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Akos Rozmann // 12 Stations / Tolv Stationer (1978-2001) 7xCD BOXSET

Akos Rozmann // 12 Stations / Tolv Stationer (1978-2001) 7xCD BOXSET

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The 7CD BOX set by Akos Rozmann, an experimental musician in Budapest, Hungary, is back again.

Below is a commentary by Mark Harwood.

Akos Rosman (1939-2005) was born in Budapest and studied organ and composition at the Liszt Conservatory. He studied composition at the Royal College of Music in Stockholm from 1971 to 1974 and has been an organist of the Catholic Cathedral in Stockholm since 1978.Throughout his life, he devoted himself to musique concrète, creating the largest and most fruitful work in this alchemical genre of all musical genres. In the early 80's he built an electroacoustic studio in the basement of the Catholic Cathedral, while continuing his work at EMS (Elektronmusikstudion Sweden), which produced his early masterpieces.

Rosman's unwavering commitment to music creation often shuts himself up in a windowless studio and works all night to get the results he wants.He only considered perfect expression of his vision and did not seek the approval of his peers or the satisfaction of the audience.This combination of vision, passion and stubbornness has created the most unique catalog in the field of music concrete.Hungarian composer Microche Malos asked me to do a five-minute piece for piano and voice.Rosman received this offer with the intention of writing a tape piece consisting of a recording of Microche's wife and soprano singer Ilona Maros and his own prepared piano experiment.The elements recorded here became the material for "5 Stations".This work jumped out of the short time of 12 minutes at the beginning, and 5 years later, it landed as a spiritual journey of more than 20 and a half hours.This composition process is unique among Rosman's works due to the 6-year gap from the early stages to the completion of the final work. The first stage, created between 18 and 1978, consists of a quest for traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations, produced between 1980 and 1998, incorporate digital technology and improvise a small section of the 2001 original recording on an effects processor with a sampler keyboard.Despite these gaps and the different techniques developed during each production period, the monumental results are complete and staggering as a whole.

Rosman has a mysterious talent to bring out the world of flexible sound from the original piano and voice recording, within the limits of the sound source.The result is a dynamic vortex of sound, making it one of the most daring, challenging and spectacular works of Musique Concrète in the 20th century.Property Room Parts I and II begin with the vast landscape of Sturm und Dran.The original materials of the piano and voice have been disassembled and reconstructed as a means of evoking an aggressive, different-world atmosphere. The Contents and Life of the Black Pit'shifts further outwards with a broader flavor of heavy corrupt voices and frenzied electronics dancing in the most disturbing way. The Abandonment of Hell'has a clear "musical" quality that leads listeners to a sophisticated and shocking audio mess.In this work, it is felt that the craftsmen are quietly scraping off individual elements and trying to obtain a world that was previously unavailable.In Part V, "The Awakening," the early growls, stomach rumble, and disturbing voices become more heavenly voices, embedding female shapes in the mix to ascend the variants below.Rosman had previously suggested that the first part of "Twelve Stations" was an interpretation of "Tibetan Circle of Life," but he typically took a vague attitude about the meaning behind the work. rice field.In parallel with his interest in Tibetan Buddhism, he continued to have faith in the Catholic Church.As a result, this song with an uplifting motif can be read as a rise from hell to heaven."The Celebrators" played by Rosman is presented as a kind of continuation rather than an ending.A short musical refrain reminds me of an endlessly spiraling prism, with voice and sound refraction appearing like a mirror corridor.

Epic in scale, timbre, technique, mood and movement, this work is a unique masterpiece of the 20th century Musik Concrete, a radical mass open to all as an area of ​​intensely personal and bold sound. It is presented as an epic like.

Through a wandering journey, humans encounter various difficulties and sufferings.These are the forces that are in the constant struggle.He cannot control and preside over these forces.Like a snowflake in a storm, it is tossed up and down and is powerless.Chaotic thoughts and emotions, joys and sufferings flow uninterruptedly like a never-ending river.These are all the result of my actions.But in this life, there is a chance to make these things easier. 

Labels and other works Click here for more information. ///Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available at Tobira. 

------------------------------

FINAL PRESSING EDITION OF 300.

