Stefan Thut and Marianne Schuppe
https://www.wandelweiser.de/_fotos/amsterdam2022/index.html
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Stefan Thut and Marianne Schuppe
https://www.wandelweiser.de/_fotos/amsterdam2022/index.html

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Melaine Dalibert â Anastassis Philippakopoulos: piano works (Elsewhere)
Anastassis Philippakopoulos: piano works by Melaine Dalibert
When Melaine Dalibert set out to record this album, he could not have foreseen the moment into which it would emerge. It was recorded during a single session at a church in Brittany, and no one executes a program of compositions as well as he had done these without spending significant time to select, study and learn them first. Moreover, in the pianistâs own work as a composer, he practices patient development. Dalibert has spoken of letting a piece spend several months in his head, mulling it over while he runs or rides the train, before he first sets pencil to paper to write it out. He did not compose the pieces on Anastassis Philippakopoulos: piano works, but it is reasonable to assume that he applied some of his own preparatory process to the tasks of readying and executing this project.
âWhen one walks through the city listening to Wandelweiser, itâs not that the music soundtracks the city, itâs the other way around. The city enters the music. There is no mediation because there are not two distinct states to mediate between. Or, seen another way, the question of mediation becomes absolutely primary; as in Pisaroâs field recordings or in the occasional sounds that Werederâs date pieces introduce into a space, the content of the musical sound is almost beside the point.
What we primarily here is the otherness of a (musical) sound in relation to our (nonmusical) surroundings. Like a veil over our eyes, it is not the particular qualities of the veil that we see (the pattern or density of the weave, the thickness of the threads), but the general state of âveil-nessâ that it casts on what we see through it.â - Tim Rutherford-Johnson in Music After the Fall (2017)
âWith recording, sound is stored for use. How do you use a recording like Stones [Christian Wolff]? Do you just listen to it like anything else (perfectly possible in this case) or do you find ways of listening to it that suit the recording in other ways: say playing it all day at low volume (so that it can be forgotten, except for those very few moments when a sound rises to the surface, reminding you itâs still there). Or play it so loud that you hear everything.
In other words, the recording can be viewed as open, something like an instrument - a particular instrument that makes a limited set of sounds that can nonetheless have a variable relationship in the environment in which they are playedâ - Michael Pisaro from Wandelweiser, appearing in Music After the Fall
Michael Pisaro - The Fields Have Ears
âI find the implication that there are âearsâ everywhere, at every point in a world, a fascinating concept, even if it is rather hard to imagine. It implies that position might be more important than time in hearing; and that the sounding configuration of a world can be understood (differently) from an infinite number of points. It says that what is audible to any one person is unique, but at the same time contiguous (and therefore directly related) to what is audible to others.â
http://michaelpisaro.blogspot.com/2012/03/some-thoughts-on-fields-have-ears.html
score:Â http://www.wandelweiser.de/pisaroscores/ew08.133.1.pdf
âSound modifies silence modifies sound (and the subsequent sound/silence of life after you listen).â (review)

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Jurg Frey
Michael Pisaro â Nature Denatured and Found Again (Gravity Wave)
Nature Denatured and Found Again by Michael Pisaro
Letâs start small; Nature Denatured and Found Again is a document of five summers well spent. In the summer of 2011 Michael Pisaro, an American composer, educator, and musician associated with the Wandelweiser composers collective, traveled to Neufelden, Austria to join artist Joachim Eckl at a former storehouse called Die Station (The Station). It is situated near the Grosse MĂŒhl, a small river that empties into the Danube. Decorated with items culled from movie sets and an old Hilton hotel, it houses some of Ecklâs work and provides living and studio space for visiting artists, who mix with each other and townspeople in encounters intended to realize Joseph Beuysâ concept of âsocial sculptureâ (in a nutshell, the idea that people gathering together can collectively change society through art).
Michael Pisaro - âJuly Mountainâ for large percussion ensemble and 20 field recordings
https://www.flickr.com/photos/truu/10378343554/in/photolist-gP6HXQ-8Dbyzz-8BLCKP
Score: