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Genoël von Lilienstern : Couture. Chiacchiarini, Volkov, Voyles.
Format : 1 CD
Durée totale : 00:49:24

Enregistrement : 2013-2021
Lieu : Cologne/Berlin
Pays : Allemagne
Prise de son : Studio / Stereo

Label : Wergo
Référence : WER6439
EAN : 4010228643923
Code Prix : DM019A

Année d'édition : 2023
Date de sortie : 01/02/2023

Genre : Classique
Genoël von Lilienstern (1979-)
"Voz commercial"
"Couture", pour synthétiseur, électronique et ensemble
"Big Picture", pour soprano, sampler et ensemble
"Top", pour synthétiseur et ensemble

Johanna Vargas, soprano
Soetkin Elbers, soprano
Benjamin Kobler, synthétiseur
Lars Jönsson, synthétiseur
Ensemble Garage
Mariano Chiacchiarini, direction
SWR Symphonieorchester
Ilan Volkov, direction
Ensemble Interface
Scott Voyles, direction

The fact that Genoël von Lilienstern's childhood falls in the 1980s is proven by his portrait album in many ways: On the one hand, it is synthesizers such as the Yamaha DX7 that shape the aesthetics and sound of his works; on the other hand, the radio, as the supplier for countless mixtapes at the time, is the focus, sometimes directly, sometimes more hiddenly. Booklet author Julian Kämper refers to their special quality when he describes von Lilienstern's recourse to pop cultural artifacts and practices of the Eighties: "Thanks to the new studio facilities of that decade, a distinctive sound was newly defined and perfected, a sound which, von Lilienstern maintains, has ‘never mouldered away’ and has remained allpervasive to the present day through ceaseless daily bombardment on radio and television, in department stores and on the internet." In “Voz Comercial”, for example, the Berlin composer uses transcriptions of radio commercials from Mexico and Peru; in “Big Picture”, in turn, a one-hour recording of worldwide Internet radio stations serves as the source material. In both works, the vocals of Johanna Vargas respectively Soetkin Elbers, take on a central role and, in their interplay with the Ensemble Garage, evoke an image that oscillates between excessive consumer society and acoustic reflection. In the two other pieces on the portrait album – “Couture” and “Top” - synthesizers dominate: von Lilienstern uses them as sound generators of a bygone era. In the case of Couture, they mix with the SWR Symphony Orchestra, so that the individual musical sources are sometimes no longer discernible.

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