This title, a combination of three Japanese words symbolizes the common characteristics of Wilfried Jentzsch’s and Hiromi Ishii’s compositional interests: to structure sounds in relation to their timbral characters vividly in time and space.
All works are based on and have their intercultural relations to Asia. Hiromi Ishii builds therelation to her origin, Japan, and Wilfried Jentzsch to Indonesia and China.
„Huai bieh“ means “the desire and farewell” and is inspired by the KUN-opera. The transformation of the melody referring to time, timbre and space is the central idea of this composition.
Tokyo, with its double-layered structure and harsh contrasts, is the basic idea for „Ginn-Tokyo 2006“. How can these extremely different two worlds, tradition and modernism, co-exist?
The works presented on this CD were projected with the 47 (43.4) Speaker spatial Klangdom Environment using the software Zirkonium and recorded with artificial head technology to capture the spatial information. With the help of the spherical placement of the speakers above the audience sounds can move freely in all directions and speeds and can place everywhere in the space.
Huai bieh (2012/13)
Paysages Y 757 (2013/14)
Dream of B (2007)
Hiromi Ishii (* 1957): Ginn-Tokio 2006 (2006/13)
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In the edition ZKM electronic, the ZKM | Institut für Musik und Akustik (IMA) currently releases productions on the label WERGO which are based on electronic media and which, in the broadest sense, can be described as electro-acoustic compositions. Guest artists from all over the world are invited to work in the music studios to realize specific projects. The productions, ranging from digital synthesis and algorithmic composition to the integration of live electronics, from radio art to sound installation, encompass a broad spectrum of that locus where digital technology stimulates musical fantasy. More information on the ZKM you can find here.
The productions highlight current works of contemporary composers and musicians which are characterized by technological and aesthetic developments, while sometimes crossing the lines of the auditory by means of visualizations or multimedia concepts. Even in the field of audio productions, new territory is entered with 5.1 panoramas, for example, in order to depict the often three-dimensional compositions in an adequate manner. The aim is to spread the electro-acoustic music and sustain its release.
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