|
|
|
|
viewing 1 To 25 of 56 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
ET 933-04LP
|
$28.00
PREORDER
RELEASE DATE: 11/25/2022
Erhard Grosskopf (b. 1934) is a Berlin-based composer of contemporary music who has been active since 1963. His works include chamber and orchestral as well as electronic music, and have been performed in the West German pavilion at Expo '70, by various radio orchestras, renowned string quartets, and avant-garde groups such as Gentle Fire or Agitation Free. A thread that runs through all of Grosskopf's works is the idea of composing not on a timescale but in a space. Grosskopf views himself as an architect who places sounds at various positions in a room, such that the resulting music is not perceived as moving past the listener's ears in time, but rather the listener moves within it as if within a space. To achieve this, he utilizes sound processes that are looped and layered according to specific temporal structures, resulting in what he calls process music, an approach that he originally developed at the Institute of Sonology in Utrecht for his electronic music and later expanded to instrumental works. However, Grosskopf doesn't just call his music abstract, he nevertheless strives for its spirit. In his own words: "As a composer I am like an architect who builds a house for music, hoping that music will move into it -- not like substance into form but like the spirit into the soul." Many recordings of his works originally remained unreleased and only recently, several CDs have appeared. This is his first LP, containing KlangWerk 11 for orchestra (2011), a work that epitomizes his method of building a sonic space, a sonic sculpture through sound processes. A different recording of the piece was published by Neos on a CD in 2018 (NEOS 11801CD). This is the first release of the world premiere of KlangWerk 11, played by the Frankfurt Radio Symphony in 2013. Full-color sleeve with artwork by Julia Antonia and liner notes by Stefan Fricke.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ET 933-05LP
|
$40.00
PREORDER
RELEASE DATE: 11/25/2022
Norbert Eisbrenner (1935-2022) was a German improvising painter and musician. During the 1960s, he became involved with the West Berlin underground music scene and has played in the free-form group Human Being that evolved around the Zodiak Free Arts Lab, as well as in the trio MND (Moderne Nordeuropäische Dorfmusik), with Sven-Åke Johansson and Werner Götz, and in Schlangenfeuer, MND's later incarnation that was covered previously on Edition Telemark (ET 903-07LP, 2020). After having started out as a saxophone player, Eisbrenner quickly became interested in the electric guitar and, because he couldn't play it the regular way, put it on his knees instead and so became one of the very first improvisers to employ a free-form table-top guitar technique that can be heard on the MND recordings. In the 1970s, he moved to the countryside and has lived in the village of Glentorf in Lower Saxony from 1983 onwards. There, his artistic focus shifted towards painting, but he continued making music intermittently, often employing a special technique of playing the electric guitar with his hands and simultaneously a synthesizer with his feet. Eisbrenner's later recordings have remained unreleased, a selection from the 2000s is presented for the first time on this double-LP. Included are four solo recordings, two tracks with local musician Zoot Horner, and a side each of duos with his former trio partners Götz and Johansson. Full-color sleeve and inner sleeves with reproductions from his series of paintings "Ton in Ton".
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP+CD
|
|
ET 923-08LP
|
Third release by the Maciunas Ensemble on Edition Telemark after 1976 (ET 314-07LP, 2015) and the self-titled 50th anniversary LP from 2018 (ET 785-08LP). The group had been founded in Eindhoven, The Netherlands, in 1968 with the aim of realizing the score Music for Everyman by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. The group met regularly, usually once a week during their heyday, and improvised on instruments that were at hand. Every session was recorded to be played back and discussed before the next session. This method meant that small changes and subtle new ideas could be integrated from one session to the next, eventually leading into completely new directions over a longer course. Paul Panhuysen linked this approach to the oral traditions of folk music. One of their most productive periods were the early 1980s where, after settling on a stable line-up of Paul Panhuysen, Jan van Riet, Leon van Noorden and Mario van Horrik, the group developed their own brand of minimalist rhythmic music, inspired in equal parts by rock, post-punk, drone and minimal music of the time. A selection of named pieces had crystallized from the improvised sessions that were worked on and refined, many of them having long durations and featuring wordless vocals by Paul Panhuysen that added another unique rhythmic layer to the music. Phill Niblock, while visiting the ensemble's home base Het Apollohuis in Eindhoven, called some of these pieces "rhythmic drones", drones produced by repetitive rhythmic strokes, simultaneously on various instruments. Some recordings from this period can be heard on the LP Music for Everyman 861 (1986, Apollo Records) and the self-titled LP. Virtually unknown until now have been five more pieces that were released by the band in 1983 and 1984 on two cassettes named YoplaBoum and Permanent Wave. They are re-released here for the first time, with a double LP featuring the whole YoplaBoum cassette -- the 43-minute title piece split across the first two sides, the two others on sides C and D -- and a CD including the two tracks from Permanent Wave. Single sleeve with two printed inner sleeves featuring liner notes by Leon van Noorden and Mario van Horrik, and a selection of photos and artwork from the period; includes CD in cardboard sleeve; edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 923-07LP
|
