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each CD: 18€, except: "burn!" (limited edition) 16€, "96-99" (limited edition) 16€
PLUS porto of 3€ in Austria, 4€ in the EU, 6€ worldwide
payment: bank transfer
Discography:
bright side (ORF-CD 2009) (2009)
into the light (ff007) (2008)
quiet nights (ORF-CD 377) (2004)
burn! (ff006) (2001)
Vienna Concert 2000 (ex 476-2) (2000)
dark side (ff003) (2000)
obsessive piano part two (ff002) (1999)
obsessive piano part one (ff001) (1998)
96-99 (ff004) (1996-99)
BRIGHT SIDE ORF-CD 3073 (erschienen/release 2009)
fly! (8:51)
dark side- the theme (19:01)
between dark and bright (5:49)
bright side (17:00)
minimal (5:50)
send in the clowns (5:45)
love! (4:48)
Gesamt: 67:26 Min.
recorded live 26th January 2007
at the Bösendorfer Concert Hall, Vienna
all pieces composed by Georg Weidinger
except track 6: “Send in the clowns” by Stephen Sondheim
from the musical “A Little Night Music”
Ein Paar Worte Über Die Musik
(Some Words About The Music):
“Fly!” (“fliege!”) für unseren Sohn Daniel (8:51)
Als Kind hatte ich einen immer wiederkehrenden wunderbaren Traum: ich
bin gelaufen und gelaufen, immer schneller, bis der Boden unter
meinen Füssen verschwunden ist und ich geflogen bin. “Fly” gibt
dieses Gefühl wieder, wie ich abhebe von der Erde, über weite Felder
und Wiesen fliege und dabei ein tiefes Glücksgefühl empfinde!
As a child I had this wonderful dream: I was running, faster and
faster, until I left the ground behind. “Fly” wants to create
this wonderful feeling, when flying over fields and just being happy!
“Dark side-the theme” (“die dunkle Seite-das Thema”) (19:01)
“dark side” entstand im Juli 2000 und verarbeitet all das, was ich
die Jahre davor erlebt habe, was ich davor komponiert habe, meine
Erfahrungen als Interpret moderner Klavierliteratur steckt drinnen,
ebenso wie die unzähligen Improvisationskonzerte, die ich die Jahre
davor gespielt habe. “dark side” besteht aus fünfundsechzig Minuten,
die ich wie in Trance gespielt habe.
Heute weiss ich, dass es mein Opus Magnum, mein grosses Werk, ist,
weil es alles auf den Punkt bringt, alles Überflüssige weglässt.
“Dark side-the theme” (“die dunkle Seite-das Thema) gibt die Essenz
des Stückes wieder, das Thema, um es hier im Kontext mit“bright side”
und “between dark &bright” als Suite zu präsentieren.
I wrote “dark side” in July 2000 and it reflects all the
experiences of my life up to that moment, the music I had written and
played so far, the concert-experiences I had gathered over
the last few years, my idea of minimalism in both my life and music. All this made
it possible that “dark side” came out of my fingers in one piece.
“Dark side” is my Opus Magnum.
“Dark side-the theme” represents the essence of the piece, THE theme, which is presented in a context together with “bright
side” and “between dark and bright” as a suite on this CD.
“between dark and bright” (“zwischen dunkel und hell”) (5:49)
ist im Jänner 2007, zusammen mit “bright side”, entstanden. Es soll
als Brücke dienen, die Stimmung von “dark side” übernehmen und den
Raum für “bright side” öffnen...
I wrote “between dark and bright”, together with “bright side”, in
January 2007. It is the bridge between the two
different worlds of dark and bright...
“bright side” (“die helle Seite”) (17:00)
ist im Jänner 2007 entstanden und wurde, zusammen mit “between dark
and bright”, bei dem hier aufgenommenen Konzert uraufgeführt.
Um zu “bright side” zu gelangen, habe ich einen langen Weg in meinem
Leben zurückgelegt. “bright side”, der Form nach ein Rondo,
vermittelt eine positive und lebensbejahende Stimmung und ist mein
persönlicher “Dank an das Universum und unseren Schöpfer” für all
das Gute, das in den letzten Jahren in meinem Leben passiert ist! Aber
verstehen kann man es erst, wenn man “dark side” gehört hat...
I wrote “bright side” in January 2007. On this CD you hear the first
performance and recording of this piece (together with “beween dark
and bright”).
