first and foremost to open up the ears of each individual orchestral musician so that they interact with the sense and awareness of their own possibilities. The role of the person who stands there in front of them saying or announcing or improving or correcting things is something I find altogether uncongenial.
And their senses… so that we come to know things that are unique even for ourselves! An orchestra has 70 different personalities sitting together on stage. Each of them comes from a completely different educational context, a different stylistic context. Those are very subtle nuances, but each is a unique personality. Yet the question is: how in general is it possible that a given string sound or woodwind sound suddenly blends together?
I think that happens because each player retains their distinctively strong personality but opens up their ears to see how they can communicate: with what immediately surrounds them and with their broader surroundings.
It is essential that you really feel, as a musician, that you are a medium between something that comes from one side and has to move on through me to another side. That, I think, is the understanding that distinguishes the really great musicians and the really great orchestras. Extended playing techniques are never gratuitous or outlandish with Pintscher. As a composer he uses them as a means of transformation — there is no difference here between the Baroque and the 21st century.
Once the function of a particular technique is clear, how to execute it in performance becomes a matter of course. Pintscher is extremely creative with this and has acquired lots of experience in connection with extended playing techniques. Orchestral musicians have frequently been bemused by his request for paper clips to be attached to the strings of string instruments so as to distort the sound.
Yet this technique is not time-consuming and does not harm the instruments. Es gibt verschiedene Musiken, die mir so unbeschreiblich viel bedeuten! Und zum Zweiten ist es die wirkliche Liebe zur Kommunikation mit Menschen. Ich bin unglaublich gerne mit Menschen zusammen und ich brauche den Austausch mit Menschen.
Ich vertraue dem einzelnen Musiker, dass er sich einfindet in die Aura, die die Musik zu beschreiben versucht. Wenn man Matthias Pintscher beobachtet, der ganz pragmatisch und effektiv arbeitet, gezielt Stellen anspricht, wiederholt, weitergeht, fragt man sich bisweilen, wie letztendlich die einzelnen Puzzleteile, die nicht exzessiv geprobt werden sondern nur so weit, bis alle verstanden haben, was gemeint ist, zu einem Ganzen wachsen sollen.
Der Beruf ist nicht einfach, er ist eben sehr vielschichtig und unberechenbar. Conducting and composing for Pintscher are two sides of the same coin. There are two things that motivate and inspire me. One is my really great love of music. There are different kinds of music that mean so indescribably much to me! The other is my real love for communicating with people. His unflinching questions that attempt to get at the heart of the matter make you want to listen. When you observe how effectively and pragmatically Pintscher works as he pointedly comments on certain passages, repeating and continuing to work through them, at times you wonder how the particular pieces of the puzzle that are not given such a close reading — just enough so that everyone agrees on what is meant — are eventually able to cohere into a whole.
The use of texts opened up a further dimension in both expression and the formal structure of a piece of music. Before we turn to the many ways in which Schoenberg brought speech and music together, it is worthwhile taking an over- view of the problems of vocal composition in new music. In chemistry, the term amalgam is used to signify the solution of bronze with mercury in order to obtain gold and silver.
Amalgam can also be used in discus- sion of problems of vocal composition, of setting of language to music. Something qualitatively new — a synthesis would be another term — comes into being. Since at least the 19th century, theoreticians and composers have examined in depth the significance, possibilities and requirements of the symbiosis of mu- sic and poetry, art song and music drama providing them with much of the ma- terial for their deliberations.
Not surprisingly, contrary positions were regularly expressed. While some saw the quality of a poem as a criterion for its suitability for setting to music, others took the element of musicality into consideration. The view that a poem is less suited to musical setting the more finished it is might seem curious to us nowadays but had its advocates nonetheless.
There is also the fact of the countless parallel set- tings, where the same verses were set to music by various composers, to demon- strate how many interpretations and readings a poem can offer. The questions that immediately arise, however, are: on what level does the amalgamation of poetry and music take place?
What influence does the poem bring to bear on the form of the composition, and what new dimensions are de- veloped through the amalgamation of the poetry and music? In this regard, I be- lieve there are five main levels to be differentiated. The first level is that of form. The architecture of a poem, its structure, and the number and nature of the lines together pre-programme the way the compo- sition is constructed as well. The composer can retain the strophic shape of the.
In new music, other procedures were developed in the way the structure of a poem affects the form of the composition. The second level might be termed that of the material, where the spoken, chanted or declaimed word is turned into sound. The intonation, rhythm and metre acquire musical form. A third level consists of the affective relationships between poetry and mu- sic.
Since the 18th century music has been taken to be the language of emotion, sentiment, and the heart. But poetry too possesses highly affective qualities. Many rightly see Romantic poetry in particular as an expressive tool for the di- rect articulation of emotion. It is a widely-held opinion that the emotional con- tent of a poem is deepened and intensified when it is set to music. From that perspective, it is certainly no coincidence that it was precisely in the 19th centu- ry that art song reached its undisputed peak.
The fourth level, that of semantics, has a particular relevance. It is in the nature of music not to be semantically precise, but vague. Many composers now treat the text as a bearer of semantic content. The fifth level is that of representation: poetic texts and poems show an abundance of images and figures that composers regularly transform into musi- cal images and figures — as 16th- and 17th-century madrigals readily demon- strate.
These points about the various levels of the amalgamation of poetry and music hold true for traditional music, up to the modern period.
If we turn to the music of the 20th century we are confronted by an altered situation. One of the reasons is that modern verse differs profoundly from traditional poetry in many aspects. One of its most conspicuous hallmarks is the loss of musicality. Rhyme, assonance, strophic structure and metre are considered threadbare and antiquat- ed, and consequently avoided. The division into verses is often achieved exclu- sively through typography.
