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Thomas Koner
TIENTO DES LAS NIEVES

ambient/ awangarda/ elektronika
Denovali, 2014

Czas trwania: 68:00

Średnia ocena klientów: -    oceń

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CD : 70,90 zł
dostępność:
Tydzień
Nr kat.: DEN215
format : CD
liczba nośników : 1
Opakowanie : digipack
winyl : 139,90 zł
dostępność:
Tydzień
Nr kat.: DEN215LP
download code : tak
format : 12"LP
gramatura : 180 gram
kolor : kolorowy
liczba nośników : 2
 


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"Love is life’s snow. It falls deepest and softest into the gashes left by the fight—whiter and purer than snow itself. What is life without love? It is like this ice—a cold, bare, rugged mass, the wind driving it and rending it and then forcing it together again, nothing to cover over the open rifts, nothing to break the violence of the collisions, nothing to round away the sharp corners of the broken floes—nothing, nothing but bare, rugged drift-ice." Fridtjof Nansen 'Farthest North : Being the Record of a Voyage of Exploration of the Ship Fram 1893-96, and of a Fifteen months' Sleigh Journey'

Thomas Köner, explorer, multimedia artist, dark ambient pioneer. Over his long, much celebrated career, he has worked between audiovisual installation works, sound art, minimal soundscapes, and as one half of Porter Ricks. Among others, he has composed film soundtracks and music to accompany historic silent films for the Louvre Museum and the Musée d'Orsay, Paris, who called him a major innovator in the contemporary music scene.

Tiento is a form of keyboard-based music originating in Spain. In his past discography, Thomas Köner has mostly used the piano in a barely recognisable way, as one element of many. However, after a particular radical experience he found himself caught with the piano in his focus, with this rigid instrument which has been developed and solidified in the 17th century just to enslave composers and musicians for centuries to come. Thus, it could come as a surprise for those familiar with Köner's work and attitude, that in his first tiento to be released -- "Tiento de las Nieves" ("snow-tiento") -- he uses the piano, as an instrument, in an un-deconstructed way.

To escape and handle the rigidity of the piano, Köner uses his distinctive ansatz to understand music rather as something filling the space of the temporal dimension than as a succession of multi-layered sounds. For him the music
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