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viewing 1 To 11 of 11 items
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CD
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ZKR 028CD
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zeitkratzer director Reinhold Friedl and his ensemble present new compositions, grounded on Domenico Scarlatti's piano sonata F-minor K.466. Commissioned by the dance company Rubato and dedicated to Mario Bertoncini (1932-2019). Little is known about Domenico Scarlatti (1685-1757). His music is, so to speak, left to its own devices: free, cheeky, playful, sonorous, surprising. Harmonically strolling again and again into unforeseen regions, the ear leads, not the theory; and also, the fingers get their right: playful and haptic it goes. Scarlatti explained, "since nature has given me ten fingers and my instrument provides employment for all, I see no reason why I should not use all ten of them." Freedom, friction, and listening pleasure instead of convention: "He knew quite well that he had disregarded all the rules of composition in his piano pieces, but asked whether his deviation from the rules offended the ear? He believes there is almost no other rule than that of not offending the only sense whose object is music -- the ear." Reinhold Friedl applied this principle and composed the music for a choreography by dance company Rubato. Dance music drawn from Scarlatti, who was so inspired by dance music. The material of the piano sonata F-minor K.466 is twisted anew in all its richness, shifted back and forth, declined, frozen, noise-ified, sound structures extracted, floating. Those who know the sonata, will more than smell its shadows. Dedicated to Mario Bertoncini (Gruppo di Improvvisazione Nuova Consonanza) who was particularly fond of K.466, on which all the music presented here is grounded.
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KR 102LP
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LP version. 180 gram vinyl; includes download card. zeitkratzer director Reinhold Friedl and his ensemble present new compositions, grounded on Domenico Scarlatti's piano sonata F-minor K.466. Commissioned by the dance company Rubato and dedicated to Mario Bertoncini (1932-2019). Little is known about Domenico Scarlatti (1685-1757). His music is, so to speak, left to its own devices: free, cheeky, playful, sonorous, surprising. Harmonically strolling again and again into unforeseen regions, the ear leads, not the theory; and also, the fingers get their right: playful and haptic it goes. Scarlatti explained, "since nature has given me ten fingers and my instrument provides employment for all, I see no reason why I should not use all ten of them." Freedom, friction, and listening pleasure instead of convention: "He knew quite well that he had disregarded all the rules of composition in his piano pieces, but asked whether his deviation from the rules offended the ear? He believes there is almost no other rule than that of not offending the only sense whose object is music -- the ear." Reinhold Friedl applied this principle and composed the music for a choreography by dance company Rubato. Dance music drawn from Scarlatti, who was so inspired by dance music. The material of the piano sonata F-minor K.466 is twisted anew in all its richness, shifted back and forth, declined, frozen, noise-ified, sound structures extracted, floating. Those who know the sonata, will more than smell its shadows. Dedicated to Mario Bertoncini (Gruppo di Improvvisazione Nuova Consonanza) who was particularly fond of K.466, on which all the music presented here is grounded.
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KR 095LP
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By zkr director Reinhold Friedl's personal request now available on vinyl for the first time: zeitkratzer's critically acclaimed interpretations of groundbreaking compositions by James Tenney. James Tenney (1934-2006) was a composer, music theorist, and pioneer especially in the field of microtonal music, being an influential part of the so-called New York avantgarde scene (Cage, Feldman). Besides his compositional work, Tenney was teacher at various universities with students like Charlemagne Palestine, Carl Stone, or Catherine Lamb, and a close friend with Eliane Radigue. This album by zeitkratzer presents compositions by Tenney whose music has been part of zeitkratzer's repertoire since their beginning: "Critical Band" -- Tenney's late classic -- with maximum clarity and precision of bearing tone rhythms and microtonal tuning as light effect and the first recording of "Harmonium #2". Both works demonstrate the remarkable power and resplendent sharpness which Tenney achieved with his microtonal settings. zeitkratzer's approach to Tenney's music as a sensual sound adventure, finally available on vinyl. 180 gram vinyl; includes download postcard; download includes additional track, "Koan: Having Never Written A Note For Percussion".