Christopher A. Williams (born 1981) is a contrabassist, composer and theorist of experimental and improvised music whose artistic research takes the form of both academic publications and practice-based projects. On Perpetual (Musical) Peace? (PMP) is one of his projects -- an experiment in musical cohabitation with large improvising ensembles. It is inspired by Immanuel Kant's essay "Zum Ewigen Frieden: ein Philosophischer Entwurf" which speculates that nations do better for themselves by sorting out their differences through an international federation instead of through warfare, thus proposing a path to lasting peace. (It later influenced the UN Charter and EU Constitution.) Williams argues that Kant's idea of hospitality, publicity (transparency), and perpetuality (sustainability) may help players in improvising ensembles to articulate and transform their ways of playing and thinking, thus opening up new ways of interacting with each other. Composing in this way becomes less about giving the players a compositional structure to realize, and more about tweaking inherent constellations that are already present within the ensemble. This LP features the results of PMP realized in Mexico City in 2019 with Liminar, a Mexican ensemble that works at the boundaries between composed and improvised music, performance and sound installation, and regularly performs in Mexico City's main chamber music halls as well as in museums, galleries and alternative venues. An extensive PMP concert took place at Bucareli 69, an art and concert space in a late-19th-century villa near the city's historical center. The recordings for this LP were made afterwards in the studio NAFF. LP on UN-charter-blue vinyl; printed inner sleeve; edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 923-06LP
|
A posthumous duo LP featuring text and music by Conrad Schnitzler, music by Wolfgang Seidel. Conrad Schnitzler and Wolfgang Seidel have been musical collaborators since the early 1970s when Seidel performed in Schnitzler's free-form group Eruption that had been founded as a successor to Kluster and featured a revolving cast of members. In the 1980s, they produced the duo albums Consequenz, Consequenz II and Con 3 where Seidel performed under his alias Wolf Sequenza. Shortly before Schnitzler's death in 2011, he handed Seidel a hard disk of his archive including a huge collection of music originally recorded to CD-R, subdivided into "solos" and "mixes", where solos are building blocks to be blended with other solos in a performance, and mixes are recordings of such performances. One of those solos turned out to be a spoken-word CD-R, aptly titled "CONtext", where Schnitzler gives an account of his musical philosophy -- in a performative lecture with a lot of humor. It is not known what he intended this recording for, but its unique character made it a natural choice for a building block of a new piece. Instead of making a collage with other solos from Schnitzler's archive, Seidel decided to record his own music to accompany the text, inspired by the early-1970s Eruption recordings. The resulting eight-channel piece was mixed down to stereo for side A of this LP and features Schnitzler's voice and English text-to-speech subtitles for his non-German-speaking fans. Side B contains an instrumental posthumous duo for which Seidel used excerpts from Schnitzler's EMS synthesizer performance at the Gallery House in London in 1972. The cover artwork was created by US comic artist Matt Howarth and features Con, a character from his Savage Henry comic book series who is a "German synthethist" and member of the premiere insect-rock group, the Bulldaggers. Printed inner sleeve with insert of transcript of side A and liner notes; edition of 300.
"Any combination of sounds is just as valid as any other. Any means for the production of a group of sounds is just as valid as any other means. [...] Music is not what reaches our ear as a sound wave. It's not the sounds that are music, but what we've made out of them and what has been heard from them." --Conrad Schnitzler
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 923-09LP
|
Daniela Fromberg and Stefan Roigk are multidisciplinary artists working at the borders between acousmatic sound collages, sculptures, installations, and graphical scores, often combining different types of media into one single composition. Many of their works deal with fragments of everyday life that are presented in narrative stage-like installations. One such work is Unfamiliar Home which began life in 2012 when the house the artists live in got renovated as part of a gentrification process in the Prenzlauer Berg district of Berlin. What used to be their home turned into an estranged hostile place that they were forced to inhabit while the wooden windows were wrecked, the roof stripped, all plumbing ripped out and the whole five-story building blindfolded in construction foil. During two years of living on a permanent construction site, the artists collected 400 hours of audio recordings of that novel sonic experience, out of which they formed a 12-channel mixed media installation with a sculpture made out of vintage wooden window sashes. The installation Unfamiliar Home was presented at Ausland, Berlin in December 2018. This LP mix merges the original sound collage with on-site recordings of the installation. Sound sources: tremors, hollow scratching, resonating gas-heaters, droning jackhammers, crumbling ceiling plaster, wind, chimney sweeping, blow torches, rustling plastic cover, elevator buzzing, dismantling of the scaffolding. "The ephemeral sound of an urban Berlin -- too soon to be history, when all vintage construction materials have fallen prey to real estate funds." --Daniela Fromberg & Stefan Roigk. Full-color outer sleeve, inner sleeve and three LP-sized inserts with photos of the installation; edition of 200.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 933-01LP
|
