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Presents:
Barbara Buchholz - Theremin_Russiawithlove
RiPPER..: Billy Cristal GENRE......: Jazz
LABEL...: Intuition SCENE DATE.: 03/11/2006
bITRATE.: VBR/44,1Hz STORE DATE.: 11/30/2004
ENCODER.: Lame 3.903 APS TRACKS.....: 13
SiZE....: 64,7 MB SOURCE.....: CDDA
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- TRACKLIST
01 Coyote 01:45
02 Sokolniki 04:15
03 Eclipse 03:42
04 Prospekt Mira 02:50
05 Seaweed 05:23
06 Hunting 04:13
07 Ay Ne Ne 02:33
08 Klarnet Klara 04:28
09 Lullaby 02:10
10 Hidden Melody 04:56
11 Habtap 03:07
12 Voyage 02:33
13 Notchnoy Monolog 04:20
Total Playtime: 46:15
- NOTES
Barbara Buchholz - Theremin: Russia With Love
Composer: Barbara Buchholz - Tichon Chrennikow - Tilmann
Dehnhard - Jan Krause - Matthias Trippner
Barbara Buchholz - all thereminvox, midi-theremin
sampling, bass; Tilmann Dehnhard - flute, alto flute, bass
flute, clarinet, bass clarinet; Olga Heppner - violin
samples; Paul Kleber - double bass; Jan Krause - sampling
drum programming, bass, percussion; Victoria Perskaya -
vocals; Yuliya Shmunk - voice; Morin SmolΘ - vocals;
Leonid Soybelman - guitar; Matthias Trippner - drums,
keyboards
*
Music And Magic Have Always Been Inseparable From One
Another
But the magic of any other instrument is not as obvious as
that of the Theremin. One must have an affinity to magic
in order to simply play the Theremin. All other
instruments, including the most exotic, are played by
touching them, by blowing, bowing, hitting, plucking,
scratching or pressing. The Theremin is the only
instrument from which sound is enticed without touching
it.
The Berlin-based musician, Barbara Buchholz, first made
her name as a Jazz bass played, before discovering the
Theremin and studying under Lydia Kavina in Moscow. ôI
first saw a Theremin at the beginning of the 90s, when I
saw Lydia perform Tom WaitÆs æAliceÆ,ô explains Barbara
Buchholz. ôThis sound burned itself into my brain, but I
was not in a position to create it at that time. There
were no Theremins on the market, and I had no idea how I
could get one or learn how to play it. But then I met
Lydia Kavina. It became clear that I would have to go to
Moscow and get intensively involved in the instrument.
Playing the Theremin bundles all of my musical
experiences. I wasnÆt just a bass player, but sang and
studied the flute. The Theremin is a pool in which all of
that can be found.ö
The Theremin is the mother of all electronic instruments.
Invented in the 1920s by the Russian physicist Lev
Theremin, the instrument, with its two antennas, looks
like the clumsy ancestor of todayÆs extraterrestrial. The
antennas create an energy field in which sounds can be
created by the movement of the hands. In 1934, Edgar
VarΘse composed a piece for the Theremin, but its sound
became infinitely more popular when Alfred Hitchcock
employed it in his film ôSpellboundö, for which none other
than Salvador Dali designed the sets for the dream
sequences. But how the instrument is played is even more
interesting than its history. It functions like a reversed
ballet. Normally, one plays music to incite movement, but
you have to dance to get sounds out of the Theremin. ôIt
is a very poetic way of playing. You elegantly raise your
hand and get the loudest sound without hitting or
scratching something. Everything is light and dance-like.
Every musician has a physical relationship to his
instrument. One likes something in his mouth, the other
prefers something in his hands. For me it feels as if I
have always played the Theremin. I donÆt have to think
about anything.ö
Perhaps it is no coincidence that Barbara Buchholz to the
Theremin via the bass, because both instruments require
not only the use of body openings and extremities to play
them, but the entire body. Barbara Buchholz is fascinated
by the differences as much as by the similarities of the
two instruments. ôWith the bass I have an earthier
feeling, but one is still ôgroundedö with the Theremin. I
am fascinated by the complete concentration required to
play the Theremin. You canÆt intone with the instrument
unless fully immerse yourself in it. There are no finger
placements that you can practice until you have them don.
