mimaroglu music sales ☞ artists ☞ josef anton riedl

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previous artist: greg riddell		there are 4 titles featuring josef anton riedl in stock. they are listed below.		next artist: eric glick rieman

$10.23

new to stock as of
november 11th, 2005

threads:
1950s-electronic
1960s-electornic

file under:
early-electronic
electro-acoustic
sound-research
text-sound
site-specific
modern-composition
free-improv
kunst-ton

creel pone (germany) #creelp riedl cd

josef anton riedl “josef anton riedl” compact disc recordable

polygonum (1968)
nr. 3 (1966-67)
paper music (1968/70)
nr. 4/1 (1968-69)
studien für elektronische klange ii - i - iv (1959-62)
vielleicht-duo (1963/70)

goddamm... this one is currently blowing my mind - hard to elicit just what exactly is causing the little hairs on the back of my neck to stand at attention, something to do with the complex blend of sound-poetry/anti-music/performance art & expert tape manipulation... originally released on wergo in 1971, this is an overview of the work of noted berlin-based composer josef anton riedl up to that point. easily one of the best “sounding” creel pones due to mr. p.c. c.p.’s continued efforts towards improving his spec...

creel pone press release...

this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / silver foil stamp affixed to the exterior
1 x single-sided six-color inkjet-printed hand-cut card-stock insert
1 x one-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

tonaufnahmen:
polygonum (bayerischer rundfunk, studio nürnberg 23. 6. 1972)
paper music (westdeutscher rundfunk, studio godorf 27. 4. 1970)
vielleicht-duo (hessischer rundfunk 1970)
studien für elektronische klange ii, iv sowie nr. 3 und nr. 4/i (siemens-studio für elektronische musik, münchen)

josef anton riedl's works are mostly remnants of functional music: when he has to write film or theater music which, as at it is, differs from that generally found in these categories - he composes it in such a way that the music can stand independently. the normal procedure of diluting an autonomous composition to fit a film or play is directly reversed: here one begins with the music and ends with an artificial independent work of art. the accidental motive which determined the choice of material is inherent to this work. in 1966/67. riedl produced the film "elektronische musik" for the ndr in collaboration with stefan meuschel. for the documentary part, which dealt with the origin of this newest kind of music, riedl made a variety of recordings of mechanical musical instruments. for instance he recorded the welte-mignon-piano in the deutsche museum in munich, which had retained many historical interpretations including some from debussy, but which at the same time produced puffing noises; also the similar pneumatic action hupfeld-violine, a glockenspiel roll with weber's jungfernkranz music, and a machine which produced sounds by means of rods upon metal discs - and played la paloma. the laughter and humming of the museum attendants also came into the recording of these singularly unusual instruments. riedl amalgamated this and other material - chance discoveries and remains of film-work - into an electronic combination of square-wave tones, filtered and frequency-modulated sounds and other material, and added suitable concrete sounds which happened to be at hand (barking dogs, aeroplane noise, mumbling and hissing ,sounds etc.). by the careful integration of this material, making use of the slightest subtle variations, and by a highly differentiated treatment of the volume which imparted complicated amplitude envelopes to the processes, 'komposition nr.3' was created. the origin of the work - the fortuitous discovery of a colourful world of sound - lends it freedom; the realization by means of integration secures its unity - a unity which combines strictness with sensitivity.

riedl was previously engaged in purely electronic music, in which every single passage must be prefixed and worked out in detail (as in his 'studien'). already here dynamic passages occurred which possessed the character of a process to a high degree, and then he worked in recordings of concrete sounds whose unprofiled contours unravelled the strict lay-out of the course - as in the ‘kom1positionen 3 and 4/1'. for riedl, electronic sounds became more and more material reservoir and generator - whether their output was added to film or theater productions, or whether the ,material was used as part of instrumental or vocal processes. the 'vielleichtduo' (which originated from the sentence "perhaps it is so, but perhaps it is not so" from buchner's 'leonce und lena') is written on the one hand for a vocalist who changes his sounds by means of water - whereby he speaks into a bowl of water or with water in his mouth - on the other hand for electronic sounds which imitate human speech by means of a vocoder. it is a duet of alienated natural speech and naturalized artificial speech, which comes into being through the reactions of the vocalist to the tape - improvisation to a slightly improvised cantus firmus. paper music is composed in a similar manner. two performers handle various types of paper in various ways until the material has been used up. this is recorded on tape. in performance another set of paper is used up, but this time the performers improvise to their own tape, whereby the control of the reproduction is influenced by the live-performance: improvisation with feedback. polygonum consists purely of improvisation to an improvisation. two to four interpreters choose their own sound mediums, play them according to given rhythmic and dynamic structures (as in 'vielleicht-duo' and 'paper music'). then they work further with them, invent to the invention.