After Today, The Organ Has Played Beautifully Again (ET 864-05LP) and 32 bpm (ET 864-09LP) from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken, and Gebrauchsspuren. In Falten (folds), Engelen asks musicians to play and interpret pieces of folded paper. Falten scores exist in different sizes, ranging from about 60cm x 30cm up to works that are ten meters long. They consist of a piece of paper with stave-like lines drawn on it. The paper has been folded -- sometimes with origami-like proficiency that adds a sculptural element to each Falten score -- so that the lines collide, intersect, crisscross, disappear into folds, etc. The staves then represent sound, the parts of the paper that have disappeared represent pauses. The musician should interpret this paper environment like a choreography for their movements on their instruments. The actual notes don't count, but rather their parameters like intensity, timbre, vibration, etc. While this seems like total freedom at first sight, the staves and folds in fact give each performance a time structure that even allows for Falten to be played by ensembles. Falten scores have been realized on numerous occasions, from performances for orchestra to solo electric guitar. This LP contains "Falten for string quartet", performed in 2012 by Sonar Quartett, and "Falten for percussion", performed in 2013 by Talujon Percussion Quartet. Photos of Falten scores and liner notes by Dagmara Genda; edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 933-03LP
|
After Today, The Organ Has Played Beautifully Again (ET 864-05LP) and 32 bpm (ET 864-09LP) from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken, and Gebrauchsspuren. Gebrauchsspuren (signs of wear) is a composition from 2016. It consists of the sounds of a CD player skipping on a piano track, transcribed for piano. The idea for this piece occurred to Engelen while he was listening to a CD of piano pieces by György Kurtág, Béla Bartók et al., when the CD player suddenly started skipping back and forth randomly on a track, repeating some notes and skipping others, thereby creating rhythms and additionally making its own noises. Because he was drawing, he couldn't get up immediately to remedy the situation. Rather, he was forced to listen to what became the CD player's own music. Engelen made an audio recording of the situation, transcribed the notes and noises, and asked pianist Benoît Gagnon to perform the resulting score. This LP contains two versions of the piece, both recorded by Gagnon in 2018. Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 933-02LP
|
After Today, The Organ Has Played Beautifully Again (ET 864-05LP) and 32 bpm (ET 864-09LP) from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken, and Gebrauchsspuren. The Dutch word "verstrijken" means the same as its German counterpart "verstreichen": the time that passes. It is the name of a compositional method that William Engelen has been using since 2005. For a Verstrijken piece, he asks one or more musicians to keep a diary for a defined time period, usually a week. He then transforms each diary into a graphical score for the particular instrument played by each musician, where every hour is translated into eight seconds of sound. For the purposes of the composition, every activity described in the journal must belong to one of four general categories: sleeping, eating, working and free time. These will be represented by different colors in the score and later by different types of sounds. The quality of each individual sound is influenced by the quality of the particular activity, e.g. if the player slept well or not, how a particular meal tasted, etc. In this way, the musician performs a kind of self-portrait. Due to the nature of the composition, every score belongs to the particular player who has written the underlying journal and must only be performed by themselves. It is possible to perform Verstrijken in ensembles, though in this case each musician essentially performs solo and must not listen to the other players. Verstrijken has been realized for a large number of musicians and instruments. Some recordings have been released in 2008 on CD as part of the catalog Verstrijken (Audio Works 1999-2008) by Verlag für Moderne Kunst Nürnberg. This LP pairs two unreleased solo recordings: Verstrijken for Ko Ishikawa (2010) and Verstrijken for Luc Döbereiner (2007). Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
ET 903-09EP
|
Andrea Tippel was born in 1945 in Hirsau in the Black Forest and grew up as the middle of three sisters in Bremen. Her parents were the architects Maria Alexandra Mahlberg and Klaus Tippel. In 1971, Tippel moved to Berlin and began creating drawings, objects, composites, texts and books, as well as a few oil paintings. Tippel was appointed as a professor at the Hochschule für Bildende Künste Hamburg in 1997 and co-founded the Dieter Roth Academy (DRA) in 2000. She passed away in 2012 in Berlin. From the early 1990s onwards, Andrea Tippel frequently recorded audio works including readings, songs and field recordings. Her literary centerpiece undoubtedly is Ich Und Sie, a novel composed entirely of three-letter words (TA 160CD). This 7" single collects three improvised songs, originally titled seltsame Lieder/improvisiert, recorded to cassette tape presumably in the mid-to-late 1990s. All three tracks are playful and funny, but at the same time they unfold three philosophical topics, typical of Tippel's dry humor: The first song, "hotduiknow", is a sprechgesang loop of the epistemological question "How do I know?", without a final universal answer: How do we know that we know what we know? "Herr Kurzweil + Herr Frommherz" is based on a children's song well-known throughout Germany: "Der Kuckuck und der Esel" (The Cuckoo and the Donkey). Its lyrics, describing a quarrel between a cuckoo and a donkey about who of the both was the better singer, are by Hoffmann von Fallersleben, who also wrote the text of the German national anthem. Tippel transformed the two 19th-century animals into two 20th-century futurists, asking who has the better vision of the future: Ray Kurzweil, scientist, book author, and now a director of engineering at Google, or Fridolin Frommherz, a fictional German scientist from the novel Vom Mars zur Erde (1914) by utopian Albert Daiber. Frommherz, living in the year 2222, decides to stay on Mars as the only member of an expedition group, deeply impressed by a higher civilization found on the red planet. The last song, "when i die please do what you want (Testament)", brings up another philosophical question: Who decides over my body when my mind is absent? and is it still my body? But the song turns the Descartes body/mind question into a kitsch chanson, a stereotypical imitation of a "foreign", sexually attractive woman, unfortunately with a dead body. Reproductions of drawings by Andrea Tippel on the sleeve and on the labels; includes postcard; Edition of 200.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
