Moment Hans Tutschku

Cover art: Hans Tutschku, Imaginäre Räume

extrémités lointaines: Prix Ars Electronica 1998 — Distinction

Il faut savoir gré au label canadien empreintes DIGITALes de proposer un catalogue de musiques électroacoustiques de qualité… Peace Warriors, France

… natural and free flowing, rich in emotion and intensity. Computer Music Journal, USA

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Moment

Hans Tutschku

Some recommended items

In the press

  • PYM, Peace Warriors, no. 18, January 1, 2002
    Il faut savoir gré au label canadien empreintes DIGITALes de proposer un catalogue de musiques électroacoustiques de qualité…
  • Patricia Lynn Dirks, Computer Music Journal, no. 25:4, December 1, 2001
    … natural and free flowing, rich in emotion and intensity.
  • Massimo Ricci, Touching Extremes, October 3, 2001
    … a stunning twilight of sound stratification…
  • EC, Audio Video, October 1, 2001
  • Juliette Appold, Positionen, no. 48, August 23, 2001
  • Massimo Ricci, Deep Listenings, no. 20, April 1, 2001
  • Rigobert Dittmann, Bad Alchemy, no. 37, January 25, 2001
  • Andy Hamilton, The Wire, no. 203, January 1, 2001
    Highly recommended!
  • Tom Wilms, L’entrepôt, December 15, 2000
  • Hang Up, no. 1, December 4, 2000
    … particulièrement évocatrices, palpables…
  • JWB, Gonzo Circus, no. 47, December 1, 2000
  • Klaus Hurner, Westzeit, December 1, 2000
  • Dietmar Bruckmayr, Skug, no. 44, December 1, 2000
    Drei beeindruckende Beispiele moderner Musik…
  • Zipo, Aufabwegen, no. 30, December 1, 2000
  • Geert De Decker, Sztuka Fabryka, November 1, 2000
    … the sounds brings a theatrical atmosphere.
  • Tom Schulte, Outsight, October 1, 2000
    … you will find a wholly new aural universe…
  • TB, Black, no. 21, October 1, 2000
  • Etero Genio, Blow Up, no. 29, October 1, 2000
  • Sascha Karminski, Intro, no. 77, September 1, 2000
  • Stéphane Fivaz, Heimdallr, September 1, 2000
    Une œuvre intelligente et recommandée…
  • Richard di Santo, Incursion Music Review, no. 005, June 28, 2000
    … the sound-sculpturing and production work here are of superb; the sounds breathe a life and dimension of their own, and seem to crawl out of the speakers and into the space around you. Highly recommended.
  • Tom Schulte, The Survivor Newsletter, no. 12:4, April 1, 2000
  • François Couture, AllMusic, January 1, 2000
    … a very strong debut.

