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Search Result for Label DIE SCHACHTEL
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6CD BOX/BOOK
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DS 022CD
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Subtitled: The Prix Italia And The Radiophonic Experimentation. Deluxe boxed edition -- 6CD + 400-page book in Italian and English. Edited by Angela Ida De Benedictis and Maddalena Novati. After five years of intense, passionate and sometimes painful work, Die Schachtel (in collaboration with RAI) is proud to announce the release of the long-awaited massive book + 6CD boxed edition dedicated to some of the most compelling Italian radio works which took part in the prestigious Prix Italia, a world-famous contest established by the RAI (the National Italian broadcasting company) in the '50s and still alive today, aimed to award the best and most uncompromising audio-visual works produced throughout the world. The Prix Italia and Radiophonic Experimentation presents seven original radio plays -- some of them previously-unreleased -- which entered the competition from 1961 to 1981, complete with two audio interviews of some of the participants. The works have been taken from the original RAI tapes, carefully restored and impeccably re-mastered by Giuseppe Ielasi, making them a splendid listening experience. The accompanying 400-page book (in Italian and English) features seven essays written by some of the most prominent experts in this field, plus a long interview with Mr. Sermonti and the complete transcriptions (again both in Italian and English) of all the featured works. Curated with painstaking attention to detail by Angela Ida De Benedictis and Maddalena Novati (authors of the celebrated New Music At The Radio and Nine Oscillators books, both devoted to the RAI Studio di Fonologia), the enclosed book takes advantage of the impeccable English translation by Mr. Mark Weir and the classic design by Dinamomilano, making it an essential reading in understanding in-depth the musical and semiological aspects of these outstanding works, composed and realized by some of the greatest geniuses of modern Italian music. The selection includes works from artists such as Nino Rota, Bruno Maderna, Niccolò Castiglioni, Luciano Berio and Salvatore Sciarrino.
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2CD
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ZEITC 009CD
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Null II and Null III are the second and third part of Italian/Swiss composer Luigi Archetti's massive electronic work on the theme of "nothing" ("Null"), whose first part saw the light with the 2010 Die Schachtel "Null" edition in the ZeitComposers series (ZEITC 003CD). Within these pieces, Archetti's thick sound-drones border on the edge of tonality as their many layers develop with a sort of "geological" pace. The work is in fact intended as musical research on the "interior" of sound, obtained by large masses of sound punctuated by seemingly minimalistic details. The mastery of Luigi Archetti conducts the listener deeply inside the musical event, while at the same time introducing a model, just like the traces of a gold seam in rocks, which the listener can follow and frequently re-encounter over the 140 minutes in which the music unfolds. The result is a trance-inducing sense of slow-motion and even stillness, alternating with subtle changes often obtained only by tiny, almost "invisible" variables. Null is a vast and profound place where perception is confronted with a stream of slow-developing, sometime "still" sound. Null II and Null III will certainly appeal to fans of Eliane Radigue, Thomas Köner and long and sustained drone electronic music in general.
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CD
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ZEITC 010CD
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Martino Traversa is a very well-known Italian composer who studied at Salzburg's Mozarteum, at the CCRMA at Stanford University and with Luigi Nono from 1987 to 1989. Critical_Path presents for the first time ever a selection of his electronic music works, composed between 2000 and 2008. Besides being a prolific composer, Martino is a very active cultural promoter: he founded the Ensemble Edgard Varèse in 1990, with Luigi Nono's support; in 1991 he launched "Traiettorie," a highly-reputed international festival of modern and contemporary music in Parma, where he is also Professor of Music at the University. He recently established the Casa del Suono in Parma, a place entirely devoted to new music events. The most important piece on this CD is undoubtedly "Variations Upon A Labyrinth" (2000), prompted by two of the most significant personalities of Italian avant-garde, the poet Edoardo Sanguineti and the composer Luciano Berio. The piece is in fact based on the "Laborintus" text by Edoardo Sanguineti, read by the poet himself, whose voice is electronically treated by the composer, becoming a sort of maze of sound and meaning. "NGC 253" (2007) is a sort of virtual sound sculpture realized for