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burkhard schlothauer

Harmonies and Structures
€ 10.00
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burkhard schlothauer - Harmonies and Structures

burkhard schlothauer

Harmonies and Structures

€ 10.00

LABEL: Edition Wandelweiser
GENRE: Compositional | FORMAT: CD | CATALOG N. EWR 1903 | YEAR. (2019)

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Nine – for John Cage (2010) by Zeirkratzer with Reinhold Friedl (inside piano), Frank Gratkowski (bass clarinet), Hilary Jeffery (trombone), Hild Sofie Tafjord (horn), Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Ullrich Philipp (double bass), Marc Weiser (electric guitar), Christian Lillinger (percussion). The well-known Zagreb music biennale, which has been a hotspot for contemporary music for more than 30 years, asked Reinhold Friedl, musical director of Zeitkratzer, to perform a program of late ensemble works by John Cage in 2010. Unfortunately, however, there are only a few works that could be performed with the full cast of Zeitkratzer. So I suggested that i would rewrite the non-existent number piece nine for Zeitkratzer. In my master thesis, i had thoroughly studied John Cage’s number pieces, their compositional style – in particular seven, one of the first works in this series – and had already recorded and produced this composition in 2002 (EWR 0604).
Yo tampoco lo entiendo (2019) with Burkhard Schlothauer (viola, sine-waves). For the dance piece Bewegte Bauhausbilder at Theater Gera 2019.
Structures indépendantes (2007) with Antoine Beuger (flute), Gudula Rosa (tenor recorder), Burkhard Schlothauer (viola), Thomas Stiegler (viola), Jürg Frey (clarinet), Eva-Maria Houben (indian harmonium), Christoph Nicolaus (stone harp), Tobias Liebezeit (timpani). Delicately spotted tones of two identical instruments (flutes, violas) in symmetrical intervals meet two different sound surfaces – on the one hand unisons with more or less beatings (violas, flutes) of about five seconds each and on the other hand three minute long sound blocks of clarinet and harmonium. The distribution of the action spaces of the duos is independent of each other: while the meeting of the tones is organized completely geometrically, we experience it as somehow coincidental. In addition, there are blocks of time in which the tympani sometimes glissandize very slowly and thus irritate the sound surfaces above in a subtle way. The stone harp contributes very beautiful, clearly microtonally defined tones.


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