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Search Result for Label EDITION RZ
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CD
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RZ 1029CD
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An addition to the Fremde Zeit Addendum box. Available separately. "Hush! Hush! Hath not the world now become perfect? What hath happened unto me? As a delicate wind danceth invisibly upon parqueted seas, light, feather-light, so -- danceth sleep upon me. No eye doth it close to me, it leaveth my soul awake. Light is it, verily, feather-light. It persuadeth me, I know not how, it toucheth me inwardly with a caressing hand, it constraineth me. Yea, it constraineth me, so that my soul stretcheth itself out: -- How long and weary it becometh, my strange soul! Hath a seventh-day evening come to it precisely at noontide? Hath it already wandered too long, blissfully, among good and ripe things? It stretcheth itself out, long -- longer! It lieth still, my strange soul. Too many good things hath it already tasted; this golden sadness oppresseth it, it distorteth its mouth. -- As a ship that putteth into the calmest cove: -- it now draweth up to the land, weary of long voyages and uncertain seas. Is not the land more faithful? As such a ship huggeth the shore, tuggeth the shore: -- then it sufficeth for a spider to spin its thread from the ship to the land. No stronger ropes are required there. As such a weary ship in the calmest cove, so do I also now repose, nigh to the earth, faithful, trusting, waiting, bound to it with the lightest threads. O happiness! O happiness! Wilt thou perhaps sing, O my soul? Thou liest in the grass. But this is the secret, solemn hour, when no shepherd playeth his pipe. Take care! Hot noontide sleepeth on the fields. Do not sing! Hush! The world is perfect." --from Friedrich Nietzsche's Thus Spoke Zarathustra, vierter und letzter Teil, Mittags | LXX. Noontide.
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2CD
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RZ 10021-22CD
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"It has become taken for granted that nothing concerned with art is self-evident any more, neither in it nor in its relationship with the whole -- not even its right to exist." It is with these words that Theodor Adorno begins his Aesthetic Theory. Edition RZ presents works circa 1991-2009 by German composer Michael Reudenbach. Housed in a six-panel digipak with a 22-page booklet of notes in English and German.
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2CD BOX/DVD
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RZ 3006-8CD
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Five hours of electroacoustic compositions, recorded during the first 30 years of the Berlin festival "Inventionen." Box set with two audio CDs and a DVD. Includes music by Jonty Harrison, Daniel Teruggi, Hans Tutschku, Francis Dhomont, Gilles Gobeil, Scott Wilson, Kotoka Suzuki, Hanna Hartman, Richard Barrett, Pei-Yu Shi, Kees Tazelaar, Trevor Wishart, Iannis Xenakis, Sukhi Kang, Rolf Enström, Ricardo Mandolini, Takehito Shimazu, and Bogusław Schaeffer. DVD is region free, NTSC format.
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3CD
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RZ 1026-28CD
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Ranked #4 in the the Wire's Rewind 2012 best-of list. Three CD box collection with a 16-page booklet. "Experimental German composer Jakob Ullmann creates quiet music in order to give himself and his listeners the opportunity to hear more, and better. This comes about because our ability to hear is augmented when listening to quiet music. We hear better because we make an effort to hear better. That is why Ullmann likes to locate his sound-sources at the periphery, so as not to make it too easy for the ear. In order to let sounds develop and move in their own time, the pieces are usually longer than the general concert norm dictates. The opening minutes serve as the exposition of the tempo and the mode, to condition, as it were, the listening." --Bernd Leukert; Players include: "Disappearing Musics For Six Players (More Or Less)" (1989-1991): Maruta Staravoitava (flute), Pavlos Serassis (clarinet) Patrick Stadler (saxophone), Orsolya Sepsi, Éva Csizmadia (violin), Lucie Martin, Hans-Peter Schulz (clavier); "Solo I + II + III" (1992/1993/2010): Molly McDolan (oboe da caccia), Dafne Vicente-Sandoval (bassoon), Hans-Peter Schulz (organ), Assistenten des Organisten: Philipp Kusin, Markus Putzke; "Komposition Für Streichquartett 2" (1997-1999): Pellegrini-Quartett: Antonio Pellegrini, Thomas Hofer (violin), Fabio Marano (viola), Helmut Menzler (violoncello); "PRAHA: Celetná - Karlova - Maiselova" (2004-2007): Jardena Flückiger, Stimme (Gesang/Sprecherin); Christoph Bösch (flute), Dafne Vicente-Sandoval (bassoon), Helena Winkelman (violin), Oliver Margulies (viola), Ellen Fallowfield (violoncello), Clara Gervais (contrabass/percussion); Stephan Schmidt (voice), Leonardo Idrobo Arce (electronics), realization: Jürg Henneberger.