Critique

PYM, Peace Warriors, no. 18, January 1, 2002

Il faut savoir gré au label canadien empreintes DIGITALes de proposer un catalogue de musiques électroacoustiques de qualité, quoique certains choix esthétiques soient — comme nous allons le voir — assez discutables. C’est que nous avons affaire à une musique fondamentalement académique — cela dit sans intention péjorative —, domaine dans lequel il n’est pas toujours évident de faire la part d’authenticité et la part de frime. Le disque de Louis Dufort illustre parfaitement le mélange d’agacement et de fascination que provoque sur moi cette musique: fascination pour ce déluge de sonorités, très belles et surgies de nulle part, agacement à l’égard de cet arrière-plan conceptuel un peu douteux: «discontinuité continue», «foisonnement formel de la forme», etc. Bien entendu, ce ne sont que des mots (écrits dans le livret), mais nul doute qu’ils sont à la fois responsables et révélateurs de la frigidité qui se dégage à l’écoute du disque, la pièce Zénith exceptée. Une frigidité moins évidente au premier abord chez Hans Tutschku. Extrémités lointaines (1998), la composition qui ouvre le disque, trahit une brillante maîtrise du matériau acoustique: des ambiances prélevées dans quatre pays d’Extrême-Orient (Singapour, Indonésie, Philippines, Thaïlande) sont intégrées avec brio dans une «structure compositionnelle très condensée» (T.) qui fonctionne comme une invitation au voyage. Il est néanmoins dommage que cette invitation ne soit effective qu’à compter des dernières minutes de la pièce, remarquables, au cours desquelles chaque élément acousmatique trouve l’indépendance et la place qui lui revient, là où au contraire la maturité de la pièce tendait à fondre les sonorités dans une espèce de bourrasque sonore. Tout aussi inspirée, la pièce Les invisibles (1996) part d’une idée trés intéressante: la reconstruction électronique de miniatures instrumentales préalablement composées. Double écriture qui enrichit considérablement le discours, pour le plus grand plaisir de l’auditeur. Le problème se pose lorsque voix et texte viennent mettre leur grain de sel dans tout cela: il s’agit pour Tutschku de «reproduire musicalement des sensations qui se dégagent à la lecture d’un texte sans faire une illustration de ce dernier» (T.), c’est-à-dire, implicitement, faire abstraction du sémantisme au bénéfice de la «matérialité» du langage verbal, «la compréhension du texte devenant secondaire» (T.) Que la voix ne soit plus qu’un matériau acousmatique comme un autre, je n’ai rien contre; il est vrai que notre élocution verbale recèle une musicalité inouïe. Mais la question est bien, sinon celle de la signification sémantique, celle du sens. Dans Sieben Stufen (1995, poème de Georg Trakl), c’est malheureusement la structure, et la structure seule qui est le dépositaire de ce sens, et il faut avouer que cela ne réussit pas franchement au résultat. Car, au bout du compte, entendre une voix humaine décomposée, déconstruite, déstructurée (tous les verbes avec le préfixe «dé-» que vous pounrez imaginer) à l’excés, tout cela au service d’un discours certainement bien argumenté, ne rend justice ni au texte, ni à la musique. Alors, à quoi bon tant de peine? finit par se demander l’auditeur. Là où le travail de Tutschku cherchait à fondre les sources dans une espèce de grand maelström sonique, celui de Marc Tremblay choisit au contraire de révéler les sonorités dans leur caractère brut, dans une perspective de collage, de «bruit-graffiti». Néanmoins, la démarche systématiquement adoptée par le compositeur a de quoi agacer: il s’agit de prélever dans le réel un objet ou une situation, si possible qui fait du bruit; exemple: la voiture (Vroum,1997), les toilettes (Résidus (clip dadaïste), 1995), le téléphone (… Ceci est un message enregistré… ,1994), les pièces de monnaie (L’argent. Toujours l’argent!, 1990), et de juxtaposer sans grande grâce toutes les sonorités qui peuvent en émaner… C’est volontairement anecdotique, nous dit le compositeur à propos de Vroum. Autrement dit: rassurez-vous, si vous n’aimez pas, c’est fait exprès! Grand signe de réussite (à tous les coups on gagne)! Bien plus convaincants sont les «multiples soundings» de Randall Smith, inspirés pour la plupart par la géologie, les mouvements tectoniques de la terre. Dès le début de Inside out, la tonalité est donnée: l’auditeur est propulsé dans une gigantesque course effrénée qui, plus tard, s’avère toujours revenir au même point de départ (l’effet Dupond/t dans le désert, en quelque sorte), toujours se résoudre dans un ultime accord majeur ironique. Au sein de ce déluge de vitesse, acoustique et électronique, mélodie et atonalité, rythme et arythmie ne cessent de se télescoper. Si chez Tutschku, cette synthèse tendait un peu trop vers la «bouillie» électroacoustique, les soundscapes de Smith conservent au contraire tout leur relief. Du dialogue entre violoncelle et électronique, parsemé de réminiscences de Bach (Continental rift) jusqu’aux mille grouillements organiques de Liquid Fragments, et à l’effrayant remue-ménage de Elastic Rebound, tout l’art de Smith a la précision d’un biologiste sur sa table de travail, le tranchant d’un scalpel de dissection, mais également — et heureusement — l’inspiration d’un véritable artiste.

Il faut savoir gré au label canadien empreintes DIGITALes de proposer un catalogue de musiques électroacoustiques de qualité…

