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Since then she has appeared at many early music festivals throughout Europe and the United States, as well as in Taiwan. Ms. Pumhösl is the continuo player for the Ensemble Capella Leopoldina, Private Musicke, and the Capella Nova Graz. Particularly interested in the Viennese Baroque harpsichord literature, Ms. Pumhösl teaches early music at the private university Konservatorium Wien. She has performed live on radio, and has also made numerous recordings. Her most recent CD features previously unpublished works by the imperialcourt composer Johann Joseph Fux. Recitals (Selection) Kunsthalle Wien, project space; inventions / colorfields according to Isaac Newton - music by J. S. Bach, 2005 Austrian Cultural Forum New York, harpsichord music by J.J. Fux, J.M. Hauer and J. Haydn, 2005 Innsbrucker Festwochen für Alte Musik, harpsichord music by Gottlieb Muffat and Johann Joseph Fux, 2004 Wiener Musikverein, baroque opera „la Pastorelle“ von G. Ph. Telemann, oratories „Israel in Ägypten“ und „Jephta“, cappella leopoldina, 2003 und 2004 La Jolla, San Diego Harpsichord Society, Viennese harpsichord music by A. Poglietti, J. J. Froberger a.o., 2003 Café Prückel Wien, cabaret Karl Ferdinand Kratzl about christmas…, harpsichord music by J. M. Hauer, J. S. Bach a.o., 2003 Arkadelphia, Henderson State University; Viennese Harpsichord Festival, music by J. Haydn and J. J. Fux, 2003 Jeunesse, Festival „Colorscape“; masterly music of the 17th century, Daniel Sepec, baroque violin, Susanne Pumhösl, harpsichord, 2002 discography Inventionen Bach/Newton, kleine Präludien, Inventionen und Sinfonien von Johann Sebastian Bach und das Modell einer analytischen Farbe-Ton-Beziehung von Isaac Newton, LC 9288 Klangrede DVD 1, 2004 Vedo il ciel, Händel Arias & Overtures, capella leopldina, LC 107 Universal Music Austria CD 476 300 0, 2004 Inventionen, J.S. Bach: kleine Präludien, 2- und 3-stimmige Inventionen, LC 9288 Klangrede, CD 2 2003/04 Johann Joseph Fux, Musik für Cembalo, LC 9288 Klangrede CD 1, 2002 Vertrieb: Preiser Records Music of films by Ashot Shiroian: - „Once upon a time in Pannonia“, 2003, „Painting Stockholm“ 2001, music by J. S. Bach and J. J. Fux ORF, Edition Alte Musik, "Internationale Barocktage Stift Melk" 97/98; 2 CD Live Mitschnitte, Werke von Antoine Forqueray; LC 5130 ORF CD 213, 1999 ORF, "Les Plaisirs Mélancholiques", Private Musicke - Pierre Pitzl, Marcy Jean Bölli - Viola da Gamba, Susanne Pumhösl - Cembalo, Luciano Contini- Arciliuto. Werke von Marin Marais, Arcangelo Corelli und Antoine Forqueray, LC 5130 CD 237, 1999 rewiews It´s no wonder J. S. Bach so admired Fux. .....This was sensational playing. With brilliance and zest, Pumhösl brought out Fux´s magisterial command of a keyboard style that is at once French (in its elegantly embellished dance movements) and Italian (in its learned contrapuntal structures). Even on a first hearing, the Ciaccona immediately proclaimed itself one of the great examples of this much-favored Baroque form, an impression that repeated auditions of the recording confirmed. The Partie is worthy of the finest of Baroque composers of French keyboard suites. The CD adds some remarkable fugues, and a G Minor Capriccio with much of the concinnity and imagination of a Couperin. It´s no wonder J.S. Bach so admired Fux....... Jonathan Saville, San Diego Reader ....Das liegt vor allem an dem silbrigen, stets entrückt und verklärt wirkenden Klang des Cembalos, aber auch an dem Programm, das die Wiener Cembalistin Susanne Pumhösl aus dem umfangreichen Werk von Johann Joseph Fux zusammenstellte: 27 Courantes, Sarabanden, Menuette und Fugen, die den einstigen Organisten der Wiener Schottenkirche und späteren Kapellmeister von Karl VI. zwar auch als Meister der Virtuosität zeigen, der aber an die Stelle der schillernden französischen Oberflächenpolitur stets die gute, deutsche Ernsthaftigkeit rückte..eine wundervoll entrückte und verklärte CD..