Browse by Label: CYBELE RECORDS (GERMANY)

Artist:	HARTMANN, KARL AMADEUS
Title:	Complete Works With String Quartet
Label:	CYBELE RECORDS (GERMANY)
Format:	3CD/SACD
Price:	$42.00
Catalog #:	CYBELE 001CD

"Karl Amadeus Hartmann (1905-1963) inaugurates our Artists in Conversation Edition. Sincerity, courage, consistency, and intensity were traits that marked Hartmann's life and work. During the war, he buried the manuscripts of his compositions far underground, he had his son Richard safely stowed away with his grandparents and, from the earliest days of the Nazi régime, he began his inner emigration, withdrawing into himself and into his work room. From this earliest phase of his inner emigration date, among other works, the first string quartet, the first symphony and the symphonic poem Miserae. Hartmann was an exceptional phenomenon. He was unique in how his beliefs in justice, humanity and artistic truthfulness became more pronounced as he aged, or to paraphrase Oscar Wilde: Who thinks not of his ways, thinks not at all. In the course of our work on this project, our interest in Karl Amadeus Hartmann the man grew and grew. We followed leads and discovered voice recordings, most of which have never been released on disc. These recordings illuminate, from various perspectives, Karl Amadeus Hartmann as an incorruptible and extraordinary artist and, as a result, allow a many-hued, multi-dimensional image of this 'whitest of all German musicians' to emerge." Stereo/multichannel hybrid SACDs that can be played on any CD player.

Artist:	APOSTEL, HANS ERICH
Title:	Complete String Quartets
Label:	CYBELE RECORDS (GERMANY)
Format:	3CD/SACD
Price:	$42.00
Catalog #:	CYBELE 002CD

Performed by Frank de Groot, 1st violin; Maartje Kraan, 2nd violin; Karin Dolman, viola; Hans Woudenberg, cello. "If the subject of Hans Erich Apostel comes up at all, he is known above all as a pupil of Arnold Schoenberg, and later of Alban Berg, as a member of the Schoenberg circle and perhaps as the most talented lyrical composer among Schoenberg's students, as someone who later developed a purely instrumental style. The present recording displays Apostel's complete output for string quartet (5 quartets, four are World Première Recordings), completed by archival recordings with the voice of Hans Erich Apostel, and a conversation of Mirjam Wiesemann and Apostel's pupil and friend Prof. Dr. Rainer Bischof (both in German language). Bischof remembers his admired and beloved teacher in a lively, precise and multifaceted way; Apostel taught Bischof about much more than being a composer and left a lasting impression on Bischof's views on composition and the world. Rainer Bischof recalls anecdotes that reveal Apostel the man, depicts the artistic and personal developments undergone by Apostel and sheds light on a few traits of his teacher's personality. Apostel was like the edelweiss in the Bergian tradition, a flower that Apostel kept on his writing desk, and like the skull in the Schoenbergian tradition, symbolizing the past. Bischof describes Apostel the man, caught between Alban Berg and Arnold Schoenberg, between charm and rudeness, between a fear of life outside his study and a musical micro-life with an unusual propensity for adventure (Dr. Harald Kaufmann). Apostel was a devoted humanist, musical architect and intellectual, a musician deep in thought, opposed to any form of emotional aesthetics (Rainer Bischof), but also prone to vitriolic outbursts and an intense fear of illness and madness." -- Mirjam Wiesemann. Stereo/multichannel hybrid SACDs that can be played on any CD player.

Artist:	VA
Title:	Piano Works During And After Russian Futurism - Volume 1
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 160404CD

