Antoine Beuger – To The Memory Of

 

 

1. To The Memory Of (2016) (56:16)

· Nikolaus Gerszewski: piano, objects
· Lenke Kovács: vocals
· Ferenc Getto: vocals, objects
· László Németh: trumpet
· Dorottya Poór: violin
· Nóra Lajkó: guitar
· Julien Baillod: guitar, feedback
· Andor Erazmus Illés: electronics
· Erik Benjámin Rafael: percussions, objects

Composed by Antoine Beuger
Realized by Conceptual Soundproductions Budapest
Recorded at the Doctoral School of the Hungarian University of Fine Arts, Budapest, 05/02/2017
Engineered, mixed and mastered by Zsolt László Kiss
Graphic design by László Szakács

a group of people forgathers
together they engender a space for individual sounds or words to appear
a space, not least, for themselves to appear to one another
an unconditional space of confidence and mutual recognition
a pure “space of appearance” (Hanna Arendt)

is this possible?
is it possible to withstand the lure of being more organized, more well-defined,
more in control of what “we” are,
of what it is, that we are doing?
more determined about who or what belongs to “us” or what we are doing
and who or what doesn’t?

we can at least hope for it
I hope playing and listening to
to the memory of
may strengthen this hope

Antoine Beuger
July 2017

Released: December 2017 / first edition of 300 copies
Purchase: Bandcamp / Discogs

 


 

Reviews ↓

 

“As someone who listens to music pretty all day I am very happy to live in a generally quiet neighbourhood. But sometimes even in a quiet neighbourhood it is not easy to play something as Antoine Beuger and this piece commissioned by an organisation called Conceptual Soundproductions Budapest. As the name says it “describes a form of sonic art in which conceptual elements dominate professional considerations”. It is more about the process than the actual piece. In 2016 this organisation asked Antoine Beuger to compose a piece, which consists of the words ‘silence’, ‘words’ and ‘silence’ and every one of the nine players makes their individual choices. Beuger of course being one of the important composers to come from the Wandelweiser group, which he founded, where silence plays an important role and scores can be graphical or merely instructional. It seems to me that ‘sounds’ are in the first half of the piece and the second half, or even a little bit more, consists of words. Silence is something that is featured throughout this release, but more in the second half than in the first half. The words spoken are very quiet and in between there is always a few seconds of silence. It is so quiet that serious amplification must be sought. The music half, the first half is also quiet but by comparison this is almost very loud. The instruments used include piano, objects, trumpet, violin, guitar, feedback, electronics and percussion, next to voice of course. This is some very quiet music, with lots of space between the sparse notes, but not something one sticks on for relaxing. Meditation is perhaps something I could see even when some of the tones may come across ‘harsh’, especially the ones from objects. This is something that is best enjoyed when one keeps the full attention going and listens to this in total silence and uninterrupted. Only then, I should think, the beauty of this becomes clear.” / Frans de Waard, Vital Weekly, 13 February 2018

 


 

Radio plays ↓

 

· Godbeni Imperializem at Radio Študent, Ljubljana, 5 April 2018

 

 

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