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Ablinger, Peter / Biliana Voutchkova : An Den Mond (Inexhaustible Editions)

An den Mond--magic spells for a healthier life--was developed between Austrian composer Peter Ablinger and violinist Bilian Voutchkova during the pandemic, consisting of 16 sequences of chants written by Ablinger and performed entrancingly by Voutchkova on voice and violin; plus Albinger's richly harmonic work "Augmented Study" for seven violins.
 

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product information:


Label: Inexhaustible Editions
Catalog ID: ie-045
Squidco Product Code: 31975

Format: CD
Condition: New
Released: 2021
Country: Slovenia
Packaging: Digipack - 3 panel
Track 1 recorded at Vivaldisaal in Berlin, Germany, in April, 2014, by Peter Ablinger.

Track 2 recorded in his studio in Berlin, Germany, in April, 202, by Peter Ablinger.


Personnel:

Peter Ablinger-composer

Biliana Voutchkova-voice, violin

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Artist Biographies:

"Peter Ablinger was born in Schwanenstadt, Austria in 1959. He first studied graphic arts and became enthused by free jazz. He completed his studies in composition with Gösta Neuwirth and Roman Haubenstock-Ramati in Graz and Vienna. Since 1982 he has lived in Berlin, where he has initiated and conducted numerous festivals and concerts. In 1988 he founded the Ensemble Zwischentöne. In 1993 he was a visiting professor at the University of Music, Graz. He has been guest conductor of 'Klangforum Wien', 'United Berlin' and the 'Insel Musik Ensemble'. Since 1990 Peter Ablinger has worked as a freelance musician. 2012-2017 research professor at the University Huddersfield.

Festivals at which Peter Ablinger's compositions have been performed include the Berlin and Vienna Festwochen, Darmstadt, Donaueschingen, and festivals in Istanbul, Los Angeles, Oslo, Buenos Aires, Hong Kong, London, New York.

The Offenes Kulturhaus Linz, the Diözesanmuseum Köln, Kunsthalle Wien, Neue Galerie der Stadt Graz, the Kunsthaus Graz, the Akademie der Künste Berlin, the Haus am Waldsee Berlin, the Santa Monica Museum of the Arts have showed his installation work over the last few years.

Peter Ablinger is one of the few artists today who uses noise without any kind of symbolism - not as a signifier for chaos, energy, entropy, disorder, or uproar; not for opposing something, or being disobedient or destructive; not for everything, for eternity, or for what-have-you. As in all these cases of music deliberately involving noise, noise is the case, but for Ablinger: this alone Peter Ablinger has also come a long way in questioning the nature of sound, time, and space (the components usually thought central to music), and his findings have jeopardized and made dubious conventions usually thought irrefutable. These insights pertain to repetition and monotony, reduction and redundancy, density and entropy.

"Sounds are not sounds! They are here to distract the intellect and to soothe the senses. Not once is hearing 'hearing': hearing is that which creates me." The composer Peter Ablinger (born in Schwanenstadt, Austria in 1959) is, as Christian Scheib once put it, a "mystic of enlightenment" whose "calls and litanies are aimed at cognition." At the same time, the composer, who - after studying graphic arts - studied with Gösta Neuwirth and Roman Haubenstock-Ramati, and since 1982 lives in Berlin, is also a skeptic who understands the cultural rules and (destructive) habits enforced by tradition: "So let us play further and say: sounds are here to hear (-but not to be heard. That's something else). And that hearing is here to be ceased ('Das Hören ist da um aufzuhören'). More I can't say." (Text: Christian Baier, translated by Bill Dietz)"

-Peter Ablinger Website (http://ablinger.mur.at/bio_engl.html)
6/30/2022

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Biliana Voutchkova is a dedicated, thoroughly engaged composer-performer whose work combines regular performances of major solo violin/ensemble works and new works by contemporary composers often written for her, improvisation and performance work reaching into the realm of dance and movement. Her constant research as a creative artist spans the widest possible range of sound and movement and extends her sonic, physical and technical capacities evolving into the development of a highly individual artistic musical language.

Biliana is a risk taker approaching contemporary classical repertoire with the same inspiration and freedom characteristic of her forceful improvisations. She collaborates with an international pool of renowned artists - among those are Mazen Kerbaj, Audrey Chen, Ute Wassermann, Iva Bittová, Robin Hayward, Jacques Demierre, Matthias Bauer, Frances-Marie Uitti, Séverine Ballon, Helmut Lachenmann, Michael Thieke, Hans Peter Kuhn, George Lewis, Georg Nussbaumer, Clayton Thomas, Axel Dörner, Peter Ablinger and many others. ​Biliana has been heard at festivals and concert series worldwide, her appearances ranging from celebrated concert venues such as Carnegie Hall in New York, the Berliner Philharmonie and Radial System V in Berlin, and Suntory Hall in Tokyo, to performances in the most vivid experimental places such as Kule/Labor sonor, Ausland, Quite Cue, Studio 8 and Exploratorium in Berlin, Saal 100 in Amsterdam, and the Knitting Factory in New York. After her 14 years long residence in the USA, Biliana now lives in Berlin and collaborates with the Splitter Orchestra, Solistenensemble Kaleidoskop, Ensemble Modern, Zeitkratzer, Work in Progress, Ensembles United Berlin, Mosaik, LUX:NM and others. She is the co-founder of her dance/music group GRAPESHADE and OSM (open sound & movement collective). Her recent/current projects include solo concerts at the Huddersfield Contemporary Music Festival, MuseRuole Festival, Radar Festval, Radialsystem V and Unerhörte Musik, concert appearance with Iva Bittová and Phil Minton, the solo portrait concert/presentation and the project "Gazes that matter" at Ballhaus Naunynstrasse, the performance of Alban Berg's chamber concerto for the March Music Days Festival, the concert tour in Bulgaria/Serbia with Voutchkova/Thieke duo supported by the Goethe Institut and performances for the festivals Klangwerkstatt, Jazzfest and Faithful in Berlin, Blurred Edges in Hamburg, Rainy Days in Luxemburg and Klarafestival in Brüssel.