the outstanding "Sonic Chandelier" installed in the Casa del Suono. The Chandelier consists of 228 speakers precisely distributing sounds in the area below the installation, giving the listeners the feeling that the sound is coming from invisible sources moving just above and around their heads. This site-specific work's main constituent is anything else but 253 milliseconds of noise, taken from an old vinyl recording that undergoes a subtle transformation, evolving and wandering in different time and spatial dimensions, but always following a spiral pattern, falling from the top to the bottom of the acoustic space as a sort of "quantistic rain of sounds." This is not the only composition inspired by a specific site: "Coming To The Temple Of Asclepion" was composed after a visit to the ancient temple situated on top of one of the hills of the Greek island of Kos, where the surrounding sounds are greatly evocative: waves breaking on the rocks and the shrill of cicadas in a landscape made mainly of blue sky. Taking inspiration from these sounds (and far from any New-Ageish reference), the composition is a sort of programmed crescendo that builds up to a drama: a high level of noise is followed by a sudden, immense silence. What remains is the image of the "écume des mer" that climbs up the hill, bringing with it the voices of the thousands of men and women that lived there, just to make us remember once again the fragility of the human existence. Last but not least, "Critical_Path" is a composition that once again starts from natural sounds, like wind and water, and the sound of traditional instruments like the piano, and aims to explore the intrinsic properties of the nature of each sound, in order to define a specific abstract reference model. It is realized through a sound-generation engine based on a new type of synthesis and sound models. The new sounds are multiform, almost protean, as different structures and reference models coming from different sounds co-exist within them. A great "electronic" premiere for a composer definitely worth exploring.
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CD BOX
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DS 024CD
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One of the very few female composers of early electronic music, Franca Sacchi studied at the well-known RAI Studio of Fonologia in Milan in the '60s. She developed the "En-static" principle, which included improvisation, electronic music, ritual, performance, teaching and meditation. Her music focuses mainly on sound, which is treated as raw material and endlessly explored. Sacchi's free concept of duration and deep emotional feeling brings her closer to Eliane Radigue and La Monte Young, especially for the long and sustained tones which are suddenly turned into pulsations and gritty sound textures. Her work was also included in the seminal Broken Music exhibition in Berlin. Originally published by Die Schachtel as a limited edition LP, this lavish, golden CD box + booklet presents her best works in the field of electronic and concrete music from the late '60s to 1972, in a fully remastered edition. CD box (digipack deluxe) in a gold-foil design, complete with a 12-page booklet in Italian and English. Limited edition of 500 copies.
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CD BOX
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DS 023CD
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The NPS -- Nuove Proposte Sonore (trans. "New Sound Proposals") group was founded in Padua (Italy) in 1964 by the composer Teresa Rampazzi, together with the visual artist Ennio Chiggio. Working with analogical devices, they produced some of the most compelling electronic music of the period, and they soon became one of the most reputed electronic music centers in Italy, together with the S 2 FM by Pietro Grossi in Florence and the SMET by Enore Zaffiri in Turin. With the departure of Chiggio, the years 1969-1970 transformed it into a female-only collective (Teresa Rampazzi, Serenella Marega and Patrizia Gracis). The two periods were characterized by different instrumentation, and it is surprising how they were able to achieve great results with some simple means -- at least in the beginning. In the first period, they used a couple of two-track tape recorders (Sony 777 and Sony 521), an EICO low-frequency generator, a radio station to produce long wavelength frequencies, a mixer, an oscillator, a Revox, and a self-built loudspeaker. They had to use the stairwell as an echo chamber. In the second one, when the studio was more established, they had six manually-controlled oscillators as well as six modulated ones, a white noise generator, an octave-band filter and a variable one, an amplitude modulator, a noteswitch, a reverb, a 10-channel mixer, a unit for audio signal routing, four tape recorders, a stereo sound system and a frequency meter (during the last years they also bought a 2500 ARP synthesizer). This deluxe edition presents the group's compositions for the first time ever. The CD box comes in a silver-foil design, complete with a 36-page booklet in Italian and English.