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KR 098LP
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By zkr director Reinhold Friedl's personal request now available on vinyl for the first time: zeitkratzer's critically acclaimed interpretations of compositions by Alvin Lucier. Alvin Lucier (1931-2021) was one of the most influential American minimalists. Some call him "sound physician" as his compositions are often based on acoustic research settings. His pieces tend to turn inside-out the properties of space and instruments: poems based on acoustic settings. zeitkratzer worked with the composer in Dijon, France in 2008, and presented his music in various places. These recordings have been realized at Philharmonie Luxembourg that turned out to be the ideal space for this music. On this album you can hear how Lucier enables zeitkratzer to create sounds a lot of people have never heard before. Ringing overtones, a singing piano, a thrilling concert triangle, pencils on little objects, and how irritating a violoncello, a viola and a piano can sound together creating shifting sonic interferences. Sound phenomenology, evoking a sensual listening experience. 180 gram vinyl; includes download.
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ZKR 026CD
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Second volume of "modern composition supergroup" (The Wire) Zeitkratzer's re-interpretations of early compositions by electronic pioneers Kraftwerk. In more than two decades Zeitkratzer has created an astonishing broad catalog from the obligatory (20th century avant-garde composers like Cage or Stockhausen) to the unexpected (electronic artists such as Carsten Nicolai, Terre Thaemlitz, or underground experimentalists like Throbbing Gristle and Keiji Haino) but hardly anyone was prepared for the ensemble's choice of early Kraftwerk pieces. When volume one was released in 2017 (ZKR 021CD/KR 035LP), Zeitkratzer founder and director Reinhold Friedl announced that there'll be a volume two of course -- and here it is. From the opening drone-y horns of "Harmonika" to the subtle guitar of the album closer "Wellenlänge", the four tracks own all the interpretory and aesthetic acerbity the ensemble is known and praised for. The first album made it immediately into The Wire's "Office Ambience" playlist and Bandcamp Daily's "Best Contemporary Classical Releases". Recorded live at Hellerau, European Centre for the Arts, Dresden in January 2019, Performs Songs From The Albums "Kraftwerk 2" and "Kraftwerk" delivers the compositions that were still missing to complete Zeitkratzer's stunning take on the early, hybrid kraut-esque electronic avantgarde albums Kraftwerk (1970) and Kraftwerk 2 (!972). Mission accomplished! A must-have. Personnel: Reinhold Friedl - direction; Frank Gratkowski - flute, clarinets; Hayden Chisholm - flute, saxophone; Hild Sofie Tajford - French horn; Hilary Jeffery - trombone; Reinhold Friedl - harmonium, piano; Didier Aschour - guitar; Maurice de Martin - drums; Lisa Marie Landgraf - violin; Biliana Voutchkova - violin; Elisabeth Coudoux - violoncello; Ulrich Phillipp - doublebass. CD version comes on digipak.
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KR 069LP
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LP version. 180 gram vinyl; Includes insert and download code. Second volume of "modern composition supergroup" (The Wire) Zeitkratzer's re-interpretations of early compositions by electronic pioneers Kraftwerk. In more than two decades Zeitkratzer has created an astonishing broad catalog from the obligatory (20th century avant-garde composers like Cage or Stockhausen) to the unexpected (electronic artists such as Carsten Nicolai, Terre Thaemlitz, or underground experimentalists like Throbbing Gristle and Keiji Haino) but hardly anyone was prepared for the ensemble's choice of early Kraftwerk pieces. When volume one was released in 2017 (ZKR 021CD/KR 035LP), Zeitkratzer founder and director Reinhold Friedl announced that there'll be a volume two of course -- and here it is. From the opening drone-y horns of "Harmonika" to the subtle guitar of the album closer "Wellenlänge", the four tracks own all the interpretory and aesthetic acerbity the ensemble is known and praised for. The first album made it immediately into The Wire's "Office Ambience" playlist and Bandcamp Daily's "Best Contemporary Classical Releases". Recorded live at Hellerau, European Centre for the Arts, Dresden in January 2019, Performs Songs From The Albums "Kraftwerk 2" and "Kraftwerk" delivers the compositions that were still missing to complete Zeitkratzer's stunning take on the early, hybrid kraut-esque electronic avantgarde albums Kraftwerk (1970) and Kraftwerk 2 (!972). Mission accomplished! A must-have. Personnel: Reinhold Friedl - direction; Frank Gratkowski - flute, clarinets; Hayden Chisholm - flute, saxophone; Hild Sofie Tajford - French horn; Hilary Jeffery - trombone; Reinhold Friedl - harmonium, piano; Didier Aschour - guitar; Maurice de Martin - drums; Lisa Marie Landgraf - violin; Biliana Voutchkova - violin; Elisabeth Coudoux - violoncello; Ulrich Phillipp - doublebass.
