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Blixa Bargeld
Opening Performance Orchestra
Noise of Art

avantgarde
Sub Rosa, 2019

total time: 78:54

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CD:12,92€
availability:
about a month
cat. no: SR477
format : CD
number of discs : 1
packaging : digipack
vinyl:19,85€
availability:
about a month
colour : black
download code : no
format : 2x12"LP
number of discs : 2
packaging : gatefold
 


no. title play mp3
1 Opening Performance Orchestra + Blixa Bargeld: The Noise of Art (2017) 11:30
2 Opening Performance Orchestra: Trio n°3 (2017) 5:30
3 Luciano Chessa: Prilis hluena samota (2017) 8:10
4 Opening Performance Orchestra: Trio n°2 (2017) 12:00
5 Fred Möpert: Neue Horizonte (2017) 6:30
6 Blixa Bargeld: The Mantovani Machine, pt3 (2013) 14:30
7 Opening Performance Orchestra: Futurist Soirée (2016) 20:00


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The Noise Of Art: Works for Intonarumori contains seven compositions, created by the Opening Performance Orchestra, Blixa Bargeld, Luciano Chessa, and Fred Möpert. All the pieces relate to the theme of futurism and employ intonarumori, instruments invented and used more than a century ago by the Italian Futurists in their noise compositions. CD version includes 16-page booklet.

"In antiquity, life was nothing but silence."

"Today noise reigns supreme over human sensibility."

The Art of Noises, pertained to the entire 20th century. Published in 1913, in response to Francesco Balilla Pratella's Manifesto of Futurist Musicians (1911), Luigi Russolo's text encompassed the fundamental ideas for the new music of the modern age. Radical ideas required original compositional approaches, as well as new types hof instruments -- hence the futurists opted for the intonarumori. The two quotations prompted the Opening Performance Orchestra to give thought to creating compositions in which they would return to the early 20th century, when noises as means of musical expression emerged for the very first time. The typical instruments used by the Opening Performance Orchestra are laptops, by means of which they conceive their fraction music, which can be briefly characterized by the slogan "no melody no rhythm no harmony". Constructing three intonarumori, writing their own pieces for these instruments and performing works by other contemporary composers -- Blixa Bargeld, Luciano Chessa, and Fred Möpert -- represented for the Opening Performance Orchestra getting into close contact with the beginnings of the musical avant-garde, as well as returning to the historical roots of the music that had served as the basis of noise in art.

The Noise Of Art: Works for Intonarumori contains seven compositions, created by the Opening Performance Orchestra, Blixa Bargeld, Luciano Chessa, and Fred Möpert. All the pieces relate to the theme of futurism and employ intonarumori, instruments invented and used more than a century ago by the Italian Futurists in their noise compositions. CD version includes 16-page booklet.

"In antiquity, life was nothing but silence."

"Today noise reigns supreme over human sensibility."

The Art of Noises, pertained to the entire 20th century. Published in 1913, in response to Francesco Balilla Pratella's Manifesto of Futurist Musicians (1911), Luigi Russolo's text encompassed the fundamental ideas for the new music of the modern age. Radical ideas required original compositional approaches, as well as new types hof instruments -- hence the futurists opted for the intonarumori. The two quotations prompted the Opening Performance Orchestra to give thought to creating compositions in which they would return to the early 20th century, when noises as means of musical expression emerged for the very first time. The typical instruments used by the Opening Performance Orchestra are laptops, by means of which they conceive their fraction music, which can be briefly characterized by the slogan "no melody no rhythm no harmony". Constructing three intonarumori, writing their own pieces for these instruments and performing works by other contemporary composers -- Blixa Bargeld, Luciano Chessa, and Fred Möpert -- represented for the Opening Performance Orchestra getting into close contact with the beginnings of the musical avant-garde, as well as returning to the historical roots of the music that had served as the basis of noise in art.


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