Hello Igor!
Wednesday November 02 2005 19:41, Igor Garmiza wrote to Leonides Kluev:
LK>>>> Правды ради, в самом начале, у Диза, он играл на альте.
IG>>> Если в детстве он пробовал играть на губной гармошке - это еще не
IG>>> повод :)
LK>> Зафиксировано в грамзаписи.
IG> Ради бога - к лику святых его причислили, наверное, не за эту запись?
IG> :)
Твоя версия? За какую? :)
IG>>>>> Frank London "Hazonos" - Sanctification
LK>>>> Рассказывай.
IG>>> Это оффтопик.
LK>> С чего вдруг? Hasidic New Wave оффтопик? Bar Kohba оффтопик?
LK>> СКИФ, на который он как-то приезжал, тоже оффтопик?
IG> Hу, не знаю. AMG классифицирует этот альбом как styles: Avant-Garde,
IG> genre: World Fusion, Jewish Music. Эхотагом там, строго говоря, не
IG> пахнет.
Здесь всегда топик был несколько шире эхотага и включал все разннообразие
некоммерческой импровизационной преимущественно инструментальной музыки.
Вот тебе, например, из-под глыб, почти девятилетней давности. Тоже не
пахнет, строго говроя. Hо нареканий модератора не вызвало.
- Джаз (2:5030/48.48) ------------------------------------------ SU.MUSIC.JAZZ-
Msg : 40 of 168 From : serge terekhov 2:5000/13
Mon 09 Dec 96 21:57 To : all
Thu 12 Dec 96 01:54 Subj : Stephan Micus "Music of Stones"
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действительно - слyшать было yдивительно - я всегда считал камни акyстически
меpтвыми... замечательно, pекомендyю всем любителям нового и интеpесного.
ЗЫ хоть это и не джаз как таковой, но в этой эхе - самое то.
_ _ _ O / _ _ C_U_T_ H_E_R_E_ _ _ _
O \
78118-21384-2 DDD
837750-2 PDO, W.Germany
Stephan Micus
The Music Of Stones
Compositions by Stephan Micus
for the Resonating Stones of Elmar Doucher
Part 1 (Resonating Stone, Shakuhachi) 13:27 / Part 2 (1 Resonating
Stone, two players) 5:22 / Part 3 (Tin Whistle, 3 stone chimes) 5:03
/ Part 4 (Solo for 3 Resonating Stones) 11:38 / Part 5 (Shakuhachi
solo) 6:22 / Part 6 (4 Resonating Stones, voice) 8:46
All compositions by Stephan Micus
Elmar Daucher: resonating stones (part 1 and 6) / Gunther Federer:
resonating stones (part 2/voice, part 6) / Nobuko Micus: resonating
stones (part 3 and 6) / Stephan Micus: shakuhachi, tin whistle, stone
chimes, resonating stones, voice
Shakuhachi: Japanese bamboo flute (made by Kono Gyokusui, Osaka) /
Tin Whistle: Irish folk instrument / Stone chimes: made by Elmar
Doucher in the traditional shape of the ancient Chinese pien ch'ing
stone chimes
The resonating stones used in this recording:
Part 1: 3/86 100 x 100 x 100 Granit
Part 2: 1/85 90 x 90 x 90 Serpentin
Part 4: 8/79 20 x 20 x 30 Serpentin
10/79 20 x 28 x 29 Serpentin
3/80 20 x 20 x 25 Serpentin
Part 6: 4/83 100 x 100 x 100 Serpentin
3/86 100 x 100 x 100 Granit
3/84 20 x 20 x 35 Serpentin
2/85 20 x 20 x 35 Serpentin
No overdubs on this album
Many thanks to the Rev. Diederich, Manfred Eicher, Dr. Reichow
Digital recording, Ulm Cathedral / Engineer: Martin Wieland / Photos:
Jean Gallus / Design: Dieter Rehm / Produced by Stephan Micus
(c)(p) 1989
Liner notes:
"Thus one should be able to lift the stone and hold it full of wild
hope, until it begins to blossom, just as music uplifts a word and
floods it with sonority." Ingeborg Bachman (tr. by Matthew Partridge)
THE SOUND OF STONES
"Music too, keeps building anew with the insecurest stones her
celestial house in unusable space" Rainer Maria Rilke
I
With skill it is possible not only to strike fire from certain kinds
of stone but also sounds of surprising variety. And this even though
the metre-thick cubes, the erratic blocks and the cut steles of black
granite and dark green serpentine, if anything, appear instead to be
embodiments of silence.
Turning into stone is deemed the mythical image of death, fossilized
means hard, lifeless, struck silent. But the inverse is equally
conceivable. An orphic poem, as reported by Roger Caillois, tells of
a stone which Phoebus gave to Helenos: "You should treat it as if it
were a very small child, clothing, washing and carrying it until you
begin to perceive its voice."