Review

Patricia Lynn Dirks, Computer Music Journal, no. 25:4, December 1, 2001

Hans Tutschku is a German composer born in Weimar in 1966. He has been involved in electronic music and the creation thereof from an early age. At 16, he joined the Ensemble für Intuitive Musik Weimar and later accompanied Karlheinz Stockhausen for three years to study sound diffusion. Moment is a collection of electroacoustic compositions by Mr. Tutschku. This compact disc features the subtle blending of vocal, instrumental, and environmental sounds to create rich sonic textures. Although all of the works on Moment were created to some extent through computer programming, manipulation of recorded material, and digital signal processing, it is Mr. Tutschku’s precise craftsmanship in compositional techniques that allows the listener to hear only the voice of the music he has created and not the technology. It is both his ease of knowledge and skill that allows his passion and personality to be present in his compositions. His accomplishments have been acknowledged worldwide with numerous awards and honors for his works. Since 1997, Mr. Tutschku has held a teaching position at IRCAM (Institut de Recherche et Coordination Acoustique/Musique). In the composition extrémités lointaines (1998), the composer takes the listener on a sonic journey through Asia, Singapore, Indonesia, the Philippines, and Thailand. Recordings of various cities, churches, temples, and children singing can be heard in this soundscape. In the creation of this composition, Mr. Tutschku used real-time granular synthesis to divide and reorganize the sounds to create new sonic relationships among the sources. Throughout extrémités lointaines the composer is vigilant in maintaining connections to the specific cultures from which the sound sources originated. It is this passion and dense compositional structure that creates the intensity of this fascinating work. extrémités lointaines was originally composed for eight channel dispersion and was commissioned by the French Ministry of Culture in collaboration with Ina-GRM (Institut National de l’Audiovisuel — Groupe de Recherches Musicales) in Paris. This work was a finalist in the 1998 Bourges International Electroacoustic Music Competition in France and was given the award of Distinction at the 1998 Prix Ars Electronica competition in Austria. Most of the compositions on Moment feature the human voice in one form or another. Mr. Tutschku’s … erinnerung… (1996) is no exception, as unique gestures of the human voice are used to create richly colorful and sometimes quite dense textures. The piece is based on the poem … erinnerung… by Antonio Bueno Tubia. This collection of words provides the starting point for the transformation of the human voice later interspersed with bells and tamtams. The intensity created by the juxtaposition of these sound worlds is then interrupted by the clearly spoken text: “Yo/ os lo aseguro, / la cárcel existe, / la recuerdo como untrallazo en la sien” (”I/ assure you/ the prison is there/ I recall it like a lash to the face”). In this recording the poet is also the male voice featured reading the text of the poem. … erinnerung… is a highly dramatic composition full of truly evocative sounds which are well suited to the intentions of the poem. Les invisibles (1996) is a composition for tape without live performers derived from an earlier work, Freibrief für einen Traum (1995) for soprano, flute, cello, percussion, and computer-generated sound files. The work featured on Moment uses 25 short melodies and five longer sequences for instruments, as well as a four-voice counterpoint for soprano. The text for the soprano comes from the poem “Es wird später” (“It’s getting later”) by Austrian poet Karl Lubomirski. The musicians who made the recordings for Les invisibles include Donatienne Michel-Dansac, soprano; Catherine Bowie, flute; Antoine Larette, cello; and Jean Geoffroy, percussion. All the recorded sound material was later reorganized and given different spatial placements within the new composition. The sound world and melodies created are very well suited to the text of the poem throughout the work. Les invisibles focuses on the understandability of words as a part of the compositional process. The poem’s description of travel and its allusions to time are very clearly illustrated in the design of the melodic lines and long sustaining tones created from the elongation of the original instrumental material. Sieben Stufen (“Seven Steps”) (1995) is based on the poem Verfall (decline, decay) by the Austrian poet Georg Trakl (1887–1914). Mr. Tutschku uses the text of the poem primarily as a sound source and is not necessarily trying to “set” the text or illustrate the intentions of the poem itself. This is obvious in the treatment of the words which is, at times, very disjointed, and thus the resemblance to the spoken text is null. At the same time, the sounds that the words create through various processes is very musical, often with long, sustained, subtle, changing timbres which are pleasing to the ear. The piece is divided into several sections, emphasizing various processing techniques. These range from glissandi through movement, clear spoken text, male and female voices, harmonic and melodic elements of the voice, granular synthesis where a single vocal sound is elongated over time in minute splices played together, to superimposed text creating varying delays and echoes. The poem is presented in two languages, German and French, and is spoken by a total of four voices, two male and two female. Mr. Tutschku selected four main words in each language to corresponded to seven different pitches for a total of fourteen pitches for the entire composition. This piece uses the difference in languages to act as a counterpoint throughout the composition. This work received Second Prize in the CIMESP International Electroacoustic Music Competition of Saö Paulo in Brazil in 1995. It is a powerful composition which alters the listener’s perception of strict time through the haunting ebb and flow of the voices. Die zerschlagene Stimme (1991) features sound material derived from only the human voice and percussion sounds. In this composition, Mr. Tutschku imposes vocal articulations on the sounds of the percussion material while those of the voice are transformed into percussive ones. This is similar to Jonathan Harvey’s Mortuos Plango, Vivos Voco (1980), where the envelopes of two sound sources, a boy’s voice and a bell, are switched. Thus, in Die zerschlagene Stimme, the percussion imitates the vocal envelope of a gradual attack, no immediate decay, long sustain, and gradual release, while the voice at times has a percussive envelope, with a short attack and sudden decay followed by a relatively short sustain and decay. The basis of the composition is the exploration and play of the various stages of transformation for both sound sources. The juxtaposition, integration, and relationship between the new and original materials produce an enticing listening experience. The transformation of the human voice into a percussive element surfaces strong emotions such as fear, anger, and distress, feelings commonly associatedwith quick abrupt vocal sounds. On the other hand, the lengthening of the percussion sounds creates a dreamlike setting which is at times quite calming. When transformations occur at the same time there is a great range of intensity as familiar sounds of human emotion meet the aural sound play of the unfamiliar. While Die zerschlagene Stimme was originally written for four-channel diffusion, the sense of sound transformation through movement in a compositional space is still present in this two-channel version. Ideally, this work should be listened to in a concert hall setting to experience the full changing and processing of the sounds as they travel throughout the space. Overall, the compositions featured on Moment are well crafted in the expression of common sounds and poetry transformed into elegant tapestries of music. Mr. Tutschku’s use of the voice for presenting discernable words, text in a harmonic sound source, or the combination and juxtaposition of materials creates rich compositions. It is these various techniques that expose the music within the words themselves. The compositions featured on Moment form a well-rounded collection that include city soundscapes, bells, and percussion, to more melodic works such as Les invisibles, featuring acoustic instruments played and recorded. Mr. Tutschku created his compositions through the use of computer programs, his own programming, and various other electroacoustic techniques. It is his vast talent in this area that enables his music to sound natural and free flowing, rich in emotion and intensity. Unlike some early “computer” music, which sounds very programmed, heavily structured, and devoid of any human element, Mr. Tutschku has elegantly bridged the gap between the music and the medium to produce stunning compositions of exceptional caliber.

