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DW 8 |
28:03 |
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| 2 |
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DW 15 - first song |
05:28 |
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| 3 |
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- second song |
10:46 |
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| 4 |
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- third song |
04:17 |
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| 5 |
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- fouth song |
03:53 |
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| 6 |
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DW 3 |
22:48 |
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Total Time |
01:15:15 |
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| Digital Booklet - only with album |
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| “The first pieces of the Differenz/Wiederholungs-Serie were composed by transcribing loop techniques of different turntable lists and filmmakers … What appealed to me especially was the concept of erratic, asymmetric loops corresponding to the crack in the groove or to the trembling of a malfunctioning CD player.” This idea has already spawned many parts of the DW, which bring to the fore a great variety of different phenomena of our noisy, sound-generating lives. In DW 8, the orchestra, “like to a gigantic turntable”, plays “lazy loops, those familiar sounds, which this repetitive context may give an entirely new reading.” DW 15 „is a middle cycle of four song-like pieces“, where the vocal part is suggestive of “the whispering insinuations of inner voices associated with voices of demons”. DW 3, like all the other pieces in the DW-series, “is a phenomenological investigation into the inner logic of the formation of the loop, where the narrative of differentiating segments alternates with microscopic details and repetitions thereof. The middle part of DW 3 is a simulation of granular loops, much like those flickering and jerking images of a VCR in pause mode.” (Bernhard Lang) |
1CD | Contemporary | BR musica viva |
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| Recommendation |
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The universe of Mr. Xenakis: Early Christian cults in Anastenaria, Greek mythology in Aïs, and clusters and glissandi in the trombone concerto Troorkh.  |
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| In 1951, after numerous solo compositions, Cage tried his hand at a piano concerto, naturally for the prepared variety. And in marked contrast to the concerto: Sixty-Eight. |
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| Pax Questuosa (1982) vividly tells “of the vicarious suffering for peace, which, while broken again and again, remains our only hope.” |
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