ET 923-01EP
|
Brianne Curran is an improvising violinist from Sydney (Guringai Country, Australia), and is currently based in Berlin. She was leader of the world/jazz quintet Takadimi and has worked in groups such as the Splinter Orchestra and the Krakow Improvisers Orchestra, as well as in numerous projects with saxophonist/clarinetist Luc Houtkamp. Of major interest in her approach to music making is the relationship between artist, environment, and audience. Between 2004 and 2007, while living in Canberra, she regularly visited a place called Canyonleigh in Gundungurra Country, staying out in the bush, often in isolation, exploring ways to express and connect with the surrounding landscape and space through music. On the last day before moving to Berlin in 2015, she decided to visit Canyonleigh one last time, hung a recorder in a Eucalyptus tree, and made these recordings. Full-color sleeve with insert, with photos from Canyonleigh and liner notes; edition of 200.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 923-02LP
|
Peter Behrendsen (b. 1943) is a Cologne-based radio producer, performer, and composer of experimental music. He started concerning himself with electro-acoustic music in 1972, was a member of Josef Anton Riedl's ensemble and assistant to Klaus Schöning at the WDR radio play studio (Studio for Acoustic Art). He organized numerous concerts and festivals for experimental music in Cologne, most notably BrückenMusik, a series of concerts in the box girder of the Deutz bridge. After Nachtflug / Atem des Windes in 2017 (ET 628-05LP), this is his second LP on Edition Telemark. 10 x 15 = 30 is the vinyl mix of a concert for Behrendsen's 75th birthday at the LOFT in Cologne. The full-length recording has been released on CD by Obst Music with the title Fünf Mal Dreißig Ist Sechzig (5 x 30 = 60). The players were: Peter Behrendsen (electronics), Dietmar Bonnen (prepared piano, glockenspiel), Andreas Oskar Hirsch (carbophone), hans w. koch (axoloti, blippoo box), and Lucia Mense (recorders). What Behrendsen had in mind for the concert was not a program of solo pieces but a collective improvisation with musicians and visual artists. Being skeptical about conventional "free" (psychodynamic) improvisation, he decided to go with an approach that John Cage called "with the head in the sky -- and the feet on the ground": between individual freedom and preconceived rules. The total length of the concert was set to 60 minutes, each player had 30 minutes in sections between two and ten minutes. Their length and distribution was decided by chance. Within their sections, players had individual freedom: Musical communication was not mandatory but possible, emerging musical relationships would often be unintentional. Simultaneously, five videos by visual artists were projected in random order, again without any intended correlation between sound and video. For the LP, the concert recording had to be adapted in length, i.e. reduced to two parts of about 15 minutes each. To maintain the character of a whole, the 60-minute concert was cut into two equal parts, mixed down and cut into two halves for both sides. The result is a new piece: denser but still transparent, the relationships between the musicians even more abstract -- a new composition. Regular version comes in glossy sleeve with artwork by Dietmar Bonnen; edition of 240.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+CD
|
|
ET 923-02LTD-LP
|
LP version. Includes the Obst Music CD with the full-length recording, both in their regular sleeves, and a numbered card signed by all musicians. Peter Behrendsen (b. 1943) is a Cologne-based radio producer, performer, and composer of experimental music. He started concerning himself with electro-acoustic music in 1972, was a member of Josef Anton Riedl's ensemble and assistant to Klaus Schöning at the WDR radio play studio (Studio for Acoustic Art). He organized numerous concerts and festivals for experimental music in Cologne, most notably BrückenMusik, a series of concerts in the box girder of the Deutz bridge. After Nachtflug / Atem des Windes in 2017 (ET 628-05LP), this is his second LP on Edition Telemark. 10 x 15 = 30 is the vinyl mix of a concert for Behrendsen's 75th birthday at the LOFT in Cologne. The full-length recording has been released on CD by Obst Music with the title Fünf Mal Dreißig Ist Sechzig (5 x 30 = 60). The players were: Peter Behrendsen (electronics), Dietmar Bonnen (prepared piano, glockenspiel), Andreas Oskar Hirsch (carbophone), hans w. koch (axoloti, blippoo box), and Lucia Mense (recorders). What Behrendsen had in mind for the concert was not a program of solo pieces but a collective improvisation with musicians and visual artists. Being skeptical about conventional "free" (psychodynamic) improvisation, he decided to go with an approach that John Cage called "with the head in the sky -- and the feet on the ground": between individual freedom and preconceived rules. The total length of the concert was set to 60 minutes, each player had 30 minutes in sections between two and ten minutes. Their length and distribution was decided by chance. Within their sections, players had individual freedom: Musical communication was not mandatory but possible, emerging musical relationships would often be unintentional. Simultaneously, five videos by visual artists were projected in random order, again without any intended correlation between sound and video. For the LP, the concert recording had to be adapted in length, i.e. reduced to two parts of about 15 minutes each. To maintain the character of a whole, the 60-minute concert was cut into two equal parts, mixed down and cut into two halves for both sides. The result is a new piece: denser but still transparent, the relationships between the musicians even more abstract -- a new composition.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 923-04LP
|
Two previously unreleased recordings from Philip Corner's Gong/Ear series of works. Side A was recorded on a South German night train ride in 1990, side B in the Alps in 1994.
