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Gerhard Winkler
Heptameron |
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Incubus I |
02:59 |
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| 2 |
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Skipjack I |
05:45 |
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| 3 |
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Incubus II |
02:03 |
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| 4 |
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Laughter I |
03:54 |
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| 5 |
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Incubus III |
02:02 |
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| 6 |
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Skull I |
02:44 |
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| 7 |
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Skipjack II (Im Kristall) |
03:56 |
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| 8 |
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Waiting I (Kratztisch/Knirschkostüm/Makrokratzen) |
05:56 |
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| 9 |
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Skull II |
02:07 |
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| 10 |
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Listeners I (Radio Baton, Instrumente) |
05:52 |
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| 11 |
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Skipjack III (Im Kristall) |
02:40 |
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| 12 |
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Heroine I |
02:06 |
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| 13 |
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Listeners II (Radio Baton, Instrumente) |
03:52 |
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| 14 |
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Heroine II |
02:48 |
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| 15 |
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Waiting II |
03:49 |
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| 16 |
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Incubus IV |
02:04 |
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| 17 |
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Skipjack IV (Im Kristall) |
02:08 |
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| 18 |
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Waiting III |
03:51 |
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| 19 |
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Skipjack V (Im Kristall) |
02:03 |
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| 20 |
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Listeners III |
01:53 |
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| 21 |
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Incubus V |
04:03 |
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| 22 |
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Skipjack VI (Im Kristall) |
01:56 |
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Total Time |
01:10:31 |
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| Digital Booklet - only with album |
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| The interpersonal constellations recorded by Marguerite of Navarre in her Heptameron date 450 years back and yet are of timeless topicality. By fascinating technical means Gerhard E. Winkler permits these stories to develop freely, letting the protagonists directly influence the form of the composition and the development of the music via infrared, ultrasound or video sensors: an operatic net woven anew during each performance, "a new chapter in the discussion of open form in composition“ (Computer Music Journal, New York) – and a remarkable recording. The composer himself refers to his Heptameron as a "theater of relations:" "Everything that happens on the stage is a direct expression of the relations among the 'characters' on the stage. These relations affect not only the actions on stage but also the live electronics as well as the real-time generation of the musicians' scores, who mostly play from computer screens." Thus the "narrative seeds" of the Heptameron are continuously redeveloped and grow into an immensely lively musical drama, which is more than adequately preserved by this recording of a performance at ZKM Karlsruhe. |
1CD | Contemporary | Opera | Special Offers |
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| Recommendation |
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In his opera »massacre« Wolfgang Mitterer presents us with a passionate analysis of a timeless threesome: power, religion and violence.  |
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| In 1951, after numerous solo compositions, Cage tried his hand at a piano concerto, naturally for the prepared variety. And in marked contrast to the concerto: Sixty-Eight. |
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| The master of partial tones: Ivan Wyschnegradsky continued Scriabin’s harmonic principles and (successfully) searched for new tone colors. |
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