“Bright side” is the result of a long way in my life.
“Bright side”, a rondo, is my personal “Thank you” to the universe and our creator
for all the good things that happened in my life in the last few years. But
to fully understand this piece, you have to listen to “dark side”
first...
“minimal” für meine Frau Gabriele (5:50)
“send in the clowns” (“schickt die Clowns rein”) für Pat (5:45)
“love!” (“liebe!”) für Franzl (4:48)
Mein Klavier wusste nicht, wo es hin sollte. Franzl hat es
aufgenommen. Und als ich dann darauf gespielt habe, ist “love!”
entstanden...
My piano did not know where to go, until Franzl gave it a home.
I then played my piano and there it was: “love!”
INTO THE LIGHT klaviermusik.at ff007 (erschienen/release 2008)
concerto for piano, voice and live-electronics
1. beginning (2:37)
2. night (10:00)
3. twilight (4:23)
4. sunrise (3:59)
5. good morning! (3:10)
6. the sun (5:31)
7. smile! (2:50)
8. clouds and rain (4:50)
9. sun again (3:23)
10. and the end... (2:55)
11. break (1:54)
12. da capo: love! (4:28)
total: 50:06 Min.
“This is a live recording,
with all the noises of a live recording,
to give you the feeling
that you are there
where the music is.
I am on stage, allone,
with the grand piano, my voice,
some “machines”,
and I ask the audience
to follow me
on a journey
into the light...(GW)”
for Lena, our sunshine
"Das ist eine Live-Aufnahme,
mit all den Geräuschen einer Live-Aufnahme,
um Euch das Gefühl zu geben,
dass Ihr dort seid,
wo die Musik ist.
Ich bin auf der Bühne, alleine,
mit dem Flügel, meiner Stimme,
ein paar "Maschinen",
und ich bitte das Publikum,
mich auf eine Reise
INS LICHT
zu begleiten...(GW)"
performed and recorded live 5th of Mai 2007
at the Dance Theater Maar in Perchtoldsdorf, Austria
all pieces composed and performed by
Georg Weidinger
“quiet nights” Ö1, ORF-CD 377 (erschienen/release 2004)
1.) hey jude (6:36) (John Lennon)
2.) st.louis blues (9:42) (W. C. Handy, Hal Leonard)
3.) over the rainbow (5:12) (Harold Arlen)
4.) this is hollywood (7:00) (Georg Weidinger)
5.) when I fall in love (4:51) (Victor Popular Young)
6.) when I lost my baby (4:00) (Ivory Joe Hunter)
7.) just one moment (4:26) (Georg Weidinger)
8.) time after time (3:12) (Cynthia Lauper)
9.) I loves you porgy (4:16) (George Geshwin)
10.) it`s all for you (4:13) (Georg Weidinger)
gesamt 53:44
PRESSETEXT CD “quiet nights” (2004, ORF-Ö1)
Georg Weidinger, Klavier
Auf der CD “quiet nights” sind verschiedene bekannte Melodien zu hören: hey jude, st louis blues, over the rainbow, I loves you Porgy, when I fall in love, time after time, aber in einer Art und Weise gespielt, wie man es nicht kennt und nicht erwartet: Georg Weidinger umspielt die Melodie und spielt mit ihr, ohne Scheu, in aller Ruhe, lässt sich treiben, um ganz woanders zu landen und dann wieder zurückzukehren, ohne Widerspruch, ohne Konflikt, in Natürlichkeit und mit Humor, wie zum Beispiel bei dem Standard “when I fall in love”, der sich langsam in den Blues “when I lost my baby” verwandelt... Skuril und ungewöhlich auch der “St. Louis Blues”, den man normalerweise eher als Big Band-Version im Ohr hat, beginnt hier einstimmig, fügt sich dann in eine impressionistische Klanglandschaft, um dann doch noch den Bogen zum Blues zu schaffen. Dazu kommen noch Stücke von Georg Weidinger (“this is hollywood”, “it`s all for you”), die sich in die Stimmung der CD einfügen.
Die CD läd ein zum Innehalten, zum “Glücklichsein in diesem Moment”, zum “wunschlosen Wohlsein”, wie es der einstimmende Text von Hermann Hesse aus der Erzählung “Glück” sagt, wozu auch die zahlreichen wunderschönen Bilder der Fotografin Claudia Prieler im ausführlichen Booklet einladen.