in performance the composition is created by the reactions of the players to previously unknown procedures - polygonum = knotgrass. the works for a whole concert can be connected in a similar way, in order to avoid a piecemeal programme and to draw a whole concert into one process - which is riedl's latest tendency. lighting can also be added to this: slides, films, lightshow, all organized in much the same way as duo, paper music and polygonum. then scent and tangible material, the latter having already. played a part in the production of the sounds, will soon be added to~the play of sound, colour and light. perhaps there will have to be things to tast - eating and drinking - but perhaps not. however, to be as consequent as riedl, this record should be coloured, perhaps even flourescent, should smell and in the end be edible, so that it can be consumed in order to make room for something new.

dieter schnebel

$10.39

new to stock as of
may 12th, 2006

threads:
1960s-electornic
1950s-electronic

file under:
early-electronic
electro-acoustic
sound-research
text-sound
modern-composition
minimal-drones

creel pone (czech) #creelp prague cd

“electronic music - experimental studios in prague, bratislava, munich, university of illinois, warsaw, paris” compact disc recordable

vladimir lébl sound examples ... 7’40
rudolf komorous the tomb of malevitch ... 3’00
ilja zeljenka study 0, 3 ... 2’50
josef anton riedl study 1959 ... 4’05
josef anton riedl study 1962/2 ... 5’45”
lejaren a. hiller vocalise ... 5’35
jozef malovec music to the film „vyhybka” ... 4’15”
krystof penderecki psalmus ... 5’05”
pierre henry the veil of orpheus ... 6’30

welcome back everyone! hope you enjoyed those few weeks off from the natural creel pone “cycle.” we continue, as promised by mr. p.c. c.p. :: “unabated throughout the end of the summer.” first up :

“electronic music - experimental studios in prague, bratislava, munich, university of illinois, warsaw, paris” - this is just a great compilation, assembled by one vladimir lébl and released on the czech supraphon label in 1968 (on glorious, crackly eastern-european wafer-thin vinyl no less) featuring a bunch of scattered early pieces by scattered international composers that were executed at scattered studios all over god’s green earth. the tying bond? anyone’s guess... other than that most of these are the sole “released” pieces by a few otherwise unknown/unreleased eastern-european composers of which you should most certainly take note (the exception being henry’s “voile d’orphée”, but then again the version here is completely different than the others i’ve heard; it appears to be an early rough edit...)

the disc starts out with a great 7 minute rundown of various tone-combinations by mr. lébl, then gives way to the epic komorous & zeljenka pieces. then; two pieces by our beloved mr. riedl (neither of which are on the riedl creel pone !), then perhaps lejaren hiller’s most awe-inspring piece (and strangely unavailable on disc otherwise), a piece by jozef malovec, one of penderecki’s only tape pieces (the others can be found on the recently reissued score to “the manuscript found in zaragoza”), and finally the pierre henry edit/out-take...

creel pone press release...

this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a red / gold foil stamp affixed to the exterior
1 x single-sided six-color inkjet-printed hand-cut glossy-photo-stock booklet
1 x one-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