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ZKR 021CD
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Zeitkratzer celebrate their 20th anniversary with necessary re-interpretations of early compositions by electronic pioneers Kraftwerk. Founded in 1997 by Reinhold Friedl, Zeitkratzer have since been creating an impressive catalog of recordings that embraces 20th century avant-garde composers (Cage, Stockhausen, Lucier) as well as electronic artists (Carsten Nicolai, Terre Thaemlitz) or underground experimentalists like Throbbing Gristle or Column One. In their 20th anniversary year, the critically acclaimed ensemble will release a series of diverse albums that will explore new grounds in the typical, adventurous Zeitkratzer way - the first of these albums is dedicated to Kraftwerk and their early, kraut-esque albums Kraftwerk (1970) and Kraftwerk 2 (1972). As Kraftwerk never re-released these albums, Zeitkratzer gave its best to cover the first tranche of the songs. Recorded in Marseille/France in May 2016, the six tracks reveal a bucolic and even psychedelic aspect of the ensemble that's mostly known (or feared) for its interpretative and aesthetic acerbity. And yet there's no doubt that Songs From The Albums "Kraftwerk" And "Kraftwerk 2" is a true Zeitkratzer recording in the best and fullest meaning. Zeitkratzer directed by Reinhold Friedl are: Frank Gratkowski - flute, clarinets; Elena Kakaliagou - french horn; Hilary Jeffery - trombone; Reinhold Friedl - harmonium, piano; Didier Ascour - guitar; Maurice de Martin - drums; Lisa Marie Landgraf - violin; Burkhard Schlothauer - violin; Elisabeth Coudoux - violoncello; Ulrich Phillipp - double bass.
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KR 035LP
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Karlrecords celebrates its tenth birthday, and Zeitkratzer celebrate their 20th with necessary re-interpretations of early compositions by electronic pioneers Kraftwerk. Founded in 1997 by Reinhold Friedl, Zeitkratzer have since been creating an impressive catalog of recordings that embraces 20th century avant-garde composers (Cage, Stockhausen, Lucier) as well as electronic artists (Carsten Nicolai, Terre Thaemlitz) or underground experimentalists like Throbbing Gristle or Column One. In their 20th anniversary year, the critically acclaimed ensemble will release a series of diverse albums that will explore new grounds in the typical, adventurous Zeitkratzer way - the first of these albums is dedicated to Kraftwerk and their early, kraut-esque albums Kraftwerk (1970) and Kraftwerk 2 (1972). As Kraftwerk never re-released these albums, Zeitkratzer gave its best to cover the first tranche of the songs. Recorded in Marseille/France in May 2016, the six tracks reveal a bucolic and even psychedelic aspect of the ensemble that's mostly known (or feared) for its interpretative and aesthetic acerbity. And yet there's no doubt that Songs From The Albums "Kraftwerk" And "Kraftwerk 2" is a true Zeitkratzer recording in the best and fullest meaning. Zeitkratzer directed by Reinhold Friedl are: Frank Gratkowski - flute, clarinets; Elena Kakaliagou - french horn; Hilary Jeffery - trombone; Reinhold Friedl - harmonium, piano; Didier Ascour - guitar; Maurice de Martin - drums; Lisa Marie Landgraf - violin; Burkhard Schlothauer - violin; Elisabeth Coudoux - violoncello; Ulrich Phillipp - double bass. Presented here on 180 gram vinyl; Includes insert and download code; Edition of 500.
