ROSENFELD, MARINA — Joy of Fear
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Filed under: New Classical Music? Auf dem Kölner SOFTL-Label geht es weiter mit aussergewöhnlicher Experimentalmusik jenseits aller Genregrenzen, zwischen „field recording, neuer elektroakustischer Musik sowie Klangkunst“. Die New Yorker Komponistin und Klangkünstlerin MARINA ROSENFELD entwirft hier 6 Stücke, die sich grösstenteils aus elektronischen Quellen (von selbstgemachten Acetaten / Dubplates) und von ihr gespielten, halb-improvisierten Klavier & Cello-Klängen zusammensetzen. Eine minimale, zeitlupenhaft-schleppende Atmosphäre mit Vinyl-Geknister wird geschaffen, die zugleich zu verstören und faszinieren vermag.... sehr sehr ungewöhnlich, zum neu-entdecken !!
"...On this record, the improvisatory, experimental mode of Rosenfeld's turntablism merges in a new and extraordinary way with a true compositional practice, resulting in pieces of a profoundly musical nature that seem to transcend the category "experimental". Infused with the sound of her original acetate records, or dub plates, that have been the idiosyncratic content for almost a decade of improvised live work and recordings, this disc reintroduces the acoustic instruments and compositional practice of her earliest musical life. Rosenfeld's delicate writing for cello and piano fuses dissonant, floating harmonies and minimalist repetition, acoustic recording with computer manipulation. joy of fear opens with the sound of an ancient 78 disc played on lowest speed, and concludes with a complex symphony of ambient noise, cello harmonics and vocal fragments. A beautiful, and challenging work." [label info]
"One aspect of working with dub plates is that the sound on the records is in a continual process of intermingling with the material of the plate itself, which, like memory and music, is unstable and subject to transformation with time and handling. Another is the clumsiness, the furniture-ness of the record player, whose popular history of pleasure and invention both matches and recasts the different 'sublime' of cello&piano. With this record, I feel like I've come full circle in some way, with the very concept of sonic disappearance that has driven
much of my music for turntables beginning to disappear behind a new, more expansive idea or musical structure..." [Marina Rosenfeld]
”Composer, musician, artist and turntablist Marina Rosenfeld is based in New York City. Her music includes large, multi-player performances involving custom playing techniques, graphic scores, visual elements, costumes and improvisation by both musicians and non-musicians; electro-acoustic sound installations for multiple speakers; and solo and ensemble compositions involving acoustic instruments, turntables and electronics. On turntables Marina Rosenfeld plays exclusively her own custom acetate records ('dub plates') and performs frequently as an improviser in the U.S. and Europe. Her music has been commissioned and/or presented by numerous U.S. galleries, museums and theaters... Marina Rosenfeld is the creator of the "sheer frost orchestra," a 17-woman electric-guitar performance, which had many versions between 1995 and 2002, and the recent "emotional orchestra," a stage work for expanded electric string orchestra, which was premiered in December 2003 at Deitch Projects in New York City and will have its next performance at the Tate Modern museum in London in September 2005. Other recent projects include a commission by The Kitchen House Blend Ensemble to create "bone canopy/tine palace", for 11 players a 1 dancer (premiered November '03); a public sound installation for the reopening of New York’s Winter Garden after 9/11, called "Cephissus landscape"; and original sound installations for the Whitney Biennial Exhibition ('02) and New York's Diapason Gallery. She was also a member of the "Turntable Hell" tour in 2002, sponsored by the London Musicians Collective. In 2004 with turntablist Dieter Kovacic, Marina premiered and recorded Bernhard Lang's composition "DW8," for 2 turntablists and orchestra, with Munich's Symphonieorchester des Bayrischen Rundfunks (Col Legno, Koeln). Marina has also recorded with Christian Marclay, Toshio Kajiawara and DJ Olive (DJTrio, Asphodel, SF); with Tim Barnes and Toshio Kajiwara (a water’s wake, Quakebasket, NY); and has collaborated with many others, including the Merce Cunningham Dance Company, Sonic Youth, Ikue Mori, Kaffe Matthews, Alan Licht, George Lewis, Nels Cline, Lee Ranaldo, Martin Tétreault, Otomo Yoshihide, Philip Jeck, Tony Conrad, Kim Gordon, Christof Kurzmann, Elliot Sharp, Dieb 13, Raz Mesinai, and many others. Performers in her sheer frost and emotional orchestras have included numerous artists and musicians, including Laurie Anderson, Kembra Pfahler (aka 'Voluptuous Horror of Karen Black'), Kaffe Matthews, o.blaat, Okkyung Lee, Chiara Giovando, 'Honeychild', Jutta Koether, Josephine Meckseper, Jacqueline Humphries, Jennifer Baron, and many others. Marina's music appears on the recent compilations Melatonin (Room 40, Melbourne), Mono: New York Soundtracks remixed (Human Highway Records, Tokyo), among others. A DVD of her surround-sound works, from Harvestworks/Tellus, is scheduled for release in 2005." [biography info]
