MICHAEL MAIERHOF (b.1956): Exit E, BERNHARD LANG (b.1957): Monadologie XX... For Franz, CHRIS NEWMAN (b.1958): Weird Words in a Language Which We Understand, BENJAMIN SCHWEITZER (b.1973): Marraskuu.
Catalogue Number: 08Q077
Reference: VKJK 1405
Description: Maierhof's Exit E consists almost entirely of 'extended' sounds, including those produced by preparing the instruments with various resonating objects and using an electric motor to excite resonances in the piano strings. The results are mostly unpitched, and highly complex noise textures, greatly extending the sonic vocabulary of the instruments to a degree not frequently equalled by bypassing acoustic instruments altogether and generating sounds by purely electronic means. Schweitzer's Marraskuu is an exercise in taking to its logical conclusion Adorno's concept of 'extensive' musical works - those that naturally extend themselves in time, the opposite process to concentration and miniaturization. Adorno was writing about Beethoven; Schweitzer uses his own musical language, a kind of post-Webernian pointillism, but extended in a way that Webern would never have countenanced, to the duration of a classical piano trio, so that the structure is spread out into isolated sound events. The Newman combines recognisable phrases from Beethoven's Fifth Symphony, played by the piano, with fluid, unrelated material, consisting largely of swooping glissandi connecting the notes of a line divided between the instruments, sufficiently synchronised with the defined, concrete piano material to suggest a relationship with it. Like the other works in his Monadologie series, Lang's piece deconstructs an existing work by another composer - in this case, Schubert's Op. 100 trio - into granular fragments which are the looped and repeated into something entirely new, yet intimately connected to the original. The effect is of an obsessive mind, compulsively examining and re-examining a familiar piece of music with pathological intensity. Elole Piano Trio.