I am happy to announce the second part of the sonorite sans memoi=
sonorite sans memoire II · voyage acoustique (two) 2005
1) I ecriture chiffree I · for James Drew · 21:26
2) II ecriture chiffree II · respiration · 20:57
3) III derivation · exploration I · 10:23
4) IV derivation · exploration II · 8:00
5) V non-arrival · rappeler · 6:29
6) VI improvisation · relations · 8:53
Ralph Lichtensteiger : piano [1, 2, 3, 5], double bass [3, 6], percussion
[5, 6], gong [3, 5, 6], eggshells , voice (respiration) , software
instruments [1, 2, 3, 4], environmental sound treatment [1, 2, 3, 4]
Saba Tewelde : vioce [3, 4]
Track [1, 2, 4] Software instruments : FontanaMixer 1.0, generative sound
environment by Dr. Karlheinz Essl, based on “Fontana Mix” (=
1958) by John
Cage · fLOW 2.0, ambient sound generator by Dr. Karlheinz Essl · =
4.0, sound design and electronic music application · CellSynth 1.7 (Li=
Memory Ltd.) · Max MSP 4.3 (Cycling ’74)
Environmental sound recordings : March 20, 21, 27, 28, 2005 in Frankfurt
(Hochst) via Sony DAT-Recorder (ZA5ES)
Digital piano recordings : March and April, 2005 (Roland RD-150) | Voice
recordings : March 25, 2005
Realization/Software : ProTools, Spark LE
All compositions by Ralph Lichtensteiger © 2005 by musique trouve=
Cover photo : Facade de Saint Trophime d’Arles (France) 2004 ©=
Non-arrival, ecriture chiffree.
Coquillage et crypte.
Dissociation, consonance, depolarisation.
Espacement, espace intermediaire, interspace.
Derivation and exploration, the process continues.
Paysage musicaux, beler, decharge.
Tranquillite, memoires sonorite.
"The most brutal and meaningful revolution to strike the world of music in
recent years did not germinate from debate on musical writing (serial or
other) but, much more profoundly, from the world of sounds themselves, in
other words in the sonoral universe that the composer is invited to
— Tristan Murail, 'La Revolution des Sons Complexes', Darmst=
zur Neuen Musik, 1980, XVIII, pp. 77-92
"In our horizontal models of time and movement, our image of the sediments
of time, our expressions of 'down' through history and 'up' through
evolution, the vertical pole becomes the continuous present, the connecting
thread, the simultaneous, perpetual 'now' that we are living at this instant
and have always lived. It is the single point that when displaced becomes
the line, becomes the surface, becomes the solid forms of our world and
minds, and that without the imparted energy of movement (time) or the
direction of movement (space), becomes the point once more, a process
incremented by our breath as we each recapitulate its great form in the
course of our individual journey."
— Bill Viola, I Do Not Know What It Is I Am Like, 1986
"The first object I made when I came to New York was a box with sound, which
is a cube about eight inches on a side. I recorded the sound of making this
box and put a speaker in it so that it plays for three hours the sounds of
its being constructed."
— Interview with Robert Morris. Conducted by Paul Cummings, March 1=
E 12,90 | order
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All Compositions by Ralph Lichtensteiger
Copyright 2005 by RALPH LICHTENSTEIGER | musique trouve · Frankfu=
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