"Riding the rails. Down the Rhine at-night alone in a compartment making music for my-self with those Korean-shaman-cymbals given as a gift from Ho-Sun Cheon (husband of Hong-Hee Kim who later will organize the festival 'The SeOUL of Fluxus' and invite-me come-and-participate) when he was cultural attaché to Denmark and came to the 'Fantastics' festival in Roskilde) ... yes consider them part of the Gong/Ear series of (call them) Metal Meditations which started manyyear befor from HighSchool teaching, an Experimental Music wher i turnd-out to be the lerner, reducing the possibl-abilitys of all resonant metals to a rezonant essensetial, and so following me my whole life into now. In to the Rail Road wher outersound ov an other kountry enters into my manipyulayshunz ov those sacred circles. At othertimes that sound going-out to be ears of other dancers and so their bodys body'smove-ments coming bak to me as a kind-ov audiovisual feedbackloop---many ov such artistic lovers, until coming in-a-way to that same Korea sound enshrined forever on the 'Gong/Ear: Shaman' recording: The Wormhole CD completing a circl in-a-way even bak to Korea. Later, as progresses (one coud say) in all my creativwork-concepts-becoms the greater generlizayshun 'Withinstacys'---a fulfillment of 'extasy'---wher every notesoundaction must be perfect, by immediate and uncontrovertabl certeinty." --Philip Corner
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 923-03LP
|
The Festival Experimentelle Musik is a music festival in Munich, organized by Stephan Wunderlich and Edith Rom, that has been held annually in December since 1983. One of the festival's unique characteristics is the way the performances are organized: Each is limited to 20 to 25 minutes and all take place in direct succession without pauses, on previously set-up small stages. In 2017, Seiji Morimoto and Yan Jun performed after each other. Seiji's piece was called "Ring + Balance", he used small speakers, microphones and amplifiers on a table to create feedback rings that were eventually distorted by alarm clocks. Yan performed "Solo With Background" in which he sat on a chair making vocal and body gestures and had two audience members announce the elapsed time every three or five minutes, respectively, according to their own inner clocks. As a spectator, Edition Telemark felt that the two performances had something in common. Their very quiet and experimental nature -- in the sense that it was impossible to anticipate what would happen and when, if at all -- made the audience listen not only to the sounds but also to the situation that had been evoked. When the label met Seiji a few weeks later in Berlin, it turned out that he had a similar feeling. Edition Telemark asked Yan and the idea was born to make a split LP of both recordings. The performances were recorded by Albert Dambeck and carefully mastered for vinyl by Werner Dafeldecker. Audience noises are an intended part of the recordings. Seiji Morimoto (b. 1971) is a Japanese sound artist and performer living in Berlin. He is interested in uncertain acoustic appearances between usual objects. Yan Jun (b. 1973) is a Chinese musician and poet based in Beijing. He works with field recordings, electronics, voice, body movement etc.: sometimes funny --always simple. Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+2CD
|
|
ET 923-05LP
|
Night Music unearthes Sven-Åke Johansson's very first recordings from 1964 -- made with his Tandberg tape recorder in the Kronenburg Bar, a dive bar in the red-light district in Münster/Westfalen (West Germany). There he performed jazz versions of popular songs and standards with Uwe Wegner (piano) and Gerold Flasse (double bass), sometimes joined by Dutch singer Jenny Gordee. Young Udo Lindenberg was a frequent guest at the Kronenburg Bar. Side A of the LP features seven songs from the Kronenburg Bar. Selected in addition, on side B and two CDs, are a later jazz quartet and a quintet: "I Hear Music -- Mighty Fine Music", recorded 2001 in the b-flat club in Berlin with Axel Dörner, Henrik Walsdorff, Felix Wagner, Stephan Bleier, and Johansson. Finally, "In the Heat of the Night" from 2012 with the Coolquartet (Dörner, Zoran Terzić, Jan Roder, Johansson), from the club Naherholung Sternchen in Berlin. Full-color sleeve with artwork by Karl Horst Hödicke on the front and labels, and eight-sided booklet; edition of 300.
