{"id":3252,"date":"2008-02-01T14:20:36","date_gmt":"2008-02-01T14:20:36","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=3252"},"modified":"2022-11-20T14:21:50","modified_gmt":"2022-11-20T14:21:50","slug":"elliott-sharp-orchestra-carbon-rheoumbra","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/elliott-sharp-orchestra-carbon-rheoumbra\/","title":{"rendered":"Elliott Sharp: Orchestra Carbon – RHEO~UMBRA"},"content":{"rendered":"

Infotext:<\/p>\n\n\n\n
\n
\n

Elliott Sharp: Orchestra Carbon \u2013 Rheo~Umbra<\/b><\/p>\n

„Schattenflut“: so w\u00fcrde ich den unkonventionellen Titel dieses St\u00fccks \u00fcbersetzen, das ich 1997 f\u00fcrs Orchestra Carbon komponierte \u2013 und so w\u00fcrde ich auch die musikalischen Bewegungen beschreiben, die darin vorkommen.<\/p>\n

Rheo~Umbra hat sieben Teile; in ihnen \u00fcberlagern sich durchkomponierte Passagen, algorithmisch gesteuertes Ensemblespiel und Solo-Improvisationen. Zu den algorithmischen Experimenten des St\u00fccks geh\u00f6rt der „flie\u00dfend gesteigerte Puls“ („transient additive pulse“): ein Schlagzeug-Akzent und seine Nachschwingungen mutieren zu einem pulsierenden Groove. Au\u00dferdem arbeite ich mit Hoquetus-Technik (eine Melodie wird „zerschnitten“ und auf verschiedene Stimmen aufgeteilt), und aus einigen Phrasen mache ich Ostinati, die sich zeitversetzt \u00fcberlagern und ver\u00e4ndern.<\/p>\n

Schrittweise m\u00f6chte ich dabei die horizontale Identit\u00e4t von T\u00f6nen und Linien in eine vertikale \u00fcbersetzen. F\u00fcr den formalen Zusammenhalt ist es mir wichtig, da\u00df ich ein Gesamtkonzept f\u00fcr den Klang verfolge: Zwei Keyboarder spielen Samples, die ich selbst aufgenommen habe \u2013 mit besonderen Spieltechniken auf Sopransaxophon und Ba\u00dfklarinette, und mit einer Reihe von Kl\u00e4ngen auf den Slabs (diese Samples werden dann mit live gespielten Slabs kombiniert).<\/p>\n

Die Slabs habe ich 1982 gebaut. Es sind horizontale Ba\u00dfinstrumente mit vier Saiten und einem verschiebbaren Steg (f\u00fcr unterschiedliche Stimmungsverh\u00e4ltnisse); sie haben Tonabnehmer an beiden Enden, mit separaten Ausg\u00e4ngen (um einen Stereo-Klang zu erzielen). Es gibt drei Exemplare, die ich ganz verschieden einsetze: in kleineren Carbon-Formationen, in der Larynx-Auff\u00fchrung von Orchestra Carbon (dort manchmal alle drei gleichzeitig) und in diversen Soloprojekten. Als ich f\u00fcr meine Solo-Performance Virtual Stance 1986 mit einem IVL-Pitchrider arbeitete \u2013 Ton f\u00fcr Ton wanderte \u00fcber die MIDI-Schnittstelle auf einen Sampler (zuerst einen Ensoniq Mirage, dann einen Roland 330) \u2013 da legte ich einen umfassenden Katalog von Slab-Kl\u00e4ngen an, um dieses sperrige und leicht reizbare Instrument nicht l\u00e4nger herumtragen zu m\u00fcssen.<\/p>\n

Aber einige seiner Kl\u00e4nge kann man einfach nicht mit dem Sampler reproduzieren, und lange Zeit dachte ich \u00fcber eine Komposition nach, in der gerade diese Eigenheiten zur Geltung kommen. Au\u00dfer auf dem Slab spiele ich in diesem St\u00fcck auf einer bundlosen E-Gitarre. Sie ist ein besonderes Instrument f\u00fcr mich; gekauft habe ich sie als billigen Importartikel bei Norma, 1973. Die B\u00fcnde habe ich selbst entfernt.<\/p>\n