Featured works: Nikolay Obukhov (1892 - 1954): "Invocation" (1916); "Deux pieces" (1915): "Les astrales parlent & Reflet sinister; Conversion" (1915); "Icône" (1915); "Création de l´Or" (1916); "Aimons-nous les uns les autres" (1942); "La paix pour les réconciliés - vers la source avec le calice" (1948); "Le Temple est mesuré, l´Esprit est incarné" (1952); "Adorons Christ - Fragment du troisième et dernier Testament" (1945). Ivan Vyshnegradsky (1893 - 1979): "Deux Préludes pour Piano, Op. 2" (1916); "Etude sur le Carré Magique Sonore, Op. 40" (1957). Sergey Protopopov (1893 - 1954): "Sonata No. 2, Op. 5" (1924) Performed by Thomas Günther (piano). "Alexander Scriabin was the most important source of inspiration for the experiments of the young Russian generation of composers, to which the three composers of this SACD release -- Nikolay Obukhov (1892-1954), Ivan Vyshnegradsky (1893-1979) and Sergey Protopopov (1893-1954) -- can be counted. They belong to the generation of young, avant-garde artists who emerged from the turbulent time which accompanied the revolutionary upheaval of the 1910s in Russia. This period of relative artistic freedom ended abruptly in 1929, when the severe criticism of 'revolutionary' composers began. A few artists had left Russia earlier, in the immediate aftermath of the 1917 revolution, and their exile in the West led them not to recognition, but rather to isolation and obscurity, despite support from some prominent sources! The catastrophe that was World War II only helped to keep their music in oblivion. Those composers who remained in Russia awaited a different, but no less tragic, fate: the 'need to survive,' i.e. complying with the aesthetic ideal of the Stalinist age. Unpopular people were completely removed from the public consciousness and any trace of them expunged from libraries and reference works. Thus finding scores is an extremely difficult process. In the case of Nikolay Obukhov, for instance, only three pieces were ever published: three piano pieces were issued by Durand, no doubt with the help of Maurice Ravel. The rest of his catalogue languishes in manuscript form in various archives. This SACD release with pianist Prof. Thomas Günther (Folkwang-Hochschule Essen), who is specialized since several years in this kind of repertoire, is the start of a whole SACD series in which important piano works during and after Russian Futurism are rediscovered and released for the first time on multiple SACDs." Stereo/multichannel hybrid SACD that can be played on any CD player.

Artist:	TETRAPHONICS SAXOPHONE QUARTET
Title:	The Invitation: Saxophone Quartets of the 20th Century
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 261001CD

Features: Philip Glass: "Concerto for saxophone quartet" (1995), Frank Reinshagen: "The Invitation" (2002), Barbara Thompson: "Saxophone Quartet No. 2" ("From darkness into light" in six movements), Zdenek Lukas: "Rondo per 4 sassofoni" (1970). Bonus: Johann Sebastian Bach: "Fugue No. 20 in A minor a 4 voci BWV 865" (The Well-Tempered Piano, Vol. I). Performed by teh Tetraphonics Saxophone Quartet: Stefan Hass, soprano saxophone; Elmar Frey, alto saxophone; Volker Ax, tenor saxophone; Richmond Mays, baritone saxophone. "Formed in 1994, the Tetraphonics Saxophone Quartet is a truly diverse band, made up of freelance musicians who play in various orchestras across Germany. Theirs is the classic sax line-up of soprano (B flat), alto (E flat), tenor (B flat) and baritone (E flat), the different characters of which are explored in Glass's four movement Concerto. The repeated rhythmic patterns of the first movement typical of Glass and the other so-called minimalists, contain some complex and concentrated music that is superbly shaped and articulated. The mood may seem a touch melancholic but Glass manages to create pulses of sound that constantly evolve, apparently reinventing themselves as the music progresses." Stereo/multichannel hybrid SACD that can be played on any CD player.

Artist:	RIHM, WOLFGANG
Title:	Streichquartette Nr. 1,4,8,5
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 261101CD