"The performances at the Kronenburg Bar were inspired by a belief in the absolute healing message of jazz (even in a red-light bar). During the pauses, a Hungarian Jew performed alone; she sang the Israeli folksong 'Hava Nagila' in this red-light milieu, very disconcerting in post-war Germany circa 1964." --Sven-Åke Johansson
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ET 903-07LP
|
The Kollektiv für Kommunikative und Ästhetische Forschung was an artist commune that existed for about two years around 1970 in a former monastery in Mariental (Lower Saxony), West Germany, close to the then inner-German border. It was founded by members of the West Berlin free art and music scene, many of them having been part of the scene based around the short-lived Zodiak Free Arts Lab. Among the residents were drummer Sven-Åke Johansson, guitarist Norbert Eisbrenner and bassist Werner Götz who had formed the experimental trio MND (Moderne Nordeuropäische Dorfmusik, Modern North European Village Music) in West Berlin in 1968. One of the communal activities was to jointly make music, thereby including both the trained musicians as well as the inexperienced players and non-musicians. This led to the formation of a larger communal group around the MND core, named Schlangenfeuer (Snake Fire) by Eisbrenner; other names like Norddeutsche Dorfmusik Mariental appeared on concert posters, too. The concept of bringing together players from different backgrounds in order to improvise was followed elsewhere at that time, too, though many of such enterprises evolved around one or more leaders who clearly left their mark on the resulting sounds. Unlike such groups, the Mariental undertaking was distinctly egalitarian, with the experienced players giving leeway to the others to express themselves, while never overreaching with disproportionate virtuosity or soloing. For these reasons, their music sounded different from many jazz-based free improvisations, rather closer to early Faust or, more specifically, Kluster, Eruption, and Human Being, similar endeavors from the West Berlin underground music scene. "... The more complex and in a different way expressive free jazz which we were pursuing at the same time was somewhat put aside in favor of a joint performance of the 'commune'. The result was a new kind of monastery music, nourishing the youth in their longing for community." --Sven-Åke Johansson Double-LP containing a full concert recording from the festival "Art Information 71" in Kiel in June 1971, one of three public performances of the Schlangenfeuer group. Players: Norbert Eisbrenner (el. guitar), Peter Dyck (cello), Rita Eisbrenner (vocals), Elke Lixfeld (vocals), Boris Schaak (vocals, bassdrum, bell), Werner Götz (double bass, viola), Sven-Åke Johansson (drums, oboe d'amore). Gatefold sleeve with photos and extensive liner notes by David Toop; Includes a reprint of the festival poster; Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP/DVD
|
|
ET 903-06LP
|
Kparr Dire: Balafon Music from Lobi Country is a single LP and includes a DVD with a full-length movie (125 minutes) of Balafon music by the Lobi people, recorded in and around Gaoua, Burkina Faso, on a two-week journey in June 2014, by Dirk Dresselhaus (alias Schneider TM), Julian Kamphausen and Arved Schultze. The Lobi are an ethnic group of about 180,000 people living in southern Burkina Faso and bordering regions. The primary instrument of their traditional music is the balafon, played solo or in a duet, usually accompanied by percussionists. Lobi balafon music serves as a complex language for communication with the audience but also with ancestors and spirits. Different kinds of music are used for different purposes and social atmospheres (birth, death, joy, hunting, war, etc.) At its core, this music is hundreds of years old and knowledge of its mastery is passed on from generation to generation, with different styles emerging in different regions and outside influences picked up on the way. The first well-known recordings of Lobi balafon music were made in 1961 and published on the Ocora LP Musiques Du Pays Lobi. While the tunes heard there clearly show their ancient roots, the music on this release is not isolated from current influences and carries traces of the modern African electronic pop music and contemporary R&B that is widespread in the region. This has led to a new minimalist, poly-rhythmic, and breakbeat-laden style prominent in Gaoua, to, recorded here for what may be the first time. Yet the pieces are the same traditional songs, played differently from generation to generation and from day to day. Musicians on the LP are Martin Kensiè (Da Toh Alain) with ensemble and Palé Goukoun. Their fathers -- Kambiré Tiaporté and Palé Tioionté, respectively -- had been recorded in the 1990s for the Ocora CDs Pays Lobi, Xylophone De Funérailles (1999) and Pays Lobi, Xylophones Du Buur (2006) that served as the starting point for this journey, The record is supplemented by numerous photos and an extensive interview with Dresselhaus. DVD features a full-length movie by Schultze, documenting the trip through various localities and villages, with numerous performances also including other musicians. Full-color gatefold sleeve with DVD tray [DVD is PAL format, region free].
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 903-08LP
|
Marine weather reports recorded from radio broadcasts by Sven-Åke Johansson in 1970 at the Kollektiv für Kommunikative und Ästhetische Forschung in Mariental, Lower Saxony, Germany. Printed inner sleeve containing liner notes by Thomas Millroth about forms of artistic appropriation in Johansson's work; Edition of 300.