On the CD "quiet nights" you find several well known melodies: hey jude, st louis blues, over the rainbow, I loves you Porgy, when I fall in love, time after time, but interpreted in a way, you do not expect, you haven`t heard before: Georg Weidinger plays with the melodies, without respect, in peace and with so much time, floats away in order to arrive somewhere else and thus to return, without contradiction, without a conflict, in harmony and with humour, like for example when the standard "when I fall in love" slowly transforms into the blues "when I lost my baby"... Also uspecial the way the "St. Louis Blues" is performed: in our mind mostly as a big band version it souds here like a small impressionistic piece of art, but still with the memory of a blues...Aditionally you also find pieces from Georg Weidinger on this CD ("his is hollywood”, “it`s all for you”),that fit into the context and the mood of this recording.
This CD is an invitation to "being content in this very moment", to a well-being without the pressure of time, formulated in the text by Hermann Hesse from "Glück", found in the booklet, assisted by the numerous wonderful artistic fotographs from the fotographer Claudia Prieler, also found in the booklet of the CD.
“burn!”, Konzert für Klavier und live-electronics klaviermusik.at ff006 (erschienen/release 2002)
concerto for piano and live-electronics
1. präludium (4:20) 2. piano percussion 01 (2:40) 3. tutti 01 (7:27) 4. choir 01 (9:02) 5. piano-metall sound 01 (4:04) 6. kettle-drum (7:10) 7. piano quiet theme (6:07) 8. tutti 02 (2:17) 9. piano (1:07) 10. choir 02 (3:27) 11. choir 03 (2:37) 12. cadence (5:54) 13. choir 04 (1:21) 14. tutti 03 (3:40) 15. postludium (2:09) ------total length: 63:27
“eine musikalische Traumreise”,
“...beginnt...das Klavier ganz allein...
in einer traurig melancholischen Stimmung.
Wie aus weiter Ferne vernimmt man ein Geräusch
man weiss noch nicht was passiert
man weiss, dass etwas passiert...”
DESCRIPTION OF “BURN!”
burn! is a composed concept for me as the interpreter on my instrument.
This instrument consists of a grand piano with a live-electronic setup:
Two 49-keys keyboards are installed in the corpus in a way that they can easily be used while at the same time using the piano´s keyboard and the pedal and button- installation on the floor, a 19´rack on the left side with an analog mixer and a laptop computer on the top; in the rack two t.c. electronic fireworx effect processors, one t.c.electronic Mone hall processor and one Roland JV-2080 expanded synthesizer. The laptop only working as a sampler ( with short time samples ).
The idea was to create a simple setup which fits best the physiology and ergonomy of a lefthanded pianist, guaranteeing a hundred per cent real-time access to the music.
“the instrument”- (here still a hardware sampler instead of a laptop)
The idea behind the piece is to start in the conventional acoustic room of a grand piano (symbolizing “our world”) in a rather melancholic musical world. By means of a very quiet but fast and demanding rhythmical pattern- palpating the strings of the grand piano- the door to a different space ( “knocking at the door of a different world” ) is opened, like the very moment when you fall asleep ( in the Chinese tradition this is the moment where you get a hint of the other world, the one which is before and after our world, the one without seperation, everything beeing qi without distinction of yin and yang…) and yet something starts massively, demanding one´s full attention, time being permanently changed through different rhythmical patterns in the backspace and thus not seizable, everything beeing one massive impression like a dream that overwhelms someone, getting the idea of the different elements in different materialisations- like fire- one of the five elements-, aggression- symbolizing the element wood in the Chinese tradition, sweet- a taste symbolizing the element earth, and so on
-and thus burn! meaning the reunion of all the five elements in their different appearances in one very moment to become qi, like e.g. aggression ( element wood ) makes someone light a fire ( element fire ) with the result of destruction/ ash ( element earth ), and someone else fears ( element water ) the fire, the nature arround being autumn and melancholic ( element metall ), and everything in one deep and massive and non distinguishable ( qi ) impression-
In the end the grand piano, the real world, returns; timeless, non demanding melancholic sounds, looking back into this other world, but not seeing…
This poetic idea, being the overall formal structure, exists in both, burn!, which is the compositional concept for 62 minutes of live-performance, and burn!- the piece, which is a 19 minutes- time-compression for a part time evening live-performance.
