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Ablinger, Peter: Grisailles (Hat [now] ART)

Peter Ablinger's works for three pianos are made up of overlapping sound-layers, repeated octaves, and barely audible sounds made by fingers darting across keys; played by Hildegard Kleeb.
 

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product information:


UPC: 752156013228

Label: Hat [now] ART
Catalog ID: Hat[now]ART132
Squidco Product Code: 18486

Format: CD
Condition: New
Released: 2000
Country: Switzerland
Packaging: Cardstock 3 page foldover
Recorded on December 8th-10th, 1998 at Sender Freies Berlin by Caroline Siegers.


Personnel:

Peter Ablinger-composer

Hildegard Kleeb-piano

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Artist Biographies:

"Peter Ablinger was born in Schwanenstadt, Austria in 1959. He first studied graphic arts and became enthused by free jazz. He completed his studies in composition with Gösta Neuwirth and Roman Haubenstock-Ramati in Graz and Vienna. Since 1982 he has lived in Berlin, where he has initiated and conducted numerous festivals and concerts. In 1988 he founded the Ensemble Zwischentöne. In 1993 he was a visiting professor at the University of Music, Graz. He has been guest conductor of 'Klangforum Wien', 'United Berlin' and the 'Insel Musik Ensemble'. Since 1990 Peter Ablinger has worked as a freelance musician. 2012-2017 research professor at the University Huddersfield.

Festivals at which Peter Ablinger's compositions have been performed include the Berlin and Vienna Festwochen, Darmstadt, Donaueschingen, and festivals in Istanbul, Los Angeles, Oslo, Buenos Aires, Hong Kong, London, New York.

The Offenes Kulturhaus Linz, the Diözesanmuseum Köln, Kunsthalle Wien, Neue Galerie der Stadt Graz, the Kunsthaus Graz, the Akademie der Künste Berlin, the Haus am Waldsee Berlin, the Santa Monica Museum of the Arts have showed his installation work over the last few years.

Peter Ablinger is one of the few artists today who uses noise without any kind of symbolism - not as a signifier for chaos, energy, entropy, disorder, or uproar; not for opposing something, or being disobedient or destructive; not for everything, for eternity, or for what-have-you. As in all these cases of music deliberately involving noise, noise is the case, but for Ablinger: this alone Peter Ablinger has also come a long way in questioning the nature of sound, time, and space (the components usually thought central to music), and his findings have jeopardized and made dubious conventions usually thought irrefutable. These insights pertain to repetition and monotony, reduction and redundancy, density and entropy.

"Sounds are not sounds! They are here to distract the intellect and to soothe the senses. Not once is hearing 'hearing': hearing is that which creates me." The composer Peter Ablinger (born in Schwanenstadt, Austria in 1959) is, as Christian Scheib once put it, a "mystic of enlightenment" whose "calls and litanies are aimed at cognition." At the same time, the composer, who - after studying graphic arts - studied with Gösta Neuwirth and Roman Haubenstock-Ramati, and since 1982 lives in Berlin, is also a skeptic who understands the cultural rules and (destructive) habits enforced by tradition: "So let us play further and say: sounds are here to hear (-but not to be heard. That's something else). And that hearing is here to be ceased ('Das Hören ist da um aufzuhören'). More I can't say." (Text: Christian Baier, translated by Bill Dietz)"

-Peter Ablinger Website (http://ablinger.mur.at/bio_engl.html)
12/10/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Hildegard Kleeb (1957 in Richenthal, Willisau District) is a Swiss pianist.

After her first piano and oboe lessons in music school in Zug, she studied piano under Cécile Hux and oboe under Hans-Martin Ulbrich at Zurich Music school from 1978 to 1982. She also studied later under Eric Gaudibert in Geneva, under Claude Helffer in Paris and under Jürg Wyttenbach at the City of Basel Music Academy. In 1990, she was a visiting scholar at the academy of plastic arts in Helsinki and from 1992 to 1995 at the Wesleyan University in Connecticut in the United States, where she also worked in Anthony Braxton ensemble in New York City and in Javanesian Gamelan orchester. She began to work there with Anthony Braxton, Alvin Lucier and Christian Wolff. She is married with the trombonist Roland Dahinden.

Kleeb is an international performer of 20th-century classical music and improvisator. She has performed in the following institutions and events: Archipel Festival Genève, Musikfestwochen Luzern, Donaueschingen Festival, Kunsthalle Basel, Knitting Factory NYC, Gesellschaft für akustische Lebenshilfe Kiel, Steirischer Herbst Graz, Bludenzer Tage für Neue Musik, Musiktage Rümlingen, Merkin Concert Hall NYC, Theater Casino Zug, Pori Art Museum, Concert Hall Göteborg, Crowell Concert Hall Wesleyan University Connecticut, The Kitchen NYC, Kunsthaus Zug, Kunstmuseum Cacéres E, Kunstmuseum Badajos E, Madrid Concert Hall, Ballhaus Berlin, Swiss Institut NYC, Kunstmuseum Boros, Yale University Gallery, Porgy & Bess Wien, Künstlerbegegnungen St.Lambrecht A, Museu Serralves Porto.

Kleeb has participated in the first performances of Peter Ablinger, Maria de Alvear, Anthony Braxton, John Cage, Roland Dahinden, Hauke Harder, Bernhard Lang, Alvin Lucier, James Tenney, Daniel Wolf and Christian Wolff.

Interdisciplinary collaboration with the visual artists like Stephane Brunner, Philippe Deléglise, Inge Dick, Daniela Keiser and Roman Singer.

Since 1987 duo with Roland Dahinden
Since 1992 trio Dahinden-Kleeb-Polisoidis
Since 2003 duo with Pelayo Fernandez Arrizabalaga"

-Wikipedia (https://en.wikipedia.org/wiki/Hildegard_Kleeb)
12/10/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. Grisailles (1-100) 21:27

2. Grisailles (1-100) 26:54
sample the album:




descriptions, reviews, &c.

"The throbbing standstill as changing tinge of light, as a slow change (of light and therefore of space and time), fifty minutes long. Grisailles 1-100 for three pianos consists of various levels of overlapping sound-layers. Repeated octaves and small, barely audible sounds made by fingers darting across the keys seem to be two of these levels. Peter Ablinger composed twenty-four layers to start with-each one following its own time and structure-, before these were being combined in a preliminary score."-Christian Scheib

Related Categories of Interest:


Compositional Forms
Hat Art
New in Compositional Music


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