You have to be inside the sound the entire time. Playing
the Theremin is pure intuition.ö
Barbara Buchholz captivates the listener with the
ThereminÆs unique, exotic, and as futuristic as nostalgic
charm. But thanks to her experience with other instruments
there is no danger of falling into kitsch or esoteric,
which the seductive sound of this instrument implies. Her
works are warm and complex, and never does the sound
dominate the music. Barbara Buchholz has developed a
completely new, natural association to the Theremin. She
works with samples and Jazz structures. ôThere are enough
people who see the Theremin as a nostalgic instrument and
do the same things with it as at the time it was invented,
namely playing music from the Romantic period. There were
no compositions for the Theremin. Even Lev Theremin played
Romantic repertoire on it. It was meant to be compared to
the violin, but was compared with something that it could
never be. That must not be repeated. To me it is a
completely contemporary instrument. You feel the
electronics, but see the person behind it. In light of the
high technical standards of the 90s, I find it exciting
and absolutely refreshing. That you can now have
electronic music and human charm in one.ö
If the sound of the Theremin can be compared with any
other instrument, then the singing saw. It has a magical
sound, and Barbara Buchholz freely admits that she is in
love with that magic. The LP title also sound magical.
ôRussia With Loveöö, of course, draws an association to
the James Bond film with almost the same title. But
Barbara Buchholz breaks away from the romanticism of the
Cold War and brings it into the present. ôMy trips to
Russia were necessary in order to get back to the roots
and to explore the roots of the instrument. I got to know
a lot of artists with who I work and will continue to
work. I have never experienced another country with so
many dichotomies. There is no middle ground in Russia.
There are the poor and the rich, melancholy and punk, the
dissonant and the beautiful. Nothing in between. My music
is an echo of this time. Snapshots of various moods. The
album was supposed to be more contradictory in the
beginning, placing Punk next to the melodic side. We
recorded wild noise improvisation, which in the end
werenÆt used.ö
And that is just fine, because ôRussia With Loveö is, from
beginning to end, a unified journey through space and
time, warmth and coldness, memories and intuition, as well
as ôhumanness and technology. I feel as if I were singing.
I often sing internally. Lydia Kavina once said, that
vibrations and the ThereminÆs weaknesses are also its
strength. You can do with it whatever you want. That is
very consoling for me.ö
Further information about the Theremin and Barbara
Buchholz you will find on the following website:
www.barbarabucholz.com
http://www.culture-com.de/html/barbara_buchholz_presse.html
(German)
*
About Barbara Buchholz:
Studied music at the University of Bielefeld. In the 80s,
she toured as bass player with the womenÆs orchestra
REICHLICH WEIBLICH. Later, the recipient of numerous music
awards played and sang with projects crossing the
boundaries of art, music, poetry, dance; recorded for the
WDR; followed an invitation of the Goethe Institute to
teach in Tansania.
As a composer and performer, Barbara Buchholz has worked
for a wide range of theatres; as artistic director she
conceived and produced ôTAP IT DEEPö û a unique blend of
midified tap dance and new jazz û as well as HUMAN
INTERACTIVITY û a collaboration with the Russian computer
painter Olga Kumeger, among others.
Barbara BuchholzÆ current musical endeavours focus on the
Thereminvox, an instrument played without touch, as well
as the MIDI Theremin, an innovation commissioned by the
artist herself: using a combination of MIDI signals and a
sampler, the MIDI Theremin lets her trigger loops and
samples by hand gestures in the air.
Multiple invitations by the Russian Office of Cultural
Affairs plus a number of stipends have allowed Barbara
Buchholz to deepen her studies of these ôantenna
instrumentsö at the Theremincenter in Moscow. As master
student of Lydia Kavina, a descendent of ThereminÆs
originator Lev Thermen, she picks up the once interrupted
tradition of this instrument and finds new ways and
applications in the vicinity of New Music.
In the age of digital media, Barbara BuchholzÆ work
explores the options of making electronics a dimension of
human communication. The combination of Thereminvox and
Midi Theremin is a bridge from the oldest to the very
latest technology.