"The string quartet takes a prominent place among Wolfgang Rihm's immense output. Already in his earliest compositional phase, at the age of 14, 15, 16, Rihm, born in Karlsruhe in 1952, wrote his first quartets, although the scores of these works were not published. In 1970 he published his First String Quartet which was given the opus number 2. This piece, whose tonal language is akin to that of the Second Viennese School with an orientation toward twelve-tone structure and with a predominance of sevenths, ninths and tritones, has a texture which is at times quite thinned out and which then suddenly breaks apart all together: 'As if suddenly destroyed: eradicated' is written above measure 109 in the score, after which the final five bars continue, bearing the marking: 'tense!' Fermata rests, hesitating echos of previous material and the abruptly erupting last chord. Following the Second String Quartet, also written in 1970 and bearing the marking 'opus 10,' and the Third String Quartet, 'im innersten' (with utmost intimacy), which was written in 1976, Rihm in the Winter of 1980/81 turned his attention to his Fourth String Quartet in three movements: I. 'agitato, allegro alia marcia, allegro ma non troppo'; II. 'con moto, allegro andante, allegro molto'; III. 'adagio,' Rihm noted, 'It is at once a straggler and at the same time a hint of things to come.' On the one hand it condenses the confrontation with tradition which was addressed in the first three quartets and is reminiscent of works such as the late Beethoven Quartets, of Mahler, of Shostakovitch and of Janacek's Second Quartet, 'Intimate Letters' (1928). On the other hand however, it also anticipates aspects which later became the subsequent quartets. For example, the first bar of the Eighth String Quartet followed by a general pause, echoes the softly floating final repetitions in the viola and cello from Rihm's Fourth Quartet. Also Rihm's Fifth through Seventh Quartets seem to be drawn from the Fourth, although the music of the later quartets employs more fissured textures and is more gestural than its older relatives. Nonetheless, the Fourth Quartet is not merely a transitional piece or a hinge-composition, but a work with its own integrity and which in addition is a turbulent piece with many riddles which only in the future will (perhaps?) be unrivaled." Stereo/multichannel hybrid SACD that can be played on any CD player.

Artist:	BACH, JOHANN SEBASTIAN
Title:	Goldberg Variations: Aria With Diverse Variations BWV 988
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 30802CD

Performed by Martin Schmeding on the great historical Gottfried Silbermann Organ (III/47, 1755), Cathedral Dresden (Catholic Court Church). "'...the superb neatness, goodness and durability of its materials as well as its craftsmanship; the great simplicity of its inner construction; the uncommonly splendid and full intonation; and the extreme ease and comfort of its keyboards.' These words of praise from Johann Friedrich Agricola, a pupil of Bach, referring to the organs of Gottfried Silbermann, attest to the exceptional quality of organ-building in Germany during the high-baroque period. The Organ of the Catholic Court Church, Dresden (Cathedral) has 47 stops on three manuals and pedal and is Silbermann's grandest organ. 1755 -- only a few years after Bach's death -- the Organ was consecrated. Wolfgang Amadeus Mozart played the organ in 1789 and praised all of its aspects in a letter to his wife. During the Second World War the organ's pipes were transferred for safe storage to the Marienstern monastery in 1944, soon before the bombing of Dresden. Since 2001 the Organ sounds again with its original pitch of 415 Hz. The Organ Version of the Goldberg Variations 'Aria with diverse variations for a harpsichord with two manuals' (part 4 of the Clavier-Übung). -- Johann Sebastian Bach unequivocally sets forth his requirements on the title page of the first printed edition of the Goldberg Variations: The harpsichord enables a large amount of variability in terms of technical and sonic possibilities (intersecting of pitches, changing of manuals, changing of timbres, changing of pitch through registration, etc). The arrangement for organ is, from the point of view of the formation of sound, a natural evolution from the original version for harpsichord. The intended effects and contrasts, often abrupt, that occur during the course of the work are rendered in a particularly plastic manner on the organ, through the multiplicity of stops at one's disposal." Stereo/multichannel hybrid SACD that can be played on any CD player.

Artist:	ENSEMBLE GELBER KLANG
Title:	Farben Der Stille
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 361201CD