For many years the work of the sculptor Elmar Daucher concentrated
essentially on the visual and haptic dimensions. He hewed granite,
marble and basalt. The other, generally disregarded aspect of stone,
its capacity to oscillate as matter producing sound, was not new to
him but it held only secondary importance. These days Daucher insists
on the equal significance of each of the senses: "The sound is in the
form and the sound influences the form."
The shiny black smoothness of the stones tempts you to touch them.
Sounds are coaxed from them just by lightly tapping or tenderly
stroking them. The sounds produced by mallet beats or, by contrast,
by rubbing the polished surface differ enormously. The effect may be
dry and percussive or vibrating and penetrating. Elmar Doucher claims
that black Swedish granite is virtually predestined for acoustic
purposes, although it is impossible to foresee the final auditory
result as the stone, even after it has been sculpted, "still needs to
learn". At the outset it just doesn't _sound_ right.
A diamond saw, among other tools, is used to prepare the stone.
Furrows as thick as a finger and deep cuts have to be made for sound
to be produced, and simultaneously these also determine the
appearance of the sculpture - the acoustic and visual proportions
correspond.
The stone blocks are shaped like ashlars, cubes (up to a cubic metre
in size) and lancets as big as a man. Deep incisions are made into
these simple, self-enclosed forms, cuts which run parallel or
intersect, vertically of horizontally, in mostly regular integral
intervals. These divide the stone into strips of different size with
quadrangular, triangular of rhombic base surfaces which possess
geometric relationships analogous to the audible musical intervals.
They stand as an optical and acoustic expression of the firm belief
in a prevailing cosmic harmony. Physical explanations cannot impinge
on the magic of this phenomenon.
II
If, as Rilke put it, music keeps building anew with the insecurest
stone her celestial house in unusable space, then the influence of
the surrounding space on its sound must alse be acknowledged. The
choice of a stone edifice such as the cathedral of Ulm to perform a
concert and make recordings provides a further dimension: the unique
acoustics of this sacred building with an echo of eight seconds. The
overlapping sheets of sound suggest an all-embracing, vibrating
oscillation of pulsating intensity, a sound which seems to surpass
our ability to perceive it with our ears. And with its bells the
cathedral added yet another element to the music: the aleatoric
moment when the chimes of its steeple clock announce the time and yet
also seem cut loose from all time.
III
For some time Stephan Micus has been drawn by his fascination for the
instruments of other cultures. It is not the creation of exotic
sounding effects that interests him, but the challenge to discover
new sounds and sound contexts. He has experimented with a large
variety of wind, string and percussion instruments, with flutes and
gongs, zithers and rattles. It was in China where he found
instruments made of stone which had been in use for thousands of
years but are now almost forgotten, "pien ch'ing" stone chimes -
small, conveniently sized, suspended stone plates which perform an
important role in Confucian ceremonial music.
The process of coaxing sounds from Elmar Daucher's enormous blocks of
cut granite and serpentine steles in combination with flute and vocal
music represented an entirely new experience, if only because they
are not tuned like "normal" instruments, but contain most unusual
tonal intervals.
With the emphasis shifting from more rhythmical elements at some
times to a more melodic character at others, and contrasts created
between the varied shades of tone and mood, each part of the
composition has its own atmospheric appeal. The suggestion of
traditional Zen music provoked by the use of shakuhachi, and
reminders of Balinese gamelan music or gregorian chant remain
sufficiently vague as to provide the space for entirely new and,
until now, unheard sounds.
-- Irene Ferchl (tr. by Matthew Partridge)
AMG:
Micus is joined by three other musicians playing sculpted, resonant
stone blocks. Michael P. Dawson
_ _ _ O / _ _ C_U_T_ H_E_R_E_ _ _ _
O \
-+-
+ Origin: sprite's mail -- with ECM on my cd... (2:5000/13)
IG>>> Одно могу сказать: голос у кантора там совершенно
IG>>> потрясающий :)
LK>> Вот это уже интереснее. Договаривай :)
IG> А чего договаривать? Выпущен на Tzadik'е в 2005 году, мне лично
IG> показался интересен в первую очередь именно попыткой (на мой взгляд,
IG> удачной) свести традиционное канторское пение с авангардным саундом. В
IG> общем, radical jewish culture во всей красе :). Cantor Jacob Ben
IG> Vocals David Chevan Bass Gerald Cleaver Drums Anthony Coleman
IG> Organ, Piano, Harmonium Frank London Trumpet, Arranger, Composer,
IG> Harmonium, Producer, Orchestration, Transcription Danny Mendelsohn
IG> Vocals Zion Mendelson Vocals Dan Rosengard Keyboards Cookie
IG> Segelstein Violin Simon Spiro Vocals Tomas Ulrich
IG> Cello Kazunori Sugiyama Associate Producer John Zorn
IG> Executive Producer
Почти никого не знаю. Hо уже интересно. Я Фрэнка Лондона знаю тольок по
Hasidic New Wave и Klezmatics, другие его проекты мне совсем неивестны.
Leonides