Many modern poems are not mean to be recited, but only read. It is my feeling that his loss of musicality is one of the reasons why many contemporary composers pass over contemporary verse and turn back to older poetry. Clearly there is a significant issue involved. The destruc- tion of language was the logical consequence of a fundamental critique of lan- guage, and also of the acknowledgement of being literally speechless.
No less significant is the spell cast by the philosophy of the absurd think of Albert Camus9 over modern art, modern theatre Beckett, Ionesco , modern poetry and contemporary music. Their central idea is the synthesis of lan-. Its random violations of syntax and semantics destroy a language, the damage to which should thereby be brought to light; the artistic disassociation of language is a reflection of the alienation of its users from the overly familiar as from that for which it stands. This was a plea for the notion of music as message.
It seems to me that this notion has gained ground in recent decades. It is striking, in any case, that when it comes to texts, various composers often choose the form of music drama. However, it is only at the end that a female speaker recites the poem. Before that point, it is the linguistic and rhythmic structures of the poem, its expressive gestures and poetic images that secretly, as it were, shape the music.
Art can be per- ceived as much as a game as a message. For Schoenberg, language was a medium for articulating states of mind and for setting down his beliefs. In many ways, texts thus had an influence on the musi- cal structure, in that Schoenberg was always concerned with helping to provide adequate expression of the content of a poem or a libretto by musical means.
Alienation or destruction of the linguistic sense would never have entered his head. The examples of Gurrelieder, Pierrot lunaire and the opera Moses und Aron should make this clear.
Schoenberg himself attached particular importance to it for his compositional development. It shows sides of me that I no longer show, or if I do, on another basis. For once, the normally indifferent press joined in the general chorus of praise. There are a number of elements to take into account in any consideration of the reasons for this quite exceptional success.
After Wagner, many compos- ers understood music as a medium for conveying ideological concepts, and Gurrelieder is one of those works by Schoenberg that need to be considered against an ideological background. It would not be inaccurate to identify it as a kind of redemptive mystery. As well as its rich range poetic imagery, the beauti- ful cycle of poems Gurresange Songs of Gurre by Jens Peter Jacobsen is shot through with philosophical notions.
The cycle relates the love sto- ry of Waldemar and Tove, and draws its strength from the properly Romantic concept of the affinity between love and death. The idea of mortality runs like a leitmotif throughout the cycle. The message of the poetry is indeed a belief in the eternal cycle of life, and at the same time in the notion that love is stronger than death. In any case, he set out to express its grandeur using quite exceptional means, and his great oratorio calls for colossal forces: as well as five soloists and a speaker, the score stipulates three four-part male choirs, an eight-part mixed chorus, and a mammoth orchestra of eight flutes, five oboes, seven clarinets, three bassoons, two contrabassoons, ten horns, seven trumpets, seven trombones, contrabass.
At the Vienna premiere there was a chorus of , and players. Expressive excess goes hand in hand with this inflated sound-world. Schoenberg picks up where Wagner left off, and carries on further in the same direction. It is true, however, that in this respect as well Schoenberg here touches on unchartered territory. Having said that, in the third section melodrama there are several atonal moments.
Schoenberg divided the Gurrelieder into three parts and began to set it to music in March , making rapid progress. In a short time he composed the first two sections and a large part of the third but due to financial problems he had to break off work on it in April and orchestrate operettas. In March he was able to take up the composition again: he completed the remainder, and in August began to orchestrate it. Other tasks meant that he continually had to interrupt work on the orchestration, but by he had completed that of the first two parts and the beginning of the third.
He subsequently put the piece aside for several years. He was aware of the huge difficulties involved in mounting a performance of this colossal work, which seemed to him insurmountable. Having lost heart, and any interest in the Gurrelieder, he abandoned his plan to complete the piece, and felt that he had to leave this task to posterity.
Then, on 14 January , the unexpected happened: as part of a Schoenberg evening in the Ehrbar Saal in Vienna, as well as the George Lieder, op. The concert brought the highly controversial composer a conspicuous success: the general public was made aware of the existence of the Gurrelieder and they demanded a performance of the complete work. Schoenberg was urged to complete the orchestration.
In July he re- sumed work on it and finished the piece in in Zehlendorf in Berlin. Schoenberg had in mind something aphoristic, casual and loose in form. He produced an enormous manuscript whose length appalled both Hertzka and Schoenberg. This is easier to un- derstand if we consider that Schoenberg based his composition on an array of characteristic leitmotifs that are announced, varied in diverse ways, developed and combined. They denote perceptions, emotions, passions, ideas, states of na- ture and situations.
They form deep intellectual relationships and give a psycho- logical exploration of events. It is only after an in-depth analysis of the score that one begins to recognise the overwhelming importance of this system. The first part of Gurrelieder is made up of a prelude, nine songs for Wal- demar and Tove, a long orchestral interlude, and the Song of the Wood Dove.
Waldemar and Tove sing alternately of their moods, their yearnings and the ful- filment of their love. Each song has its own, distinctive characteristics, an indi- cation that Schoenberg managed to find an ideal musical expression for the mood of each poem. They are so well matched that it feels as if music and text are completely one.
One aspect that stands out in the prelude that serves as a symphonic introduction to the first song is its rather Im- pressionistic ostinato technique, in which a motif or a chord progression on which the movement is based is repeated several times. The same holds true for the augmented sixths E flat, G, B flat, C, for example and the frequent use of whole-tone chords, both of which Debussy frequently has recourse to.
