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Starting with a systematic variation of polyphony in each of the three movements of "Bis 4-Stimmung", German composer and pianist Florian Wittenburg deviates from strict structures through a component of randomly generated core notes which he then makes coherent through harmony and melody, each part punctuated with layers of Wittenburg reciting Dutch poet Cees Noteboom.
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Label: Edition Wandelweiser Records
Catalog ID: EWR 2202
Squidco Product Code: 32070
Packaging: Cardboard Gatefold 3 Panels
Piano recorded at Studio Nijmegen, The Netherland, on January 15th, 2020; voice recorded in Kleve, Germany, on August 13th, 2020.
Florian Wittenburg-piano, voice
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• Show Bio for Florian Wittenburg
"Florian Wittenburg, born in Berlin in 1973, studied Music Technology (including instrumental performance) at the Utrecht School of Arts in The Netherlands, where he graduated with distinction in 1999. During this period he studied with performers such as Jannie Pranger, Ben Gerritsen and Jasper van 't Hof, with producers such as Frank van der Weij and Stefan Winter (Music Edition Winter&Winter), with composers Gerard van Wolferen and Barbara Woof, and filmsound designer Rens Machielse. He participated twice as an ensemble player, in 1996 and 1997, at the "Nederlands Filmfestival", accompanying the restored images of rediscovered dutch silent films. Following the international EMMA-programme of study (European Media Masters of Art), he has been awarded the M.A. degree in Sound & Music Technology in 2000.
In 2005 a scholarship brought him to the Centre de Création Musicale Iannis Xenakis in Paris, where he attended Masterclasses of Jean-Claude Risset,, Agostino Di Scipio and Curtis Roads.
During and after his study-period he worked together with a.o. conductor/composer Arno Dieteren (Ensemble Contraint), sculptor Willem Fermont (5darc), cellist Jacquelin Hamelink, theremin-virtuoso Lydia Kavina, pianists Nico Huijbregts and Daan Vandewalle, with composer/performer Stephan Froleyks, composer/performer Ned McGowan and with video artists David Baker and Marcel Wierckx. His music is broadcasted mainly by german (Süd-West-Rundfunk, Saarlänidsche and Bayerische Rundfunk) and dutch radio (VPRO, Concertzender, Vrije Geluiden), but also by BBC, RAI, belgian, russian radio and radio stations in America, Canada and Spain.
Simultaneously he was engaged as a web/gui-designer at the Max-Planck-Institute for Psycholinguistics in Nijmegen (NL). This applied artwork was shown as part of the International Science+Fiction exhibition, where it was shown, amongst other places, at the ZKM Karlsruhe, Nobel Museum Stockholm, Museum for Technology and Emerging Science Tokyo, as well as part of the MS Wissenschaft boat exhibition in Germany."-Florian Wittenburg Website (http://florianwittenburg.com/biography)
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1. 1- Bis 4-Stimmung (part1) 3:33
2. Gedicht Nr. 10 1:10
3. 1- Bis 4-Stimmung (part 2) 3:07
4. Gedicht Nr. 11 1:09
5. 1- Bis 4-Stimmung (part 3) 3:35
6. Gedicht Nr. 12 1:16
sample the album:
"the title already indicates the systematic aspect of this piano music: the applied systematic variation of the polyphony (actually "1- bis 4-klänge" would be more appropriate than the title, but that sounds a bit strange to my ears in German), whereby my system application is not absolute here, i.e. i sometimes deviated from it for the sake of the music.
but the music also has a random component: i started with half a page of randomly generated core notes, then tried to create coherence through melody and harmony.
seen in this way, this music is a combination of chance and system. Put simply, this chance + system method results in chords and phrases that react to one another. this seems to be in the spirit of morton feldman, e.g. comparable to the slow sections of his last pieces, although i doubt that he had a random method behind it.
the resulting music could also be described as a kind of "twelve-tone music", since all twelve tones usually appear in the pieces. but it is quite different from the twelve-tone music of the founding fathers, e.g. Schönberg's music, which consciously operated with a twelve-tone row.
as with many of feldman's pieces, this music does not raise the question of tonality or atonality, it embraces both.
the poems of nooteboom, in canonical form, serve here as interludes. Above all, because of their enigmatic nature, I think they go well with this piano music."-Florian Wittenburg (translated by Google)
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