Programm
Günther Rabl (2001/02)
MITE E-LITE (Hommage an einen Stromgenerator)
computermusic, 24-channel, duration: 19’
Günther Rabl (2019)
KAIROPHOBIA (eine Fortsetzung von Mite E-Lite)
Computermusik, 18-kanal, duration: 15‘
Günther Rabl (2006)
SPEEDUP CHOPIN
computermusic, 12min, stereo, Heumühle 2006
clavichord: Manon Liu Winter
Günther Rabl
geb. 1953, lebt und arbeitet im Waldviertel
Der Künstler Günther Rabl hat in jahrelanger unbeirrter Arbeit ein Werk im Elektroakustischen Genre geschaffen, das an Ausmaß Intensität und Radikalität unvergleichlich ist. Seine Arbeit ist geprägt von hohem technischen und musikalischen Verständnis und Fertigkeit, von Hingabe und Humor. Die außergewöhnliche Klanglichkeit seiner Werke inspiriert und
lässt seine Konzerte zu einem Ereignis werden.
Rabl gilt seit jeher als einer der radikalsten Vertreter einer konzertanten Aufführungspraxis, in der die fertig komponierte Musik auf Tonträger akustisch im Raum inszeniert wird. Dennoch arbeitet er immer wieder mit Künstlern aus anderen Sparten zusammen, wobei er stets Wert darauflegt, dass der elektroakustische Teil autonom und gleichberechtigt bleibt: Renate Porstendorfer (Diaprojektion), Friedrich Gulda (Klavier), Gerhard Maier (Holzskulptur), Alexandra Sommerfeld (Schauspiel, Gesang), Thomas Kamper (Schauspiel, Theaterregie), Bert Gstettner (Choreographie), Yosi Wanunu (Theaterregie), Gilbert Handler (Gesang und Elektronik), u.a.
Aber auch umfangreiche theoretische Schriften über die musikalische Arbeit im elektroakustischen Medium (‚Electric Orpheus‘) gehören zu seinem Gesamtwerk. Letzte führten 1989-2007 zur Vorlesung Theorie der Elektroakustischen Musik an der MDW sowie 2012 zur Gründung der ELECTRIC ORPHEUS ACADEMY, wo alljährlich in Sommerkursen und Aufführungen elektroakustische Musik gelehrt und präsentiert wird.
Weitere Informationen unter: https://www.canto-crudo.at
MITE E-LITE
computermusic, 19min 24-channel, Heumühle 2001/02
Homage to a power generator
a commission of the IEM, Graz
In Siebenwirthen there is no electric power connection.
If in some cases electronic devices are to be used, one has to put an old McCulloch Mite E-Lite generator into operation. The motor also has to be started up to pump water out of the well into a higher lying reservoir (one notices that the reservoir is full when the spill water ripples over the roof).
Sure, there would be newer, environmentally-friendly, muffled models of generators.
However, the sound of Mite-E-Lite is more beautiful. It has character. It tells a story.
The recording of such a process (the starting-up, the kicking-in, the first backfiring and, lastly, the autonomous stalling of the engine) builds the basis of the whole composition. The sound itself and its rhythmic and harmonic structures find utilization within the piece. The first spectral analyses showed an enormous abundance of partial tones above the bottom frequency of the two-stroke rhythm. Amazingly, the seventeenth and thirty-first partial tones are particularly dominant. It was therefore self-evident to approach the matter with prime number harmonics.
Viewed rhythmically, the process consists of a plethora of short explosions, each one different from the other, although they altogether form the typical “mechanical” rhythm of a motor, which proves to be extremely lively.
Excommunication – The original sound of the motor starting up is heard in the center.
Gradually it is broken down into its spectral components on the basis of the first 11 prime numbers (2-31). They become independent and wander outwards until they ultimately form an organ-like dome of sound.
Blue Note Seventeen – Three of these spectral components (3,7,5) dissolve into a trio in which, corresponding to the characteristics of prime number harmonics, a number of ‘blue notes’ are secured around the 17th partial tone. The rhythms are an interpretation of a phase of the motor in which it runs in a cycle; the melodies are derived from the differences of the single strokes. A stylistic mimicry reminiscent of Dixieland is created.
Unfortunately Viennese – Three other spectral components (11, 13, 2) form anew into a trio, whose rhythm, however, is now constructed out of the odd pulses. The whole piece takes on a stumbling and weepy style known from some Viennese folk songs.