A distinctive mixture of pedal points, pentatonic motifs and whole-tone phrases gives the outer sections of the song their individual character, and harp sounds, glissando effects and harmonics from the multiple divided strings are some of the key colouristic effects in the orchestration.
Like the first two songs, the subsequent ones are also arranged in pairs. Both songs — linked by a common motif — are eu- phoric in mood. The theme of death is worked into the next two songs, but what a differ- ence between the way the two poems, and the two settings, for that matter, are shaped! The strikingly pale, ghostly sounds in the outer parts of the song here the death mo- tif and the burial chorale are heard for the first time make a sharp contrast to the exuberant middle section.
Unlike Waldemar, Tove is not alarmed by death. The setting — initially characterised by sumptuous chromaticism — is a telling example of indeterminate tonality, and culminates in a kind of Liebestod — the ecstatic climax of the first section — which establishes the key of G major. In the subsequent orchestral interlude the most important of the previously- heard themes are treated to symphonic development.
Toward the end of the interlude 5 bars after 94 , the contrabassoon and bassoon play an attack-like motif that will later depict the murderous assault on Tove four times.
After that 1 bar after 95 , her love theme is heard in a strikingly distorted form. The quasi-Expressionistic music moves between lamenting typically sighing , funereal, poignantly agitated, and funeral cortege-like moments. At this point the ten horns play the attack motif twice, tri- ple forte.
Compared with the other two parts of Gurrelieder, the second is remarka- bly short. The king accuses God of being cruel and tyrannical, and blames him for robbing him of his only happiness. Berg thought that the key of this song could be read as moving between C minor and B flat minor. It is true that tonal centres are regularly established, but because of the endless modulations, the listener almost feels the ground giving way under his feet.
Aesthetically, it embraces not just the lyrical and dramatic, but also has eerie, ghostly and gro- tesque elements. The enormous variety in the poem inspired Schoenberg to compose music that is equally varied, and this makes Gurrelieder the great piece it is. Different aspects of this subject-matter are elabo- rately treated across a sequence of five songs and two choruses. Significantly, these are the death motif and burial chorale from the first part, and the motif of the accusation of God from the second.
Both these motifs are developed in the subsequent orchestral interlude with the involvement of the xylophone the musical symbol of the grotesque. Matching the reproach in the poem, Schoenberg contradicts the first strophe of the song with the previously stated ghost theme, while he uses the new motivic material of the second as a basis. To conjure up a particularly ghoulish effect, Schoenberg makes extensive use of percussion, and at this point the score actually asks for iron chains.
Tove, incidentally, is present in the orchestral part in the form of quotes from her love song. Klaus, the fool from Farum, pokes fun at a whole host of things, and is confident that at the Last Judgement he will be able to talk his way out of most of his sins. Schoenberg gave a Scher- zo quality to both this song and the following interlude.
The mood is conversa- tional, the music light, agile and fresh. While one illustrates the nightly rising of the dead, the other describes their return to their graves each morning, and express- es their longing for rest and peace.
Matching the accusation in the text, the set- ting is muted and sombre in tone. The music favours lower registers and the dy- namics are mainly pianissimo.
At the same time. The shadowy images disappear, and sombre visions give way to something brighter. The summer wind speeds across the lake, the cornfields and trees, and contem- plates mortality and renewal. Gurrelieder ends on an affirmative note.
Schoenberg set the Hymn to the Sun that closes this vast work for eight-part mixed chorus and large orchestra. The music is striking for being so different, for its brilliance and colour, its pal-. This ties up with the opening of the work, creating a correspondence be- tween the beginning and the end.
If the piece opens with an image of sunset, it ends with a picture of the rising sun. The 21 three times seven melodramas of Pierrot lunaire, composed at the prompting of the actress Albertine Zehme in , are today counted among the legendary works of new music. They explore in a range of ways varia- tions on the literary motifs of the moon and Pierrot, but also draw in the motif of those poets who bleed to death at their verses, and there is a frequent ambivalent hovering between irony and pain Nos.
When Schoenberg composed the first melodrama, Gebet an Pierrot No. And I can sense that I am absolutely going in the direction of a new kind of expression. Here the sounds become an absolutely brutal immediate expression of physical and emotional excitement.
The reciting voice is accompanied by an ensemble of five instru- ments in varying combinations. It is a commonplace to say we are all moonstruck clowns; that is what the poet means when he writes that we take the trouble to brush away imaginary moonbeams from our clothes and yet pray to crosses. Let us be happy that we have wounds: they provide some- thing that helps us not to value material things too much.
Contempt for our wounds breeds contempt for our enemies, it is the source of our capacity to sac- rifice our lives for a moonbeam. As a result, Pierrot lies both too high and too low. But it would be more accurate to say that irony and pathos, lyricism and drama are the twin poles of the work, and that there is a wealth of nuances and different facets to the psychological universe they encompass. If we analyse the music, examine the treatment of the Sprechstimme and take account of what Schoenberg wrote, then the extent to which this Sprechgesang can be modulated appears no less remarkable.
It has a palette that ranges from unpitched whispering No. Forscherdrang in an de re Dimensionen begibt, was de n Kontakt zu ihrem Partner.
Das sich das sehr lustig. Humor zu versehen? Wired: Besi de s the title, which comes from a Bob Dylan song, you mention art a lot in. In de r Physik braucht man. Er schrieb mir eine E-Mail,. Und so entstand die I de e, dass. Mehrdimensional zu de nken, ist mir ja vertraut. Bizarrerweise wollte Parra aber mehr. Die Musik war schon. Die Reaktionen de s Publikums waren sehr. Ich spreche auf de m Campus viel mit.