7 CD's packaged in a hardcover slipcase with a pull ribbon, 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer

***

Text / artist bio by  --Mark Harwood :

"Ákos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life Rózmann dedicated himself to musique concrète developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early eighties, Rózmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral whilst continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces.

With an unwavering commitment to the creation of music Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. He did not seek the approval of his peers nor the satisfaction of his audience with the only Concern being the perfect articulation of his vision. This combination of vision, passion and stubbornness resulted in one of the most singular catalogs within the field of musique concrete. Commissioned by the Hungarian composer Miklós Maros who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklós' wife, the soprano singer Ilona Maros' and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five minute brief to land 20 years later as a spirit scaling journey of more than 6 1/2 hours. The compositional process is unique in Rózmann's output due to The 18 year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made. between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this g ap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole.

Within the set limitations of the source material Rózmann's skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works 'Property – Room' parts I and II initiate proceedings with a vast landscape of Sturm und Drang. The original material of piano and voice are dissected and reconstructed as a means of evoking an aggressive otherworldly atmosphere.' The Contents and Life of the Black Pit'shifts further outside with an expansive palate of heavily corrupted voice and frenzied electronics dancing in a most unsettling fashion.'The Abandonment of Hell' leads the listener into a sophisticated and shocking melange of audio disorientation, one with a distinct'musical' quality. One senses a master craftsman quietly whittling away at the individual elements in order to harness the previou Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of'Twelve Stations' was an interpretation of the'Tibetan Wheel of Life'. Alongside his interest in Tibetan Buddhism he maintained his following of the catholic church and as a consequence one may also read this sequence, Rózmann concludes proceedings with'The Celebrators', which presents itself not as an ending but rather a continuation of sorts. A short musical refrain conjures a prism where refractions of voice and sound appear like a hall of mirrors, spiralling onwards and outwards, without end.

Epic in scale, timbre, technique, mood and movement, Twelve Stations is a unique masterpiece of 20th Century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all.

He is being tossed up and down, powerless, like snowflakes in the storm: chaotic thoughts and feelings, gladness and suffering, which flow without intermission like a river that has no beginning nor end. All these are the fruits of our own deeds. However, in this life you have the chance to make easier those life wanderings that are to come. --Rózmann (from the programme notes for the 1984 premiere of the first seven stations). "

Artist: Akos Rozmann

Label: Label: Ideologic Organ

The 7CD BOX set by Akos Rozmann, an experimental musician in Budapest, Hungary, is back again.

Below is a commentary by Mark Harwood.

Akos Rosman (1939-2005) was born in Budapest and studied organ and composition at the Liszt Conservatory. He studied composition at the Royal College of Music in Stockholm from 1971 to 1974 and has been an organist of the Catholic Cathedral in Stockholm since 1978.Throughout his life, he devoted himself to musique concrète, creating the largest and most fruitful work in this alchemical genre of all musical genres. In the early 80's he built an electroacoustic studio in the basement of the Catholic Cathedral, while continuing his work at EMS (Elektronmusikstudion Sweden), which produced his early masterpieces.

Rosman's unwavering commitment to music creation often shuts himself up in a windowless studio and works all night to get the results he wants.He only considered perfect expression of his vision and did not seek the approval of his peers or the satisfaction of the audience.This combination of vision, passion and stubbornness has created the most unique catalog in the field of music concrete.Hungarian composer Microche Malos asked me to do a five-minute piece for piano and voice.Rosman received this offer with the intention of writing a tape piece consisting of a recording of Microche's wife and soprano singer Ilona Maros and his own prepared piano experiment.The elements recorded here became the material for "5 Stations".This work jumped out of the short time of 12 minutes at the beginning, and 5 years later, it landed as a spiritual journey of more than 20 and a half hours.This composition process is unique among Rosman's works due to the 6-year gap from the early stages to the completion of the final work. The first stage, created between 18 and 1978, consists of a quest for traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations, produced between 1980 and 1998, incorporate digital technology and improvise a small section of the 2001 original recording on an effects processor with a sampler keyboard.Despite these gaps and the different techniques developed during each production period, the monumental results are complete and staggering as a whole.