Toru Takemitsu (1930-1996): 'Rain Spell'; Scott Roller (1959-) 'Serraval'; Morton Feldman (1926 1987): 'For Frank O'Hara'; Kaija Saariaho (1952 -): 'Nymphea for String Quartet and Live Electronics.' Performed by Ensemble Gelber Klang: Klaus Dreher (percussion); Albrecht Imbescheid (flute), Michael Kiedaisch (percussion); Jurgen Kruse (piano); Gareth Lubbe (violin); Axel Porath (viola); Thomas Reil (clarinet); Scott Roller (violoncello); Maria Stange (harp); Ulrike Stortz (violin); Bryan Wolf (live electronics). "Were it possible to portray music in hues, white would offer us the most generally applicable coloration. Like no other color, white enables us to visualize the very aesthetical idea, which contemporary composers of the last decennia have explored: the dissolution of the distinction between sound and silence. Thus we can regard many contemporary compositions to be acoustical representations of what Wassily Kandinsky (1866-1944) described as the relationship of White and Silence, in his poetics The Spiritual in Art (1910): 'When considering White more closely, which is often seen as a non-color ( ... ) it appears to be a symbol of a world, where material properties and substances have disappeared altogether. Such a world is high above us, so we do not perceive its sound. Thence a great Silence comes towards us, resembling a cold and endless wall, indestructible and impassable. White therefore affects our psyche as a great Silence that is absolute. We perceive it as a non-sound, very much like a pause in the middle of a musical piece; the pause that temporarily halts the development of a certain piece or content, not being the conclusion of a certain development. This is a Silence which is not dead, but full of possibilities. White resonates like a silence that can suddenly be understood. It is a youthful nothingness, or more precisely: a void that exists before the beginning, before birth.'" Stereo/multichannel hybrid SACD that can be played on any CD player.

Artist:	BECKER, GUNTHER
Title:	The Complete Organ Works
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 60701CD

Performed by Martin Schmeding, organ; Christian Roderburg, percussion. Featured works: Drei kleine Orgelstücke (1978); A la mémoire de Josquin für Orgel (1975); Interpolationen (1993); Meteoron for Organ, Percussion and two track tape (1969). "The organ oeuvre of Günther Becker reveals a broad spectrum of compositional concerns, never reducing himself to a personal style. Instead, his claim that he aimed to allow each work to pursue its own, individual idea, becomes clear. As a result, his organ compositions are not only a cross-section of Becker's own creative work, but also a reflection of the times in which they originated: first the experimental years of new organ music in its infancy, then the first post-modern attempts at an integration with early music (citations of music by Josquin des Prez). These organ works are a testament to his internal debate about tonality and to a reflexive return to the idea of pure music and its many incarnations. Becker showed himself to be a composer in flux, one whose authenticity manifested itself in distinct artistic phases. Taken as a whole, the great Sauer organ displays a true versatility, an instrument of many colours suited for a vast stylistic range of organ music. This recording proves it to be a perfect match for the contemporary organ répertoire and for the music of Günther Becker in particular: one is seated in front of an instrument capable of the special synthesis of sounds often required by the composer, sounds whose roots may be traced back to the serial structures of his compositional method. The organ simultaneously allows, however, a solid basis for orchestral sounds via its numerous foundation stops and the innumerable ways in which sounds could be tinted and nuanced." Stereo/multichannel hybrid SACD that can be played on any CD player.

Artist:	MEDEK, TILO
Title:	Organ Works
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 60801CD

Performed by Martin Schmeding, organ. "Tilo Medek's first works for organ, 'Verschüttete Bauernflöte' (1969) (buried rustic flute) and 'B-A-C-H, Vier Töne für Orgel' (1973) (Four Tones for Organ) were composed for the large organ at Merseburg Cathedral, and were inspired by its sound. Originally, the composition and the tonal character of the organ (which was constructed from 1853-1855 by Friedrich Ladegast using Baroque registers) was profoundly altered following comprehensive restoration by Kühne & Co. in 1963. In the process, Kühne replaced the typical Romantic stops, i.e. free reeds and numerous string registers, with neo-baroque pitches (high flutes like the rustic flute 1' in the pedal, Aliquot as well as mixed registers). Without passing judgement on these changes, it is important to emphasize that these colourful, even bizarre overtone mixtures and fundamental tones in the string colours are typical of Medeks early oeuvre. Medek's early works for the organ have another element in common: they experiment with sound and forms of notation. By switching the motor on and off, and half pulling off rows of register, he achieved microtonal sounds and variations of those tones. He confronted traditional methods of notation and values in this manner, with a variety of forms of free notation (i.e. spatial notation, graphic symbols and cluster-notation)." Stereo/multichannel hybrid SACD that can be played on any CD player.

