A Platform for Ethnically and Culturally Inspired Music
About "Danses De Travers - Crossed-up Dances - Part 01"
First song of forthcoming CD (one song a month, starting with these 3 in one EP)
The Wind Cries Satie - Modern Broken Consort Music
Music with viols used to be played in ensembles called consort – it seems the 16th century British musicians couldn´t pronounce the French word concert – either Whole Consort, only viols, or Broken Consort, in combination with other instruments. “Modern” music as GZ lives in the 21st century, uses acoustic and electric viols in combination with electronic effects and percussion, and a certain polyphony.
For these recordings, all parts were played without metronome ( the click from the computer that produces music without mercy), unlike most of the modern transhumanist music that can be heard today. A music today reduced to produce either sorrow or dance (as Swiss singer Stefan Eicher said in a recent interview ), while many more nuances of emotions and consciousness levels can be manifested by music, which, contrary to modern understanding, is an art that lives only through its humanity.
The project is meant for 3 to 6 musicians, it will have to find investors, and this is why this music already exist through recording. To better communicate his way of making music, covering the music from other composer is a plus. GZ, having worked in the past on J.S. Bach, has now chosen Erik Satie´s music, already known to the public.
The current project will therefore present in the course of the year one piece every month - all Gnossiennes in particular - to end with a complete CD, obviously also aiming at the interpretation of these arrangements in concert.
These first three pieces are arrangements of Erik Satie´s Cold Pieces for piano, composed in 1897. Here GZ decomposed and distributed harmonies on several violas, using all possible sounds, played with finger or the bow, and completed with electronic effects. Rather than being played just once originally, these dances are repeated here twice with a middle part using the harmonies as a basis for improvisation. Rüdiger Maul (Faun) plays on a frame drum derived from the bodhran. GZ plays all viols and everything else (Tibetan Bells, Rainmaker, Cymbals, Timpani, Hang...) & did the arrangements, mix and production. The pitch used is A = 432 Hz.
The Wind Cries Satie - Modern Broken Consort Music
Music with viols used to be played in ensembles called consort – it seems the 16th century British musicians couldn´t pronounce the French word concert – either Whole Consort, only viols, or Broken Consort, in combination with other instruments. “Modern” music as GZ lives in the 21st century, uses acoustic and electric viols in combination with electronic effects and percussion, and a certain polyphony.
For these recordings, all parts were played without metronome ( the click from the computer that produces music without mercy), unlike most of the modern transhumanist music that can be heard today. A music today reduced to produce either sorrow or dance (as Swiss singer Stefan Eicher said in a recent interview ), while many more nuances of emotions and consciousness levels can be manifested by music, which, contrary to modern understanding, is an art that lives only through its humanity.
The project is meant for 3 to 6 musicians, it will have to find investors, and this is why this music already exist through recording. To better communicate his way of making music, covering the music from other composer is a plus. GZ, having worked in the past on J.S. Bach, has now chosen Erik Satie´s music, already known to the public.
The current project will therefore present in the course of the year one piece every month - all Gnossiennes in particular - to end with a complete CD, obviously also aiming at the interpretation of these arrangements in concert.
These first three pieces are arrangements of Erik Satie´s Cold Pieces for piano, composed in 1897. Here GZ decomposed and distributed harmonies on several violas, using all possible sounds, played with finger or the bow, and completed with electronic effects. Rather than being played just once originally, these dances are repeated here twice with a middle part using the harmonies as a basis for improvisation. Rüdiger Maul (Faun) plays on a frame drum derived from the bodhran. GZ plays all viols and everything else (Tibetan Bells, Rainmaker, Cymbals, Timpani, Hang...) & did the arrangements, mix and production. The pitch used is A = 432 Hz.
