Label: Canto Crudo

プライベート・レーベル作品を一挙入荷!!1953年オーストリアの都市リンツ出身、ジャズ及びアヴァン・ベーシストながら70年代中頃から多くの電子音楽の作曲を行っていた孤高のコンポーザーGunther Rabl。それら音源は統一されたジャケットデザインにて自主レーベルCanto Crudoより出版されており、本作はその第十五弾となる2014年~2015年までエレクトロアコースティック・コンポジションを纏めた[Werke 15]。主に関数をコンセプトに制作した10や7などの多チャンネルの作品が多く、ガンマ関数をコンセプトとした難解な電子音楽やら、"スクラッチ"という作品ではターンテーブルを使わず関数によって制御・自動化されたオーディオテープを使い、人力では不可能なスピードでの録音を実現。

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GAMMA
Electroacoustic composition in four parts 2014-15

Part 1: GAMMA
10-channel, 12 min.
The suite’s title track carries this name because I actually use “gamma functions” as formal elements in it. The gamma function is characterized by an enormously rapid development: Whereas there are only several, disparate elements at the beginning, there will be millions within only a few seconds. In this case they are short attacks of the koto tones that trail off in the distance.
However, the original, monotonic koto solo stands at the beginning in the original. More and more variants in another tempo are gradually added, which ultimately results in a 6000-voice layering: a dense rushing that breaks off abruptly. What remains can be completely understood as such: “You hear the storms roaring and the waves pounding against the planks” (Ditta Rudle)—a reduction of the densification. Only now do the piercing attacks make an appearance, those which Bert Gstettner interprets in the scenic performance of MEDUSA as the millionfold echo of the moment in which the ropes are cut and the raft of Medusa is consigned to its fate.
Composition commission from NÖ-Kultur

Part 2: VANDERPOL
4-channel, 10 min.
The term “Fresnel” (named after the French physicist Augustin Jean Fresnel, 1788-1827) is known to many people who deal with photography and optics, at least by name. The functions Fresnel found—when applied to sound—are among the most beautiful types of distortion that I know (Jimi Hendrix would have had his joy with it!). In this variation, two complementary “Fresnel distortions” are applied to the strongly slowed-down recording of the bass koto, however, in time reverse. Unrelentingly penetrating—there’s no other way to describe it.
But another element then comes into play: resonators—Vanderpol resonators (named after the Dutch engineer Balthasar van der Pol, 1889-1959). These are resonators which, like all resonators, need a stimulation, but which pick out their frequencies more or less by themselves.