Das versuche ich zu vermei de n. Die Kunst ist es herauszufin de n, was de r Kern de s. Wenn man herausfin de t, dass. Her scientific research explores gaps in our current un de rstanding of the. Randall has used art to communicate some of the exotic i de as that stem from her. Parra says that when he first read Warped Passages, something clicked. It is as far from classical harmony as string theory is from classical mechanics.
Parra samples the sounds produced by the singers and instruments and passes them through an elaborate digital system of real-time signal processing and synthesis. The instrumental and vocal scores are of stunning complexity, with more than parameters of digital transformation, which evolve as the plot progresses.
The processed sounds are projected into the auditorium from an array of speakers, using signal de lays that constantly shift the apparent locations of their sources. The audience hears this complex aural texture blen de d with the sounds produced directly by singers and instrumentalists. Randall exposa una teoria segons la.
Jan Grundgedanken, die die an der Harva. Each of the two singers occupies ha. Lisa's point about inaccurate image. The Internet's Premier Classical Mu. Station auf dem Planeten Solaris mi. LR: Mostly, I have been an observer. Todo en esta obra resulta novedoso e inquietante. Es fruto de la personalidad musical de Parra, quien, en complicidad con Randall, se lanza a explorar sonoramente esas dimensiones ocultas de l universo.
Gera de erst ist eine CD bei Kairos erschienen, die diese locken de n phantastischen Klangwelten dokumentiert, durch die sich de r Komponist wie ein Weltraumforscher mit gelegentlich unglaublicher Geschwindigkeit bewegt. In "Hypermusic" etwa verwen de t er ganz wenig Material. Falsett, Pressen, Knarzen scheinen dabei noch die konventionelleren Mittel, die ihren letzten Schliff durch die elektroakustische Bearbeitung erhalten.
Frank Langlois Resmusica. There are only two roles and minimalist, abstract stage de sign by artist Matthew Ritchie -apparently he makes sculptures inspired by inflationary universe theory, so Hypermusic Prologue was a natural fit for his talents.
Energized space and time tend to betray their sublime form. What should a 21st century avantgar de opera be like? Hypermusic Prologue has set up an impeccable high standard. There are no elaborate costumes or pow de red wigs, and the plot is hyperreality, not high-brow romantic comedy. That's because the because the person responsible for the lyrics, Lisa Randall, is not your average opera librettist. She's a Harvard University physicist, a celebrated scientist who resi de s, by profession, on the fraying edges of what we know about the universe.
She lives and breathes the p-branes and Anti de -Sitter space-time; her playground requires a huge stretch of imagination for even very smart people to vaguely glimpse, much less participate in. Sonar, la obra lo hizo excepcionalmente. But she hopped on board and wrote a love story sprinkled with i de as from her physics research. Based on that story, Parra composed music that expresses frustration, de sire, passion, and the experience of traveling into the fifth dimension.
It is rarely melodic, and segments often stop before any kind of recognizable song structure de velops. With three creative minds completing most of the work for the opera from different locations— Parra in France, Randall in Massachusetts, and Ritchie in New York—Hypermusic Prologue could have been a train wreck of i de as; instead it manages to be harmonious, engaging, and adventurous. Few have gone as far in the exploration of this space as the Spanish composer Hector Parra and the American particle physicist Lisa Randall, professor at Harvard University and renowned for their mo de ls of the universe called Randall- Sundrum 1 and 2.
What surprises most is perhaps the expression of sensuality. Despite the presence of mathematical mo de ls, the result is an impressionistic lightness of movement, and soprano Charlotte Ellett is absolutely fantastic in the role of scientist.
The music's sonic richness speaks with remarkable directness and is de eply involving throughout. The performance is consummately elegant, each de tail finely etched Of the contemporary discs I've reviewed recently, this is the one that undoubtedly stands out. Acoustic phenomena, which shift as vividly as our perception of them, becomes a correlative for our perception and experience of ourselves and our important relationships. It can safely be said that Parra does that.
For this is a very "muscular" opera. It makes its impact by references to the physics fol de d in on themselves through words — in English — and music. The performers are obviously wholly at one with the concept of this work. It's a beautifully-produced set of two CDs; [ The feats of the performers, the two vocalists and eight instrumentalists of Ensemble InterContemporain are significant and worthy of admiration.
Bei aller Sympathie fur die faszinieren de Vision, aus Hypothesen und Gesetzen de r mo de rnen Physik neue Klangarchitekturen zu gewinnen — am En de bleibt das akustische Erlebnis hinter de n hochgesteckten Erwartungen zuruck. But one premiered recently in Paris. All gave admirable performances, with flashes of startling beauty. He contacted Randall, who was keen to try a new genre. The plot of Hypermusic is simple: a pair of lovers, played by Ellett and Bobby, separate because the woman feels something is missing, both in her life and in physics theory.
Both characters are physicists; the female protagonist is also a composer. In the middle of the hour-long show, she takes a trip into the fifth dimension, which she experiences with vivid de light. And the quantity of technical language in the libretto is breathtaking. The composer and the production de signer convinced her to inclu de more, for atmosphere. Moving into the fifth dimension takes the fictional traveller into regions of vastly magnified gravity that distorts other attributes of reality and experience: time, distance, energy and mass.
The challenge was to de pict this exotic journey as a beautiful experience for the audience. The kaleidoscopic, lava-lamp style of the images evokes a psyche de lic atmosphere that seems slightly out of register with the i de a that the fifth dimension is physically real.
By contrast, Lisa Randall is a scientist who stays close to experimental data. With luck, they might coinci de with upcoming performances of Hypermusic. If there were extra dimensions, people would want to know.
