Hauke Harder | |
It is as the title reveals: "Painted Cakes are real, too" (1998/2000). The beautiful sounds are repeated in order to remain purely sound. This repetition does not build up a narrative, it becomes more complicated and excited not in order to entertain the listener, but in order to analyse and deepen the sound. The section before the last one with its repeated interval is the very revelation. It reminds me of the stories Cage loved so much, with as ultimate moment not a further conclusion but a fresh naked statement. This section is like the acoustical harmonics of a bell. The whole piece, in its proportions, becomes something resembling a gigantic or microscopic analysis of one single bell-sound, a painted bell of course, which is real, too. Boudewijn Buckinx ...sondern im Sinne einer Konzentration, wie der Fokus des Klanges bei Feldman, der ein Licht wirft auf einen essentiellen Punkt unserer Musik: die Intervalle, die immer noch ein Geheimnis der Musik sind, seit ihrer Erfindung durch die Flöte des alten liebessüchtigen Pan. Ernstalbrecht Stiebler | |