… natural and free flowing, rich in emotion and intensity.

Review

Massimo Ricci, Touching Extremes, October 3, 2001

This young German composer served an ace with his creation, far away from the usual empreintes DIGITALes ambiences which you’re used to bath in. And so, no concrete or ‘classic’ acousmatics; instead, a stunning twilight of sound stratification, just like linear clouds in a half-sun, half-rain day. A deep digging composition, you’ll need concentration at ‘10’ to fully appreciate its mastery; rest assured you’ll be richly rewarded. empreintes DIGITALes keeps being high in the bill of consistency, as far as avant-garde labels are concerned.

… a stunning twilight of sound stratification…

Recensione

Massimo Ricci, Deep Listenings, no. 20, April 1, 2001

Il migliore dei tre è Hans Tutschku, giovanissimo (1966) collaboratore di Karlheinz Stockhausen ed insegnante all’IRCAM, autore di uno tra i migliori collages che abbia ultimamente ascoltato; un disco pieno zeppo di momenti da brivido, cangiante, etereo, ricco di nebbie ed aurore boreali e di momenti assolutamente non descrivibili. Moment è senz’altro il mio preferito tra questi tre albums e quello che senz’altro consiglio al lettore di DL quale più vicino allo spirito dello “speleologo” sonoro.

Kritik

Rigobert Dittmann, Bad Alchemy, no. 37, January 25, 2001

Der 34jàhrige aus Weimar stammende Komponist Hans Tutschku hat, glaubt man clen Angaben im Booklet, bereits alles erreicht, was man sich als Elektroakustiker in der Welt der akademischen Neuen Musik nur erträumen kann: Studium der Klangregie bei Karlheinz Stockhausen, mehrfache Studienaufenthalte am Pariser IRCAM (dem Elysium elekfraakustischen Machbarkeitswahns), Workshops bei Klaus Huber und Brian Ferneyhough, Gestalter zahlreicher multimedialer Projekte in der Heimatstadt Weimar (auch Bildprojektion und Choreographie), Studienreisen nach Südostasien (selbstverstandlich finanziert vom (Goethe-lnstitut), Gründung des Festivals “Klang Projekte Weimar”, schlussendlich Dozentur am IRCAM. unterbrochen nur von gelegentlichen Workshops, die der Meister in Budapest, Sao Paulo und Singapur abzuhahen pflegt. — Es ist schon bemerkenswert, mit welcher Breite und Seibstverständlichkeit akademisch ausgebildete Künstler immer wieder jede Gelegenheit nutzen, uns selbst marginalste Begebenheiten ihrer stets bedeutenden, stets weitwehen, stets preisgekrönten, stets erdrückend erfolgreichen Laufbahn unter die Nase zu reiben. Genauso bemerkenswert finde ich allerdings, mit welcher Hartnäckigkeit auf der anderen Seite self made artists aus dem sogenannten Underground sich bis zur Unkenntlichkeit anonymisieren, unsichtbar machen, verstecken oder gar mit bewusst falschen Angaben auf CD-Hüllen aufwarten. Akademiker und Undergraundler haben offenber ein grundsätzlich anderes Selbst-, sprich gesellschaftsliches Rollenverständnis. Der Akademiker sieht sich als legitimen Sprößling der bürgerlichen Gesellschaftsmitte, deren Leistungsnormen (Hochschulstudium, Komposrtionswettbewerbe) er sich willig unterwirft. Als Gegenleislung erhält er dann Stipendien, Fordergelder, Reisespesen, Composer-in-Residence-Aufenthalte etc. Der Undergroundler ist dagegen Teil einer nur diffus abzugrenzenden, meist urban situierten Szene, deren antiburgerliches Credo “Dissidenz”, also inhattlich nicht zu präzisierendes (meinetwegen “situationistisches”) Abweichlertum, lautet, und die fur sich in Anspruch nimmt, dem “wahren Geist der Zeit” zu einzig adäquatem künstierischem Ausdruck zu verhelfen. Hybris? — Die auf Moment (empreintes DIGITALes IMED 9947) präsentierten Kompositionen Tutschku lassen sich in drei Gruppen einteilen: extrémités lointaines verarbeite-t field recordings