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ASMUS TIETCHENS - NOTTURNO
[CD]

ASMUS TIETCHENS - NOTTURNO

1987. re-release 2007 on Die Stadt, DS-102

CD in NEAR MINT cover
inlay in excellent condition

1   Dritte Studie Für Klavier
2   Vierte Studie Für Klavier
3   Studie Für Henry
4   Halbe Tanzmusik
5   Siebte Studie Für Klavier
6   Drei Beisetzungen In Wien
7   Die Krämer Im Tempel
8   Fünfte Studie Für Klavier
9   Ein Leben Geht Zu Ende
10 Zweite Studie Für Klavier

Bonus:
11 Siebte Studie für Klavier
12 Ein Leben geht zu Ende

Asmus Tietchens - electronics

By the time »Studie fur Klavier« (FORMEN LETZTER HAUSMUSIK, DS84) was released it actually wasn't my first attempt to use the piano as a sound source. Various pre-studies came before this, but all which either were not characterized as such in their title or simply didn't make it onto record. I was intrigued by the great range of sounds it offers in general, but also by the multiple possibilities to produce sounds inside of the piano. Off course I was fully aware that these techniques had already been used by other composers like Henry Cowell and John Cage in the past. Not only I could make use of a grand piano in 1986, I also had the technical equipment at hand which didn't leave nothing to be desired. I wasn't quite precise calling these pieces »Studien fur Klavier (Piano)« by the way, as I was actually using a Flugel (Grand Piano). I began preparing the strings in an almost old fashioned way, also producing sounds with unusual aids (Electric Gastr Beater, Wire Brush, Coins and others). Then in another step, with the help of the studio, I carefully started working on the recorded sounds. While doing this I wasn't even afraid of the using some good old avantgarde tricks by the way. But I won't tell.
The fact that NOTTURNO was released by an industrial label, shows how much the interest in unusual electro-acoustic music had grown at the time. In fact NOTTURNO is nothing less than an industrial album. To my own delight and to the delight of the listeners as well, I used techniques which were introduced in the field of new music since several years already. As a result NOTTURNO can be seen as a cross between musical styles. On one hand it sounds academic, but in fact it isn't. But the question whether this was U (popular) or E (serious) was obsolete anyway, as electro-acoustic experiments didn't exclusively belonged to the circle of serious composers anymore. Off course I wasn't the first or only non-academic composer who produced music, which couldn't be categorized easily then, and maybe even still not until today. As a result the exchange of these new aesthetic strategies with other musicians and listeners in the mid 80's, further encouraged the musicians to produce such music, and as a result labels such as Discos Esplendor Geometrico could be sure to sell a small edition of 500 copies in a fairly short time. The ears had opened up for this genre-crossing music and the heads were ready to accept. We had succeeded breaking new ground.

Editorial notes:
All tracks have been remastered from the original tapes as I still found them in perfect condition. I decided to do this because the remastering for the first CD version back in 1992, can't be compared to nowaday standards. Both bonus tracks already appeared on the first re-release on CD (BAR 007), but have been added to the end for this new edition.

Biography by John Bush
Synthesizer experimentalist and musique concrète producer Asmus Tietchens began recording in the mid-'60s and continued to record three decades after that. Born in 1947 and based in Hamburg, Tietchens listened to German radio as a child and heard pioneering electric transmissions by the likes of Stockhausen and Gottfried Michael Koenig. He began recording his own home experiments in 1965 with crude reverb devices and picked up a MiniMoog several years later. Also influenced by atonal Kraut-rockers like Cluster and Faust, Tietchens met Okko Bekker and began a partnership that lasted for decades (Bekker has produced most of Tietchens' work). After Tangerine Dream's Peter Baumann heard a tape of his work, he produced Tietchens' debut album Nachtstücke, released in 1980 on Sky Records. His four albums for Sky during the early '80s focused on surprisingly accessible electronic pop, though 1984's Formen Letzter Hausmusik (recorded for Nurse with Wound's United Dairies label) began a period of more abstract, concrète recordings that often use tape experiments as well as synthesizers. During the '90s, Tietchens recorded for experimental labels Barooni, Staalplaat and Syrenia, the latter a 1996 collaboration with Vidna Obmana. Since 1990, he has also taught sound at a Hamburg university. 
 

 

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