"During my communal life at the former Mariental monastery in Lower Saxony, in the late hours behind thick monastic walls -- there was no village pub -- I played with my radio in my chamber. Often we would sit together and listen to the late-night marine weather forecasts (Seewetterbericht), broadcasted alternately via shortwave and FM. Particularly we liked the navigational warnings (Seewarnnachrichten). In the announcers' way of speaking -- very slowly --, we found a new type of poetry; realism. I recorded many hours with my Uher Report tape recorder and a Sennheiser microphone placed in front of the loudspeaker. A small selection is presented on this LP." --Sven-Åke Johansson
"In the unknown and confusing names of this boundless poetry, it's impossible to see your own reflection; your face is not visible here. You have to disrupt your patterns. Find yourself in this psycho-geographic map of storms and winds. Sven-Åke Johansson does not use appropriation as cultural recycling, he creates culture by simply giving the objects new paradigms." --Thomas Millroth
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 903-05LP
|
Edition Telemark presents the first vinyl LP since 1989 by Munich's long-running ensemble for experimental music, PHREN, formed in 1968 by Michael Kopfermann. Informed by the musical avant-garde at the time and especially the problems discussed by other improvisational groups, Kopfermann developed his own approach to improvisation and tone production and sought to find instruments and playing techniques that allowed him to realize what he had in mind. His thinking centered around the treatment of noise and the eschewal of a separation between noise and tone, as well as methods for overcoming the limitations of the pre-conceived tones of the tempered system. This ruled out quite a few instruments, and also electronic techniques available at the time were deemed to primitive for the tones he sought to produce. After initially experimenting with Turkish cymbals stimulated by cello bows, Kopfermann settled on a range of instruments that included traditional string instruments, e.g. viola and violoncello, and certain wind instruments like the flugelhorn and the helicon. All instruments were prepared, the string instruments with thicker gut strings and unusual tunings, the wind instruments with longer elbow pieces. The preparations, along with the development of new and uncommon playing techniques, allowed the players to create and improvise on previously unheard noisy tones that are not static and pre-conceived but substantially individual. Over time, the number of musicians in the ensemble expanded up to six and the activities under the PHREN moniker became morefold, most notably with the formation of the PHREN theater group led by Carmen Nagel-Berninger. Still, even during the sextet years, trios and duos of varying instruments were played, often called "analytical" because they were meant to focus individual voices against the background of the larger ensemble. From early on, PHREN published about their activities in written form and on LPs and later CDs, mostly in their own PHREN-Verlag. This new LP thus compiles recent recordings from 2010 and 2018 of the duo of Carmen Nagel-Berninger (prepared viola) and Inge Salcher (prepared flugelhorn). The duos heard here are not so much meant as analytical studies, but rather as fully valid, improvisationally generated pieces, applying the musicians' long-term experience with their music in a way that doesn't sound reduced despite the small line-up. Printed inner sleeve and extensive liner notes in German and English by Reinhard Kapp, Carmen Nagel-Berninger, and Inge Salcher, as well as a detailed discography; Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP/DVD
|
|
ET 903-03LP
|
WAVES is an ongoing research project by Dutch artists Petra Dubach and Mario van Horrik that involves so-called shakers, a kind of loudspeakers that reproduce sound frequencies as vibrations, attached to long strings. Started in 2010, the project has so far produced a number of installations and concerts, some recordings have been published previously on Edition Telemark as a double 12" in 2016 (ET 628-01LP). For a few weeks in 2016 and 2017, Dubach and van Horrik had the chance to work on WAVES in the former Church of the Holy Heart in their hometown of Eindhoven where they stretched two 50 meters long strings between columns of the building and placed a piëzo transducer on one end and a shaker on the other end. Using this setup, they developed three different systems for generating feedback, spawning numerous experiments and recordings, a selection of which is presented on this LP. Video recordings of the process are enclosed on a DVD, showing the building and the strings as well as performances by Petra Dubach where her body and movement influences the standing waves in the space and thus the sound. Edition of 200 in full-color sleeve with photos from the church and liner notes by Petra Dubach, Mario van Horrik, and Ruud Post. DVD enclosed inside the sleeve.
"All our experiments didn't have any plan as a basis; the sounds of one setup resulted in changes for the next setup. This could be: changes of drivers, adding or removing preparations, changing position of the recording device or the external driver, changing parameters of the mixing board or amps, or changing nothing at all: through the vibrations of the strings the preparations were more or less slowly transported across the length of the strings; sometimes forward, sometimes backward. We have made recordings of this process of more than one hour where the sounds constantly change under the influence of this transportation. But sometimes the movement would end in a fixed state." (from the liner notes)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ET 903-04LP
|
Am Grabe (At the Grave) is an ongoing audio ritual executed by Stefan Fricke and Alper Maral. Since 2015, they have been visiting the graves and burial grounds of composers from various eras in order to record the sounds and noises present. Each sequence is a pure field recording, serving as a memento of a bit more than four minutes in length. After having been compiled for a series of radio programs, selections from Am Grabe here appear on audio media for the first time. This edition commemorates 36 composers -- from Bach to Beethoven, from Mahler to Eisler, from Stockhausen to Ben Patterson -- the recordings connected serially, sometimes overlapping, and compiled across four LP sides.
"Am Grabe is a work in progress, a collection of homages which shall and can never end, as long as emphatic music will exist and will constantly be invented in the world." (from the liner notes)
Stefan Fricke (b. 1966 in Unna) is a German musicologist. He founded the Pfau Verlag, specializing in books about contemporary music, in 1989, and since 2008 is editor for contemporary music and sound art at Hessischer Rundfunk (Hessian Broadcasting Corporation). He teaches as honorary professor at the University of Mainz.
Alper Maral (b. 1969 in Istanbul) is a Turkish composer whose oeuvre encompasses theatre and film music, symphonic and chamber works, electro-acoustic music, a.o. He plays in a number of ensembles such as -- for early music -- İstanbul Barok, A-415, and Bornova Trio, as well as -- for contemporary music -- Karınca Kabilesi, Control Voltage Project, and Alper Maral Multiphonics Ensemble. He is professor at the Ankara Music and Fine Arts University.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 903-02LP
|
Bad Weather Long Play is a performative sound art event of a group of performers engaging with reconstructions of Baroque theater noise machines. The project started in 2017 when Lithuanian artist Arturas Bumsteinas teamed up with theater carpenter Ernestas Volodzka to re-create wind, rain, sea, and thunder imitation devices, identical to the ones whose canon settled in European theater in the 17th century. Commissioned and produced by contemporary music theater production house Operomanija, "Bad Weather" events have since been presented in Lithuania and Poland. During each performance, the ensemble plays the machines in keeping with meteorological maps and charts from various centuries that serve as scores. Contemporary artist Ivan Cheng was invited to write and perform a libretto that is integrated into every performance in different ways. In the Baroque era, the noise machines constituted only a small part of the theatrical illusion, lurking behind the scenes, invisible to the audience. Meanwhile in Bad Weather Long Play, they take the spotlight and become generators of conceptual climate. Bad Weather Long Play is a collage of sound materials from performances, rehearsals, soundchecks, and other occasions related to the project, as documented with various recording devices between 2017 and 2019. The sides of the LP don't function as A and B sides but can be played in any order. Co-release with Operomanija; full-color sleeve with printed inner containing photos of the project and liners by Salomé Voegelin and eight-page booklet reproducing Ivan Cheng's libretto.