o. a. Südostasien-Reise, … erinnerung…, Les invisibles und Sieben Stufen inspirieren sich an Iyrischen Texten von Tubia (?), Lubomirski (??) und Trakl (!), Die zerschlagene Stimme schließlich verarbeitet Klangmaterial der menschlichen Slimme und des Schlagzeugs mittels selbstgeschriebener Transtormationsprogramme. Tutschku schafft es meiner Meinung nach nicht immer, seine unbezweielbare Virtuosität im Umgang mit dem Tonstudio in anrührende Akusmatik, sprich: Kunst, zu verwandeln. Ständig wird der Horer Zeuge von Verwandlungen des Materials, alle Filter werden ausprobiert, alle Knöpfe gedreht, alle Register gezogen, doch das Ergebnis erregt bestenfalls ~ Respekt und Erstaunen. Tutschku liebt atie Plötzlichkeit rascher Umschwünge, den verblüffenden Einfall, die glänzende Idee. In seinen Werkkommentaren verwendet er Formulierungen wie “sehr dichte komposnorische Struktur”, “sehr dichte Klangschichten” oder auch “Stauchung”. Dem Hörer wird akusmatischer Sand in die Ohren gestreut, er soll uberwaltigt werden von Tutschku’scher Brillanz, als solle ihm das Hören vergehen. Doch erzeugt die blitzartige Abfolge für sich interessanter Einzelereignisse noch keinen musikalischen Zusammenhalt: trotz unterschiedlichslen Quellmaterials ähneln sich in meinen Ohren Tutschku Stücke allesamt ein wenig.

Soundcheck Review

Andy Hamilton, The Wire, no. 203, January 1, 2001

In contrast to Mark Polscher’s disc of pure electronic music reviewed above, the German composer Hans Tutschku gravitates closer to the concrete tradition, despite his associations both with Karlheinz Stockhausen and IRCAM extrémités lointaines (1996) uses recordings of city sounds from South East Asia The more concentrated, unified … erinnerung… (“Memento”, also 96) reflects a recent concern with speech as the basis for acousmatic transformations, and uses granular synthesis to break sounds into their constituent elements and reassemble or stretch them. Highly recommended.

Highly recommended!

Review

Tom Wilms, L’entrepôt, December 15, 2000

Wasn’t empreintes DIGITALes that electroacoustic label? It isn’t than also surprising to read that Hans Tutschku studied electroacoustic composition in Dresden (where he toured alongside Karlheinz Stockhausen) and on the royal conservatory in The Hague. No he is already professor electroacoustics on the Liszt Conservatory in Weimar.

The context and the experience linked with the recording are important for the definitive form for the composition. Hans Tutschku: “In extrémités lointaines I use a wide variety of sounds resulting from travels through four countries, these countries, these connections remain very strong. The piece is structured in 15 sections describing different locations. The intensity of the impressions I experienced during the trip has resulted in a dense compositional structure.”

Hans Tutschku likes to use ‘speech’ in his composition as an instrument. So he says “Les invisibles is a composition based on vocal and instrumental sounds which create a soundscape corresponding to the text” or for Sieben Stufen: “All sounds are derived from electronic manipulation of two recordings of the poem spoken by four different voices (two in German and two in French).” The text is sometimes totally destroyed only the manipulation of the sound (of the voice) stays right up.

Especially the piece extrémités lointaines gets my attention. Maybe just because of the less prominent role of the voice. Also the second piece … erinnerung… is one that I like much. Here we get a very dense even aggressive sound wherein the voice is used very expressive. The tree other songs are maybe a little bit to academic for me. Although it stays a very interesting and extreme sonic experience for my untrained ears.

