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: \/ F A N G \ / : '
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\ / presents \ / .
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: Artist......: Florian Wittenburg
: Album.......: Beyond The Traceries :
: Label.......: Edition Wandelweiser Records .. .:.. .
Genre.......: Ambient :
Catnr.......: EWR 2005 .
' Source......: CD ,
; Rip.date....: 2020-12-13
Str.date....: 2020-07-00
Quality.....: 239kbps/44.1kHz/Joint Stereo . :..
.:. Url.........: http://florianwittenburg.com '
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\ / # title time \ /
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1. beyond the traceries 6:08
2. moving thirds (take 1) 3:31
3. noise bowls (part 1) 5:02
4. of exile 6:12
5. moving thirds (take 2) 3:29
6. noise bowls (part 2) 5:01
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\ / ________ Runtime 29:23
,\ /... . . .... .... \ / ' Size 53.96 ______
:\/ ', \ / , \ /
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: Release Notes: \/ , \/ ,
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,: the english word ôtraceryö means a.o. ôflechtwerkô in german. :,
: one could call the programming structures which i construct for :
:' my electronic music öflechtwerkeô - ötraceriesô. however, the ':
,: resulting music is more than these patches, more than just the :,
: algorithm. to a large extent the music depends on how you :
:' control it in real time. therefore i found beyond the traceries ':
,: a fitting title for my new album. it is a phrase quoted from :,
: eric pankey's poem epitaph. it inspires the electronic :
:' manipulations in the same titled first piece on this album. in ':
,: this piece it is the deformed language which results from this :,
: (time-)stretched phrase that forms white noise. to be more :
:' exact, the music results from interactions between two ':
,: differently stretched phrases and the resulting shifting noise :,
: sounds, which permanently and constantly create different :
:' combinations. ':
,: :,
: in the pieces called noise bowls the fundamentals and harmonics :
:' of two glass bowls - which are, as it were, infinitely changing ':
,: (in time) - equally produce permanent new combinations. :,
: especially the rhythmical, almost infinitely varied interplay of :
:' fundamentals and harmonics for me keep these pieces very ':
,: intruiging from begin- ning to end. :,
: :
:' the two vibraphone pieces called moving thirds are actually two ':
,: different takes of the same piece and form the intermezzo :,
: between the previously mentioned meditative works. in these :
:' pieces, sort of moving thirds - hence the title - are ':
,: characteristic for the applied harmonic language. in the first :,
: phrase it is a minor third, which moves through the chord, so :
:' that it first is at the bottom, than in the middle, and finally ':
,: at the top. as a result a minor/major, a major and a augmented :,
: chord emerge. in the second phrase it is a major third, which :
:' moves through the chord in the same way and which results in a ':
,: dominant, a minor and a diminished harmony. in the third phrase :,
: elements of these previously mentioned progressions are :
:' combined. ':
: '
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