African Paper » Giacinto Scelsi https://africanpaper.com Wed, 15 Apr 2026 07:22:00 +0000 en hourly 1 http://wordpress.org/?v=3.2 Yoko Morimyo und Damiano Afrifa: Duo mit Interpretationen von Arvo Pärt, Florence Price, Giacinto Scelsi und Franco Battiato https://africanpaper.com/2021/12/14/yoko-morimyo-und-damiano-afrifa-duo-mit-interpretationen-von-arvo-part-florence-price-giacinto-scelsi-und-franco-battiato/ https://africanpaper.com/2021/12/14/yoko-morimyo-und-damiano-afrifa-duo-mit-interpretationen-von-arvo-part-florence-price-giacinto-scelsi-und-franco-battiato/#comments Tue, 14 Dec 2021 04:52:28 +0000 admin http://africanpaper.com/?p=27968 Weiterlesen →]]> Unter dem Titel “Musica Spirituale” bringt das Label 19m40s eine CD mit vier Interpretationen kontemplativer Musik heraus, die Yoko Morimyo und Damiano Afrifa mit Violine und Piano eingespielt haben. Die Auswahl fiel dabei auf Arbeiten aus der zweiten Hälfte des 20. Jahrhunderts, angefangen – wenn man die Stücke chronologisch einordnen will – mit einer Neuinterpretation von Florence Beatrice Price’ 1951 für Orgel konzipiertes, noch der Spätromantik verpflichtetes Stück “Adoration”, das mit seinen nur knapp über drei Minuten der kürzeste Beitrag der kleinen Sammlung ist.
Die drei anderen “Klassiker” neuer, kontemplativer Musik stammen aus den 70ern: Franco Battiatos hypnotisches “L’Egitto prima delle sabbie”, dessen Dynamik sich vornehmlich den unterschiedlich lange Pausen zwischen den stets ähnlichen Tönen verdankt; Arvo Pärts Arbeit “Spiegel im Spiegel”, bei der eine entrückte Violine über den immer gleichend rei Tönen auf dem Klavier ein sanftes Ornament zeichnet; Giacinto Scelsis von der Violine dominiertes “L’âme ailée”, von dem es in den Liner Notes heißt: “There is no ‘beginning’ and ‘end’ in this music; there is no actual logical concatenation, since there is no real syntax. Instead, there is a pure soaring of the sound: a solo violin which, with insistent microtonal nuances, invites us to openness, and the slow flight of the mind, as the title of the composition suggests.” So spannen die vier Beiträge einen weiten Bogen dessen, was moderne und zeitgenössische spirituelle Musik bedeuten kann. Die CD erscheint Mitte Dezember.

@ 19m40s

]]> https://africanpaper.com/2021/12/14/yoko-morimyo-und-damiano-afrifa-duo-mit-interpretationen-von-arvo-part-florence-price-giacinto-scelsi-und-franco-battiato/feed/ 0 Split-LP von Chris Watson und Georgia Rodgers auf SN Variations https://africanpaper.com/2020/07/18/split-lp-von-chris-watson-und-georgia-rodgers-auf-sn-variations/ https://africanpaper.com/2020/07/18/split-lp-von-chris-watson-und-georgia-rodgers-auf-sn-variations/#comments Sat, 18 Jul 2020 06:48:28 +0000 admin http://africanpaper.com/?p=21763 Weiterlesen →]]> Cabaret Voltaire-Gründer Chris Watson und Komponistin Georgia Rodgers bringen Ende Juli zwei unabhängige Arbeiten zusammen auf einer LP heraus. Watsons “Notes from the Forest Floor”, das von den mikrotonalen Arbeiten Giacinto Scelsis inspiriert wurde, und Rodgers “Line of Parts”, einer mit dem Huddersfield Immersive Sound System (HISS) produzierten Arbeit, transportieren sehr plastische Sound, die ihren Ursprung in Geräuschen der Natur und des Alltags kaum leugnen. Beide Arbeiten wurden für Aufführungen konzipiert und kommen nun nachträglich auf 250 Vinylscheiben heraus.
“Notes From The Forest Floor was originally premiered in a different form in July 2015 at The ICA as part of an evenings event dedicated to the work of Italian composer Giacinto Scelsi. Presented in almost pitch dark the hour long piece was played prior to a concert of work by and inspired by Scelsi. Chris responded to Scelsi’s microtonal works using recording of insects and other environmental sounds from La Selva tropical rain forest reserve in Costa Rica to match the Italian composer’s tonal complexity with a shimmering pulsating haze of sound. Both impressionistic and incredibly precise in composition. an edited shorter piece from this installation was on the Scelsi Ep titled “Invertebrate Harmonics”. Whilst working with Chris again this year having had the stereo ICA installation version sitting on his hard drive for 5 years Adrian Corker asked Chris if he would be interested in releasing it. Chris was soon after heading back to Costa Rica working with David Attenborough and offered to make new recordings and develop the original piece.
Georgia Rodgers “Line Of Parts” was originally premiered at Huddersfield Contemporary Music Festival in 2019 as part of the Huddersfield Professional Development Programme for Female Composers of Electronic Music project. Originally having trained as an acoustician Rodgers work is concerned with “timbral detail: the painstaking spectral dissection of the instruments or space she is writing for” (Alex De Little). She has had work performed by ensembles such as Apartment House and The Riot Ensemble but for “Line of Parts” worked with the Huddersfield Immersive Sound System (HISS) using its network of 48 channels and 66 speakers. The piece and stereo mix down of this work is composed of field recordings made in the Cairngorms and North London, sine waves and voice. It consists of three parts: the first the sound of slowly intensifying rain falling on metal alongside insects and geese, the second has closely pitched sine waves creating eddies and flurries of interference patterns and the third the sound of rain and metals merges alongside voice forming shadows of major chord that fades in and out before a coda of sine waves ends the piece.” (SN Variations)Portrait Giorgia Rodgers © Dimitri Djuric

@ SN Variations

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