(a wonderfully radiant and entrancing CD) Carsten Fastner, Falter [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => kleines-praludium-f-dur-bwv-928 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:10 [post_modified_gmt] => 2014-09-25 10:36:10 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3062 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 771 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 3095 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. n. Arch. 190.13 [post_title] => Materialism [post_excerpt] => PlasticViolence Formati da Paolillo Fabrizio e Materazzi Francesca nel 1996, con l’idea di realizzare un progetto musicale con sonorità sperimentali e di chiara impostazione ed argomentazione politica di denuncia. Iniziato come progetto aperto all’ngresso eventuale di altri componenti, il duo si stabilizza definitivamente tale, data la forte affinità e la carenza di musicisti che aderissero ad un simile contesto. Con il primo CD “ufficiale” IMMATERIAL il sound è radicalmente cambiato passando a suoni minimalisti senza cantati, gelidi glitch e dai titoli dei brani che letti di seguito(inizia con “Ideal” e finisce con “Idol”) formano un percorso che mischia la contestazione della materia come forma di prodotto e quella nei confronti dell’arte istituzionalizzata. Per quanto riguarda le rare esibizioni live, i PV fanno da sottofondo con il loro contributo musicale a happening o sets multimediali claustrofobici, aiutati anche da altri collaboratori occasionali. Formed by Paolillo Fabrizio and Materazzi Francesca in 1996, with the idea to realize an experimental resonance musical project with a clear political argument of denunciation. Begun like open project for an eventual entrance of other components, the duet it is stabilized definitive such, given the strong affinity and the deficiency of musicians that adhered things like that context.With the first “official” CD IMMATERIAL the sound is radically changed to minimalist without sung, ice-cold glitches and the titles of the track that read to continue (begins with “Ideal” and ends with “Idol”) form a route that mixes the dispute of the matter like form of product and by comparisons with the istitutionalized art.As far as the rare exhibitions live-sets concerned, the PV does form a background with their musical contribution to happening or claustrophic multimedia sets, helped also by other occasional collaborators. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => materialism [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:13 [post_modified_gmt] => 2014-09-25 10:36:13 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3095 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 804 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 3127 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Conditioned [post_excerpt] => Kamran Sadeghi (Son of Rose) is a Multi instrumentalist musician, composer, and audio engineer based in Seattle Washington. Since 2000 he has been actively exploring the use of electronics and recording techniques in contemporary music, with an emphasis on computer synthesis as a live instrument. This approach gives the movements in Sadeghi's compositions a powerful, emotional, and graceful quality with a patient and gradual pacing. Over the past two years Sadeghi has performed his work at dozens of events including the Decibel Festival(Seattle) and Staalplaat Records (Berlin), and released three albums as Son of Rose including his self titled debut in 2005 and "Top Flight"(2006) on Dragon's Eye Recordings, both receiving critical acclaim. Sadeghi has been reviewed by The Wire, E/I Magazine, The Stranger, and Igloo Magazine. