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Ulrich Krieger : Urban dreamings, portrait du compositeur. Krieger, Vogel, Uhle, Scherer.
Diapason de mars 2017
Critique de Pierre Rigaudière
Page n° 90
Format : 1 CD
Durée totale : 01:11:29

Enregistrement : 2001-2011
Lieu : Berlin/Californie
Pays : Allemagne/Etats-Unis
Prise de son : Studio/Eglise / Stereo

Label : Mode
Référence : MODE282
EAN : 0764593028222
Code Prix : DM020A

Année d'édition : 2015
Date de sortie : 26/10/2016

Genre : Classique
Ulrich Krieger (1962-)
Sternenjäger I, pour flûte basse, clarinette basse, saxophone ténor et électronique
before | QUAKE, pour violoncelle, piano et percussion
Il cimitero chiuso, pour ensemble de chambre amplifié
V., pour orgue d'église mécanique
...as above, so below... (for PN), pour 14 saxophones sopranino
Azrael II, pour violoncelle seul, ensemble de chambre et électronique

Erik Drescher, flûte basse
Christian Vogel, clarinette basse
Ulrich krieger, saxophone ténor, saxophone sopranino, électronique
Johannes Uhle, orgue
California E.A.R. Unit
Ensemble Sonic Boom
Ensemble Experimente
Gerhard Scherer, direction

This survey of saxophonist Ulrich Krieger’s chamber music illuminates his ongoing penchant, as a composer, improviser, and interpreter, for probing the affinities between the rock and classical avantgardes. Krieger says of his music : "At the moment my interest is mixing band-type instrumentation with classical instruments (think Doom Metal meets Scelsi)". A classicaly trained saxophonist, Krieger gained notoriety for his transcription of Metal Machine Music, which orchestrated rock legend Lou Reed’s notorious hour-long guitar feedback extravaganza via an expanded lexicon of acoustic textures. This was a project very much related to his own composing (it was completed in 2002, just after most of the pieces here). It also led to the forming of Lou Reed’s avant-garde trio which included Krieger. before|QUAKE was written for the California EAR Unit. In the “before|” section the three instruments function like tectonic plates independently moving against each other, and then the “|QUAKE” starts in the second half of the piece – a slow rumble, still quiet and not yet erupting into an earthquake. Il cimitero chiuso was influenced directly by the Venitian soundscape (water and stone) as well as its composers Gabrielli and Nono. All the instruments blend together to a point where it often becomes nearly impossible to say who is playing what. …as above, so below… (for PN) was originally a semi-improvised sopranino sax solo that employed circular breathing and centered around only two basic multiphonics and a few variations thereof. The multiphonics produce very low, but well audible, difference tones. The combination of all these elements (multiphonics, circular breathing, difference tones) make for another example of a very electronic-sounding acoustic piece. Azrael II is about the fight of the cello for dominance over, or within, the orchestra. The middle section’s dense percussion is influenced by the late ‘90s progressive dance subgenre drum’n’bass. V. for church organ starts in the very low register of the organ and finishes at its highest end, covering the entire human hearing range. The noisy sounds in the beginning are made by the air stirring in the pipes of the organ, not yet strong enough to produce a tone.

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