Charlotte Ellett, soprano ; James Bobby, baryton. Mise en espace : Paul Desveaux. On en dira autant du limpi de baryton James Bobby. Centre Pompidou. Parra: Hypermusic Prologue.
La femme, compositeur et physicienne, s'interroge sur le fonctionnement de l'univers. L'homme se satisfait d'explications plus traditionnelles sur le sujet. Mais comment rendre cela en musique? Eine Reise in de n extradimensionalen Raum", Fischer Verlag. Sehr stark vereinfacht funktioniert das so. Parra war fasziniert. Zwei Jahre lang hat Parra daheim in Barcelona Deutsch gelernt, und jetzt rezitiert er mit ir de n herber Diktion aus "Sprachgitter". Since writing a bestselling book on her fascinating and complex extra-dimensional theory of the universe, Harvard physicist Lisa Randall has been busy re-imagining it as an appropriately cerebral art form—opera.
When the book was released in Europe in , Parra met up with Randall in Berlin to ask her to write a libretto based on her work. It seemed exciting. Randall asked artist Matthew Ritchie, whose sculptures often reference inflationary universe theory, to de sign the sets. Ritchie also de veloped a series of vi de o projections for the performance: The industrial imagery projected behind baritone James Bobby represents the lower four-dimensional universe while the soprano, Charlotte Ellett, is often surroun de d by projections of wildly colored celestial shapes, suggesting the expan de d reality of a fifth dimension.
Parra, who composed the score, is the son of a physicist and his prior works have been influenced by particle physics. For Hypermusic Prologue, he uses an array of intricately thought-out sounds and instrumentations to communicate warped spacetime, as well as to signal changes in energy, mass, time, and gravity.
As the soprano approaches a gravitationally strong part of the of the universe, for example, her voice is electronically treated to make her phrases shorter in mathematically precise increments and the orchestra matches this shorter phrasing.
But Ellet is singing to her close-min de d partner, baritone James Bobby, who keeps arguing the value of Newtonian physics until he finally has his own brief encounter with her unseen world.
Queda claro que la responsabilidad de los programadores, en este tema, sigue siendo vital. The music curls, spreads, twists, evolves in any possible directions; omnipresent interlocking, interrelating, oscillating, and unifying take place at any possible dimensions and at any moments. This is real hyper-music. But the enrapturing journey has only just begun Best suited for experiencing this marvel of mo de rn science and music is Beyerdynamic DT The work was inspired by theoretical physicist Lisa Randall's popular science book, Warped Passages.
The son of a physicist, Parra read the book and became fascinated by Randall's de scription of how hid de n dimensions might explain why, for example, the gravitational force seems so much weaker than the other fundamental forces. And he approached her about writing a libretto for his new opera. Parra's opera is de ci de dly mo de rn, with an experimental score, as befitting such cutting-edge physics theories. Randall's book de scribes her seminal work with fellow physicist Raman Sundrum on mo de l-building - de veloping testable mini-theories of higher dimensions in the universe, rather than shooting for a full-fledged Theory of Everything, as with conventional string theory as if string theory could ever be de scribed as fully conventional.
String theory imagines extra dimensions —beyond the three spatial and one temporal dimension that make up the observable fabric of space-time -- that are large, perhaps even the size of a universe, rather than tiny curled up extra dimensions the smallest possible Planck scale? Randall and Sundrum propose a mo de l in which our universe is the usual four-dimensional brane short for "membranes," and in this context de scribing surfaces that exist in higher dimensional space.
The twist: that brane exists on the surface of a five-dimensional space. Gravity is the only force that is not limited to the four-dimensional brane-world. It can seep into the higher dimension s as well, thus making it seem weaker than the other forces. These are heady concepts, and they make for a heady opera. Randall's libretto employs the notion of extra dimensions as a metaphor for "another view" that is "hid de n yet true.
Eggenberger, proggies. Includes the complete Anoraknophobia set. Das Album ist gut! Aber nach exakt einer Sekunden war klar: das soll nach den klassischen Neuschwanstein klingen und genau danach klingt es. Neuschwanstein, ein Leben lang. The pair met in when Chris was using John s own recording studio Outhouse Studios for Flutatious, a band on his own long standing Magick Eye Records label.
They found they had lots of ideas in common and became firm friends. Many discussions and pub meals! Kennt von euch noch jemand Multi Story? Die Band hat ihren Sound leicht modernisiert, ist aber ihren Wurzeln treu geblieben.
O und Genesis inspiriert und wird mit einem modernen Sound perfekt in Szene gesetzt. Sight of Day is an album celebrating life and the album abounds with huge tracks that lead the listener into territory never explored by the band before.
The slow burning power reaches climaxes that could well bring the listener to tears. NEMO - Barbares Hinter The Mute Gods scheint doch etwas mehr als nur ein kurzfristiges Projekt zu stecken. If you love melodic, intricate music with an excellent vocalist, that runs the gamut from Enchant to Redemption with a burst of jazz scattered here and there then this will be one of your favourite albums of Trust me.
Firstly, this is one of the slowest burning. So all the pieces from the new album represent an honest and effective picture of who we are as O. Those who have listened to the new stuff think this is at least four times more powerful and intense than Inflamed Rides. It consists of eight tracks, three of which stretch beyond 10 minutes. It is these that possess the more complex arrangements, the wider mix of styles and influences, and require more work to really get into.
The more song-based structures of the shorter tracks, made the likes of Master of the Moor relatively instant hits. Other highlights include the very first minute,. There will be few, if any, melodic progressive metal songs written in that better the first half of Witch Runner. Think of a more prog version of Magnitude Nine, or Enchant-withballs. The way it slowly builds to its wonderful chorus is pure prog metal orgasm.