"Vienna Concert 2000", Extraplatte EX 476-2 (erschienen/release 2000)
1. about dark side (23:10)
2. continuum & variation about one moment (11:41)
3. kitsch (7:29)
4. places & obsessive (7:21)
5. when I fall in love & when I lost my baby (7:04) (vicot young & eward heyman/ joe ivory hunter)
6. hey jude (4:00) (lennon/mccartney)
7. cool blues & meditation in f (7:36)
8. walking blues (5:10)
total length: 73:57
all pieces composed by georg weidinger except where indicated.
"You find it all here: blues ("cool blues", "walking blues", when I lost my baby") , modern ("about dark side", "continuum", "obsissive"), "poppy" jazz ("hey jude", "kitsch"), standards ("when I fall in love"), world ("variation about one moment", "places") and pure improvisations ("meditation in f"). That`s live-piano music at its best!"
""THE" CD to learn more about all the various aspects of Georg Weidinger`s way to play the piano..."
“JAZZ with roots both in the American blues as well as in European classical and contemporary music, showing the whole spectrum of what today`s jazz can be!”
“Georg Weidinger, ein “live-Spieler”, entfaltet seine ganze
Virtuosität und seine Klangwelten erst so richtig, wenn er auf der Bühne ist!”
"dark side" klaviermusik.at ff003 (erschienen/release 2000)
65 minutes, in one piece
"dark side was recorded in one piece, a concert without audience…
…there weren`t any tones changed or cuts made afterwards...
...a meditation on the piano to create a
consciousness expanding music
from a different world..."
g.w.
“dark side wurde in einem Stück aufgenommen, ein Konzert ohne Puplikum…
…es wurde kein Ton geändert oder geschnitten…
…eine Meditation am Klavier, die uns in eine andere Welt entführt,
eine Welt ohne Zeit…”
g.w.
“…einerseits Reduktion, andererseits diese zeitliche Ausdehnung ohne Widerspruch… … DAS zentrale Werk von Georg Weidinger…”
( Giselher Smekal, zeitton )
I recorded “dark side” two years after the “obsessive CDs”.
It was summer, it was hot and I recorded many jazz standards for some days (which were published on the CD “quiet nights” four Years later (!). Then I continued recording some blues and boogies. On the total I had been recording for about two weeks, the last days the blues and boogie and my mind and my body were showing the first signs of exhaustion..So one evening I was lying in the bath tube and sayed to myself: “and, that was it? blues and boogie? is that what you want for you? Now?” and I felt that something “wanted out” of me. So I left the bathtube, went into the recording room nearby, turned on the tape-recorder and played like in trance for 65 Minutes continiously. And with the last tone I knew the title: “dark side”. After these 65 Minutes I quit recording the blues and boogies and knew, that it all was just the environment” for “dark side”...
Ich habe "dark side" zwei Jahre nch den "obsessice" CDs aufgenommen:
Es war Sommer und sehr heiss und ich habe mehrere Tage hindurch Jazz-Standards aufgenommen (die übrigens vier Jahre später (!) auf der CD "quiet nights" veröffentlicht wurden). Dann waren da noch einige Blues und Boogies, die ich aufgenommen habe. Im Ganzen haben die Aufnahmen etwa zwei Wochen gedauert, zuletzt waren die Blues und die Boogies dran, und mein Körper und mein Geist zeigte die ersten deutlichen Anzeichen von Erschöpfung...Eines Abens, nach so einem Blues und Boogie Tag, lag ich in der Badewanne und fragte mich: "Ist es das, was du willst? Blues und Boogie? Wars das? Jetzt?" Und ich habe gespürt, dass da noch etwas ist, das raus wollte. Ich bin also aus der Badewanne aufgestanden, in den Aufnahmeraum daneben gegangen, hab Mischpult und DAT-Rekorder eingeschaltet und dann wie in Trance für 65 Minuten durchgespielt. Und mit dem letzten Ton hauchte ich dann auch noch den Titel: "dark side". Nach diesen 65 Minuten brach ich dann die restlichen Aufnahmen ab; ich wusste, dass die zwei Wochen Aufnehmen nur den Boden für "dark side" bereitet hatten..."