Panopticum – Spectral distortions transform all the components into droves of bell-like sounds that are ringing something in. But no one knows exactly what this something is.
Swan Song – All prime numbers newly form into a slowly developing sequence of two chords that sound as if they could have never been any different.
Fade Away – They flow once again into the original sound of the motor, which finally dissolves completely and ebbs away.
KAIROPHOBIA
Computer music, 15 min, 18-channel, Heumühle 2019
A continuation of Mite-E-Lite (2001702)
There are people who get despondent in large squares; others are scared in confined spaces; others suffer from long periods of time or are afraid of sudden moments (agora-, claustro-, chrono- and even kairophobia).
A trivial solution, in the latter case, is the meter or the beat. Then you know: Just like it is now, it will be there again, then again and again – forever, theoretically.
The “MITE-E-LITE” motor takes over the role once more, but this time very slowly. It stomps away at around 200 bpm and you can’t help but feel that the bars are fleeing from each other.
The sounds, the structures – everything is derived from the sound of the engine again; a sideline to, a continuation of Mite-E-Lite.
SPEEDUP CHOPIN
computermusic, 12min, stereo, Heumühle 2006
clavichord: Manon Liu Winter
Again a commission by Thomas Kamper, who was directing a play by Ödon von Horvath 'Zur Schönen Aussicht' in winter 2007. Thomas suggested to introduce Chopin's famous 'Raindrop Prelude' during the play and it was quite natural to me to use it as my material in this case. After listening to some interpretations of that tune, I found out that I have to break the pathos of the piece to make it accessible to my work, or at least turn it into something else.
I got the idea of having played it on a clavichord and Manon Liu Winter did that for me. Now, first of all, playing Chopin on a clavichord seems to be simply impossible. (You could try to play it on a banjo as well). But this was the challenge: There are no pedals, no sustained notes, the sound is vibrating and the instrument itself so fragile, that it gets out of tune from the first moment you touch it, developing its own unpredictable scale.
Even people, who know this piece (or may have been tortured with it in piano lessons) might not recognize it at the beginning. Its odd appearence is rather that of a Wienerlied played on a zither at first. However, as soon as the bass motives start to move, I believe, it is even more touching in a natural manner than beeing played on a grand piano.
At the beginning you hear the original recording as an exposition. Exept the following thunderstorm, which is a field recording I made in the 80ies, everything has been developed from from the sounds of the clavichord. At the end it leads to a maniac dance, which actually is a refined speedup of the original prelude.
HINWEIS:
Am Mittwoch, den 4.12., 14:00 wird Günther Rabl im Rahmen seines Vortrags ‚FOURIER & BEYOND’ (im Sonic Lab) über seine Arbeitsweisen und Ansätze berichten.
Günther Rabl
FOURIER & BEYOND
ein Vortrag mit vielen Hörbeispielen
Wenn es etwas gibt, wodurch sich die Elektroakustische Musik von der Instrumentalmusik radikal unterscheidet, dann ist es die Möglichkeit der Transformation von Klangmaterial. Sie eröffnet tatsächlich neue handwerkliche Perspektiven für das Musikschaffen, die weitreichende formale Konsequenzen haben. Plötzlich zeigen sich formale Beziehungen zwischen den
unterschiedlichsten Klangmaterialien, die mit traditionellen Ordnungsschemata wie Tonhöhe oder Klangfarbe nicht mehr zu erfassen sind.
Der Begriff der Klanggestalt als einer phänomenologischen Einheit gewinnt an Bedeutung. Komponieren ist nicht länger ein 'Ordnen von Tönen', sondern eine Art Dramaturgie von Klanggestalten auf verschiedenen Beziehungsebenen, von denen der traditionelle 'Tonraum' nur eine und oft nicht einmal die wichtigste ist. Die wohl berühmteste der heute bekannten Transformationen ist die Fourier-Transformation. Kaum eine App oder ein Plugin kommen ohne sie aus. Allerdings ist das vor den Usern, die nur an Effekten interessiert sind, für gewöhnlich verborgen.
In dem Vortrag soll gezeigt werden, wie Transformation - als Werkzeug in den Händen von Musikschaffenden selbst - in gänzlich andere Klangwelten führen kann.
