ホーム | -----T > The Henning Christiansen ArchiveHenning Christiansen "Op. 163 PENTHESILEA: THE REALITY IS A GHOST IN MY MIND / IN PENTHESILEAS HOHLE (IN PENTHESILEA’S CAVE)" [2LP]
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Henning Christiansen "Op. 163 PENTHESILEA: THE REALITY IS A GHOST IN MY MIND / IN PENTHESILEAS HOHLE (IN PENTHESILEA’S CAVE)" [2LP]

価格: 5,357円(税込)
数量:
Label: The Henning Christiansen Archive

(予約受付中 - 7月下旬入荷予定 : 現在の郵送状況により入荷が遅れる場合がございます)

300部限定!!とてつもないアーカイヴ音源が登場!!デンマークを代表する前衛コンポーザーにして、ヨーゼフ・ボイスやナム・ジュン・パイクとも絡んだフルクサスの重要アーティストであるヘニング・クリスチャンセン。今回The Henning Christiansen Archiveよりリリースされたのは、氏の音源の中で最も野心的且つ最も成功したプロジェクトの一つとして知られる大作"ペンテシレイア"!!それぞれ内容の異なるCD&LPの2フォーマットで制作された音源であり、こちらは1984年にベルリンで開催されたフェスティバルでの録音を収録した2LP。ドイツの劇作家ハインリヒ・フォン・クライストによる同名の演劇を基に作られており、興味深い視点で採取された海、嵐、鳥、車のフィールドレコーディングがハンマーを叩く音とミックスされる、まさにこの人物にしか成し得ない凄まじいイメージ構造。特殊なダイカットスリーブ仕様。



Beautiful, haunting and sombre, this 2LP presents the entire recording from Henning Christiansen’s Heinrich von Kleist tribute at Rene Block’s Rosenfest festival, Berlin, 1984.
THE REALITY IS A GHOST IN MY MIND (LP1) is a work that unfolds patiently with a mix of field recordings; wind, bird song and the sound of snow being crushed underfoot all unite in a foreboding atmosphere. IN PENTHESILEAS HÖHLE (LP2) features electronic treatments to the original field recordings found on THE REALITY IS A GHOST IN MY MIND, a representation of psychological reorientation perhaps? A deep ground tone (or ROOT as Henning calls it) leads the listener through a variety of realistic and unrealistic environments. As Henning says in his essay reprinted on the back sleeve:
“Then comes a section where the field recordings of the sea, the storm, birds, cars and other things, are built together so that the realism of these sounds become unreal. For example the cars drive into the sea and the birds are singing within the storm. When you hear footsteps in the show, it’s Kleist sneaking past Deutsche Schauspielhaus. When you hear a deep, human sleeping noise, it’s Achilles sleeping. When you hear hammering it’s the weapon smith working. When you hear a stone being thrown it means the unanswered question: “Who threw the first stone?”
These recordings lead to the finale where Carla Tatò’s haunted vocals into her singing mournfully along with Jan Tilman Schade’s violoncello and tuba, then a chainsaw appears.
Presented in a deluxe di-cut sleeve with writings by Ursula Reuter Christiansen and Henning Christiansen and adorned with an artwork, Penthesilea by Ursula Reuter Christiansen, 1983
* Small excerpts of these works previously appeared on one of the 7”s in the Rosenfest Berlin 1984 catalogue (Berliner Künstlerprogramm des DAAD ) and the compilation CD Ghosts And Monsters: Technology And Personality In Contemporary Music (Leonardo Music Journal / Electronic Music Foundation 1999).

A previously unreleased project of Henning Christiansen, monumental in scope, traversing years, countries and now, formats. The Henning Christiansen Archive is proud to finally present one of the crown jewels of the archive, the masterpiece ‘Penthesilea’ as a 2LP and 5CD set. Both limited to 300 copies.
Pentheseila is one of the most ambitious works in the entire Henning Christiansen oeuvre. A large-scale work from the mid eighties based on the play of the same name by Heinrich von Kleist (1808). Both Henning and his widow, Ursula Reuter Christiansen, were enthusiastic about Kleist’s text, both making works around the themes within this portent text.
Henning Christiansen first developed a work around this text for the Rosenfest festival performed in Berlin in 1984. Rosenfest was curated by René Block and featured a variety of composers presenting works in response to Kleist’s work including Robert Ashley, "Blue" Gene Tyranny etc. Henning formulated a composition utilising tape, field recordings, voice, soprano, and violoncello alongside the home made instruments of Werner Durand.
The live presentation was then expanded upon and first performed two years later at Teatro Olímpico, Rome on the 8th November 1986 as directed by Carlo Quartucci. The two releases presented here include a 2 x vinyl LP of the Rosenfest recordings in 1984 and a 5CD set sharing the four and a half hour backing track prepared for the Teatro Olímpico performance in Rome in 1986. Together these two releases make up a substantial overview of one of the most significant works in the entire Christiansen canon.