Artist:	ZIMMERMANN, BERND ALOIS
Title:	Requiem For A Young Poet
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 860501CD

"The Requiem for a Young Poet, a lingual for speakers, soprano and boss soli, three choirs, orchestra, jazz combo, organ, and electronic sounds, to texts from various poets, features and news reports, is a late masterpiece of its composer Bernd Alois Zimmermann (1918-1970). In the piece, Zimmermann, one of Germany's leading composers of the post-World War II era, arrives at a totality: a summation of his own biography and also a summation of the intellectual situation of his lifetime, the 50 or so years between the October Revolution and the invasion of Czechoslovakia by Soviet troops. The Requiem, written principally between 1967 and 1969, is the sprawling realization of a grand oratorio project which had preoccupied Zimmermann since the mid-1950s, as well as the most intense incarnation of his 'pluralistic' way of musical thinking. At the time of its premiere, the Requiem could be compared to no other work. In our age, when cross-boundary explorations are quite familiar to us and many works no longer neatly fit into the categories of 'oratorio', 'cantata' or 'radio art', Zimmermann's 'lingual' seems all the more relevant. In an introductory text written for the premiere of his Requiem, the composer emphasized that while working on the piece, he had not thought in terms of cultivating a concrete artistic personality, but rather in imagining how the young poet himself would present to listeners the preceding fifty years and all of its multiplicity, seen from his own intellectual, historical and linguistic perspective and thus ours. Zimmermann arrived at the decision to use his own life span as the foundation of his Requiem at a rather late stage in the process and after varied earlier drafts. Although the composer listed the years of composition as 1967 to 1969, the Requiem should be seen in the context of larger thematic concerns which Zimmermann had been developing for some fifteen years and which found expression in many works leading up to, and stretching beyond, the Requiem. For this SACD recording, Zimmermann's own recommendation for the spatial distribution of the 250 or so participants was followed, which means that the three choirs were arranged in front of the auditorium (choir I), on the left respectively on the right (choir III) and behind the auditorium (choir II). The eight-track tape compiled by Zimmermann in 1969 has been painstakingly restored, so that the recordings of Papandreou, Hitler, Ribbentrop, and all others are again heard as they should be. The eight channels of sound heard on this SACD recording of the concert on 23 June 2005 in the Concertgebouw Haarlem (The Netherlands), were reproduced per the composer's intentions, via eight loudspeakers arranged throughout the hall. This SACD is the first surround sound recording of the Zimmermann Requiem. Owners of a home theatre system can thus enjoy the Requiem even outside the concert hall, as Zimmermann had originally conceived." Stereo/multichannel hybrid SACD that can be played on any CD player.

Artist:	RIEHM, ROLF
Title:	Aprikosenbäume Gibt Es, Aprikosenbäume Gibt Es
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 860701CD

Featured works: "Aprikosenbäume Gibt Es, Aprikosenbäume Gibt Es" (for doublebass clarinet, violin, trumpet, cello, trombone and voice; 2004); "Ahi Bocca, Ahi Lingua" (for four vocal soloists; 1991/1994); "Schlaf, Schlaf, John Donne, Schlaf Tief Und Quäl Dich Nicht" (for violin, bass clarinet, accordion and keyboard; 1997). Performed by: Theo Nabicht (doublebass clarinet); The Hilliard Ensemble; Ensemble Ascolta; Ensemble Recherche: Karmen Mikovic (voice) and Jossif Brodskij (recitator). "The three pieces heard on this SACD, each of them a commission from WDR (West German Radio) for the Days of New Chamber Music in Witten, are musical observations of literary sources: texts by Inger Christensen, Rainald Goetz and Joseph Brodsky. The fact that these compositions follow no poetic scheme and are not 'set' to music is without question. Here, too, consistency is refuted: Riehm does not trim the music to conform to the semantics of the texts. Instead, speech and sound inhabit autonomous realms and every type of narrative doubling is removed." Stereo/5.0 channel surround sound Super Audio CD, can be played on any compact disc player.

Artist:	ECKERT/REITH/BRUMMER
Title:	Ex Machina: Le Son Qui S'Arrête Le Son Éclaté
Label:	CYBELE RECORDS (GERMANY)
Format:	CD
Price:	$21.00
Catalog #:	CYBELE 960101CD

Gerald Eckert, (electroacoustic composition); Dirk Reith, (electroacoustic composition); Ludger Brummer, (electroacoustic composition). "'lis voudraient avoir un corps' (They would like to have a body) -- this line from a poem by Paul Eluard could characterize the works on this CD, for they have one thing in common -- the attempt to come to terms with body, space and time. The basic material consists of synthetically generated sound points, sound complexes or an existing composition, and this is given the impression of depth (by means of reverberation and a special distribution over several loudspeakers). Sound processes are thus created which distance themselves from their basis and even alienate themselves, and whose very being is led from the concrete to the abstract."