Gutes Ding. Sans foi ni loi 7. This is the 3rd album release from the very successful studio session. The opening track is a quite intense 42min journey called Visions of. Around the Corner, inspired by mid s Miles Davis, is a fantastic funk-rock jam session. Piece of Seven is a more experimental piece of music and is an excerpt of what was called Jam 7. The final number, Above the Corner, was the 2nd and totally different part of the funk jam.
It features a fantastic guitar solo by Jonathan. It has everything prog fans could ever ask for : A concept story. Lengthy tracks. Tom Tas u. Steven Wilson Porcupine Tree. Das Cover stammt von Adam Jones Tool. Reise, deren Verlauf man anhand einer Karte plant, wenn man sich aber dann auf die Reise begibt, hat man keine Ahnung, welche Menschen man treffen wird oder was passieren wird.
Nur Schwermut, die guttut. Doch bleibend ist sie sowieso! Die ersten Exemplare sind von Paul signiert. Nur solange Vorrat reicht! The third solo album from former IQ singer Paul Menel. A truly historic event documented especially for all the Pendragon fans out there! Tracklist: CD1 1. The Masquerade Overture 2. As Good as Gold 3. Paintbox 4. The Pursuit of Excellence 5. Guardian of My Soul 6. The Shadow 7. Masters of Illusion 8. King of the Castle 9. Schizo CD2 1. Beautiful Soul 2.
Faces of Light 3. Nostradamus 4. Explorers of the Infinite 5. Come Home Jack 6. This Green and Pleasant Land 7. Breaking the Spell 8. Nach den trostlosen Jahren zuvor augenblicklich gerechtfertigter Weise.
The track CD comes with an additional DVD, featuring an interview with Penning and promo videos, including the new version of Portsmouth. Touredition 2CD Paul Menel. The acoustic under-pinning of the last album takes a back seat behind driving guitars and exuberant keyboards. As well as vocals Alan provides guitars, basses, drum programming and bass pedals, with Mike Stobbie and Scott Higham returning on keys and drums respectively. Looking for the next great British prog band?
As markers go, the 16 minute title track, split into four parts is just a bit special. This Winter Machine really explored their proggy side then something like this might be the result.
The guitars are darker and heavier, the keyboards just a little more parping and this is as close to perfection as debut records get. This Winter Machine have created something that verges on the incredible. Januar Hi-Res Stereo und 5. Wakeman und Mr. Featuring former members of the Peter Gabriel Band Jerry Marotta and King Crimson Trey Gunn the Security Project not only recreates these masterpieces live, but re-interprets them, giving them new musical wings for the 21st century.
They weld classic rock and neo-prog structures in a double album of guitar based song-craft. Powerful and melodic, the songs on their debut full-length release, Divide, move from the heavy, almost progmetal, to the delicately acoustic.
Und warum machen sie das? Reserving your copy will get you the DVD including special bonus material and the audio recordings of the show on CD. After the vocal solo of the second movement, the third, opening with a short line played by the clarinet, is the domain of the chorus. The movement is permeated with dance rhythms.
Choral episodes frame the instrumental solo of Ramiz Guliev, a beloved native player on the tar. The composer, while providing the orchestral background, writes only the first measure of the tar solo, leaving Guliev free to improvise according to the principles of the mugham tradition see example 2. The tar solo, extending into the following movement, precedes another vocal episode, this time performed not as a mugham but in an Azeri pop-folk style developed during the s.
Passionate and invigorating, the movement expresses not anger and despair but rather energy. Used with permission of. Halida Khanum Adigozal. Moreover, his son, Yalchin Adigozalov b. Thus this musical celebration of a conflict and resolution. Used with permis-. Used with per-. In this work, Adigozal creates an all-encompassing image of Azerbaijan, a monu- mental sound performed by a massive ensemble indicative of a unified and resolute national self-determination.
Sponsoring this huge performance in Moscow, Azer- baijan reclaimed and simultaneously rejected its ties to Russia, perhaps anticipating the end of the Soviet Union. The music embodies the militant energy aroused by the Armenian conflict while proclaiming a determination to reestablish a nation and an independent Azeri state which took place in August 30, The Film Bayati Shiraz.
Here the same mugham that inspired Amirov is abstracted from its musical con- text, becoming in film a visual articulation of an Azeri worldview. The film is about tea talk among old villagers, about a cameraman photographing a refugee camp, and about the sound of the Caspian Sea. It juxtaposes intimate episodes and major events: a small domestic scene and a massive Soviet demonstration in Baku; children at play and the attack on the Twin Towers.
Mugham constitutes the musical content, the subject matter, and the structural framework of the film. Musical episodes taken from the mugham Bayati Shiraz include vocal episodes by celebrated mugham performers representative of dif- ferent generations as well as organ and symphonic arrangements of the mugham. Discussions concerning the meaning, the performance, and structure of the mugham provide another layer of internal organization. Most of the tea conver- sations take place among men from the fishing village Nardaran near Baku ; four of them gather in the very simple house of a blind man.
In the beginning, the discussion of mugham by the villagers is set alongside an academic lecture on the same topic by a native musicologist—Ramiz Zohrabor—shown on the screen of a small television.
The conversations between members of the group demonstrate their profound understanding of mugham, showing the relevance of this musical form for ordinary Azeris. The men intertwine casual conversa- tion about mugham performances at weddings with very detailed observations about the complex structure of mugham composition, noting in passing the low pay accorded to musicians and the lack of interest in the traditional art form among young people.
The structure of the film, in which lengthy philosophical sections alternate with short dynamic episodes, itself parallels the organization of the mugham composition.
The episodes of the film, at first seemingly incoherent, gradually reveal an underlying dramatic progression. For example, a series of short fragments shows the creation, painting, and dressing of a puppet. At a point of rising intensity, the puppet on strings dances to the music of a rhythmic episode taken from the.
The puppet falls, broken, and an ensuing scene in the same square is shown with a few people lying down exhausted after a fruitless protest. The next dramatic episode consists of two consecutive snapshot sequences.
The first sequence portrays several fighting scenes close up, starting in Azerbaijan, fo- cusing on the city of Shusha, and then moving subtly to representations of similar street-fighting scenes in other parts of the world. The second sequence features a stone thrown by teenagers, gliding through the air, transformed into an airliner that smashes into the World Trade Center. The ensuing fall of the Twin Towers, here presented with a long sequence showing running, wounded, and shocked people, is followed by prayers in a mosque, a church, and a synagogue.
The chain of prayers in these three contexts counterbalances the preceding sequence of street fights, bombings, and explosions, bringing the viewer back home to Azerbaijan, to the figure of a traditional Azeri man kneeling in prayer with his little son.
In mugham performance, emotional intensity is directly related to melodic el- evation, with each section of the mugham exploring in ascending order a narrow modal territory. In a similar fashion, the end of the film Bayati Shiraz shows the blind man at the center of the mugham conversation undergoing surgery and gaining sight. Although the complexity of the film extends far beyond the scope of this essay, the produc- tion shows not only that music embodies conflict but that it also provides a multidimensional understanding of Azeri consciousness.
But unlike the earlier pieces, the film Bayati Shiraz transcends both Azerbaijan and the former Soviet Union, addressing a global context with references to the Twin Towers and to a pantheon of religious monuments. Conflict and Identity. Although the unresolved conflict with Armenia lies at the core of both the ora- torio and the film, neither work portrays the war or the Armenian adversary.
This issue of national identity is inseparable from political, historical, and psychological aspects of ethnic conflict see Azzi , 73— As Anthony D. The concept of nation is inherently linked with historical memory. Only two things actually constitute this soul, this spiritual principle.
In the Azeri musical realm, the quest for history and continuity is fulfilled by mugham. This musical form defines Azerbaijan as a part of a large pan-Islamic music culture represented by Arabic maqam, Iranian dastgah, and Turkish makam. Poetry and language are essential to mugham. Yet as late as the mid-nineteenth century, there was no unified national language in the area of modern Azerbaijan; the coexistence of Turkish, Persian, and local Turkic lan- guages as well as Arabic defined the diversity of culture.
The urge to establish a single language fully materialized only in the early twentieth century with the rise of a native intelligentsia. The preservation of historical connections and the proclamation of a unique cultural identity manifested themselves in the first performances of mugham that used Azeri, a Turkic language.
In fact, the first performance of mugham in Azeri took place only a few years before the first Azeri opera, a work that united mugham with a European genre. At the same time, the opera, a hybrid composition, became the building block for the emergence of a unique tradition: a Western-based native classical composing school. Thus Azeris carved out and simultaneously modernized their musical and cultural identity, an approach strongly supported by the official social- ist agenda in the Soviet Union.
In this matter, Amirov wished to communicate in. The Nation and the State. However, in reality the Soviets created their own version of nationalism. In the decades after the Second World War, Azerbaijan, like other Soviet republics, witnessed the rise of a native intelligentsia, an elite group familiar with the nationalist narratives of cultural antiquity and territorial integrity.
This same group became increasingly dissatisfied with Soviet realities and progressively more preoccupied with national self-determination. As a member of this intelligentsia, Amirov wrote hybrid works that reasserted symbols of national history and national modernity by uniting distinctive musical traditions both within and outside Azerbaijan. Although the musical features of his Gulistan Bayati Shiraz conformed to the socialist ideal of national musical cultures, the composition through its unsettled and almost tragic tone expressed a growing conflict between Azerbaijan and the Soviet state.
Developing a new self-awareness as a nation state, Azeris felt increasingly stagnant within the Soviet Union and under the Soviet regime. The disruption of the Soviet-Azeri relationship, however, was initiated and steadily driven by Armenian irredentist politics. Defending their perceived na- tional integrity, the Azeris, after experiencing the Soviet failure at containing the conflict, turned the defense of their land into a movement of national indepen- dence.
At a time when Azeri nationalism was still totally consumed by the three-party game, Soviet tanks entered Baku, that is, after several years of unsuccessful at- tempts at quelling the conflict. Azerbaijan responded by denouncing the Soviet actions as illegal. In opposition to the atheistic slant of Soviet policy, Azeris also responded by holding state funerals for martyrs killed in the conflict, by sending a group on pilgrimage to Mecca hajj , and by establishing a number of mosques.
The imaginary ideals—reinvented myth, history, and legacy—led to real war. As everywhere in the crumbling socialist empire, religion became an essential part of national consciousness. Coming out from under the Soviet shadow, Azerbai- jan has faced multiple internal and external religious challenges.
Internally the country has embraced elements of parallel Islam; a progressive urban commu- nity coexists with a conservative rural community, a situation exacerbated by the immigration of refugees from the provinces to the cities in the wake of the conflict. Externally an independent Azerbaijan has come into the orbit of other Islamic nation states, although its contacts with Turkey have ensured moderation in religious matters.
Today Azerbaijan has attempted to keep its options open, engaging equally with the Europeans, the Russians, and the Americans. Mugham in the three works discussed in this essay signifies the essence of Azeri social assertion, a national conscious- ness that, rewritten into various symphonic, choral, and cinematographic texts, conveys the dichotomy of the past and the present, the global and the local.
