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Recordings from a unique concert at the Synagogue in Oerlinghausen, Germany in 1996 between long-term collaborators Philipp Wachsmann and artist Sarah Brigitte Eckel, Wachsmann improvising in the resonance of the synagogue on violin, viola, electronics & tape in response to Eckel's exhibition extemporizing five canvas painting and a floor installation.
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Catalog ID: Bead 003
Squidco Product Code: 32531
Packaging: Jewel Case
Recorded at the Synagogue in Oerlinghausen, Germany, on October 11th and 12th, 1996, by
Philipp Wachsmann-violin, viola, electronics, tape
Sarah Brigitte Eckel-exhibition
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• Show Bio for Philipp Wachsmann
"Philipp Wachsmann. Born Uganda, 1944; violin, viola and electronics.
In the CD booklet to Gushwachs, John Corbett notes that Phillip Wachsmann came to free improvisation from a predominantly classical background, particularly via the contemporary experiments of "indeterminacy, graphic and prose-based scores, conceptualism and electroacoustics, listening to Webern, Partch, Ives, Berio and Varèse, reading 'Die Reihe' and interrogating the rhythmic, harmonic and melodic preoccupations of Western art music. Starting in 1969, Wachsmann was a member of Yggdrasil, an ensemble performing works by Cage, Cardew, Feldman, Ashley and others and in this group he used contact mikes on the violin and made his own electronic instruments, ring modulators and routing devices. Ironically, his studies with Nadia Boulanger in Paris (1969-1970) pushed him hard in the direction of free music. He recalls: 'Despite her neoclassical orientation, her insistence that composition is about the imagination of performance and its realisation, the live moment, and her stunning ability to make this happen was a powerful influence on me, steering towards 'performance' and therefore 'improvisation'.'"
Wachsmann moved from Yggdrasil to Chamberpot - recorded on Bead 2 - and shortly thereafter appeared on Tony Oxley's influential February papers, forward looking in the virtual 'industrial' orientation of some of the tracks, years before this became an accepted genre; the two musicians have continued to work together, in various groupings but notably in the percussionist's Celebration Orchestra. Philipp Wachsmann has also performed and/or recorded with: Derek Bailey's Company, e.g. on the recording Epiphanies; Georg Graewe; Barry Guy; Iskra 1903; King Übü Orchestrü; London Jazz Composers' Orchestra; Evan Parker, particularly as part of the Evan Parker Electronic Project; Quintet Moderne; Fred Van Hove's ML DD 4; Rüdiger Carl's COWWS (now CPWWS) Quintet; and Lines, with Martin Blume, Jim Denley, Axel Dörner and Marcio Mattos. He also plays as a solo musician.
Phillip Wachsmann also administers Bead Records."-EFI: European Free Improv (http://www.efi.group.shef.ac.uk/mwachs.html)
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1. Point Of Departure 20:10
2. In Air 1:33
3. White 9:43
4. Inversion 5:46
5. Triangle 9:56
6. Line 4:20
7. Informel 6:32
8. Artist's Imprint 4:09
9. Mass 9:37
sample the album:
"For more than fifteen years Philipp Wachsmann and Sarah Brigitte Eckel have been working together intensively. The experience and sensitivity which they share culminates in performances called Open Workings when painting and music are extemporised in front of an audience.
The concert was prompted by an exhibition of the artist Sarah Brigitte Eckel (Berlin) celebrating the 20th anniversary of the Art Society of Oerlinghausen. Fascinated by the aura of the synagogue's interior the artist created paintings and a floor installation: Time Of The Seven Blessings (Chatuna). Five 'informal' canvas paintings, and on the floor the bed of salt with seven ceramic plates with objects arranged in a sensuous - haptic way to create evocations."-Bead Records
Installation Sound Work
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