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => conditioned [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:15 [post_modified_gmt] => 2014-09-25 10:36:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3127 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 836 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 3159 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => CFR. nn. Arch. 184.12, 184.56, 185.9 [post_title] => Ship of hope ( a kind of shipping forecast for the soul) [post_excerpt] => John J. Campbell is an artist and musician whose work encompasses a number of disciplines including: site specific gallery installation, electronic soundworks and group performance. He has published work nationally and internationally under his own name and various group names including It’s Immaterial for over twenty-five years. He has produced gallery based installations such as: Baby 96 (1996) for the Live from the Vinyl Junkyard (1996-1997) group show at the Bluecoat Gallery Liverpool; and for Two Seconds Nine Months (1996) at the Bankside Gallery London. He has also contributed soundworks to the Audio Research Editions CDs: Hope (1998, ARE) as part of the ninth International Symposium on Electronic Art (ISEA98); Trace (1999, ARE) as part of the first Liverpool Biennial of Contemporary Art; and Zero (2000, ARE) as part of Video Positive 2000 festival. Liverpool-based Henry Priestman has sold three million albums with his band The Christians. Besides TV, film, games and advertising work he writes with stars like former Spice Girl Mel C and upcoming artists like Marli Buck (whose album is due out on Sony in 2005).Equally at home on the heady waters of the mainstream (The Christians, TV soundtracks, song-writing and producing) as the murky depths of more experimental forms (audio installation"Baby96", "Hope" CD, releases by MoR and The serpents) ultimately henry Priestman is a multi-tasker and proprietor of the Gossamer Dome. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ship-of-hope-a-kind-of-shipping-forecast-for-the-soul [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:18 [post_modified_gmt] => 2014-09-25 10:36:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3159 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 869 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 3191 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => CFR. nn. Arch. 184.44, 185.28 [post_title] => IN SPE [post_excerpt] => Petri Kuljuntausta is a composer, performer and sound artist. He is famous for music composed of sounds both natural and extraordinary. In close collaboration with natural scientists, he has composed an underwater installation from underwater materials and made music out of whale calls and the sounds of the northern lights. In many ways Kuljuntausta's art is based on good knowledge of tradition; environmental sounds, live-electronics, improvisation and collaborations with media artists has influenced him as a composer. His recent composition project Northern Lights LIVE, based on soundscapes of the northern lights and feedback sounds, was performed at the ISEA2004 festival, 12th Symposium on Electronic Arts. The work was a vivid collaboration between art and science, recycling original field recordings of the phenomena as well as processing aurora borealis sounds. A forty-five minute long continuous audio-visual dialogue between nature's own soundscapes and their digitally altered, urban noise-art substitutes were created on stage. Kuljuntausta has composed digital music for experimental films, visual art and dance projects, and made media and sound installations in museums, galleries and concert halls. His works has been performed in many European countries, Australia and the USA, and he has made recordings for various labels in Australia, England, Finland, France, Germany and the USA. Kuljuntausta has collaborated with the experimental film director Sami van Ingen, urban architecture group Ocean-North, composers Morton Subotnick and Atau Tanaka, sound artist Richard Lerman and musician/philosopher David Rothenberg. He is the author of an 800 page History of Finnish Electronic Music, On/Off, and in 2006 he published his second book, Äänen eXtreme ('eXtreme Sound', info), on his own approach to music. Recently he won an award, The Finnish State Prize for Art, from the Finnish government as a distinguished national artist for 2005. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => in-spe [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:20 [post_modified_gmt] => 2014-09-25 10:36:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3191 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 901 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 3223 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => CFR. n. Arch. 183.30 TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_title] => Traces [post_excerpt] => Dave Griffiths' filmworks and video installations dwell on physical or imaginary borders in media spaces and forms. His "close-up epics" touch on illusions of security and perfection that surround technologies, and attempt to commemorate their temporary structures. Dave uses video and sonic material, often arising from laborious search or unstable technical methods, to devise encounters between media apparatus and the inscription of accidental, surplus or abandoned codes. Dave exhibits in a variety of festival programmes, galleries, microcinemas and artist-run spaces. He graduated from the MA Media Art programme at Manchester Metropolitan University in 2004. Along with Nick Jordan , in 2003 he curated and published the Codec/x DVD of video & sonic collaborations from Manchester that toured internationally. In 2004 Dave helped to develop the Purescreen artist's video screenings & publications for Castlefield Gallery, Manchester. He teaches video practice in north-west England, and is currently attempting to produce filmworks using mobile media, interactive systems, and data visualisation. Dave Griffith has been making experimental compositions for several years, originally using two tape decks and progressing to affordable digital technology. He occasionally makes live performance and augments his sounds with "real" musicians as Beat Science. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => traces [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:45 [post_modified_gmt] => 2014-09-25 10:36:45 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3223 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 934 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 3255 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => If you look closer [post_excerpt] => Liverpool based musician, most notably in improv duo Bonehouse and Frakture Big Band. TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => if-you-look-closer [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:47 [post_modified_gmt] => 2014-09-25 10:36:47 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3255 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 966 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 3287 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Orlhain [post_excerpt] => Glunn Williams is at present reading music at University of Wales, Bangor and has just completed his second year as an undergraduate. His main area of interest is electroacoustic music. Born Liverpool 1956, living in Llanrug since 1991. TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => orlhain [to_ping] => [pinged] => [post_modified] => 2015-01-08 12:01:15 [post_modified_gmt] => 2015-01-08 11:01:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3287 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 998 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3319 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. nn. Arch. 183.42, 184.46 ZERO is a limited edition collection of one-minute soundworks by international sound artists, experimental composers, noise makers and other audio creators. Contributors were invited to create an original recording of one-minute duration for the CD on the theme of ZERO - whether through their stripped-down, low-tech aesthetic or a focus on themes of absence, abstraction, distortion or a sense of thereshold between one state and another. The CD contains a broad variety of one-minute soundworks and presents the results of artists working thematically in chance juxtaposition. By bringing together this calibre and range of contributions, ZETRO aims to stimulate further interest in the artist work and practice, debate and dialogue surrounding sound art. The artists on ZERO range from well known world figures, to individuals and groups making their first wirks in this