THE OBSESSIVE PIANO CDS:
"obsessive piano part one" klaviermusik.at ff001 (erschienen/release 1998)
1. one moment (1:37)
2. prestissimo (4:09)
3. kitsch (7:38)
4. run! (3:42)
5. attack (2:54)
6. quiet (4:56)
7. obsessive one (6:48)
8. far away? (6:17)
9. why not (5:31)
10. blueslike (4:33)
11. continuum (5:36)
12. variation about one moment (7:26)
total length: 61:37
"obsessive piano part two" klaviermusik.at ff002 (erschienen/release 1999)
1. another moment (9:43)
2. tight (2:38)
3. nearly nothing (4:02)
4. fragment (1:32)
5. for I. (6:03)
6. up (2:55)
7. obsessive two (6:31)
8. places (5:44)
9. partita (7:01)
10. pulses (8:23)
11. farewell (4:52)
total length: 59:48
“Musik, die sich einer Kategorisierung entziehen möchte, mit Einflüssen aus moderner Musik, Jazz und “world music” ( G.W. )
“…eine Aufnahme mit musikalischer und technischer Perfektion…”
( Prof. Tamas Ungvary )
“…ausgereifter Musiker…” ( jazz zeit )
1998, when I recorded these two CDs, I was working as a doctor on a Cardiological ward in a public hospital in Vienna. This job was extremely demanding. All day- and night-time I spend there and except for sleeping and eating inbetween I did not do anything else. So I was really afraid to “loose my music” and I dicided to do these recordings, my first solo CDs, although or better because I did not find any time to practice the piano... I went into the studio only after nightshifts, that is to say, when I came into the studio at about 2 p.m. I had worked for 31 hours continiously before (...!...): I sat down in front of the piano, in this very special physical and mental condition you have, when not having slept the night before, and played and played and played, each time for about two to three hours, and then, totally exhausted, went to bed to sleep until to next morning. I did so for several weeks, until I had the feeling that for that moment I did not have anithing else to say...then it took me several months to listen to this sound material and to find out, where and which the pieces were I wanted to put on the CDs.
The “Obsessive CDs” are my first solo-CDs and they are somehow perfect for me, musically and technically speaking. As no label was interested in a “no name” at that time, I published the CDs in my own label and played these pieces many many times live in concert.
1998, als ich diese zwei CDs aufgenommen habe, war ich als Arzt in Ausbildung auf der Cardiologischen Abteilung eines Wiener Gemeindespitals tätig. Diese Tätigkeit war für mich unglaublich fordernd. Bis auf Essen und Schlafen und dort Arbeiten hab ich in dieser Zeit nichts anderes gemacht. Ich hatte Angst, meine Musik "zu verlieren" und so entschloss ich mich, gerade in dieser Zeit meine ersten Solo-CDs aufzunehmen, und eigentlich hatte ich ja gar keine Zeit Klavier zu üben, oder aber auch gerade weil ich gar keine Zeit hatte Klavier zu üben,..., Ich ging ins Studio, an den Flügel, IMMER NACH Nachtdiensten, das heisst, ich hatte davor jeweils 31 Stunden gearbeitet, fast nicht oder gar nicht geschlafen...ich begann mit den Aufnahmen immer etwa um 14 Uhr und spielte, in diesem sehr speziellen Zustand, für etwa zwei bis drei Stunden, spielte und spielte, um danach, vollkommen erschöpft, ins Bett zu fallen und bis zum nächsten Morgen zu schlafen. So ging das für ein paar Wochen, bis zu dem Zeitpunkt, da ich wusste, dass ich jetzt nichts mehr zu sagen hatte...danach habe ich mir mehrere Monate Zeit genommen, um in aller Ruhe das Material zu studieren und die Stücke darin zu entdecken, die ich dann auf die zwei CDs packen wollte.
Die "Obsessive" CDs sind meine ersten Solo-CDs und für mich heute noch ein Meilenstein und meine Messlatte, was meine Technik und meine Konzentration in der Komposition betrifft. Da sich zu dieser Zeit keine Plattenfirma für einen "no Name" wie mich interessierte, ich ich mein eigenes Label gegründet (anfänglich "flat field", dann "klaviermusik"), um meine Musik veröffentlichen zu können. Die Stücke dieser CDs begleiten mich seit ihrer Entstehung und ich habe sie viele viele Male in Konzerten gespielt.
