Format: FILE - MP3
Length: 25:58 min
Artwork: Audiotalaia
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July 11th 2011
hello,
here's my work i want to release, the title is descriptive enough - no real ensemble involved, only my imaginary band players. if you'll find it of interest, i'll be happy enough to join your catalogue.
regards,
martin.
July 12th 2011
Hello,
We currently cannot publish your work because we are at full capacity and we have the catalogue closed until number 50. Even though we like to provide some feedback since you have sent material. We have listened carefully your submission we find it out interesting. What you want to achieve is quite bold but the project is lacking of what you already stated "a real ensemble" you might want to consider finding those musicians or at least a few of them. Even though your project is quite interesting.
Hope you find the right label for your work and congratulations for the work done so far.
Kind regards,
Edu Comelles Allué
July 14th 2011
First off, thank you for replying and listening.
Secondly, and here i will refer to the notion of 'lack of human element' or need for human performers. I did not compose it to be played by humans, though i think it could be possible, i do not think it is of major importance. I believe, our nostalgic need for for manual labour produced goods, country tourism and such is just that - a nostalgia for things that really have never meant anything more than they were - namely material forms of modes of production. They were no better or more authentic in any sense than mechanised, computerised and, in future, virtualised things. This (nostalgia) is just a form of romanticism having almost nothing to do with actual truth/worth of let's say composition and any car made exclusively by robots. To me, computer playing with exact recordings (samples) of sound densities is as much authentic (and maybe even more, given that human limitations of playing results in all too obvious sound worlds) as 'real' performances. Computer can improvise and what it does with basic atoms of sound is pretty much alive as anything else. If i write music for human performers they never resemble anything i've done in this work, because they are two different things with their own , if one can say so, dark essence. I'm saying this just because the apparent even independent label stance towards 'not live' music is quite predictable - it lacks human element or not 'real'. And for me it's quite strange since being independent/experimental would amount to doing things differently, which seems to be not the case (as far as i found out by searching for labels to release my works). In any case, thank you for reply and interest.
I guess it means more shooting into unknown for me.
regards,
martin.
July 15th 2011
Hello Martin!
I am totally amazed by your response! That is something quite different to what I thought the first time we talked! Now I get the whole point of your project and I'm reconsidering publishing your work. For me, the concept is now clear and I agree in the majority of your statements. It seems that sometimes discussions are made for this, to move forward and convince the other part, you did that, you convinced me. so if you are still interested I would like to see if we can find a month for you to release your work.
With this strong statement behind your work (which is kind of polemic and venturous) I see the potential of your oeuvre. And that's what I like, risky things.
So, I hope you are not mad (its difficult to get it on emails) and we can still collaborate together.
Best regards,
Hope to hear from you soon,...
Edu Comelles Allué
July 15th 2011
Clearly, discussing is a good thing, especially when it's polemical - that's the only way to get something else than it was premised from different positions. Also i think what i wrote comes from my more general thinking about things, which maybe could be summed in - things exist without us, even without our relation to it. I recently recorded a set of piano pieces (i have no training in playing piano) where piano becomes something else than we usually want it to be (i.e. a machine producing tones according to its tuning, which is implemented with ideas of harmony). while i'm aware of cagean and different treatments of piano, to me it came not as an innovation or even experiment, but listening to piano and seeing it as a thing/creature that can 'talk' very differently provided i have a way to hear it (if it results in classical forms of composition or something entirely else, is secondary thing).
Anyway, i'm not mad, nor was, albeit i'm very polemical in quite all the things i do, except sex, so i might come out as that. It's been lots of years with philosophy books and very different people around me.
So, i think we can do it together, so to say.
regards,
martin.
_
Tracklist:
01. Movement for Winds, Brass and Electronics
02. Movement For Strings And Electronics
03. Movement For Piano, Percussion And Electronics
_
Credits:
All tracks composed and arranged by Martin Rach. 2011.
July 11th 2011
hello,
here's my work i want to release, the title is descriptive enough - no real ensemble involved, only my imaginary band players. if you'll find it of interest, i'll be happy enough to join your catalogue.
regards,
martin.
July 12th 2011
Hello,
We currently cannot publish your work because we are at full capacity and we have the catalogue closed until number 50. Even though we like to provide some feedback since you have sent material. We have listened carefully your submission we find it out interesting. What you want to achieve is quite bold but the project is lacking of what you already stated "a real ensemble" you might want to consider finding those musicians or at least a few of them. Even though your project is quite interesting.
Hope you find the right label for your work and congratulations for the work done so far.
Kind regards,
Edu Comelles Allué
July 14th 2011
First off, thank you for replying and listening.
