| $18.19
new to stock as of
december 4th, 2007
threads:
experimental-instruments
modern-composition
sound-art
free-improvisation
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| | | seven legged spiders & co. (uk) #sls 01 cd limpe fuchs “pianobody 2002” compact disc - odessa (3:20)
- pavolding 1 (2:17)
- erlangen (5:55)
- pavolding 2 (3:53)
- berlin 1 (2:54)
- orplid (4:39)
- berlin 2 (4:01)
- karpathos (8:57)
| | click the play button to hear an excerpt of "karpathos" |
| | hard-to-find disc of sublime sound-art lineage pieces from anima~sound’s limpe fuchs (prior releases / editions from streamline, alga marghen, and robot ... not to mention anima’s contribution to the legendary “an afflicted man’s musica box” lp on united dairies...) - eight pieces rife with murky underwater scraping, inside-piano attacks, and distant / room-tone events ... |
| | seven legged spiders & co. press release... |
| limpe fuchs - pianobody 2002
cd album
released on november 2006
catalogue number - sls 01
notes for pianobody - by limpe fuchs
one of my my main interests in playing music in public – on traditional or self made instruments – is, to open ears. to make the audience aware, that – more important than the visual aspect, - the human being is a listening being. especially in our modern surrounding, where it is usual to blend noises and realize them only when it seems necessary. i am in the tradition of soundscape artists, such as murray schaefer, that impressed me most, as well as composers like john cage and mauricio kagel, who integrated everyday sounds and theatrical elements into the performance of music.
all my works – theatrical plays, concerts, workshops – are designed therefore to integrate movement – for many years i trained students to improvise music in the rhythmikon in munich – and have a focus on integrating noise into sound as well as showing the development of noise into sound and music. i combined environmental sound with instrumental sound in my radio plays , “den stimmen nachhören” (listening to voices)” and “pferd solo” (horse solo) and especially in the production “muusiccia”. this concept was first realized in my work with anima in the first publication: ‘stürmischer himmel’, and i came back to it when i started publishing my solo works.
i am a professional percussionist and not pianist in the classical definition, i study classical and modern piano pieces only to keep myself informed.
the last track was originally named pianobody, as i used the inner body of the grand piano by rubbing and plucking the strings and knocking on it. when i started to name the other tracks after the locations i recorded them, i also changed the name of this last track and gave the name pianobody for the whole album. in pianobody my aim was to gather recordings of different keyboards (though not electronic ones). the different places where the instruments are placed inspired me – and therefore i used them for titles
track 1 was recorded at the conservatory in odessa, where i was invited in 2001. the metal discs were shown to me by bernward, who is working in my metal shop. he had cut a disc to close a tube with it, and as it was a little too small it rolled six meters through the steel tube with this very special sound. so i fetched my recorder and started rolling 3 discs through the tube. the ring modulation was added in the studio.
in pavolding, 20 km from peterskirchen, where i live (bavaria) there is a big atelier (a former stable), which belonged to the late sculptor heinrich kirchner (died in 1984). in there stands, a very old grand piano, some strings are broken, some keys have the same tone and it hasn’t been tuned for 30 years. katharina kirchner, his wife, is astonished that actual music comes out of it when i play. i am creating with what i have rather then react like other ‘normal’ musicians that would touch the instrument and say ‘it is impossible to play it’.
in erlangen i improvised on the harmonium, which is a gift from a bass player from erlangen and stands in my upper music atelier, while listening to the escalator recording with earphones.
during my stay in berlin i lived in the house of the artist margaret raspé. there i tried and recorded her harpsichord.
i was invited to play three concerts in orpid gallery in munich, i was singing while playing the piano. these concerts were recorded as well.
while spending four weeks on the greek island karpathos i realized that the stone cliffs were hollowed by the water that was rolling into them and making a noise that sounds like drumming. i combined this recording with the piano sound.
limpe fuchs |
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