96-99 klaviermusik.at ff004 (erschienen/release 2009)
Verschränkungen (Zyklus für Sopran und Klavier)
1. präludium
2. oder
3. zwei tänzer
4. interludium
5. nachtblumenduft
6. die zeit der gräser
7. bei jedem schritt
8. weiße häuser
9. scherbenhaufen
10. alles leben
11. interludium
12. ruht
13. deine großen kleinen hände
14. einatmen
15. sonnengeflecht
16. interludium
17. nicht
18. schreit!
19. vergessen + postludium
Sopran: Enikö Butkai
Klavier: Irene Gernert
20. dunkelsein (1998)
21. momente (1997)
22. requiem (1996)
23. odyssee (1999)
“Verschränkungen”
One day I went into a book-shop, just looking around for new books, reading a little here and there, when I discovered occasionally the book of poems “Verschränkungen” by Renate Lerperger. In that very moment I knew I had to create the music round some of these poems. The next days I simply called Renate Lerperger and we arranged a meeting in her flat. At that time Renate had at least 5 cats and I am terribly allergic against cats. Nevertheless I met her at her place and asked her to read a selection of her poems to me, which I recorded an minidisc. At home I listened to ths recording over and over again, for many week, and then the songs came into being very fastly. “Verschränkungen is a collection of 20 short songs (on the whole 20 to 23 minutes) for Soprano and piano, both “instruments” on the same musical level.
“Dunkelsein“ ( spring 1999, 9 minutes 10 seconds, Radiophonic Electroacoustic Music- to be performed live with live electronics or played from CD or DAT )
This piece was produced at my own studio flat field art productions in Wittau, Lower Austria.
The initial idea of creating Dunkelsein was to prepare a piece, which on one hand can be performed completely live, on the other hand with the live instrument the piece can exactly be explained to an audience in a concert or in the radio ( demonstrating all the different sounds, the way of playing the keyboards and all the facilities to influence the sound in real time ) before performing “Dunkelsein“ live or from tape. The huge advantage of this sort of concerts is, that the audience learns, how a piece is made, how the composer thinks and thus gains an approach to “new music“.
I especially favour the radio as the ideal platform for electroacoustic music, as you can fully concentrate on the music without being irritated that there is probably not very much going on on the stage…
In the pre-TV era radio dramas were very popular and often a way for an artist to access an audience and to confront it with modern art.
As these dramas were often performed live and thus much more exciting through real time transmission, I believe that live performance of electroacoustic music in the radio would show that “our“ music as well can be real time and that this live feeling can all right be felt!
For Dunkelsein I used a transportable live set up - as a pianist my live set up is keyboard-orientated - with complex Midi parameter control-facilities : 11 sliders, 4 wheels, 4 pedals, several push buttons, 2 keyboards ( Korg SgproX, Roland PC-180 ), a Midi-interface ( Emagic Unitor 8 ). The sound generators: a sampler ( Yamaha A 3000 ), a synthesizer ( Roland JV-2080 with expansions ) and an effect processor ( t. c. electronic Fireworx ).
For Dunkelsein I used about 160 different samples and sounds ( there were often several sounds put on one key e.g. one sample on the aftertouch; depending on the filter-quality which sound is to be heard; etc. ). Every single sound is influenced real time ( parameters e.g. filter-sort,-quality,-%,-gain; panorama; sound polyphony, reverb, delay, parameters of all the different effect programs, etc.).
The samples and sounds are strictly performed according to an overall structure with keypoints like the different voices, the “heart beat“, which comes and goes, or the kettle-drums.
The piece begins archaic with the sounds of a kettle-drum- some kind of rhythm springs up- leading over to a hectic heart beat- openig up a space - voice: “Nenn ich Dich Anfang oder Untergang“-“Durch all mein Dunkelsein“ ( “do I call you beginnig or ending“- “through all my dark side“ ) -which leads over to something new - mostly presented by beats from the today`s “beat generation“, which is also an important part of our nowadays culture; and partly extreme distortion of the sound ( alienation ) -.
In the end the voice returns, hortatory, only accompanied by one piano beat- a senseless continuum of all the hectic rhythms before.
The material used: Oskar Werner reading two short quotations from Rainer Maria Rilke, words from Renate Lerperger out of her poems Verschränkungen, my own voice, choir fragments from my choir-piece Amen, fragments from my orchestral piece Lautes Schweigen 2, diverse samples ( beats from sample-CDs or self-generated on diverse drum-computers ); sounds from the Yamaha SY 99 synthesizer, Roland JV-2080 synthesizer, diverse noises, piano sounds, voices from the radio.
