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LP
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GODREC 058LP
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2020 release. Klaus Lang's involvement with GOD Records began with his cult, two-part release of stunning organ works. Famous for his heavy droning sound, Lang's new pieces are highly successful ensemble pieces. "linea mundi." and "weiße farben." were both premiered at the festival Wien Modern. Heavy textures, disturbing counterparts, slow progressions, threatening dynamics. Personnel: Bas Wiegers - conductor; Klangforum Wien - performer; oenm - Österreichisches Ensemble für Neue Musik - performer.
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LP
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GODREC 017LP
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2017 repress. 2013 release. "I put my music into the space. I don't want to send any messages, I think of nothing and I don't want to purport any meanings. The listeners hear what they hear and behave to the music as they feel." Austrian composer Klaus Lang describes himself as an observer of tones. As stated himself, his roots belong to Gregorian tradition and his music definitely represents an abstract way of perceiving it. Though abstraction (of form and content), he is interested in clarity and truth. His work includes pieces for various setups, but a common phrase that can be used to describe Lang's work is construction of time. Whether he composes stage works, for big or small ensembles or solo instruments, the listener experiences a huge space, filled with either a wall of sound or sound blocks that varies in intensity and massiveness. Lang's image is largely marked through his output for stage and his favorite instrument, organ, exploring the entire spectrum of possible sounds, from hum to sine waves. God Records' series of releases featuring his organ music, focuses on the two different aesthetic examples mentioned above. Massiveness is the best description for "17 Symmetrien". A wall of sound, the piece explores the whole range of the instrument at the maximum power. To some extent, this is a pure organ symphony, but someone could also define it as drone music. The second piece, "Mars Attacks", deals with punctuality and pointed tones with occasional sub layers, creating quite an astonishing and scary mood of unpredictability.
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LP
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GODREC 026LP
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2015 release. Klaus Lang presents the second instalment of organ works with Organ Works Vol. 2. The album features two monumental works that span over two vinyl sides. "ABD" is a contemporary vision of sacral chord progressions. "Melrose Abbey" is the composer's perverse art of mourning music. Ultimate drone. Absolute torment.
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CD
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RZ 4005CD
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2004 release. One string quartet piece, recorded 2002, performed by the Arditti String Quartet at the Inventionen 2002 festival. Powerful, abstract, atmospheric. Sei-Jaku is one way of pronouncing the two characters of the title in Japanese. They stand for "Tarnished" and "Star." The other pronunciation "Sabita Boshi" points to a term of central importance in Japanese aesthetics: "Sabi." Although "Sabi" could be translated as "Tarnished," its meaning is not sufficiently represented by the English word.
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CD
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RZ 4007CD
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2007 release. Flow. State. Through concentration on listening or concentration on what we are listening to we can enter a state of simplicity of mind which is a state of the highest inner clarity or inner silence. In other words: when concentrating on the flow of music we can reach an inner state: The inner silence which is the simultaneity of stasis and flow. This paradoxical situation poses the question: is the flow of music passing us, is music flowing through us thus evoking this inner stasis or is it not a state at all what we experience: should we not most seriously take into consideration the possibility that it is us who are flowing through the sound?" Interpreters: Bettina Junge (flute), Natalia Pschenitschnikova (voice), Adam Weisman (percussion), Karen Lorenz (viola).
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CD
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RZ 4003CD
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2002 release. Features 2 pieces: "Der Wind und das Meer, Trauermusik für Bratsche solo" (performed by Barbara Konrad, viola); "The Sea of Despair, Trauermusik für Streichquartett" (performed by Amrasquartett). "The ordering isn't rationalist or essential, just simple ordering, such as continuity, one thing behind another." -- Donald Judd). "The work could be immediately grasped in its entirety. All there was to see in objects was their actual presence. Anybody could understand them at first sight." -- Zabalbeascoa and Marcos in Minimal Art.
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