Artist:	BARLOW, CLARENCE
Title:	Klavierwerk Von Klarenz Barlow
Label:	CYBELE RECORDS (GERMANY)
Format:	CD/SACD
Price:	$21.00
Catalog #:	CYBELE 960308CD

"Clarence Barlow has written many pieces for piano, including thirteen preludes and fugues. The idea for the composition originated in a discussion about which similarities European and Indian music display. In the cycle, written between 1974 and 2006, Barlow interweaves the melodic peculiarities of Indian ragas with those of the European tradition dating back to Johann Sebastian Bach. Barlow has also written for the player piano, a normal instrument in appearance, but one driven by a computer. Four of his works for the player piano are featured on this Super Audio CD. In 1978, Barlow developed the computer program 'Autobusk' while writing his piano piece 'Cogluotobusisletmesi.' The inspiration for the piece came on a bus journey in eastern Anatolia (Turkey), when he heard the microintervals of local music: in his piece, he makes extensive use of microintervals, above all quarter tones. He sketched a structure of areas with different densities, each one narrowly defined. Thus, certain fields are rich in events or have very few and some areas feature complex rhythms, while others are regular. The composer used 'Autobusk' to help him devise a score which could be performed. 'Cogluotobusisletmesi' lasts for 30 minutes even and contains four sections of progressive durations: 2 minutes, 4 minutes, 8 minutes, and 16 minutes. The original solo version of 1978 is so complex, that Barlow created a version for four pianos in 2006 in which the score delegates a specific part to each pianist." Performed by Hermann Kretzschmar (piano); Klarenz Barlow (player piano); Benjamin Kobler, Hermann Kretzschmar, Jurgen Kruse, Irmela Roelcke (4 pianos); James Avery (conducter).

Artist:	FRITSCH, JOHANNES
Title:	Feedback Studio Koln Volume 10: Music With Live Electronics
Label:	CYBELE RECORDS (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	CYBELE 960310CD

"Fritsch dedicated the tenth volume of the series to live electronic works that were composed for the most part even before the founding of Feedback Studios. At the beginning there is 'Duet' for viola (1961), defined as 'Opus 1' by Fritsch. The work grew out of an experimental handling of the viola and established the first of a series of compositions that would integrate Fritsch's tape recordings into live performances, sometimes supplemented by improvisation. 'Madrigal Triste' (1963) also provides an example of Fritsch's interest in translation from text to music: letters and syllables of the eponymous poem by Charles Baudelaire are transformed into oboe tones. An accompanying audiotape changed the sound of the oboe with the means of the electronic studio and leaves 'a kind of imaginary space oboe sound' emerge. The complex work 'Partita' (1966) demonstrates Fritsch's description of live-elekronischer music as 'a new kind of chamber music, the instruments along with traditional musical instruments includes various electronic components transformation.' As a 'transition elements' Fritsch uses special contact microphones, filters, regulators, and a delay-and-feedback system. All five compositions on this CD address the connection between musician and instrument in the new age of electronics, creating previously unheard sounds and timbres."

Artist:	FRITSCH, JOHANNES
Title:	Feedback Studio Koln Volume 11: Damals (That Time) Triptych
Label:	CYBELE RECORDS (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	CYBELE 960311CD

"The eleventh CD of the feedback series is dedicated to Fritsch's musical triptych (1992). 'The Bittersweet Book,' a composition for the rare combination of oboe, accordion and bass, refers to the history of the bittersweet little book of the Apocalypse and forwards in a strange world of sound and harmonics of high tones in the motif of a death. 'At That Time,' based on the eponymous play by Samuel Beckett, which revolves around the memories of different stages of life and identity of a dying self. As provided by Beckett, the speaker's voice is heard in three versions (for example in the stereo image on the left-center-right). Fritsch's composition combines Beckett's text syllable by syllable with certain pitches that are synchronized from one organ to play with words."

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