This material was processed in my G3 Apple Macintosh computer with the following software: ProTools, SoundDesigner II, Logic Audio, Cubase with multiple plugIns, M, Max, GRM tools, peak, hyperprism, audio skulpt ) .
"Momente" ( spring 1998, 8 minutes, CD, Radiophonic Electroacoustic Music, Winner of the "XX. International Luigi Russolo Competition " Italy 1998 )
This piece was produced at my own studio and at the Institut für Elektroakustik und Experimentelle Musik der Hochschule für Musik und Darstellende Kunst in Wien.
1997 I wrote a cycle for soprano and piano to poems of the Austrian author Renate Lerperger, "Verschränkungen", published in my own edition. Right from the beginning I intended to use the material to create an " electro-acoustic poem ", using the very emotional poems which Renate Lerperger read for me on a recording, recordings from the songs sang by the Austrian- Hungarian singer Enikö Butkai, the poems spoken by the Austrian Pianist Irene Gernert, my own voice, an improvisation on the piano, diverse noises, samples, sounds from the SY 99 synthesizer as the basic material.
This material was processed in my G3 Apple Macintosh computer ( software: ProTools, SoundDesigner II, Logic Audio, Cubase with multiple plugIns, M, Max, GRM tools, peak, hyperprism, audio skulpt ) and constructed according to the overall algorithmic structure, which consists of several on one hand unflexible rhythms, on the other hand permanently modulated and processed rhythmical lines.
The content is dominated by the poem,
Momente des Weder- Noch:
nicht zurück,
nicht vor,
nicht leben,
nicht sterben wollen,
which in the end is transformed into an anachronistic jodeling.
The idea of "Momente" is to create pictures in ones mind, the electronic ( and its esthetic ) being partly " invisible", partly very dominant and distorting the natural voices, according to the overall concept of "moments" ( " moments of neither- nor: not forward, not backward, not wanting to live, not wanting to die " ).
This piece is specially written to be transmitted by the radio. The best result for the listener is achieved when listening with good headphones. The piece tells a story which differs from listener to listener, depending on how the concrete images are put together in his imagination. Even if the language is not understood, the sound and the rhythm of the language is very clear and leaves the audience with a very deep impression.
"requiem" for stereo DAT ( 44,1kHz ): lenght: 10´17; may 1996
Winner of the "XVIII. International Luigi Russolo Competition " Italy 1996
I worked for about half a year on this piece. With the help of the computer I could finally realize the ideas I had for many years for a requiem.
The structure is mainly based on the traditional form for this kind of composition. I am especially moved by the positive thinking at the end.
"requiem" starts with an end, with desperation of a lonesome voice; breathing is very hard, but it has to continue; thoughts glide into a sacral space, not bound by any kind of materialisation; " die Sprache braucht keinen Körper" ( "words do not need materialisation" ); gradually there is a transformation of voice into an instrumental sound, into brutality, the words " requiem aeternam ..." following for a long time; in the end giving space to words of sadness and despair, presented with a monotonous voice; there remains the idea of life, in spite of all the pain and death, there is a future.
The piece describes a path you cannot walk back, but there is life at the end...
"requiem" was produced at the Institut für Elektroakustik und Experimentelle Musik der Hochschule für Musik und darstellende Kunst in Wien. The material: my own breath and voice, the voice of Irene Gernert- an Austrian pianist-, the voice of Norbert Sterk- a therapist for logopedia-, concrete material ( a bouncing tabletennis ball, rasping tiles, and so on ), sounds of the Yamaha SY-99-synthesizer, metronoms, a string sound from Kraanerg by I. Xenakis, a very short quotation from "Magnificat" by A. Pärt- a very short quotation from "Amen" by H. Gorecki- both transformed and processed in the computer, sounds of my own orchestral piece "Lautes Schweigen 2". As a text I used abstracts from "Der Atem" by Thomas Bernhard and some own phrases.
I worked with ProTools, GRM-Tools, Sounddesigner II ( in the end I only used the processed material for the background and as a "filling" ).
“ODYSSEE”
microtonal clouds of sound to give you the feeling of the universe, somewhere between the planets, cold, incredible dimensions, extreme intensity of the light, withthe hope of returning home....... .
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