Browse by Artist: KRIEGER, ULRICH

Artist:	KRIEGER, ULRICH
Title:	Early American Minimalism: Walls of Sound II
Label:	SUB ROSA (BELGIUM)
Format:	CD
Price:	$13.00
Catalog #:	SR 218CD

...Early American Minimalism. Featuring classic 1960s works by: Steve Reich, Terry Riley & Philip Glass. "Walls of Sound is about what I call: 'static music' -- music that isn't semantic, gestured, or narrative, that doesn't move or change atmospherically, and isn't dramatic or has a development in the traditional European sense. If it changes it does it very slowly. The emphasis lies on the 'aural sculpture' in which one enters not just with the ears, but also physically with the whole body, and eventually with your mind, altering your perception. Inside the sculpture, inside the static, there are endless changing details, variations and microcosms. In a certain way it is a modern form of trance or ritualistic music without a pre-fixed ritual. This work is about 'pattern music', general mostly referred to as 'Minimal Music'. A music that uses as its main technique repeated (modal) patterns, which get varied or shifted against each other, generating 'audio walls', taking the emphasis and attention away from the original melodic pattern material towards the aural sculpture, the acoustic phenomenon. This is true for the early American Minimalism before 1970, which still was very conceptual, and did hold a strong influence from Fluxus ('1+1', 'Pendulumn Music'). Riley and La Monte Young had been active in the Fluxus scene. Also Conceptual Art, Minimal Art and Op Art were somehow related to and an influence for Minimal Music. Often the early Minimal Music pieces were just pure concepts (Pendulumn Music). This new music, which saw it's light in the 60s in America, was anti- or at least non-European. Young American composers were trying to find alternatives away from extremely intellectual European 'New Music' aesthetics, techniques of Serialism, Ultra-Expressionism and Accademia. The main influences were non-European and non-American: mainly Indian classical music (Riley, Glass) and African music (Reich)." -- Ulrich Krieger. Pieces performed are: Philip Glass: "Music in Fifths" (1969): Steve Reich: "Pendulumn Music" (1968): Terry Riley: "Dorian Reeds" (1964); Philip Glass: "1+1"(1968); Steve Reich: "Phase" (1967).

Artist:	KRIEGER, ULRICH
Title:	Fathom
Label:	SUB ROSA (BELGIUM)
Format:	CD
Price:	$15.50
Catalog #:	SR 306CD

Installment in Sub Rosa's new Framework series. Ulrich Krieger studied classical saxophone, composition, electronic music and musicology at the Manhattan School of Music (New York), the Universität der Künste (Berlin) and the Freie Universität (Berlin). Since the late 1980s, he became more and more interested in American music and its different approaches (chance music, process music, just intonation, multi-stylistic, minimalism, drone). In 1991, he moved to New York. In the Cage Of Saxophones series, Krieger recorded the complete saxophone and any-instrument works of John Cage for Mode Records. The first one focuses on drone music (Cage, Tenney, Niblock), while the second focuses on pattern music (Reich, Glass, Riley). In the early 1990s, he started working on a more electronic approach. He began developing an original amplification for the saxophone and various live-electronic signal processing set-ups. In the electronic experimental field, he collaborated with rock, noise and ambient artists like Karkowski, Merzbow, Köner, Toeplitz, etc. He also worked with the Berlin ensemble Zeitkratzer, for which he transcribed Lou Reed's Metal Machine Music. In 2001, he formed Text Of Light with Lee Ranaldo and Alan Licht, performing along with the films of experimental filmmaker Stan Brakhage. Metal Machine Trio began in 2008 together with Lou Reed and Sarth Calhoun as an experimental free-rock project.

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