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LP
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RZ 3002LP
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Last copies of this 1985 release. Featured works: Boguslaw Schaeffer's Berlin 80 II (composed in 1980 for piano, synthesizer and 4-track tape); Ricardo Mandolini's Fabulas II (composed in 1980); Sukhi Kang's "Inventio" (composed in 1984 for piano and tape).
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LP
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RZ 3003LP
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Last copies of this 1985 release. Featured works: Takehito Shimazu's Zytoplasma (composed 1980 for tape); Boguslaw Schaeffer's Maa'ts (composed 1981 for vocals and electronics); Rolf Enström's Fractal (composed 1984 at EMS Stockholm for tape and 10 slide projectors).
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2LP
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RZ 9006/7LP
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2008 release put out in conjunction with the Marzona Collection exhibition in Berlin. Housed in a gatefold sleeve with a 36-page catalogue. The first LP is John Cage Speaks MUREAU by John Cage, its title assembled from the first syllable of the word "music" and the author's name "Thoreau." Malte Hubrig writes "The performance of Mureau -- its letters, syllables and words read by John Cage in a uniform intonation of the voice -- frees language of its meaning and opens it to sound." The second LP is Terry Fox's Culvert, a performance that took place at the University of Montana in 1977. "The performance lasted 24 hours and was divided into two unequal parts: in the first 3 hours Fox, accompanied by two students, took the rowboat to the middle of the 100-foot long, 6-foot high culvert, where they improvised on the instruments. In the remaining 21 hours, Fox stayed alone in the rowboat running a wooden baton around the rim of a saucepan lid to the point of exhaustion... The mutual dependencies of sound and surroundings -- the space itself is a resonant body -- constitute for Fox the fundamental esthetic concept of the musical sculpture. The sculptural treatment of sound -- which, in its immediacy, dialectically carries the concrete spatial situation over into the dimension of time -- opens a continuous progression in which the acoustic sculpture as a process unfurls."
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2CD
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RZ 1023/24CD
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"Finally I realized that the kind of sound made in an indeterminate situation includes what could result in no other way; for example, the sound of a player making up his mind, or having to change it. In fact, the indeterminate notation I've used is, as far as I know, the only possible one for the kind of sound I should like. And don't forget, we also like to be surprised ...and the rhythm produced by that situation is like no other rhythm." --Christian Wolff; Most of the pieces collected for this portrait of Christian Wolff document the composer's early activity and were mainly recorded around the time of their composition. Each recording exemplifies the sound gestures from their time. Housed in a digisleeve including a booklet in German and English.
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CD
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RZ 10020CD
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"Giuliano d'Angiolini is a positively unique figure in contemporary music. His profound, well-conceived and stubborn take on music has led him to what he calls "impersonal" music -- music that has fully abandoned the idea of development or form. Through successive states of presentation, which aim to elucidate, d'Angiolini wanted to "leave place in sound so that music could become less voluntary." This led him to favor the surface and present an approach that was by no means superficial: the surface as the immediacy in the propositional content of sound and the present as the very surface of the criterion of time. In his work, musical process and material are but one and are completely laid bare. What we are to hear is non-discursive, deliberately lacking formal organization. We are even free to turn away and come back of our own will -- as if the composer wanted to make positive use of the negative metamorphosis of today's urban listeners, listeners who are constantly assailed with stimuli." --Gérard Pesson
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CD
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RZ 1025CD
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Performers: Kammerensemble Neue Musik Berlin, Steffen Tast, Pellegrini-Quartett: Antonio Pellegrini, Thomas Hofer, Fabio Marani and Helmut Menzler. Born in 1938, Volker Heyn is an "outsider," or perhaps an "unloved insider," an avant-gardist when it comes to experimental music, reaching beyond the trends of his generation of "New Simplicity," "Neo-Romanticism," "New Complexity" and so forth. In 1960 he left Europe to spend more than ten years in Australia where he joined a travelling theater company, making ends meet by singing in nightclubs and working the night shift in a metal works. Heyn's music is the mise en scène of an acoustic condition, whose manifold reflections perpetually interlock and shatter, like a box of mirrors. It investigates a process, which in itself is inaccessible and cannot be reproduced on paper. Volker Heyn is not interested in sound per se -- in the positive acoustic gesture -- but, and especially, in the negative form, in the responding tone gesture, in the duplicating of friction and in discontinuous movements. His composition patterns follow the resonance -- the overhang -- that we are able to perceive only by restricting our sensors almost to zero, in order not to succumb to its violence. And this must be enough, more would be too much. Then these remnants of sound will be drained and exhausted right up to the merest subversive unit. This is the soundscape that we are given: an intricate, though ultimately innocent structure of endless macro and micro sounding reactions. Housed in a digisleeve including a booklet in German and English.
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