field. ZERO was commisioned by the Foundation for Art & Creative Technology (FACT) and was published with the support from Liverpool Art School. [post_title] => Drop [post_excerpt] => Land of Nod are a UK band and their music gives a nod to bands like Neu!, Popol Vuh, Mogwai, and CAN. The band consists of Ant Walker on guitar and Dave Battersby on bass, who hail from Cheltenham in the UK and have had six full-length albums released to date, four of them on Cheltenham based indie Ochre Records. Currently, the band is signed to the wonderful Elephant Stone Records label. The music is eerie, lush soundscapes created by delayed guitar melodies over a psychedelic ambient backdrop. This is the perfect music to drift off to at night (reference one album title “Inducing The Sleep Sphere”); one that will create a dream induced state of being that will stay with you forever. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => drop [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:53 [post_modified_gmt] => 2014-09-25 10:36:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3319 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1031 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3351 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Mülldeponie [post_excerpt] => 2006 "Südkurve" - Interactive Sound-Installation for the exhibition "You'll never walk alone" (9.6.-9.7.) - O.K. Centrum für Gegenwartskunst, Linz t-u-b-e Plugged - Experimentelles Internetkonzert zur "Langen Nacht der Musik" T-U-B-E Munich feat. Oliver Augst (Frankfurt) , Nils Bultmann (Madison/USA), Wolfgang Dorninger (base records, Linz), Nick Fells (Glasgow), Klaus Schedl (München) und Axel-Frank Singer (z.Zt. Paris) "Nasca, über die Perspektive" - multi-media performance - 6th February 2006 - La Casa Encendida, Madrid "Nasca, über die Perspektive" - multi-media performance - 3rd-4th February 2006 - O.K. Centrum für Gegenwartskunst, Linz "Nasca, on perspektive" - DVD (base rec.) out June 2006 Acoustic presentation "now & Mozart" Albertina Wien, Curator: Herbert Lachmayr/Da Ponte (März) 2005 "Me and my mike!" Audio-Performance-Lecture Stop Spot 2005 (Symposium) - 18.11. 2005 O.K. Centrum für Gegenwartskunst, Linz Installation "Die Stimme - interaktive Pop-Algorithmen" Peter Weibel / Wolfgang Dorninger Kunstfest Weimar vom 22.8. - 11.9.2005 2004 "Phonorama" ZKM Karlsruhe - Acoustic presentation, Curator: Brigitte Felderer, Architect: Markus Pillhofer "Phonorama" ZKM Karlsruhe - Installation "Die Stimme - interaktive Pop-Algorithmen" Peter Weibel / Wolfgang Dorninger "Die Stimme" Ruhrtriennale Essen - Acoustic concept 2001 Uraufführung "Hisatsinom, über das Verschwinden" Festival "4020" Linz. Studienaufenthalt in Tucson, Arizona (12-2000 bis 3-2001) 2000 Musik für das Tanzstück "Sozialwerk" mit Marina Koraiman, Monika Huemer, Didi Bruckmayr, Michael Strohmann und Peter Thalhammer (Aufführungen im Posthof Linz und der Volksbühne Berlin, April 2000) "fadi @ vilnius.lt" for Dialog2 Articulation (Litauen/Oberösterreich) im OK-Centrum für Gegenwartskunst - CD base records 0046 - Katalog Edition OK, April 2000 Aufführung und Videoscreening im Contemporary Art Center Vilnius (Februar 2000) Teilnahme an der Ausstellung "Aus dem Umfeld - Zeichnungen+" Stadtwerkstatt 1979-1999 - Kunstuni Linz (Februar 2000) 1999 Auftragsarbeit Asten für Resocycling beim Festival der Regionen 1999 CD Asten (base records) Klangpark (Ars Electronica 1999) mit Michael Nyman, Scanner, Sam Auinger, Rupert Huber, Jomasound, Robert Worby und Gordan Paunovic. Gilt auch für die CD Klangpark (Ars Electrica) 1998 Laager - eine Auftragsarbeit für den europäischen Kulturmonat in Linz - Musik-Produktion von Peter Androsch, Sam Auinger, Dietmar Bruckmayr und Wolfgang Dorninger 1997 Sampling Realities mit Werner Jauk, Musik und Doris Jauk-Hinz, Videoinstallation - Forum Stadtpark Graz 11/97, Teilnehmer bei Symposium music<->media auf der Hochschule für Amerikanistik, Graz 1995 Ars Electronica 1995 - 3 Live-Auftritte mit Aural Screenshots (Wolfgang Dorninger und Josef Linschinger of Fuckhead) Teilnahme an Horizontal Radio