$36.41

back in stock as of
october 3rd, 2008

first in stock on
december 22nd, 2006

threads:
1950s-electronic
1960s-electronic
electro-acoustic-composition
musique-concrète
experimental-instruments
analogue-synth

siemens kultur programm (germany) #skp 001 cd

“siemens studio für elektronische musik” compact disc

herbert brün - wayfaring sounds (klänge unterwegs) (4:12)
john cage/mauricio kagel - imaginary landscape (3:38)
mauricio kagel - antithese (9:27)
josef anton riedl - folge von 4 studien/nr 59 (2:42)
josef anton riedl - folge von 4 studien/nr 61 (2:14)
josef anton riedl - folge von 4 studien/nr 62_1 (2:11)
josef anton riedl - folge von 4 studien/nr 62_2 (5:51)
josef anton riedl - komposition nr. 3 (6:56)
ferdinand kriwet - jaja hörtext (4:56)
paul pörtner - schallspielstudie (2:10)
josef anton riedl - un chien andalu (6:01)
josef anton riedl - komposition nr.2 (7:17)
dieter schnebel - ki-no (6:33)
josef anton riedl - sendezeichen (0:47)
josef anton riedl - titelmusik (0:52)
milko kelemen - judith (3:06)
josef anton riedl - leonce und lena (2:21)
john cage / david tudor - klangexerimente (1:53)
henri pousseur - aus: ziele uns aussichten (1:29)

click the play button to hear an excerpt of "folge von 4 studien/nr 59"

i’ve been ringing doorbells & making phone calls for close to 4 years now in attempts to track down this disc - originally produced by the siemens corporation (yes, the same that what made all of those cell phones & hearing aids - their humble beginnings!) back in the late 90s & never distributed/made available in any real way - so needless to say i’m extremely glad that it is finally seen the light of day re: real-world, real-person acquirability as it’s by far the best survey of early german electro-acoustic music (setting this apart quite notably from the wdr-camp’s ethos of “pure sound” - elektronische musik)

mms’ copies of this priceless disc came all the way from milan, where alga marghen’s emanuele carcano somehow managed to sweet-talk the powers-that-be @ siemens into letting him distribute the disc (hand to god; this guy’s a saint...) - which explains the price somewhat (much like any shop trying to deal w/ stockhausen verlag on a wholesale basis, i imagine emanuele was forced to pay retail then mark up the disc to shops slightly to justify his trouble)

an elusive title ; most likely not available for much longer. those of you with a taste for the early german electronic “scene” will no doubt see the appeal of this excellent disc...

siemens kultur programm press release...

v v a a
siemens studio fur elektronische musik
cat. no: siem1
cd

privately issued by siemens kultur programm in germany in 1998 and never made available to public before. this is an over the top collection of historical electronic music recordings from the siemens studio in munich, germany.

the anthology includes john cage "imaginary landscape no.3" (1942) for 6 percussionists and electronic sounds, kolner ensemble fur neue musik under the direction of mauricio kagel; mauricio kagel "antithese" (1962); john cage and david tudor "klandexperimente" (1963); henri pousseur "ziele und aussichten der elektronische musik"; dieter schnebel "ki-no - nachtmusik fur projektoren und horer" (1963/67) for concrete sounds and noises, sound direction by josef anton riedl; josef anton riedl "komposition nr.3" (1965/67) for electronic and concrete sounds with the voice of françois bayle; ferdinand kriwet "jaja - hoertext 2" (1965) two excerpts for voice and electronically modified voices; paul portner "schallspielstudie 2" (1965) four excerpts for voice and electronically modified voices; josef anton riedl "un chien andalou" (1959/75) electroacoustic music; josef anton riedl "folge von 4 studien nr. 59, 61, 62/i, 62/ii"; josef anton riedl "komposition nr.2" (1963/65) music of the variavision "unendliche fahrt"; josef anton riedl "sendezeichen" (1962); josef anton riedl "titelmusik" (1962); milko kelemen "judith" (1966) electronically modified orchestra sounds and electronic sounds; herbert brun "klange unterwegs" (1961); josef anton riedl "leonce und lena" (1963) for voice and electronically modified voice and instrumental sounds.

20 pages booklet with historical photos of the electronic music studio and essays in german.

