The "Grand Orchestra" of Zeitkratzer and guests create a complex sound using an assembly of players with 40 winds, including bagpipes, developed by both Zeitkratzer and lay people, playing not only pure intensity but also dense and complex sound aggregates.
Label: Tochnit Aleph
Released in: Germany
"The score for Grand Orchestra has been developed for musicians, laymen, old people, children, adolescents, for anyone who likes to join in. Grand Orchestra is not for education. It's not about explaining, intellectual understanding or the training of cultural values; rather it's about having faith in the abilities and intuition of the players and their performance.
The musicians of Zeitkratzer and additional guests took over the voice-leading of the instrumental groups, distributed in the space and enabling their amplification. In this way it was possible to create not only pure intensity but also dense and complex sound aggregates, through the blurring of playing techniques inside the different instrumental groups.
Which orchestra is capable of playing such complex sounds as this group of forty wind players, chorally building a simultaneous crescendo of breaths? Who can play more ecstatically and wilder than a group of sixty musicians, playing against and doing their best to keep up with a Scottish bagpipe ensemble? It's precisely due to unclearly played single sounds, unfolding from an orchestra dominated by amateurs.
Unique sounds with a complex character that no professional orchestra could reproduce." -- Reinhold Friedl, from the liner notes.
"Zeitkratzer is sound made visible, tangible, bodily and a truly unforgettable corporal experience of live music. The physicality of sound is celebrated through extended instrumental techniques, mutual understanding and amplification of traditional instruments. A midpoint between instrumental and electronic music turns out to be more bizarre and surprising than either of these.
Zeitkratzer, founded in 1999, gathers nine musicians, light and sound engineers living in different European cities from Amsterdam to London to Oslo meeting for working phases in Berlin. They have performed critically acclaimed versions of classical music by composers such as Karlheinz Stockhausen, Helmut Lachenmann and James Tenney, aswell as orchestral versions of electronic/noise music by Whitehouse, Merzbow, John Duncan, Dror Feiler and Lou Reed's Metal Machine Music."-Tochnit AlephThe "Grand Orchestra" of Zeitkratzer and guests create a complex sound using an assembly of players with 40 winds, including bagpipes, developed by both Zeitkratzer and lay people, playing not only pure intensity but also dense and complex sound aggregates.
• Show Bio for Reinhold Friedl
"Reinhold Friedl, born 1964, lives in Berlin since 1987. He studied piano with Renate Werner, Alan Marks and Alexander von Schlippenbach, mathematics and musicology in Stuttgart and Berlin. As a performer, interpreter and composer, he has received various fellowships - Eurocréation Paris, the Rome Fellowship (Villa Serpentara) of the Berlin Academy of Arts, STEIM Amsterdam-, as well as various composition commissions. Reinhold Friedl has published articles in newpapers and professional journals and conducted a seminar on "Music and Mathematics" in the department of Mathematics at the Berlin Free University together with Prof. Behrends. He founded and directs the ensembles Piano-Inside-Out and ZEITKRATZER. Friedl has worked as a curator for the Podewil center for contemporary arts Berlin and directed the Off-ICMC (International Computer Music Conference) Berlin 2000. He has been invited to take part in the Jury of the Ars Electronica and Gulbenkian Foundation, Lisboa. As pianist and composer, he has worked with musicians and composers such as Lee Ranaldo (Sonic Youth), Phill Niblock, Helmut Oehring, Nicolas Collins, Lou Reed, MERZBOW a.k.a., Masami Akita, Radu Malfatti, Bernhard Guenter, Mario Bertoncini (nuova consonanza), Keiji Haino, and has made countless radio and CD recordings. Lately he realized the "spazialisation piano-project" at ZKM Karlsruhe and Asphodel Studios in San Francisco. The main focus of Reinhold Friedl's work is the inside-piano. He played all respective literature using inside-piano techniques and released several articles in this field."-Reinhold Friedl Website (http://www.reinhold-friedl.de/)
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• Show Bio for Robin Hayward
"The tuba player and composer Robin Hayward was born in Brighton, England in 1969. He studied classical music at the University of Manchester and tuba at the Royal Northern College of Music, where he graduated in 1991. In following years he was active in the improvised and experimental music scenes in Manchester and London. Since 1998 he has been based in Berlin.
He has introduced revolutionary playing techniques to brass instruments, initially through the discovery of the 'noise-valve' in 1996, and later through the development of the first fully microtonal tuba in 2009. In 2012 he invented the Hayward Tuning Vine, partly out of a desire to visualise the harmonic space implicit within the microtonal tuba. In 2005 he founded the ensemble Zinc & Copper to explore brass chamber music from an experimental music perspective.
Robin Hayward has toured extensively both solo and in collaboration, and been featured in such festivals as Maerzmusik, Fri Resonans, Donaueschingen, TRANSIT festival, Ghent Festival of Flanders, Ostrava New Music Days, Sound Symposium, Kieler Tage für Neue Musik and Wien Modern. Collaborations include such musicians as Charles Curtis and Roberto Fabbriciani, along with composers such as Christian Wolff, Alvin Lucier and Eliane Radigue. His approach to the tuba has been documented in the solo releases Valve Division, States of Rushing, Nouveau Saxhorn Nouveau Basse and Rubble Master, along with numerous collaborative releases, such as with the microtonal tuba trio Microtub and the tuba and double bass duo Reidemeister Move. He has lectured at such institutions as Stuttgart Musikhochschule, the Sibelius Academy in Helsinki, UDK Berlin, Dartmouth College and Wesleyan University. He has also worked regularly with such orchestras as the Rundfunk-Sinfonieorchester Berlin and the Konzerthausorchester Berlin, and from 2002 to 2012 was a member of the new music ensemble KNM Berlin.
In 2012 the International Tuba and Euphonium Association (ITEA) presented him with the Clifford Bevan Award for Excellence in Research for his 2011 article on the history and development of the microtonal tuba. In 2016 he received the ITEA's Jim and Jamie Self Creative Award for his work with the microtonal tuba and Hayward Tuning Vine."-Robin Hayward Website (http://www.robinhayward.de/eng/biography.php)
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Label: Tochnit Aleph
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Recorded at the Haus der Kulturen der Welt, in Berlin, Germany on August 21st, 2011, by Martin Wurmnest.
Celia Ilisch-alto saxophone
Diyar Elci-alto saxophone
Lucio Capese-alto saxophone
Gunther Haussknecht-bagpipes, director
Bernd Pommer-bass drum
Reinhold Friedl-piano, composer, director
Klaus Kurvers-double bass
Ulrich Philipp-double bass
Aniko Mey-tenor drum
Nathalie Wendzinski-tenor drum
The Berline Pipe Company-ensemble
Thai Tai Tran-flute
HildSofie Tafjord-French horn
Leyla Schlein-French horn
Martin Boo-French horn
k Niklas Henrik Tonnatt-French horn
Henry Binte-tenor horn
Maurice de Martin-percussion
Florian Wunsch-tenro saxophone
Ingrid Bulkowski-voice, bullhorn
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1. Untitled 19:59
2. Untitled 24:09