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Ablinger, Peter: 33-127 (Mode Records)

Seth Josel performs Peter Ablinger's "33-127" for guitar and field recordings of transportation, graphic minimalism punctuated by bursts of activity - cacophony vs. tranquility.

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product information:

UPC: 764593020622

Label: Mode Records
Catalog ID: MODE 206CD
Squidco Product Code: 11333

Format: CD
Condition: New
Released: 2009
Country: USA
Packaging: Jewel Tray
Recordedat Trace Elements Records, New York City, NY in November 2005.


Seth Josel-electric guitar

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Artist Biographies:

"Seth Josel - originally from New York, now residing in Berlin - has become one of the leading instrumental pioneers of his generation. As a soloist he has concertized in Belgium, Germany, Great Britain, France, Israel, Italy, The Netherlands, Switzerland, the US and Canada. He has performed as a guest with leading orchestras and ensembles of Europe, including the BBC Symphony Orchestra (London), the Rundfunksinfonie Orchester Berlin, the Deutsches Symphonie Orchester Berlin, the South German Radio Choir, the Staatskappelle Berlin and the Schönberg Ensemble of Amsterdam, and has appeared at several major European festivals including the Salzburg Festspiele, Ars Musica, Donaueschingen, The Holland Festival, Munich Biennale and London's South Bank Festival. From 1991 till 2000 he was a permanent member of the musikFabrik. In recent seasons he has been guesting regularly with KNM Berlin, Ensemble SurPlus of Freiburg as well as with the Basel Sinfonietta.

As ensemble player and soloist Seth Josel has been involved in the first performances of more than one hundred works. He has collaborated and consulted closely with such composers as Louis Andriessen, Gavin Bryars, Mauricio Kagel, Helmut Lachenmann, Tristan Murail and James Tenney. In addition, he has been highly committed to working with several of the leading young composers of our time, including Peter Ablinger, Richard Barrett, Sidney Corbett, Chaya Czernowin, Keeril Makan and Manfred Stahnke, all of whom have written works featuring his talents.

He has recorded for radio stations throughout Europe, and he appears as ensemble/chamber music performer on CDs released by Aeon, Nonesuch, Mode Records, CPO, Col Legno, Cybele Records, HetHut, New World Records, Touch Records, Edition Wandelweiser, Wergo, and Winter & Winter. In 1995 he released his first solo CD on CRI (Composers Recordings, Inc.) featuring works of contemporary American composers. His second solo CD appeared on O.O. Discs, Inc. and his third on New World Records, all featuring works of American composers. With Ulrich Krieger he collaborated on a portrait CD for Mode Records, presenting rarely heard works by Gavin Bryars. He recorded Berio's "Sequenza XI" for the complete Sequenza-Cycle which was released on Mode, and "33-127" by Peter Ablinger, was released by Mode in February 2009.

With colleagues Wiek Hijmans, Patricio Wang and Mark Haanstra from Amsterdam, he is co-founder of the quartet, Catch, which, in 2007, gave a week-long workshop at Princeton University in addition to appearing as part of the "concertino" in the U.S.-premiere of Steve Mackey's "Dreamhouse" with the Boston Modern Orchestra Project. Catch had a featured slot in September '07 at the second "Output" festival in Amsterdam, collaborated extensively in the Autumn '07 with the Slagwerkgroep Den Haag and performed concerts in Los Angeles, Berkeley and Grinnell during the spring of '08. In 2013, Catch appeared as the concertino with the New York Philharmonic.

In recent year Seth Josel has been a welcome guest on university and college campuses for his stimulating and diverse presentations regarding new art music. Among them are Yale, Northwestern, MSM, CalArts, Musik Akademie Basel, UdK Berlin, and the Sweelinck Konservatorium.

In addition to having published articles which concern issues related to new art music, Seth Josel is co-founder of "", a website dedicated to contemporary guitar music which has been online since the summer of 2003. "The Techniques of Guitar Playing", co-authored by Ming Tsao, was published by Bärenreiter Press in July 2014. Seth Josel's reconstruction of the "lost" work for solo electric guitar by Morton Feldman was published by Edition Peters in 2015. In 2016 he was named Research Fellow at the Orpheus Institute in Ghent, where he will be in residence part-time till the autumn of 2017.

After acquiring his Bachelor of Music degree at the Manhattan School of Music, Seth Josel enrolled at Yale University and earned the Master of Music degree; he then went on to become the first guitarist at Yale to earn the Master of Musical Arts and the Doctor of Musical Art degrees. His teachers included Manuel Barrueco, Eliot Fisk and harpsichordist Richard Rephann; as well, he has participated in the master classes of Oscar Ghiglia and Andrés Segovia. He is recipient of numerous awards and prizes including a Fulbright-Hays grant from the United States government and an Artists Stipend from the Akademie Schloß Solitude, Stuttgart."