Arturas Bumsteinas (b. 1982 in Vilnius, Lithuania) is an artist working within the intersections of sound, music and art. His practices include performative sound art, radio art, exhibitions, experimental acoustic and electronic music. He started exploring theater noise machines in 2012 when he was commissioned by Deutschlandradio Kultur to compose Epiloghi. Six Ways of Saying Zangtumbtumb.
"Produced from a selection of recordings made at rehearsals, workshops and performances with an alternating team of seven performers, Bumsteinas convokes a work that sounds its process on the mobile blueprint of meteorological maps as scores. Creating a mis-en-scène of invisible occurrences that talk with each other in the language of a storm that is brewing, raising and petering out, and that leaves a trace in our ears, an imprint and a movement that might only clear the next day." --from the liner notes by Salomé Voegelin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ET 903-01LP
|
Waldkonzerte is the second LP release by The Oval Language on Edition Telemark after Hibernation (ET 785-01LP, 2017), this time showcasing Klaus-Peter John's Waldkonzerte (woodland concerts), recorded in 2016. The Oval Language is an autonomous art project founded in 1987 in Leipzig, East Germany, by Klaus-Peter John and Frank Berendt. Since Berendt left in 1995, it has been continued by John, sometimes with collaborators, but recently mostly for solo activities. Its fields of activity have included sound-noise performances, conceptual works in open spaces, installations, land art projects, photography, and more. From the beginning, the space or location itself has been a central aspect within many of their site-specific sound-noise performances. When working at a certain location, the performers tried to not bring in anything from outside, but exclusively use material already available at the space. This way, it becomes possible to thoroughly feel out and explore the site, allowing a distinct site-specific sound to emerge that is integrated into the performance. Throughout the 1990s, the sites used often were abandoned buildings in Leipzig, available in nearly unlimited quantity, from vacant factories to unused former public bathing facilities. During the recent years, Klaus-Peter John has focused on a minimization of means and developed a unique vocal technique without amplification that he has used in a number of performances. In 2016, he attempted to integrate his voice into pure nature, in his own words the biggest challenge to date. His goal was not to perform any kind of singing or the like, but to use voice as a means similar to the site-specific tools used in previous performances by The Oval Language. He performed five concerts without audiences in a forest ravine in Döben, near Grimma, between June and November. The concerts parallel the course of the seasons and their related acoustic changes and conditions. Die-cut single sleeve with printed inner sleeves containing photos made during a Waldkonzert, allowing for four different front sleeves to be generated. Edition of 200.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ET 864-09LP
|
After Today, The Organ Has Played Beautifully Again (ET 864-05LP, 2019) Edition Telemark presents the second installment of what will become a series of LPs of sound works by Dutch artist William Engelen. 32 bpm was recorded at Kunsthalle Mannheim for an exhibition in summer 2019 and is a slowed down version of "38 bpm", previously released on Engelen's Partitur Belval in 2016. The piece -- played here by Mannheimer Schlagwerk -- is written for eight percussionists, each using a set of nine different instruments varying in their timbre and in the duration of their resonance. The composition is played in a monorhythmic pulse of 32 beats per minute and in unison. To determine the order in which the instruments are played, each percussionist draws their own path through the score consisting of a 32x32 grid of dots of different sizes, with larger dots representing instruments with long resonance and smaller dots those with short resonance. Because each musician has chosen their own path, different instruments are played at each pulse. Neither does the pulse ever change nor do the musicians play out-of-sync at any time. As the piece progresses through its five parts, more and more dots are skipped, leaving only 64 beats per musician in part five, as opposed to 320 in part 1. The composition "38 bpm" was written in 2016 and was adapted by Engelen to take into account the acoustic qualities of the atrium of the Kunsthalle Mannheim, leading to the slower tempo and a different selection of instruments, now focusing on more resonant ones. The instruments played are mokushos, wood blocks, bongos, reyongs, crotales, triangles, timpanis, gongs, and tubular bells. For the performance, each player stood at a different spot and the audience moved freely between them, feeling out the space by listening to the resonance. The piece thus turned into a sound sculpture inside the architecture of the museum. Co-release between Edition Telemark and Kunsthalle Mannheim, full-color gatefold sleeve with 12-page LP-sized booklet with photos, a reproduction of the score, and liners by Björn Gottstein, director of the Musiktage festival in Donaueschingen, and Sebastian Baden, curator at Kunsthalle Mannheim.
|
viewing 1 To 25 of 56 items
Next >>
|
|