Rosman has a mysterious talent to bring out the world of flexible sound from the original piano and voice recording, within the limits of the sound source.The result is a dynamic vortex of sound, making it one of the most daring, challenging and spectacular works of Musique Concrète in the 20th century.Property Room Parts I and II begin with the vast landscape of Sturm und Dran.The original materials of the piano and voice have been disassembled and reconstructed as a means of evoking an aggressive, different-world atmosphere. The Contents and Life of the Black Pit'shifts further outwards with a broader flavor of heavy corrupt voices and frenzied electronics dancing in the most disturbing way. The Abandonment of Hell'has a clear "musical" quality that leads listeners to a sophisticated and shocking audio mess.In this work, it is felt that the craftsmen are quietly scraping off individual elements and trying to obtain a world that was previously unavailable.In Part V, "The Awakening," the early growls, stomach rumble, and disturbing voices become more heavenly voices, embedding female shapes in the mix to ascend the variants below.Rosman had previously suggested that the first part of "Twelve Stations" was an interpretation of "Tibetan Circle of Life," but he typically took a vague attitude about the meaning behind the work. rice field.In parallel with his interest in Tibetan Buddhism, he continued to have faith in the Catholic Church.As a result, this song with an uplifting motif can be read as a rise from hell to heaven."The Celebrators" played by Rosman is presented as a kind of continuation rather than an ending.A short musical refrain reminds me of an endlessly spiraling prism, with voice and sound refraction appearing like a mirror corridor.

Epic in scale, timbre, technique, mood and movement, this work is a unique masterpiece of the 20th century Musik Concrete, a radical mass open to all as an area of ​​intensely personal and bold sound. It is presented as an epic like.

Through a wandering journey, humans encounter various difficulties and sufferings.These are the forces that are in the constant struggle.He cannot control and preside over these forces.Like a snowflake in a storm, it is tossed up and down and is powerless.Chaotic thoughts and emotions, joys and sufferings flow uninterruptedly like a never-ending river.These are all the result of my actions.But in this life, there is a chance to make these things easier. 

Labels and other works Click here for more information. ///Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available at Tobira. 

------------------------------

FINAL PRESSING EDITION OF 300.

7 CD's packaged in a hardcover slipcase with a pull ribbon, 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer

***

Text / artist bio by  --Mark Harwood :

"Ákos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life Rózmann dedicated himself to musique concrète developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early eighties, Rózmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral whilst continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces.

With an unwavering commitment to the creation of music Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. He did not seek the approval of his peers nor the satisfaction of his audience with the only Concern being the perfect articulation of his vision. This combination of vision, passion and stubbornness resulted in one of the most singular catalogs within the field of musique concrete. Commissioned by the Hungarian composer Miklós Maros who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklós' wife, the soprano singer Ilona Maros' and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five minute brief to land 20 years later as a spirit scaling journey of more than 6 1/2 hours. The compositional process is unique in Rózmann's output due to The 18 year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made. between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this g ap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole.

Within the set limitations of the source material Rózmann's skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works 'Property – Room' parts I and II initiate proceedings with a vast landscape of Sturm und Drang. The original material of piano and voice are dissected and reconstructed as a means of evoking an aggressive otherworldly atmosphere.' The Contents and Life of the Black Pit'shifts further outside with an expansive palate of heavily corrupted voice and frenzied electronics dancing in a most unsettling fashion.'The Abandonment of Hell' leads the listener into a sophisticated and shocking melange of audio disorientation, one with a distinct'musical' quality. One senses a master craftsman quietly whittling away at the individual elements in order to harness the previou Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of'Twelve Stations' was an interpretation of the'Tibetan Wheel of Life'. Alongside his interest in Tibetan Buddhism he maintained his following of the catholic church and as a consequence one may also read this sequence, Rózmann concludes proceedings with'The Celebrators', which presents itself not as an ending but rather a continuation of sorts. A short musical refrain conjures a prism where refractions of voice and sound appear like a hall of mirrors, spiralling onwards and outwards, without end.

Epic in scale, timbre, technique, mood and movement, Twelve Stations is a unique masterpiece of 20th Century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all.

He is being tossed up and down, powerless, like snowflakes in the storm: chaotic thoughts and feelings, gladness and suffering, which flow without intermission like a river that has no beginning nor end. All these are the fruits of our own deeds. However, in this life you have the chance to make easier those life wanderings that are to come. --Rózmann (from the programme notes for the 1984 premiere of the first seven stations). "

Artist: Akos Rozmann

Label: Label: Ideologic Organ