| $20.01
new to stock as of
january 10th, 2012
threads:
modern-composition
1980s-electronic
electro-acoustic-composition
musique-concrète
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| | | edition rz (germany) #rz 01025 cd volker heyn “sirènes” compact disc - k'ten (4:46) 2005
- sirènes (14:54) 1983
- préludes zu ferro canto #1 (3:23) 1989
- blues in b-flat (8:49) 1981
- blah 2 (4:49) 1985
- préludes zu ferro canto #2 (3:39) 1989
- resurrection #1 (6:33) 2000
- préludes zu ferro canto #3 (2:02) 1989
- les visages des enfants (21:47) 2002-2004
- graffiti risse (7:47) 1998-1999
| september 2011 release ; ... excellent overview of this german “outsider” ’s life’s work...
... contains a trilogy of harsh, bruitiste tape-pieces composed in the late 80’s that worth the price of admission alone (listen to the sound-sample for the first two) ... |
| | edition rz press release... |
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ed. rz 1025 cdvolker heyn: sirènesnew release of september 2011
cover design: ott + stein, berlin;
scan: christine berkenhoff
born in 1938, volker heyn is an "outsider", or perhaps an "unloved insider", an avant-gardist when it comes to experimental music, reaching beyond the trends of his generation of new simplicity, neo-romanticism, new complexity and so forth. in 1960 he left europe to spend more than ten years in australia where he joined a travelling theatre company, made ends meet by singing in nightclubs and working the night shift in a metal works.
heyn's music is the mise en scène of an acoustic condition, whose manifold reflections perpetually interlock and shatter, like a box of mirrors. it investigates a process, which in itself is inaccessible and cannot be reproduced on paper. volker heyn is not interested in sound per se - in the positive acoustic gesture - but, and especially, in the negative form, in the responding tone gesture, in the duplicating of friction and in discontinuous movements.
his composition patterns follow the resonance - the overhang - that we are able to perceive only by restricting our sensors almost to zero, in order not to succumb to its violence. and this must be enough, more would be too much. then these remnants of sound will be drained and exhausted right up to the merest subversive unit. this is the soundscape that we are given: an intricate, though ultimately innocent structure of endless macro and micro sounding reactions.
- martha agostini |
ausführende: kammerensemble neue musik berlin · steffen tast
pellegrini-quartett: antonio pellegrini, thomas hofer, fabio marani, helmut menzler
koproduktionen: hans rosbaud studio des südwestrundfunks baden-baden und mit dem rundfunk brandenburg-berlin
konzertaufnahme vom westdeutschen rundfunk, klaus-von-bismarck-saal, köln |
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