des Ö1-Kunstradios mit Aural Screenshots Sounddesign für Achse des Ofens (Festival der Regionen - Androsch, Dörr und Kurovski) 1994 Musik für die CD und das Kunstradio für 11 23 Wien (Neville Brody, Glückstein, Senger) 1987 Ars Electronica 1987 Auftragsarbeit: Monochrome Bleu "Kopfstich - Musik und Video Pt.6" von Monochrome Bleu (Dorninger, Resch, Schatzl, Androsch und Kurt Hennrich (Videokünstler)) Morgen Hysterisch Theater Aufführung in der Fachhochschule für Architektur und Design in Düsseldorf - Rauminstallation und Theater mit Sabine Bitter, Helmut Weber, Leo Schatzl, Pepi Maier und Wolfgang Dorninger aka Josef K. Noyce) Intergallaktisches Lärmstrukturfestival - Ravensburg: Monochrome Bleu "Musik und Video Pt.5". 1986 Wohnen Von Sinnen - Düsseldorf: Projekt mit der Gruppe Wohnfreiheit zur Ausstellung im Düsseldorfer Kunstmuseum. Titel: "Badewannenkonzert" (mit Georg Ritter, Gotthard Wagner u.v.m) Unter jeder Kunst Beteiligung bei der illegalen Gemeinschaftsausstellung von Studenten der Mkl. für visuelle Gestaltung in Linz in den Katakomben der abgebrannten Ring-Brot-Werke Linz Klare Nacht Musikenironment für die Rauminstallation von Leo Schatzl in einer Linzer Bar. 1985 MUKU 1995 Multimediaperformance mit Monochrome Bleu (Dorninger, Resch und Schatzl) im Rahmen eines gemeinsamen Projektes der Gruppe Schöner Schein (Rainer Zendron, Leo Schatzl, etc.) auf dem Multimediafestival MUKU in Kassel, Deutschland. "Schnell und Hell" Musik zur Ausstellung und Performance von Leo Schatzl. 1984 "KLA4" Neue Galerie Linz, Performance mit Karl Heinz Klopf Ars Electronica 1994 Multimediaperformance mit der Gruppe Monochrome Bleu (Wolfgang Dorninger, Thomas Resch, Leo Schatzl, Dr. Geza Eisserer) mit dem Titel "Musik Sehen" mit Markus Binder und Pepi Maier. Visualisierte Musik - Auftritte in der Galerie Krintzinger, Zu den Sachen, etc. - 10 Auftritte 1983 "Schwarze Bilder" Konzert und Ausstellung in einem Abbruchhaus mit Sabine Bitter, Helmut Weber u.a. "Wechselstrom" Ausstellung, Beitrag mit Markus Binder (Attwenger), Pepi Maier (Gruppe Musik Sehen) in einer aufgelassenen Fabrik im Süden von Linz. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => mulldeponie [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:56 [post_modified_gmt] => 2014-09-25 10:36:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3351 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1063 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 3062 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Farbfelder: Johann Pumhösl Tontecnik, Schnitt: Hermann Platzer, qufgenommen in Mai 2004 in Wien Cembalo: Kopie nach Christian Zell 1728, erbau von Bruce Kennedy Layout: Florian Pumhösl Copyright: Susanne Pumhösl [post_title] => Kleines Präludium F-Dur, BWV 928 [post_excerpt] => Susanne Pumhösl Started her career as a soloist after winning the international Johann Heinrich Schmelzer competition for Baroque music at Melk Monastery. Since then she has appeared at many early music festivals throughout Europe and the United States, as well as in Taiwan. Ms. Pumhösl is the continuo player for the Ensemble Capella Leopoldina, Private Musicke, and the Capella Nova Graz. Particularly interested in the Viennese Baroque harpsichord literature, Ms. Pumhösl teaches early music at the private university Konservatorium Wien. She has performed live on radio, and has also made numerous recordings. Her most recent CD features previously unpublished works by the imperialcourt composer Johann Joseph Fux. Recitals (Selection) Kunsthalle Wien, project space; inventions / colorfields according to Isaac Newton - music by J. S. Bach, 2005 Austrian Cultural Forum New York, harpsichord music by J.J. Fux, J.M. Hauer and J. Haydn, 2005 Innsbrucker Festwochen für Alte Musik, harpsichord music by Gottlieb Muffat and Johann Joseph Fux, 2004 Wiener Musikverein, baroque opera „la Pastorelle“ von G. Ph. Telemann, oratories „Israel in Ägypten“ und „Jephta“, cappella leopoldina, 2003 und 2004 La Jolla, San Diego Harpsichord Society, Viennese harpsichord music by A. Poglietti, J. J. Froberger a.o., 2003 Café Prückel