-Seth Josel Website (

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track listing:

1. Big Intersection 1 0:38

2. Big Intersection 2 0:38

3. Medium Intersection 0:38

4. Small Intersection 1 0:38

5. Small Intersection 2 0:38

6. Bridge Over Highway 0:38

7. Traffic Under Bridge 0:38

8. Country Road 1 0:38

9. Country Road 2 0:38

10. Light Traffic Area 0:38

11. Tram Stop From Front 1 0:38

12. Tram Stop From Front 2 0:38

13. Tram Stop From Front 3 0:38

14. Tram Stop L-R 1 0:38

15. Tram Stop L-R 2 0:38

16. Subway 1 0:38

17. Subway 2 0:38

18. Subway 3 0:38

19. Subway 4 0:38

20. Subway 5 0:38

21. Train Station 1 0:38

22. Train Station 2 0:38

23. Train Station 3 0:38

24. Train Under Bridge 0:38

25. Bus Station 0:38

26. Airport Entrance 1 0:38

27. Airport Entrance 2 0:38

28. Airport Interior 1 0:38

29. Airport Interior 2 0:38

30. Airport Exterior 0:38

31. Aircraft Take Offs 1 0:38

32. Aircraft Take Offs 2 0:38

33. Turbines At Take Off 0:38

34. Low Fly Over 0:38

35. Pedestrian Zone 1 0:38

36. Pedestrian Zone 2 0:38

37. Fashion Department 0:38

38. DS Cash Register 0:38

39. Coat Hangers 0:38

40. Escalator 0:38

41. Supermarket Loud 0:38

42. Checkouts Loud 0:38

43. Supermarket Quiet 0:38

44. Checkouts Quiet 0:38

45. Bottle Shop 0:38

46. Loud Restaurant 0:38

47. Tray Return Area 0:38

48. Quiet Bistro 0:38

49. Rest-Cash Register 0:38

50. Full Bar 0:38

51. Small Bar 0:38

52. Roulette Table 1 0:38

53. Roulette Table 2 0:38

54. Roulette Ball 0:38

55. R Ball & Announcement 0:38

56. Slot Machines 0:38

57. Lucky Wheel 0:38

58. Billiards Hall 0:38

59. Bank 0:38

60. Museum Hall 0:38

61. Museum Med Room 0:38

62. Museum Small Room 0:38

63. Museum Quiet Passage 0:38

64. Footsteps In Museum 0:38

65. Cathedral Square 1 0:38

66. Cathedral Square 2 0:38

67. Bells From Squrae 0:38

68. Bells Outside Tower 0:38

69. Bells Inside Tower 0:38

70. Church Organ Prelude 0:38

71. Classroom Drawing 0:38

72. Crasroom Lesson 0:38

73. School Playground 0:38

74. School Hallway 0:38

75. Large Market 0:38

76. Small Maket 0:38

77. Large Swimming Pool 0:38

78. Small Swimming Pool 0:38

79. Paddling 0:38

80. Diving Into Water 0:38

81. Showers 0:38

82. Theatre Foyer 0:38

83. Audience Enters 0:38

84. Applause 1 0:38

85. Applause 2 0:38

86. Applause W Bravo 0:38

87. Laughter 1 0:38

88. Laughter 2 0:38

89. Petrol Station 0:38

90. Garbage Collectors 0:38

91. Skating Rink W Music 0:38

92. Skating Rink Middle 0:38

93. Skating Rink Higher 0:38

94. Outskirts Of Town 1 0:38

95. Outskirts Of Town 2 0:38
sample the album:

descriptions, reviews, &c.

"From orchestral works to installations, Peter Ablinger's oeuvre explores the differences between reality and our perception of reality. In 33-127 for electric guitar and CD, Ablinger confronts the rational, human division of sound into musical scales with the complex acoustical reality of any given moment - its "noise." In each of the 95 pieces that make up 33-127, these two realities come face to face again and again: scale, noise, scale; scale, noise, scale...

In each piece, a scale descends, with gentle and unpredictable irregularities of both rhythm and pitch, from the top of the electric guitar's range to the bottom. The sound of the instrument is clean, clear, and precise. At some point in each of these tranquil, neutral scales - all but one of them, anyway - a cacophony of recorded street noise bursts in, which the guitar, now louder and rougher in tone, doubles, playing an orchestrated spectral analysis of this recorded noise. Just a moment of this though, or a few seconds; then the scale resumes as if nothing has happened.

This common use of scales in Ablinger's music is perhaps influenced by his background in graphic design, including his studies with Roman Haubenstock-Ramati, who composed many graphically notated scores. The basicness of a scale, like a stroke from a pencil, functions as a degree zero of human making.

Noise, or rather, "Rauschen" (the German term) has been a prominent part of Ablinger's music for more than 20 years. For Ablinger it is never simply a matter of mastering or claiming noises for musical purposes, but rather of acknowledging and confronting the place of all sounds in the general "noise" of reality.

In 33-127, the guitar is neither the soloist nor the protagonist. It and the "Rauschen" are equals in seemingly endless near-repetition, building up to a sublime incomprehensibility.

Peter Ablinger (born 1959 in Austria), began studying graphic arts and was inspired by free jazz, but completed his studies in composition with Gösta Neuwirth and Roman Haubenstock-Ramati in Graz and Vienna. Since 1982 he has lived in Berlin. Ablinger is one of the few artists today using noise without any kind of symbolism - not as a signifier for chaos, energy, entropy, disorder, or uproar; not to oppose something or be destructive; but rather for the sake of noise itself - to question the nature of sound, time, and space."-Mode Records

Related Categories of Interest:

Compositional Forms
Guitarists, &c.
Field Recordings

Compositional Forms
Guitarists, &c.
Field Recordings

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