Critique

Hang Up, no. 1, December 4, 2000

Jeune compositeur allemand de musique électroacoustique, voici quelques unes de ces pièces composées récemment, particulièrement évocatrices, palpables.

… particulièrement évocatrices, palpables…

Kritiek

JWB, Gonzo Circus, no. 47, December 1, 2000

Het Canadese label empreintes DIGITALes, onderdeel van de DIFFUSION i MéDIA groep, staat al jaren synoniem voor toonaangevende muziek op musique concrète en elektroakoestische gebied. Toch zijn er de afgelopen 10 jaar pas 50 cd’s verschenen, waartij de muziek van Gilles Gobeil, Francis Dhomont en Robert Normandeau werkelijk schitterend is. Al de muziek op het label kenmerkt aîch door onverwachte eleltronische hakeringen en bevreeméende eflecten. muziekacademies doorlopen en ook elektroakoestische muziek behoorde tot zijn vakkenpakket. Zijn cd Moment, nummer 47 op het label, bevat 5 lange composities. De spockachtige nummers worden gecreëerd met verschillende bouwstenen, zoals Aziatische stadsgeluiden, kerkmuziek, poëzie, Rarden van diverse instrumenten, computergeluiden en heuze sopraanzang. Tutschku laat er ingewikkelde rekenformules, akoestische transformaties, elektronische manipulaties en polyfonische effecten op los, wat een unheimliche gevoel geeh. Soms zijn de stemmen en instrumenten hoorLaar, maar dikwijls zijn ze omgetoverd tot een fijne mist vol diffuse en nieuwe klanken. Zijn architectonische hoogstandjes, gemaaLt vanuit een vrije klassieke visie, laten zich makkelijk beluisteren en roepen vooral associaties op met Gobeil en Dhomont. Caleidoscopische, filmische schoonheid!

Kritik

Klaus Hurner, Westzeit, December 1, 2000

Moment mal, da muss einer aus Weimar nach Montréal, um da Iyrische Inspirationen von Georg Trakl und Karl Lubomirski musikalisch zu verarbeiten? Hans Tutschku ist ein Weltreisender, was seinen Aufnahmeort erklärt. Fur Extrémités lointaines nahm er z.B. Klange aus asiatischen Großstadten auf dazu Kirchen, Tempel und Straßenmusik sowie Kindergesang auf Die Verarbertung dieser realen Elemente geschieht in einer Radikalitat, die vom Ursprung nichts übrig lasst Ahnlich ergeht es den anderen Stocken, deren Vokalität der elektronischen Bearbeitung geopfert wurde Klang und seine Vielfalt — darauf legt Hans Tutschku sein Hauptaugenmerk Text und Musik schliessen, im Sinne der Bearbeitung, einander aus und stehen dadurch auf der gleichen Stufe Das macht Moment so interessant und abwechs lungsreich.

Kritik

Dietmar Bruckmayr, Skug, no. 44, December 1, 2000

Jetzt wird es akademisch ernst, aber schön! Drei Veroffentlichungen des Montréaler Labels empreintes DIGITALes: Randall Smith Sondes, Marc Tremblay Bruit-graffiti. Hans Tutschku Moment. Drei beeindruckende Beispiele moderner Musik unter Verwendung elektranischen Instrumentariums Lassen auch die Biographien der drei Herren hinsichtlich aLademischer bzw E-musikalischer Sazialisierung schlimmsten Post -IRCAM Unfug befurchten, so wird mon sofort erfreulichst belehrt Hier wird zwar auch mit GRM-Tools, Elektroakustik und Musik konkret herumgefuchtelt, doch vereinigen sich technologisches und kompositorisches Können mit großem Spiel und Experimentiertrieb, sodoss Kompositionen entstehen, die Touch, Wire und Co etwos louwarm erscheinen lassen. Wer vertreibt das in Osterreich? Ansansten www.electrocd com und kaufen!!! empreintes DIGITALes les macht glücklich!!! Der Rezensent verabschiedet sich Richtung Steyr zum Boxturnier um den Steyrer Ponther. Das sind bleibende Werte!

Drei beeindruckende Beispiele moderner Musik…

Kritik

Zipo, Aufabwegen, no. 30, December 1, 2000

Auch beim jungen deutschen Komponisten Hans Tutschku geht es um Sprache, aber weniger als Klangquelle denn als konzeptioneller Leitfaden. Er versucht eine strukturelle Ähnlichkeit zwischen Musik und Sprache in seinen Arrangements herzustellen und bestärkt sich selbst in der Annahme der kulturellen Kontinguität seiner klanglichen Äußerungen. Andere Parts sind Francis Dhomont gewidmet. Eine Trakl-Vertonung finden wir ebenfalls. Sehr komplexe elektroakustische Klänge, die zwar auch ohne immenses musikwissenschaftliches Wissen genossen werden können, vielleicht sich aber nur zum Teil erschließen.

