Holszky / Susteck / Ahrendt - Wie Ein Glasernes Meer Mit Feuer Gemischt - COMPACT DISCS [CD]
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Adriana Hölszky's own comments concerning her music reveal her fascinating use of parameters such as InchspaceInch and InchtimeInch. She prefers to describe her works as individually structured Inchsound spacesInch. There are Inchexpanding and shrinking spacesInch, and there are shifts from one sound area to another, which she compares to film editing with it's sharp cuts or gentle fades. There are sudden InchintrusionsInch of one sound area into another, and sometimes two or more sound areas are superimposed. Also, the concept of time does not exist for her as a single entity Temporal processes appear in multiple strands in her music cosmic time, terrestrial time, and an endless variety of experiential times that permeate one another and are superimposed.Her work InchEfeu und LichtfeldInch [Ivy and Field of Light] also contains a stark contrast within itself. InchThe worlds of the violin and organ appear to exist independently of one another. The violin figures move like pin pricks in a disconnected and restless fashion, primarily in the extreme upper register of the instrument. The organ sounds are like pulsating sources of light. The multiple meanings of the contrasting sounds arise finally as a consequence of the interaction between gradual transformations of color and discontinuous changes in pulse.Inch (Hölszky) Album Tracks 1. Und Ich Sah Wie Ein Gläsernes Meer Mit Feuer Gemischt 2. Efeu Und Lichtfeld 3. Ein Wort 4. Ein Glanz 5. Ein Flug, Ein Feuer, Ein Flammenwurf, Ein Sternenstrichnz 6. Und Wieder Dunkel, Ungeheuer, Im Leeren Raum Um Welt Und Ich
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- GenreClassicalDescriptionAdriana Hölszky's own comments concerning her music reveal her fascinating use of parameters such as InchspaceInch and InchtimeInch. She prefers to describe her works as individually structured Inchsound spacesInch. There are Inchexpanding and shrinking spacesInch, and there are shifts from one sound area to another, which she compares to film editing with it's sharp cuts or gentle fades. There are sudden InchintrusionsInch of one sound area into another, and sometimes two or more sound areas are superimposed. Also, the concept of time does not exist for her as a single entity Temporal processes appear in multiple strands in her music cosmic time, terrestrial time, and an endless variety of experiential times that permeate one another and are superimposed.Her work InchEfeu und LichtfeldInch [Ivy and Field of Light] also contains a stark contrast within itself. InchThe worlds of the violin and organ appear to exist independently of one another. The violin figures move like pin pricks in a disconnected and restless fashion, primarily in the extreme upper register of the instrument. The organ sounds are like pulsating sources of light. The multiple meanings of the contrasting sounds arise finally as a consequence of the interaction between gradual transformations of color and discontinuous changes in pulse.Inch (Hölszky) Album Tracks 1. Und Ich Sah Wie Ein Gläsernes Meer Mit Feuer Gemischt 2. Efeu Und Lichtfeld 3. Ein Wort 4. Ein Glanz 5. Ein Flug, Ein Feuer, Ein Flammenwurf, Ein Sternenstrichnz 6. Und Wieder Dunkel, Ungeheuer, Im Leeren Raum Um Welt Und IchArtistHOLSZKY / SUSTECK / AHRENDTTitleWie Ein Glasernes Meer Mit Feuer GemischtFormatCDLabelWergo Germany
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Adriana Hölszky's own comments concerning her music reveal her fascinating use of parameters such as InchspaceInch and InchtimeInch. She prefers to describe her works as individually structured Inchsound spacesInch. There are Inchexpanding and shrinking spacesInch, and there are shifts from one sound area to another, which she compares to film editing with it's sharp cuts or gentle fades. There are sudden InchintrusionsInch of one sound area into another, and sometimes two or more sound areas are superimposed. Also, the concept of time does not exist for her as a single entity Temporal processes appear in multiple strands in her music cosmic time, terrestrial time, and an endless variety of experiential times that permeate one another and are superimposed.Her work InchEfeu und LichtfeldInch [Ivy and Field of Light] also contains a stark contrast within itself. InchThe worlds of the violin and organ appear to exist independently of one another. The violin figures move like pin pricks in a disconnected and restless fashion, primarily in the extreme upper register of the instrument. The organ sounds are like pulsating sources of light. The multiple meanings of the contrasting sounds arise finally as a consequence of the interaction between gradual transformations of color and discontinuous changes in pulse.Inch (Hölszky) Album Tracks 1. Und Ich Sah Wie Ein Gläsernes Meer Mit Feuer Gemischt 2. Efeu Und Lichtfeld 3. Ein Wort 4. Ein Glanz 5. Ein Flug, Ein Feuer, Ein Flammenwurf, Ein Sternenstrichnz 6. Und Wieder Dunkel, Ungeheuer, Im Leeren Raum Um Welt Und Ich
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In Adriana Hölszky's opera InchBremer FreiheitInch, Geesche leads her fellows with cheerful nonchalance to their doom. The murders follow in regular succession, with no more passion or sentimentality than InchTen Little IndiansInch. What Hölszky wanted to create was anything but a neo-veristic shocker, a psychoanalytic character study or the melodrama of a victimized woman. Instead, she has given us an almost playful alienation, a sort of Grand Guignol operetta. Connoisseurs of Fassbinder's plays know that they are generally neither realistic nor InchnaturalisticInch but instead find their raison d'être in stylization, albeit not on the sublime classical sense. Only on the surface do they seem to deal with real human beings of flesh and blood. In reality they deal with character masks, like the generalized figures of comedy. In InchBremer FreiheitInch, then, all the characters apart from Geesche are Inchmarionettes of suppressionInch. It is precisely because of these admittedly horrifying goings-on that Hölszky has succeeded in giving all her characters and stage actions a lite-rally InchtactileInch plasticity. Yet at the same time she has remained playful, pre-serving Fassbinder's rondo structure, for example, and introducing a number of buffo elements.(from the liner notes by Gerhard R. Koch) Album Tracks 1. Phase I 2. Phase II 3. Phase III 4. Phase IV 5. Pause V 6. Phase VI 7. Phase VII 8. Phase VIII 9. Phase IX 10. Pause X 11. Phase XI
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