Born in the family of musicians, Biliana Voutchkova begins playing violin at the age of four, makes her orchestra debut at the age of nine, and records her first CD for the Japanese label Crown Record Ltd. at the age of sixteen. She studies classical violin, in her college years starts being involved with the contemporary and improvised music scene in New York. Among her teachers are Peter Arnaoudov, Abram Stern and Felix Galimir. Ms. Voutchkova holds degrees from the University of Southern California and New School for Social Research/Mannes College of Music in New York (MM in music). She has received top honors at the Kozian International Music Competition, CRS National Competition for Performing Artists, and Music and the Earth International Contemporary Music Competition. At the age of nineteen, she was invited to the United States, and was presented the special Jasha Heifetz Violin Scholarshipfor for her studies at the University of Southern California. After her move to New York in 1995 her continuous interest and exploration of the music of today remains being a major part of her work. "

-Biliana Voutchkova Website (http://www.bilianavoutchkova.net/about.html)
6/30/2022

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. Augmented Study 24:00

2. An Den Mond 24:05
sample the album:








descriptions, reviews, &c.

"The composition "An den Mond / To the Moon" consists of 16 short items, magic spells, for voice and violin, most of them layered (up to 31 layers; and in item 9 also an old zither plays a role)."-Peter Ablinger



"It was winter in Berlin, in the midst of the dark days of the Covid pandemic, a period of intense lockdown. Globally, we were learning how to adapt, to remain flexible, how to preserve our health and spirits. Laszlo and I were in touch regarding something unrelated to this release when he mentioned Peter Ablinger. He knew that we had worked together on multiple occasions, and asked me "...by any chance, do you have anything recorded from the time you were playing the music of Peter Ablinger? I would be extremely interested..."

Such perfect timing, as Peter and I had been considering a new collaboration, the creation of a solo piece, this time for violin and voice. I visited him in his studio and, quite naturally, we confirmed our mutual interest to start the work and plan the recording of the new composition in April. We reserved the entire month for us, and Peter prepared this amazing self-made recording booth where, without my knowing it, I was going to be playing and chanting magic spells.

By the end of March, the microphones and accompanying equipment were in place and we looked forward to beginning the process. Just a few days before our first meeting, I fell ill. Being conscious of avoiding contact was a must, so sadly, I had to postpone our beginning. Covid thoughts were in the air, and although I wasn't diagnosed with the virus, it was clear we'd have to wait. Soon after, my son contracted the disease, fortunately, in a light form. Two weeks passed slowly by, half of our designated working time. It was an insular period of care, reflection, acceptance, of longing to reach the other side. And finally, with the illness behind, we began the long awaited process of creation.

Peter surprised me with the idea of chanting his realtime, improvised, magic spells. Each day on arrival, he would write them on small scraps of paper. We'd exchange ideas and suggestions, prior to my peacefully playing and chanting for hours in the recording booth. This sequence of short pieces was completed on the day of the so-called "super moon" and, as it has been from the very beginning, clearly we were in symbiosis with a form of intuited universal order. The name of the completed piece, suggested by Peter, came easily to him. I had nothing more to add but smile and embrace "An den Mond" - magic spells for a healthier life."-Biliana Voutchkova



"Peter Ablinger (1959) belongs to the group of contemporary composers who are always searching for the new and unusual in their work and do not understand music as an insular system. Born in Schwanenstadt in Upper Austria, he first attended a school for higher technical education in Linz before he decided to study jazz piano in Graz. A central component of the work of Ablinger, who has been working since 1992 at various universities and institutes as a visiting lecturer-professor, is formed by 'investigation of basic conditions of listening'. Currently he lives in Berlin."



"Violinist Biliana Voutchkova (1972) is a devoted interdisciplinary performer, composer, improviser and curator. Her constant creative research spans the widest possible range of sound, movement and vision. Her extended sonic, technical and physical capacities evolved into the development of a highly individual artistic language. Based between Berlin and her rural residency on the Black Sea coast of Bulgaria, she works internationally as a soloist, in group and collaborative settings, and with renowned ensembles such as Ensemble Modern or Zeitkratzer."

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