Review

Geert De Decker, Sztuka Fabryka, November 1, 2000

All 5 tracks on this CD are electroacoustic compositions wherein he work with several recorded sounds. [Hans Tutschku] experiments with these sounds, just plays them and makes compositions or re-aranges the sounds in several ways so that completely new sounds are created. On each track he handles the sounds completely differently and focuses himself on a specific source of sounds.

In the first track for example he uses sounds he recorded in Asia. This track last about 16 minutes and is a composition that has the almost mystical touch of Asia, soft strange sounds. In a second track he uses voices and transformations of voices, somewhere else there are again vocal and instrumental sounds. The use of vocals or the voice as instrument is present in the majority of the compositions. Also instrumental sounds such as bells, strings, sounds that sounds as creeping doors, and certain daily background sounds are present in his works, or sounds that sounds as such sounds. So difficult it is to describe his work. The compositions can be compered as opera because there is a certain theatrical atmosphere in the music. It not tells a story, the sounds just brings a theatrical atmosphere.

… the sounds brings a theatrical atmosphere.

Review

Tom Schulte, Outsight, October 1, 2000

Probably the most fertile grounds for contemporary electroaoustic (experimental sound collage) composition is in eastern Ontario. From there you will find a wholly new aural universe in [empreintes DIGITALes]. Recent releases on the label include Moment by Hans Tutschku and Corazón Road by Kristoff K.Roll. One of Tutschku’s pieces is a travelogue of Southeast Asia through sonic collage of field recordings. Another piece is the transformed words of a poem. In a setting of haunting, industrial sounds like distant machines the effect is quite mysterious. Corazón Road is another peculiar travelogue. This is a road diary of Kristoff K.Roll’s journeys through Central America. Snatches of conversation and the mystique of lonely roads marks this album.

… you will find a wholly new aural universe…

Altrisuoni in breve

Etero Genio, Blow Up, no. 29, October 1, 2000

Affascinante lavoro da parte di questo trentequattrenne tedesco di Weimar: rielaborazioni via computer di suoni concreti, strumenti vari e voci, Il disegno di Tutschku è comunque anomalo in quanto inizia sovente dal magma manipolato per mettere a fuoco le fonti originarie solo in ultima battuta. Un’opera di scomposizione, rimontaggio e dilatazione del suono calata nelle tenebre — Sieben Stufen utilizza un testo di Georg Trakl, lo stesso poeta maledetto che gli Étant donnés e Michael Gira rivisitarono in Offenbanung Und Unterqang — anche quando, in Extrémités lointaines vengono usate registrazioni prese in città, chiese e templi del Sud Est Asiatico, Oppure quando il poeta spagnolo Antonio Bueno Tubia recita di persona, in … erinnerung…, il proprio testo Yo os io aseguro…’. Nel passato di Tutschku, motivo di garanzia, anche un tirocio per studiare la diffusione del suono effettuato presso Stockhausen. (6/7)

Tonträger: Hörtest

Sascha Karminski, Intro, no. 77, September 1, 2000

Tutschkus elektroakustische Kompositionen beweisen, wie willkürlich die Grenzziehungen zwischen akademischer Neuer Musik und den Soundscapes des Post-Industrial-Undergrounds zumindest vom klanglichen ergebnis oft sind.

So drängen sich hier beim Hören Assoziationen von Nurse With Wound bis hin zu Ligetis grandiosem Lux Æterna auf, oder auch Stockhausens Gesang der Jünglinge. Passenderweise wurde letzterer bei einem gemeinsamen Auftritt in Barcelona zum Ehrenmitglied von Coil. Manipulierte Stimmen mit quasi-religiösem Hintergrund, extreme Dynamiken und abrupte Brüche bilden den Mittelpunkt von Tutschkus Klanguniversum, das sich immer dann, wenn es eine wenig vertraut erscheint, zu etwas völlig Fremden verändert und immer wieder neue, noch dunklere Facetten offenbart.

