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CM von Hausswolff
800 000 Seconds In Harar

elektronika
Touch, 2011

Czas trwania: 40:37

Średnia ocena klientów: -    oceń

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CD : 59,90 zł
W magazynie: BRAK
Szac. dostępność:
ok. miesiąca ?
format : CD
liczba nośników : 1
Opakowanie : digipack


nr tytuł play mp3
  Track A: Day and Night 27:14
1 Day
2 Night
3 Alas!
Track B
4 The Sleeper in the Valley 13:32


  powiadom mnie kiedy pojawią się sample
  poleć znajomemu

 

CM von Hausswolff says: "I was approached by my old friend and Radium 226.05 colleague Ulrich Hillebrand, now director of Angered Theatre in Göteborg. He informed me that there was a new play in the process of being written by author and theorist Michael Azar called "Jag är en annan" (I is another) stemming form the famous letter written by Arthur Rimbaud in his youth. The play uses Rimbaud's life from being a young poet in Charleville ending with him being the trader in Harar, Ethiopia. Hillebrand asked me if I was willing to compose the music to this play. I accepted. I told Hillebrand that I needed to use material that had something to do with Rimbaud's life and as he had connections in Ethiopia and in the small city of Harar he said: why don't you go to Harar for 10 days and see what you can find?

So I went to Addis Ababa where a guy was waiting for me and drove me the 10 hours beautiful ride to Harar. I made recordings and looked for other useful material.

There are 2 tracks. On the first track, which consists of three "parts" I have used material from Harar. The long dronic sounds are taken form an instrument that I, after searching for days, bought in Harar - it's called a "krar" and is a string instruments (it's quite clear that I have used a string instrument- also if you study Ethiopian music you came across the name of Saint Yared and he was the first to construct a notation system for music... much earlier than the Europeans). As I could not really master the actual playing of this instrument, I bought a bow for a violin and some rosin and with this I got one good tone out from this krar. Then the computer helped me to sort the modes and pitches out. On this piece there also two location recordings: the first one you hear is a recording I did outside Harar on a hill where there are next to no car sounds or other machine sounds - just the wind, insects, some kids and that (I wanted this recording to be more or less timeless o
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