$18.91

back in stock as of
august 22nd, 2008

first in stock on
january 25th, 2008

threads:
1950s-electronic
1960s-electronic
1970s-electronic
electro-acoustic-composition
musique-concrète
digital-musics
sound-art
sound-poetry

sub rosa (belgium) #sr 270 cd

“anthology of noise & electronic music / fifth a-chronology 1920-2007” double compact disc set

rogelio sosa - vinylika (7:02) 2003
christian galaretta - maranon (part vi) (10:27) 2004
li chin sung aka dickson dee - shame (4:57) 1994-2007
francois-bernard mache - prelude (5:28) 1959
richard maxfield - pastoral symphony (4:01) 1960
wolf vostell - elektronicher de-colagge. happening raum. (3:00) 1968
charlemagne palestine - seven organism study (7:53) 1968
andre boucourechilev - texte 2 (4:36) 1959
helmut lachenmann - scenario (12:30) 1965
alireza mashayekhi - shur, op.15 (6:28) 1966
claude ballif - points, mouvements (10:14) 1962
mauricio kagel - antithese (9:21) 1962
vladimir mayakovsky - and would you? (0:32) 1920
raoul hausmann - fmsbw (recorded by henri chopin) (0:45) 1918
gil joseph wolman - megapneumies, mars 1963 (4:54) 1963
leo kupper - electro-poeme (5:54) 1963-1970
josef anton riedl - leonce und lena (2:17) 1963
sten hanson + henri chopin - tete a tete (5:08) 1973
dajuin yao - satisfaction of oscillation (9:27) 1997
pere ubu - sentimental journey (7:01) 1978
ground zero - live 1992 (1:01) 1992
masonna / yamazaki "maso" takushi - spectrum ripper (part i-ii-iii) (3:32) 1996-1997
sutcliffe jugend - blind ignorance (5:39) 2007
club moral - l'enfer est intime (6:32) 1985
dub taylor - lumiere (part i) (17:11) 1972

click the play button to hear an excerpt of "francois-bernard mache - prelude"

january 2008 release ; the fifth volume of this ongoing series of double-disc compilations collecting newly unearthed/discovered/licensed gems from the assorted back alleyways of early electronic music with contemporary offerings from a current crop of like-minded electronic music practitioners ...

for this volume the (many) highlights include françois-bernard mâche’s “prélude,” wolf vostell’s “elektronicher dé-collage,” helmut lachenmann’s “scenario,” and from the more recent end of the spectrum a particularly nice blast from maso yamazaki & a bit of gristle from legendary early uk noise act sutcliffe jügend ...

given the purview of mms; these compilations are becoming something of a yearly festival - much in here to be excited about, thanks to the hard work of sub rosa’s guy-marc hinant. highly recommended, of course; and not just this most recent volume (the prior four all contain a veritable king’s ransom in early electronic music gold...)

sub rosa press release...

an anthology of noise & electronic music vol. 5 - fifth a-chronology 1920-2007

charlemagne palestine, père ubu, sutcliffe jügend, li chin sung aka dickson dee, alireza mashayekhi, rogelio sosa, christian galaretta, françois-bernard mâche, richard maxfield, wolf vostell, andré boucourechliev, helmut lachenmann, claude ballif, mauricio kagel, vladimir mayakovsky, raoul hausmann, gil joseph wolman, léo kupper, josef anton riedl, sten hanson + henri chopin, dajuin yao, ground zero, masonna, club moral, dub taylor

digipack 2 cd + 50 pages booklet
sr270

here i am, for the fifth time, facing this impossible task no one has asked me to do. how can one bring together the history of electronic and concrete music to the history of noise music? for this volume, i want to highlight pieces illustrating a technique (claude ballif's points,mouvements), a country (shur, op. 15 by alireza mashayekhi), a studio (helmut lachenmann at the ipem), there are also historic (françois bernard mâche's prélude), and radical (spectrum ripper by masonna) works that have ripped apart ancient definitions. all this organized with internationalism in mind and, for once, a focus on the voice - not as sung words, their traditional facet in music (from pop songs to lieder and operas), but as the word itself, recited, distorted, rendered abstract or disaggregated and screamed (the incantation so often a part of rock and noise music).

previous artist:
greg riddell

...and that's everything in stock featuring josef anton riedl.
(why not take a look at the previous and next artists?)

next artist:
eric glick rieman