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TA 113CD
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2013 release. Grand Orchestra, for mixed orchestra and bagpipes. Composed and directed by Reinhold Friedl. Performed by Zeitkratzer & guests at Haus der Kulturen der Welt, Berlin on August 21, 2011. "The score for Grand Orchestra has been developed for musicians, laymen, old people, children, adolescents, for anyone who likes to join in. Grand Orchestra is not for education. It's not about explaining, intellectual understanding or the training of cultural values; rather it's about having faith in the abilities and intuition of the players and their performance. The musicians of Zeitkratzer and additional guests took over the voice-leading of the instrumental groups, distributed in the space and enabling their amplification. In this way it was possible to create not only pure intensity but also dense and complex sound aggregates, through the blurring of playing techniques inside the different instrumental groups. Which orchestra is capable of playing such complex sounds as this group of forty wind players, chorally building a simultaneous crescendo of breaths? Who can play more ecstatically and wilder than a group of sixty musicians, playing against and doing their best to keep up with a Scottish bagpipe ensemble? It's precisely due to unclearly played single sounds, unfolding from an orchestra dominated by amateurs. Unique sounds with a complex character that no professional orchestra could reproduce." -- Reinhold Friedl, from the liner notes. Zeitkratzer is sound made visible, tangible, bodily and a truly unforgettable corporal experience of live music. The physicality of sound is celebrated through extended instrumental techniques, mutual understanding and amplification of traditional instruments. A midpoint between instrumental and electronic music turns out to be more bizarre and surprising than either of these. Zeitkratzer, founded in 1999, gathers nine musicians, light and sound engineers living in different European cities from Amsterdam to London to Oslo meeting for working phases in Berlin. They have performed critically acclaimed versions of classical music by composers such as Karlheinz Stockhausen, Helmut Lachenmann and James Tenney, as well as orchestral versions of electronic/noise music by Whitehouse, Merzbow, John Duncan, Dror Feiler and Lou Reed's Metal Machine Music.
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KR 020LP
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Five compositions by the Berlin-based electroacoustic/industrial collective Column One in stunning interpretations by zeitkratzer, recorded live at Berghain during MaerzMusik 2012. Since their inception in 1997, zeitkratzer have built a reputation for their unique approach, their outstanding and internationally acclaimed members, and their adventurous projects that include collaborations with noise musicians like Merzbow and Zbigniew Karkowski, rock 'n' roll experimentalists like Lou Reed and William Bennett (Whitehouse), electronic musicians like Carsten Nicolai and Terre Thaemlitz, reinterpretations of Schönberg and Bach, as well as performances of music by composers such as Helmut Lachenmann, James Tenney, and Karlheinz Stockhausen. Column One and zeitkratzer first worked together in the late '90s at Podewil, which was at that time the most influential and vanguard location in Berlin. For these compositions, presented here for the first time, Column One's mastermind Robert Schalinski developed five scores for acoustic instruments based on electroacoustic sound files. These scores were transcribed by Reinhold Friedl and the zeitkratzer musicians, refining and working them out together, using the complexity and sensuality of their amplified instrumental sound that matches perfectly the "industrial musique concrète" of the Berlin-based artist collective (which Rashad Becker joined in 2013) who cite Dada and the Surrealists as important influences. Pressed on 180-gram vinyl; presented in gatefold sleeve; includes download code. Limited to 300 copies.
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ZKR 014CD
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Internationally-acclaimed ensemble Zeitkratzer tackles folk music on their project Neue Volksmusik (New Folk Music). Zeitkratzer approaches folk music in its essence: constant transformation. Genuine folk music is what it is due to an inherent state of flux, defined by its constantly changing nature. It is in fact an authentic practice for Zeitkratzer to claim different musical traditions, taking possession of them and forming them to fit specific ideas. This project started in 2009 when Zeitkratzer presented Volksmusik (ZKR 002CD), an anarchic ethno-musicological journey through the Danube valley. From heartrending group-yodeling to wild Balkan capers, the ensemble pulled out all the stops. Despite the somewhat brutal humor of the music, there is never an intention to fool around or make a satire on folk music. The previous folk music repertoire has been expanded for Neue Volksmusik with music traditions from Switzerland. Of course, Zeitkratzer does not treat this music in any less of a radical way than their other musical material. In "Alpen Horn Noise," (un)traditional alphorn sounds are combined with Romanian folk dance. Acoustic shadows of Bavarian/Austrian music merge with a droning, hurdy-gurdy like singing, suggesting a connection to the Balkan mountains. Musical traditions are tumbled together and meet each other in new ways. We hear some grotesque qualities of folk music, a music driven by cow bell percussion and a manic muezzin. Further on we hear group yodeling, which definitely turns every Alpine milk sour, but which also recalls the original function of shouting as a mountain signal. At the same time, Neue Volksmusik also includes contemplative and serious music. "Alpenrose" is dominated by uncanny body-less harmonic sounds, and the chords in "Alpsäge" float ethereally. All recorded live at the festival Alpentöne at the Vierwaldstätter lake in Switzerland.
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