"...On this record, the improvisatory, experimental mode of Rosenfeld's turntablism merges in a new and extraordinary way with a true compositional practice, resulting in pieces of a profoundly musical nature that seem to transcend the category "experimental". Infused with the sound of her original acetate records, or dub plates, that have been the idiosyncratic content for almost a decade of improvised live work and recordings, this disc reintroduces the acoustic instruments and compositional practice of her earliest musical life. Rosenfeld's delicate writing for cello and piano fuses dissonant, floating harmonies and minimalist repetition, acoustic recording with computer manipulation. joy of fear opens with the sound of an ancient 78 disc played on lowest speed, and concludes with a complex symphony of ambient noise, cello harmonics and vocal fragments. A beautiful, and challenging work." [label info]
"One aspect of working with dub plates is that the sound on the records is in a continual process of intermingling with the material of the plate itself, which, like memory and music, is unstable and subject to transformation with time and handling. Another is the clumsiness, the furniture-ness of the record player, whose popular history of pleasure and invention both matches and recasts the different 'sublime' of cello&piano. With this record, I feel like I've come full circle in some way, with the very concept of sonic disappearance that has driven
much of my music for turntables beginning to disappear behind a new, more expansive idea or musical structure..." [Marina Rosenfeld]
”Composer, musician, artist and turntablist Marina Rosenfeld is based in New York City. Her music includes large, multi-player performances involving custom playing techniques, graphic scores, visual elements, costumes and improvisation by both musicians and non-musicians; electro-acoustic sound installations for multiple speakers; and solo and ensemble compositions involving acoustic instruments, turntables and electronics. On turntables Marina Rosenfeld plays exclusively her own custom acetate records ('dub plates') and performs frequently as an improviser in the U.S. and Europe. Her music has been commissioned and/or presented by numerous U.S. galleries, museums and theaters... Marina Rosenfeld is the creator of the "sheer frost orchestra," a 17-woman electric-guitar performance, which had many versions between 1995 and 2002, and the recent "emotional orchestra," a stage work for expanded electric string orchestra, which was premiered in December 2003 at Deitch Projects in New York City and will have its next performance at the Tate Modern museum in London in September 2005. Other recent projects include a commission by The Kitchen House Blend Ensemble to create "bone canopy/tine palace", for 11 players a 1 dancer (premiered November '03); a public sound installation for the reopening of New York’s Winter Garden after 9/11, called "Cephissus landscape"; and original sound installations for the Whitney Biennial Exhibition ('02) and New York's Diapason Gallery. She was also a member of the "Turntable Hell" tour in 2002, sponsored by the London Musicians Collective. In 2004 with turntablist Dieter Kovacic, Marina premiered and recorded Bernhard Lang's composition "DW8," for 2 turntablists and orchestra, with Munich's Symphonieorchester des Bayrischen Rundfunks (Col Legno, Koeln). Marina has also recorded with Christian Marclay, Toshio Kajiawara and DJ Olive (DJTrio, Asphodel, SF); with Tim Barnes and Toshio Kajiwara (a water’s wake, Quakebasket, NY); and has collaborated with many others, including the Merce Cunningham Dance Company, Sonic Youth, Ikue Mori, Kaffe Matthews, Alan Licht, George Lewis, Nels Cline, Lee Ranaldo, Martin Tétreault, Otomo Yoshihide, Philip Jeck, Tony Conrad, Kim Gordon, Christof Kurzmann, Elliot Sharp, Dieb 13, Raz Mesinai, and many others. Performers in her sheer frost and emotional orchestras have included numerous artists and musicians, including Laurie Anderson, Kembra Pfahler (aka 'Voluptuous Horror of Karen Black'), Kaffe Matthews, o.blaat, Okkyung Lee, Chiara Giovando, 'Honeychild', Jutta Koether, Josephine Meckseper, Jacqueline Humphries, Jennifer Baron, and many others. Marina's music appears on the recent compilations Melatonin (Room 40, Melbourne), Mono: New York Soundtracks remixed (Human Highway Records, Tokyo), among others. A DVD of her surround-sound works, from Harvestworks/Tellus, is scheduled for release in 2005." [biography info]