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CD
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NEOS 12023CD
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Clemens von Reusner finds the sound material for his electroacoustic works in unusual places. For "rückbau" (2011) he uses recordings of the demolition of a sugar factory. In "de monstris epistola" (2012) he refers to a work by the poet Jean Paul and uses sounds that were recorded at the places of Jean Paul's early childhood and youth in Upper Franconia. And "draught" (1999), 30 years after the Berlin Wall opened, is based on a variety of over- and underwater sounds on both sides of the Elbe. The origin of a sound, both physically and geographically, plays a central role for Clemens von Reusner when he dissects it electronically, as it were, and then creates "soundscapes" from the result.
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CD/SACD
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NEOS 11803CD
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Clemens von Reusner creates acousmatic worlds in which natural and synthetic objects exist side by side. He uses different programs that make free work possible in the realm of sounds, where samples, synthesis and resynthesis work together, develop accelerate and slow each other down, always with great determination. He works with sounds that he disjects, puts back together and places in rooms out of which they flow or into which they grow. "Anamorphosis", "Definierte Lastbedingung", "KRIT"m and "Topos Concrete" are genuine eight-channel productions. Attention to compositional sense and sonic transparency is always maintained in the stereo versions, even though the ambiance of the sound movements achieved by the ambisonic procedure only opens up completely in the five-channel versions of the SACD, and especially in the eight-channel concert version. "HO", "Dry Friction", and "Sphären der Untätigkeit" are originally mixed in two channel stereo. The SACD multichannel layer therefore also features these mixes in two channel stereo.
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