Wien, cabaret Karl Ferdinand Kratzl about christmas…, harpsichord music by J. M. Hauer, J. S. Bach a.o., 2003 Arkadelphia, Henderson State University; Viennese Harpsichord Festival, music by J. Haydn and J. J. Fux, 2003 Jeunesse, Festival „Colorscape“; masterly music of the 17th century, Daniel Sepec, baroque violin, Susanne Pumhösl, harpsichord, 2002 discography Inventionen Bach/Newton, kleine Präludien, Inventionen und Sinfonien von Johann Sebastian Bach und das Modell einer analytischen Farbe-Ton-Beziehung von Isaac Newton, LC 9288 Klangrede DVD 1, 2004 Vedo il ciel, Händel Arias & Overtures, capella leopldina, LC 107 Universal Music Austria CD 476 300 0, 2004 Inventionen, J.S. Bach: kleine Präludien, 2- und 3-stimmige Inventionen, LC 9288 Klangrede, CD 2 2003/04 Johann Joseph Fux, Musik für Cembalo, LC 9288 Klangrede CD 1, 2002 Vertrieb: Preiser Records Music of films by Ashot Shiroian: - „Once upon a time in Pannonia“, 2003, „Painting Stockholm“ 2001, music by J. S. Bach and J. J. Fux ORF, Edition Alte Musik, "Internationale Barocktage Stift Melk" 97/98; 2 CD Live Mitschnitte, Werke von Antoine Forqueray; LC 5130 ORF CD 213, 1999 ORF, "Les Plaisirs Mélancholiques", Private Musicke - Pierre Pitzl, Marcy Jean Bölli - Viola da Gamba, Susanne Pumhösl - Cembalo, Luciano Contini- Arciliuto. Werke von Marin Marais, Arcangelo Corelli und Antoine Forqueray, LC 5130 CD 237, 1999 rewiews It´s no wonder J. S. Bach so admired Fux. .....This was sensational playing. With brilliance and zest, Pumhösl brought out Fux´s magisterial command of a keyboard style that is at once French (in its elegantly embellished dance movements) and Italian (in its learned contrapuntal structures). Even on a first hearing, the Ciaccona immediately proclaimed itself one of the great examples of this much-favored Baroque form, an impression that repeated auditions of the recording confirmed. The Partie is worthy of the finest of Baroque composers of French keyboard suites. The CD adds some remarkable fugues, and a G Minor Capriccio with much of the concinnity and imagination of a Couperin. It´s no wonder J.S. Bach so admired Fux....... Jonathan Saville, San Diego Reader ....Das liegt vor allem an dem silbrigen, stets entrückt und verklärt wirkenden Klang des Cembalos, aber auch an dem Programm, das die Wiener Cembalistin Susanne Pumhösl aus dem umfangreichen Werk von Johann Joseph Fux zusammenstellte: 27 Courantes, Sarabanden, Menuette und Fugen, die den einstigen Organisten der Wiener Schottenkirche und späteren Kapellmeister von Karl VI. zwar auch als Meister der Virtuosität zeigen, der aber an die Stelle der schillernden französischen Oberflächenpolitur stets die gute, deutsche Ernsthaftigkeit rückte..eine wundervoll entrückte und verklärte CD..(a wonderfully radiant and entrancing CD) Carsten Fastner, Falter [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => kleines-praludium-f-dur-bwv-928 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:10 [post_modified_gmt] => 2014-09-25 10:36:10 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3062 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 771 [post_it] => 10 ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 1233 [max_num_pages] => 124 [max_num_comment_pages] => 0 [is_single] => [is_preview] => [is_page] => [is_archive] => 1 [is_date] => [is_year] => [is_month] => [is_day] => [is_time] => [is_author] => [is_category] => [is_tag] => [is_tax] => 1 [is_search] => [is_feed] => [is_comment_feed] => [is_trackback] => [is_home] => [is_404] => [is_embed] => [is_paged] => 1 [is_admin] => [is_attachment] => [is_singular] => [is_robots] => [is_posts_page] => [is_post_type_archive] => 1 [query_vars_hash:WP_Query:private] => 5f7a31cdf378e7360260018b86c58bb6 [query_vars_changed:WP_Query:private] => [thumbnails_cached] => [stopwords:WP_Query:private] => [compat_fields:WP_Query:private] => Array ( [0] => query_vars_hash [1] => query_vars_changed ) [compat_methods:WP_Query:private] => Array ( [0] => init_query_flags [1] => parse_tax_query ) )
Drop

The Land of Nod

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2000