Das St\u00fcck, das ich hier mit Orchestra Carbon pr\u00e4sentiere, ist die Erweiterung einer Quintettfassung. Zeena Parkins, David Weinstein, Marc Sloan und Joseph Trump waren seit Herbst 1992 unerm\u00fcdlich mit mir und dem St\u00fcck auf Tour, in Europa, Japan und den USA. Jeder von ihnen hat seine ganz eigene Art, meine kompositorischen W\u00fcnsche umzusetzen, und \u2013 auf der n\u00e4chsten Ebene \u2013 dar\u00fcber zu improvisieren, einen pers\u00f6nlichen Kommentar abzugeben und Dinge zu erschlie\u00dfen, die so nicht in der Partitur stehen.<\/p>\n

Lange hatte ich auch mit dem Soldier String Quartet zusammengearbeitet, das sich klanglich hervorragend in andere Ensembles integrieren kann. Hier spielt das Quartett in der Besetzung David Soldier und Sara Parkins (Violinen), Judith Insell (Viola) und Rufus Cappadocia (Violoncello). Au\u00dferdem steuern zwei Ba\u00dfklarinetten-Virtuosen ihren unvergleichlichen harmonischen und melodischen Stoff bei: Tim Smith und Evan Spritzer.<\/p>\n

Rheo~Umbra erlebte seine Live-Premiere am Abend des 13. M\u00e4rz 1997 in der New Yorker Knitting Factory. Das St\u00fcck wurde zweimal gespielt; Bryce Goggin machte eine 16spurige Digitalaufnahme, die anschlie\u00dfend im Studio zOaR gemischt wurde. Wir pr\u00e4sentieren hier den zweiten Durchlauf, komplett ohne Schnitte. Die Original-CD von Rheo~Umbra erschien in meinem Label zOaR als limitierte Edition von 300 signierten und numerierten Exemplaren, in einem Cover aus handgemachtem italienischem Reispapier.<\/p>\n

(\u00dcbersetzung: Michael Herrschel)<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Programm:<\/p>\n

Elliott Sharp Edition Vol. 4<\/b><\/p>\n

Orchestra Carbon
\nRHEO~UMBRA<\/b><\/p>\n

01 Rheo~Umbra 1\u00a0 24:50<\/p>\n

02 Rheo~Umbra 2\u00a0 20:41<\/p>\n

total time\u00a0 45:13<\/b><\/p>\n

Zeena Parkins, sampler\/electric harp
\nMarc Sloan, electric bass
\nEvan Spritzer, bass clarinet
\nTim Smith, bass clarinet
\nDavid Weinstein, sampler
\nJoseph Trump, electronic & acoustic percussion
\nSoldier String Quartet:
\nDavid Soldier, violin\/Sara Perkins, violin\/Judith Insell, viola\/Rufus Cappadocia, cello
\nElliott Sharp, fretless guitar\/slab<\/p>\n

Recorded live at The Knitting Factory, NYC, April 1996
\nRecorded by Bruce Goggin, mixed and mastered at Studio zOaR, NYC<\/p>\n

Publishing: zOaR Music – BMI – 1997<\/p>\n

<\/p>","protected":false},"excerpt":{"rendered":"

Infotext: Elliott Sharp: Orchestra Carbon \u2013 Rheo~Umbra „Schattenflut“: so w\u00fcrde ich den unkonventionellen Titel dieses St\u00fccks \u00fcbersetzen, das ich 1997 f\u00fcrs Orchestra Carbon komponierte \u2013 und so w\u00fcrde ich auch die musikalischen Bewegungen beschreiben, die darin vorkommen. Rheo~Umbra hat sieben Teile; in ihnen \u00fcberlagern sich durchkomponierte Passagen, algorithmisch gesteuertes Ensemblespiel und Solo-Improvisationen. Zu den algorithmischen […]<\/p>\n","protected":false},"featured_media":3253,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[27],"product_tag":[],"class_list":{"0":"post-3252","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-jazz","7":"pa_artikelnummer-neos-40706","8":"pa_brand-neos-music","9":"pa_ean-794","10":"desktop-align-left","11":"tablet-align-left","12":"mobile-align-left","14":"first","15":"instock","16":"taxable","17":"shipping-taxable","18":"purchasable","19":"product-type-simple"},"yoast_head":"\nElliott Sharp: Orchestra Carbon - RHEO~UMBRA - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/elliott-sharp-orchestra-carbon-rheoumbra\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Elliott Sharp: Orchestra Carbon - RHEO~UMBRA - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: Elliott Sharp: Orchestra Carbon \u2013 Rheo~Umbra „Schattenflut“: so w\u00fcrde ich den unkonventionellen Titel dieses St\u00fccks \u00fcbersetzen, das ich 1997 f\u00fcrs Orchestra Carbon komponierte \u2013 und so w\u00fcrde ich auch die musikalischen Bewegungen beschreiben, die darin vorkommen. 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