Kalimba & Live-Electronics: Sequitur XIV by Karlheinz Essl
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Uploader Comments (khz96)
All Comments (6)
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I could listen to a bowl of rice crispies crackling and it would be exactly the same as this
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you nailed it, ocks for me. Like the panning processing with the sliding delay around 6:04, nice tonal variety, snappy envelopes. Nice control without that Gould precision that pushed too far kills the emotion of the piece. Kalimaba has a nice tone I respect. Interestinge end, but I'd get out of the familar faster, and stretch the last moments. But then i haven't your chops.
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you nailed it, it rocks for me. Like the panning processing with the sliding delay around 6:04, nice tonal variety, snappy envelopes, great tonal variety, don't care about the score, prefer freedom from that personally. Nice control without that insane Gould precision that pushed too far kills the emotion of the piece. Kalimaba has a nice wooden tone that as a I respect. Interestinge end, but I'd get out of the familar faster, and stretch the last moments. But then i haven't your chops.
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thats so sickk, i love it!:D gotta learn!
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where do you see music like this preformed live
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nice.. one thing that I've been asking myself is that if your sequiturs pieces sieres, share some sort of principle with the luciano berio's sequences or the stockhausen's klavierstuckes.. in the sense of the music genre itself, some sort of concepts behind, shape and so on.. always considering that what we have present here are pieces for live electronics with notated music for a wide range of instruments..
jamesvla 2 years ago
Indeed, my "Sequitur" pieces relate to Berio's idea of creating prototypical works for solo instruments, but extending this concept with live-electronics which turns the solo instrument into an orchestra. Much attention is paid to the harmonic structure like Berio, but there are no direct links to Stockhausen although I am often using structural ideas related to serial thinking.
khz96 2 years ago