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V.A. (VARIOUS ARTISTS) - SPIRE (ORGAN WORKS PAST PRESENT & FUTURE)

Format: do-CD
Label & Cat.Number: Touch Tone 20
Release Year: 2003
Note: large cardboard sleeve. with AMBARCHI, BIOSPHERE, TSUNODA, WATSON, FENNESZ, SIGMARSSON, ELGGREN; etc etc
Price (incl. 19% VAT): €19.50


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Wer auf erhabende und experimentelle Orgel-Klnge steht, muss hier einfach zugreifen ! Orgeln dienten hier in verschiedenster Weise als Inspiration oder Klangquellen fr die Stcke...zu hren gibt es fulminante oder monumentale Orgel-Drones, leise Sphrensounds, eher knarzige field recordings, etc.. ...inkl. ausfhrliche Linernotes im Booklet.

CDOne: Leif Elggren Z'EV Philip Jeck Sigtryggur Berg Sigmarsson Charles Matthews Marcus Davidson Scott Minor/Fennesz Finnbogi Ptursson Biosphere Toshiya Tsunoda Tom Recchion Lary 7/Jeff Peterson
CDTwo: BJNilsen Scott Taylor Jacob Kirkegaard Oren Ambarchi/Tom Recchion Chris Watson and on the web: http://www.touchmusic.org.uk/spire/stillupsteypa.mp3
The story: The thought of producing a compilation where the tracks were all either inspired by or more directly influenced by the organ had been frequently aired over the years. The conversations were always animated and expansive. The organ works of Arvo Prt, those performed by Christopher Bowers-Broadbent, a pupil of Richard Rodney Bennett at the Royal Academy of Music in London, and others, have reached a wider non-classical audience. Eventually Benny Nilsen arranged to visit St. Mary's Church, Warwick and work with one of England's finest, Charles Matthews. Crawling around inside the instrument, positioning microphones most appropriately in the Church, or 'capturing' the psalms composed by Marcus Davidson, Nilsen explored the possibilities with all the familiar lust of the avant-garde.
As the brief widened, so did the responses... some contributors referred to earlier versions of the organ and its often highly political usage, others explored aged instruments themselves. Some studied the effects of the sounds produced on the physique and the psyche, others conceptualised the brief and either built their own or recorded natural or man-made phenomena which utilised the same basic process, wind through pipes.
The organ represents the marriage between acoustic complexity and ritualised space. It is impossible not to be drawn upward, towards the spire of the church or cathedral, or to the huge and daunting forest of pipes themselves. The organ dwarfs all comers, and unlike other instruments, it is this non-musical element which makes the organ stand apart. [press release]