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30 Minutes of Beautiful Romantic Music: Guitar Music, Violin Music, Cello Music, Piano Music ★74

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Beowulf PDF est une sorte d'histoire que chaque lecteur devrait lire au moins une fois. Read on in order to discover more on which arrangement is excellent for you. The format has been designed to operate very rapid, quicker than vector-based formats. It is difficult to describe the result, but i think it is rather unique - when listened to at low or medium volume as it's supposed to be , the sounds seem to come from a far distance, and create shifting impressions of space.

She was a wonderful human being, friendly and open-minded, always wishing me luck for my concerts and success for my music. Heike and I were deeply shocked, and saddened to learn that she had finally lost the battle against her illness. May she rest in peace - we will remember her. Reinhold Friedl, piano, and Michael Vorfeld, percussion and stringed instruments, create music that transcends the boundaries of improvised and composed music, as well as those between instrumental and electro-acoustic music. Their pieces range from quiet, introspective, and sparse atmospheres to very dense, highly intense, and almost orchestral parts.

This music is quite impressive, and arguably a new step ahead in improvised music. Releasing their excellent work both broadens trente oiseaux's spectrum of musical styles and hopefully introduce the artists' highly innovative approach to listeners outside the inner circles of improvised music. While the three pieces differ very much in style mine being made of noises exclusively, while the two by Steve are using concrete sounds , they really work together very well.

The experience of listening to their music has changed my understanding, my way of listening to, my thinking about, and my way of creating music so much that my own work would simply be unthinkable without theirs. Dedicating Then, Silence to them is my modest Thank You to Morton Feldman and Luigi Nono, expressing not only my admiration, but also the sadness their untimely parting causes me. Although they use no "field recordings", i view these four works also as possible landscapes - perhaps tied more to the tradition of painting - where fuzzy edges and hues of color can lead one's mind to wander Of complex harmonic design similar to "Brown, Blue, Brown on Blue For Mark Rothko " the composition uses both instrumental images and elements of a more soundscape-type character, plus a non-tempered scale as the basis for the various transpositions of the sounds.

Other than that, i think it speaks for itself..

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Steve Roden is a visual and sound artist from Los Angeles, known for his musical work under the name of "in be tween noise". Steve felt that this particular work, music for an installation he has done, was far enough from the music of "in be tween noise" to ask us to release it under his own name. It is a quiet soundscape, produced by using only a microphone and a speaker to create the sound material, and designed to fill the room at a moderate loudness to let the listener take a 42 minutes bath in a strange atmosphere, repetitive, but changing all the time.

Based on field recordings Johannes made while traveling from Sweden to Russia via Norway, Sketchbook is a quiet, moody work of great atmosphere and devoid of all pretension. In an essay I wrote for the Digital Narcis label's new website you will find the following statement:. This can indeed bring about excellent results, but there is also an inherent danger in this when the will to create and the 'art gesture' become the masters, and artistic sensibility is lost. Nowadays I have come to distrust the 'artness' in art, and feel that I should do without the 'will to create' and the 'art gesture' to create art just the same way one eats, sleeps and breathes.

I'm thinking of the descriptions of Kendo practice Mishima Yukio has put in some of his works: the real master has to forget the sword, the enemy, the will to kill the enemy, and the wish to be a master.

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I find that Johannes' work on Sketchbook is a perfect example of this 'artless' attitude, and this is what I like so much about it. It is very detailed, very present. Transitions between soundscapes, sometimes very slow and very gradual, sometimes very surprising, keep his music going; often different strata of time are present simultaneously. Matt is a master in building and sustaining tension by means of changes in density of sounds and events, as well as by modifying the frequency range of the spectra used.

Another interesting quality of his music is that it brings the abstractness of concrete sounds taken out of their context to consciousness.