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LP
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DS 023LP
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LP version. The NPS -- Nuove Proposte Sonore (trans. "New Sound Proposals") group was founded in Padua (Italy) in 1964 by the composer Teresa Rampazzi, together with the visual artist Ennio Chiggio. Working with analogical devices, they produced some of the most compelling electronic music of the period, and they soon became one of the most reputed electronic music centers in Italy, together with the S 2 FM by Pietro Grossi in Florence and the SMET by Enore Zaffiri in Turin. With the departure of Chiggio, the years 1969-1970 transformed it into a female-only collective (Teresa Rampazzi, Serenella Marega and Patrizia Gracis). The two periods were characterized by different instrumentation, and it is surprising how they were able to achieve great results with some simple means -- at least in the beginning. In the first period, they used a couple of two-track tape recorders (Sony 777 and Sony 521), an EICO low-frequency generator, a radio station to produce long wavelength frequencies, a mixer, an oscillator, a Revox, and a self-built loudspeaker. They had to use the stairwell as an echo chamber. In the second one, when the studio was more established, they had six manually-controlled oscillators as well as six modulated ones, a white noise generator, an octave-band filter and a variable one, an amplitude modulator, a noteswitch, a reverb, a 10-channel mixer, a unit for audio signal routing, four tape recorders, a stereo sound system and a frequency meter (during the last years they also bought a 2500 ARP synthesizer). This deluxe edition presents the group's compositions for the first time ever. The LP comes in a silver-foil design, including a booklet in Italian and English in an edition of 300 copies.
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CD
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ZEIT 013CD
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This is the second full-length album by the experimental/free-jazz quartet 7k Oaks, live-recorded in concert at the InterAct Festival in Hasselt. This new release is at the same time a confirmation of their musical background as well as an exploration of new territories: about an hour of full-blast energy, with a variety of directions ranging from walls of electro-acoustic noise to free-jazz bursts, hypnotic rhythmic patterns and lyrical melodic themes. It is the entelechy of an acorn to be an oak tree: the music flows naturally through the tracks of the disc, thanks to the mastery of these outstanding performers, able to drive the listener amongst the unexpected twists of their music in order to appreciate every pleat of their timbre. In short, Entelechy has it all: Alfred 23 Harth's (Cassiber, Otomo Yoshihide New Jazz Quintet) blistering tenor squall, Fabrizio Spera's (Ossatura, Blast) limitless percussion, Luca Venitucci's (Zeitkratzer, Ossatura) ceaselessly inventive keys and Massimo Pupillo's (Zu, Original Silence) masterful bass creates, unquestionably, a masterpiece.
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CD
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ZEIT 012CD
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The Die Schachtel label presents a work that points out a crucial turning point in the artistic life of the well-known Italian guitarist and composer Nicola Ratti. In 220 Tones, Nicola Ratti chooses to play instruments that cannot live without electric tension, such as the synthesizer, Farfisa organ, record player, electric guitar, reel-to-reel recorder and CRT television. The relationship between the material instruments and the non-material electrical flow brightens the instruments themselves and creates a deep energy as well as an intense atmosphere that streams through the whole piece. The perfect balance between all these features is proficiently combined with the mastery of the musician as well as the imagination of the composer, making the listener feel the charm and seduction of live performance much more than the usual recording dimension.
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CD
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ZEITC 007CD
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This is a four-handed musique concrète composition by electroacoustic Italian composers Fabio Selvafiorita and Valerio Tricoli. This single-track piece was conceived and realized between Milan and the Giudecca Island, in Venice, which is the location of the field recordings and reel-to-reel tape treatments. The work stresses and questions the dramatic and alchemical potential of a musical landscape marked by water: visceral and metaphysical at the same time, full of narrative suggestions. Death By Water is intended as a comment on the fourth movement of T. S. Eliot's poem "The Waste Land," with its theme of renewal and regeneration.
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CD
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ZEITC 008CD
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A joyful product of mutual understanding between these two outstanding composers, described by Manuel Zurria in the booklet with the following words: "Philip gave me the key to enter a secret and wonderful room, full of fabulous things and made me discover a part of me I did not know." Much more than a journey through sound, this work is a reflection on our modern world and the role played by music and soundscapes. It's a journey through traditional instruments and modern techniques of sound production, from the usual electronic ones to the ultimate icon of contemporary society: the iPhone. Here, music has been reduced to a mere suggestion, a medium used in order to discover the potential of the player, plucking at his heartstrings. The wide range of sounds shares a common feature of the composers' will: to experience music as a whole, without limits and boundaries related to the specific instrumental destination. Two worlds melt here and the result of this blessed encounter is well expressed by the title.
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