Critique

Stéphane Fivaz, Heimdallr, September 1, 2000

Hans Tutschku a commencé a étudié le piano très tôt déjà, pour ensuite étudier les compositions électroacoustiques à Dresden et à La Haye. Il a donné plusieurs concerts avec son ensemble Intuitive Musik Weimar et a enseigné dans diverses universités, comme Sao Paulo, Singapore ou Budapest. Il enseigne actuellement à l’IRCAM. Ses travaux s’apparente à une réelle approche et étude des sons acoustiques les plus divers. Un travail intransigeant et intelligent, où chaque sonorité est soumise à discussion. La provenance des sons se situe dans la rue, les églises, les villes…etc. Un travail important sur la parole est effectué, en prenant plusieurs couches successives d’un poème, renforçant sons sens intrinsèque, agrémenté de sons caractéristiques s’y rapportant (… erinnerung…). Chaque échantillon sonore constitue la base d’un important travail sur les sons, qui une fois structurés, apparaissent sous un nouveau visage magnifié. L’importance de la voix humaine et des percussions prend toute son ampleur sur Die zerschlagene Stimme, où chacun des deux éléments se superposent pour ne donner qu’un. Sieben Stufen reprend un poème de Georg Trakl. Verfall, enregistré en deux langues et structuré sur la construction et la destruction du texte par couche superposées.

Un excellent travail pour quiconque prend le temps et la résolution de s’investir intellectuellement dans un travail intense sur les sonorités communes nous entourant. Vous n’écouterez plus tous ces sons de la même façon…

Une œuvre intelligente et recommandée dans le domaine de l’électroacoustique.

Une œuvre intelligente et recommandée…

Review

Richard di Santo, Incursion Music Review, no. 005, June 28, 2000

Born in Weimar in 1966, Hans Tutschku has been studying, composing and performing electroacoustic music for a number of years with various groups and institutions. He has an impressive CV of compositions and multimedia productions to his credit. Moment presents 5 compositions dating from 1991 to 1998. Each of these pieces can be seen as an exercise in integrating vocal and instrumental sounds into electroacoustic compositions, done — in Tutschku’s own words — “with the esthetic concern to maintain the cultural context of the source”. The first, extrémités lointaines, uses recordings he made during a concert-tour of Asia, of city sounds, the music of churches and temples and children’s songs. Presented with “these unexpectedly rich sound worlds… “the intensity of the impressions experienced during the trip has resulted in a dense compositional structure”. This density has been achieved with stunning results, the sound manipulations are incredibly complex and delicate, and these qualities can be found throughout these recordings. The second work, … erinnerung… is based on a poem written and performed by Spanish author Antonio Bueno Tubia. The recording of the reading “forms the starting point for acousmatic transformations.” What results is a “musical translation” of the poem, created by first cutting up the sounds of the poem into minute pieces and played back “polyphonically to create dense sound textures”. The fourth piece, Sieben Stufen, is one of the most notable compositions here. It is based on the poem Verfall by Georg Trakl (1887-1914), and uses two readings of the poem (spoken by four different voices) as its sound sources. The four key words of the poem, Verfall/ruine/decline, Abend/au soir/evening, Glocken/cloches/bells and Vögel/oiseaux/birds, are sung in fourteen pitches (seven in German, seven in French). The results of Tutschku’s acousmatic treatments are truly remarkable, haunting and mysterious. The compositions on this disc each have their own intense structural constraints, almost all with numeric fixations. Les invisibles is based on the number five (5 parts, each divided into 5 subparts, the harmonic material based on 5 chords of 5 notes each), and Sieben Stufen is based on the number 7 (seven sections, compression of the piece into 49 seconds, two sets of vocals in seven pitches each). These works are structural marvels. Also, the sound-sculpturing and production work here are of superb; the sounds breathe a life and dimension of their own, and seem to crawl out of the speakers and into the space around you. Highly recommended.

… the sound-sculpturing and production work here are of superb; the sounds breathe a life and dimension of their own, and seem to crawl out of the speakers and into the space around you. Highly recommended.

Review

Tom Schulte, The Survivor Newsletter, no. 12:4, April 1, 2000

Review

François Couture, AllMusic, January 1, 2000

Hans Tutschku is approaching electroacoustic composition in a way quite reminiscent of Francis Dhomont’s masterwork Sous le regard d’un soleil noir, a parallel that is not limited to both men’s use of human speech. Tutschku stirs his sonic matter and suddenly takes an armful and throws it at the speakers. The music is destabilizing, even creepy at times, thanks to a wonderful integration of voices in multiple languages (German, French, Spanish). Tutschku’s “cinema for the ear” often provides a setting for a poem embodied in the work. Antonio Bueno Tubia, Karl Lubomirski and Georg Trakl have poems treated this way. Les invisibles and Sieben Stufen both have complex structures derived from numbers 5 and 7, but instead of making them more opaque, it gives them particular relief. For a first collection (these works have been written from 1991 to 1998), Moment makes a very strong debut.

… a very strong debut.

More texts

The Sound Projector no. 8

Blog

  • A recent visit to our warehouse made us discover boxes of Hans Tutschku’s CD Moment. A new pressing has been produced and this title is now back in stock.…

    Monday, October 22, 2007 / New releases

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