Distinctions:
1989 Prizewinner at 'Jazzszene NRW' with the duo "Wilde
Ehe spielen Jazz" - 1995 Silberner Amadeus at competition
"Musik Kreativ" for the duo "Blech, Bass und Bellaphonie"
- 1996 1. prize at "Jazz-Competition" of the town Herford
for the group "Tap It Deep" - 1998 2.prize at the
composition-competition for Jazz and Improvised Music in
OWL for the "Trio der Zukunft" with Matthias Muche
(trombone) and Frank Wingold (guitar) - 2002 Specialprize
of the town Bielefeld at the composition competition NRW
for the interactive Video-Music-Project "Wavesô - 2003
scholarship of the ministry of education and the arts NRW
for studying at the Theremincenter Moscow.
-
Studierte Musik an der UniversitΣt Bielefeld. Mitte der
80er Jahre war sie als Bassistin mit der Frauenbigband
REICHLICH WEIBLICH unterwegs. SpΣter spielte und sang die
mit mehreren Preisen ausgezeichnete Musikerin in
interdisziplinΣren Projekten, produzierte fⁿr den WDR,
unterrichtete auf Einladung des Goethe-Instituts in
Tansania.
Als Komponistin und Performerin arbeitet sie fⁿr
verschiedenste Theaterbⁿhnen , als Initiatorin eigener
Projekte produzierte sie u.a. TAP IT DEEP û
ämidifizierterô Steptanz und Musik, und HUMAN
INTERACTIVITY mit der russischen Computer-Painterin Olga
Kumeger.
Im Zentrum der musikalischen Arbeit von Barbara Buchholz
steht das berⁿhrungslos gespielte Thereminvox, sowie das
auf ihre Anregung gebaute Midi Theremin. Per midi einen
Sampler ansteuernd, lassen sich Loops und Samples durch
Handbewegungen in der Luft ausl÷sen.
Die mehrfache Einladung des Russischen Kulturministeriums
und diverse Arbeitsstipendien erm÷glichten Buchholz, am
Theremincenter Moskau die Auseinandersetzung mit dem
Antennen-Instrument zu vertiefen.
Als Meisterschⁿlerin von Lydia Kavina, der Grossnichte des
Theremin-Erfinders Lev Thermen, setzt sie die
unterbrochene Tradition des in Vergessenheit geratenen
Instruments fort, und beschreitet neue Wege im
Experimentierfeld der zeitgen÷ssischen Musik.
B.B. erkundet forschend die M÷glichkeiten, im Zeitalter
der Digitalisierung dem Umgang mit Elektronik eine
menschliche Ausdrucksform zu verleihen. Die Kombination
von Thereminvox und Midi-Theremin schlΣgt die Brⁿcke von
Σltester zu neuester Technologie.
Auszeichnungen:
1989 PreistrΣgerin bei der 'Jazzszene NRW' mit dem Duo
"Wilde Ehe spielen Jazz" - 1995 Silberner Amadeus beim
Wettbewerb "Musik Kreativ" fⁿr das Duo "Blech, Bass und
Bellaphonie" - 1996 1.Preis beim Jazz-Wettbewerb der Stadt
Herford fⁿr die Gruppe "Tap It Deep" - 1998 2.Preis beim
Kompositionswettbewerb fⁿr Jazz und improvisierte Musik in
OWL fⁿr das Trio der Zukunft mit Matthias Muche (Posaune)
und Frank Wingold (Gitarre) - 2002 Sonderpreis der Stadt
Bielefeld beim Kompositionswettbewerb NRW fⁿr das
interaktive Video-Musik-Projekt "Wavesô - 2003 Stipendium
des Kultur-Ministeriums NRW fⁿr einen Arbeitsaufenthalt am
Theremincenter Moskau
*
Another Quality Release from OSC!!
Enjoy!!
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-NEWS
OSC is still holding it down after more than 2 years in
tha scene. Our dedication to bringing you the best in
ol skool classics is, and always will be, our driving
force. Quality over quantity.
"It's all about the music, fuck the other ish." - OSC
Because of this motto we strive to continue bringing you
releases in the highest possible quality, whether it be
urban, house, latin or any other genre.
ASCII BY CACIQ^ACL #ascii.cl