Geertz suggests according to the phenomenology of nationalism, a nation is made real only by the recognition of others. Like the blind villager operated on in the film Bayati Shiraz, conflict is the necessary surgery that precedes the establishment of the nation. During the years since Azerbaijan achieved its independence, Azeri culture has gained further international attention in the musical realm.
In musical events, Azeri artists regularly perform on the international stage. This hybridization—an essential feature of the three works discussed in this essay—is a part of tradition but also a conscious choice. Perhaps due to deficient advertising, prejudice against Azeris, and confusion in Moscow, the performance was not even recorded professionally, a situation that has not been remedied today.
Having denounced Iran for its early support of Armenia, Azerbaijan now toys with Iranian diplomacy. Despite strong public opposition to the Iraq war, which generated much anti-American feeling, Azerbaijan is now the only Islamic country that provides military assistance to the United States in both Afghanistan and Iraq. Indeed, the U. Its voice remains within. Yearning for cultural dialogue, Azerbaijan, like a number of other moderate Islamic societies, is open to recognition by oth- ers.
My profound gratitude to my Azerbaijani colleagues, who made it possible for me to collect material and make sense of musical and political events. Special thanks to the musicolo- gist Hajar Babayeva, who along with her late husband, music scholar Elkhan Babayev, offered me remarkable help in this and other work on Azerbaijani music.
My gratitude also extends to Halida Adigozal, the wife of composer Vasif Adigozal, who not only shared with me family materials, recordings, and score, but also offered commentaries. Like mugham makam Irak , it. The last significant Russian acquisition, which included current Azerbaijan, was.
In order to distinguish traditional mughams from composed mughams, I follow the. The word gulistan comes from gul flower, rose and stan station.
The term gulistan. The third movement, for example, introduces the traditional mugham Segah ; the. Some of my assumptions are based on my conversations with Adigozal in the sum-.
This popular style is characteristic of a broad range of genres in Azerbaijani music,. The Adigozals are one such family, and both the oratorio and its performance have. Nevski also portray wars and depict the clashing of foes. Indeed, Azeri composers, trained. This process was also affected by the encounter between the local population and. See Alstadt , 38 and also Naroditskaya , 91— See the poster of the opera in Naroditskaya , American flag, the collapsing Twin Towers, a still shot of George W.
Bush, and prayers by Christians, Jews, and Muslims—recontextualize the Azerbaijani drama in a global setting. Part 2. Music across Boundaries. In part 2, Keith Howard and David Cooper explore the significance of music for conflict in divided territories. With reference to music making in two dis- tinctive postcolonial contexts, both authors demonstrate how a shared tradition has become separated after partition, with different ideologies and distinctive policies shaping the ways in which music is promoted and restricted.
In both instances, too, territorial division has resulted in extended periods of civil strife when divided communities owe allegiance to supranational bodies and music is implicated in a wider search for distinctive identities in a highly contested cultural space. They address a related academic concern for border identities in nation-states that emerged either in the wake of imperial decline or after the collapse of communism see, for example, Donnan and Wilson That is, they explore how music helps define cultural difference both within and across national frontiers, and they show how expressive culture helps clarify internecine conflicts founded on ethnic, linguistic, political, and religious difference.
Further, both scholars investigate the potential of music not only to polarize but also to unify communities in conflict, with the Korean and the Irish contexts providing very different examples of music used to promote conflict resolution. Howard examines music across the demilitarized zone DMZ in Korea.
He explains how a unified tradition has become fragmented following the arbitrary division of the country into a northern and a southern sector in Follow- ing a divisive civil war, musical policy reflected the dominant ideology in each sector, with a communist concern for social realism and a capitalist interest in cultural traditionalism informing musical development on each side of the na- tional divide.
Although he argues that this bifurcation of musical histories was complex, he shows that several musical genres and musical materials could be. He focuses on two musical events that were organized to advance peace. Although these events were very differ- ent in character, he demonstrates how music making helps clarify competing conceptions of an acceptable resolution, and he highlights the significance of music makers as ambassadors in this process.
Like other authors in this volume, he recognizes the power of music to excite a nostalgic longing for national uni- fication.
Like other authors, too, he acknowledges the importance of Western music for framing a musical solution to an extended conflict. In this regard, he is more optimistic than some contributors since he views music as a possible medium for promoting peace. Cooper examines music within the divided communities of Northern Ireland.
Like Howard, he explains how music making has become polarized after parti- tion, with an extended period of civil strife between opposing religious factions resulting in conflicting claims about authenticity in music. Where Howard fo- cuses on musical events, Cooper concentrates on musical anthologies. Here he employs comparative techniques to show how traditional tunes in Irish music were once shared between Protestant and Catholic musicians alike, even when they were employed to advance distinctive national identities often in belli- cose contexts.
In keeping with his musicological background, he demonstrates how Irish traditional music has become nationalized, the symbolic capital of. In contrast to Howard, Cooper is less optimistic of the power of.
He argues that following the Belfast Agreement musical policy served to entrench rather than to assuage communal difference. For him, the successful resolution to a protracted conflict has resulted in the separation of a shared tradition; music in peace has become. According to the standard historical account, the Korean peninsula was unified in ce and remained a single state for almost 1, years. The division is, then, an aberration. Reunification is part of destiny, it is said, because Koreans are a single, homogeneous race.
In this chapter, some six decades on but focusing on two performance events that took place at a time of political change in , I ask how music might play a part in the peaceful reunification of the peninsula.he querido crear este blog para uso y disfrute de todos,colgare carteles de conciertos,enlaces para descargar discos,y videos,mios,de grupos y cualquier cosa relacionada con el metal,webs oficiales de grupos,revistas,blogs etc.