Secondly, and here i will refer to the notion of 'lack of human element' or need for human performers. I did not compose it to be played by humans, though i think it could be possible, i do not think it is of major importance. I believe, our nostalgic need for for manual labour produced goods, country tourism and such is just that - a nostalgia for things that really have never meant anything more than they were - namely material forms of modes of production. They were no better or more authentic in any sense than mechanised, computerised and, in future, virtualised things. This (nostalgia) is just a form of romanticism having almost nothing to do with actual truth/worth of let's say composition and any car made exclusively by robots. To me, computer playing with exact recordings (samples) of sound densities is as much authentic (and maybe even more, given that human limitations of playing results in all too obvious sound worlds) as 'real' performances. Computer can improvise and what it does with basic atoms of sound is pretty much alive as anything else. If i write music for human performers they never resemble anything i've done in this work, because they are two different things with their own , if one can say so, dark essence. I'm saying this just because the apparent even independent label stance towards 'not live' music is quite predictable - it lacks human element or not 'real'. And for me it's quite strange since being independent/experimental would amount to doing things differently, which seems to be not the case (as far as i found out by searching for labels to release my works). In any case, thank you for reply and interest.
I guess it means more shooting into unknown for me.
regards,
martin.
July 15th 2011
Hello Martin!
I am totally amazed by your response! That is something quite different to what I thought the first time we talked! Now I get the whole point of your project and I'm reconsidering publishing your work. For me, the concept is now clear and I agree in the majority of your statements. It seems that sometimes discussions are made for this, to move forward and convince the other part, you did that, you convinced me. so if you are still interested I would like to see if we can find a month for you to release your work.
With this strong statement behind your work (which is kind of polemic and venturous) I see the potential of your oeuvre. And that's what I like, risky things.
So, I hope you are not mad (its difficult to get it on emails) and we can still collaborate together.
Best regards,
Hope to hear from you soon,...
Edu Comelles Allué
July 15th 2011
Clearly, discussing is a good thing, especially when it's polemical - that's the only way to get something else than it was premised from different positions. Also i think what i wrote comes from my more general thinking about things, which maybe could be summed in - things exist without us, even without our relation to it. I recently recorded a set of piano pieces (i have no training in playing piano) where piano becomes something else than we usually want it to be (i.e. a machine producing tones according to its tuning, which is implemented with ideas of harmony). while i'm aware of cagean and different treatments of piano, to me it came not as an innovation or even experiment, but listening to piano and seeing it as a thing/creature that can 'talk' very differently provided i have a way to hear it (if it results in classical forms of composition or something entirely else, is secondary thing).
Anyway, i'm not mad, nor was, albeit i'm very polemical in quite all the things i do, except sex, so i might come out as that. It's been lots of years with philosophy books and very different people around me.
So, i think we can do it together, so to say.
regards,
martin.
_
Tracklist:
01. Movement for Winds, Brass and Electronics
02. Movement For Strings And Electronics
03. Movement For Piano, Percussion And Electronics
_
Credits:
All tracks composed and arranged by Martin Rach. 2011.
_
Reviews:
Experimental musician Martin Rach uses the word imagination (or a variation of it) in several of his releases. It’s Rach’s unapologetic use of the imaginary that gives him a freedom to experiment within the realm of electronic music. The Lithuanian’s latest release, Concerto for Imaginary Ensemble And Electronics on Audiotalaia, is composed of three tracks that display an odd inspiration in the combination of orchestral instruments and the electronic medium. In the album’s second track, “Movement for Strings and Electronics”, Rach gives us glimpses of the standard orchestral fare but always with idiosyncratic twist of noise and distortion. Rach’s journey into the abstraction of orchestra and electronics is a fantastic labyrinth of sound and illusion.
David Nemeth,
Acts of Silence
_
Reviews:
Experimental musician Martin Rach uses the word imagination (or a variation of it) in several of his releases. It’s Rach’s unapologetic use of the imaginary that gives him a freedom to experiment within the realm of electronic music. The Lithuanian’s latest release, Concerto for Imaginary Ensemble And Electronics on Audiotalaia, is composed of three tracks that display an odd inspiration in the combination of orchestral instruments and the electronic medium. In the album’s second track, “Movement for Strings and Electronics”, Rach gives us glimpses of the standard orchestral fare but always with idiosyncratic twist of noise and distortion. Rach’s journey into the abstraction of orchestra and electronics is a fantastic labyrinth of sound and illusion.
David Nemeth,
Acts of Silence
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Concerto for Imaginary Ensemble And Electronics by Marttin Rach is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 3.0 Unported License. Creado a partir de la obra en www.audiotalaia.net.