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Harryphonies (Alpha) - Iancu Dumitrescu - Pierres Sacrées (CD) download full album zip cd mp3 vinyl flac

Published 17.11.2019

Download Harryphonies (Alpha) - Iancu Dumitrescu - Pierres Sacrées (CD)
Label: Edition Modern - ED.MN.1003 • Format: CD Compilation • Country: Romania • Genre: Classical • Style: Abstract, Contemporary, Experimental

Alpha du Centaure's music, as presented in their bio, is a bit like that. While primarily post-rock, you can here many other influences put to good work. It is rare in such a young band to ba able to do that so well. So without further ado, let's talk about their music. Well, it is an easy one. As I said above I thought it was an early Mono song. The spirit is the same. It just says it all.

Of course, they are developing their own sound. As it is their first EP, this is quite an achievement. They make very mature music: They obviously they have listened to a lot of music, of many styles.

Far from copying their elders, they have integrated their music to create their own style and a very mature first EP. They are not a one loop band : one trap for beginners in post-rock is to use loops ad-lib and just add dynamics to the song. Alpha du Centaure worked on melodies first and texture and dynamics second. I result in beautifully crafted songs, with many variations of melodies, verse, choruses.

Their capacity for texturing : Each song is beautifully crafted, with sounds, instruments and effects that differ from one piece to the other. They love to craft sound and know how to apply is to good effect.

It is difficult at best of times. For a first EP, this is impressive. The song begins with a heavy kick begins, quickly joined by a piano hook at the back that gives the piece a beautiful theme, and joined by an ethereal guitar. The title fits really well to the song: it could be the colour of my dream indeed.

A slow one, a nice one. Gliding slowly over the moon. Textures and instruments are added slowly to climax soon like the best moments of Mono or Inspirative. It is like taking off for the beginning for a furious flight in space. It reminds me of Seagull from Ride in spirit, a lunar version of it, calmer, further away. These little gifts were a technique of the regime. The important thing is that, for the rulers, there was no essential difference between Beethoven and Stockhausen.

For completely stupid and uncultured people there is not even the perception that one kind of music poses problems that another one doesn't. When I was a student we had Stravinsky in the library. My bad reputation in the world of music began here - from my repeatedly listening to Stravinsky records in the student library. Gradually my compositions came to be played by friends who were composers and musicians and teachers.

But I was constantly criticised by the Feel The Drums (Public Domain Remix) - Native - Feel The Drums (Vinyl) Union of Composers, the Stalinists, people who pretended to be influenced by folk music, but not real folk music, a kind of banalised, reduced version.

Then, within the group of people I knew, I was the youngest, the least disciplined, the most ignorant. They were Feel - The Violet Burning - The Demos (CDr, Album) professional, more competent; they knew everything about serialism. So I was criticised not only by the official people but also by these unofficial people. Later, when they started to win official prizes, they thought of me as a wasted talent.

What they didn't see was that real talent means being driven to go into as yet unknown areas, to find a space that is uniquely your own. Looking at myself from this perspective, I'd say I haven't achieved much. But at least I've not given in to the laziness in my own spirit. From the beginning of Ghost Town - Queen + Adam Lambert - Rock In Rio (Blu-ray-R) 's I received a certain respect all the same because my work was increasingly recognised abroad - in Germany, Holland, France and Italy.

The Paris-based group "La Petite Compagnie", led by Maguy Lovano, also a composer and musicologist, had a great enthusiasm for new music and brought out a record with one of my pieces; there were performances in several French cities, and I was played on Radio France and other stations. Unusually, almost simultaneously, two of my pieces were accepted for the international Gaudeamus competition in Holland. German radio played my music, and I had scores published in France and Germany. This was my first contact with musical life as it then was.

This contact was actually paradoxical. On the one hand, my music had been chosen for its modernity; on the other, people over there were not quite ready at that time to understand it.

For the first time I found myself not only amongst the most modernist composers of my generation, but also ahead of the ideas of the time. This little "difference" was gradually to develop to the point where it finally became an actual "divorce". So I've always found, in the intellectual milieu Weve Got To Do It contemporary composition, that some people are drawn to my ideas, whereas others greet them with almost total incomprehension.

By the way, it's been suggested that my music was very influenced by that of Scelsi. In fact, if you listen to my recordings, it's clear that I largely developed my music in the period before anyone had heard Scelsi.

You could even say that my music contributed to how Scelsi was listened to when his music first became known in the 's. The fact that there are parallels has to be read as an aspect of synchronicity Q: Where do your musicians come from?

How do you choose them? Who are they? Do they come from the conservatoire? D: There is no other music in Romania; it's rare to come across musicians Harryphonies (Alpha) - Iancu Dumitrescu - Pierres Sacrées (CD) rock or jazz, and when you do they tend to be very specialised, professional, conventional, not open to different ideas. My musicians in the Hyperion Ensemble are music teachers with normal training, or members of the leading symphony orchestras of Bucharest, or also sometimes talented young players from throughout Europe.

There is one current exception, who is a theatre director, and also a geologist. Before, we had a Harryphonies (Alpha) - Iancu Dumitrescu - Pierres Sacrées (CD) - an architect, who also played rock drums; he couldn't read notes, but was an extraordinary and talented player.

The main thing is open-mindedness, obviously. What I offer to musicians is a re-education in musical technique which goes back to the source, to the basis of rhythm, to the pythagorean monochord, to the thousand other possibilities for making music with a single string, or blowing a single note.

Clearly my associates are not always able to follow this musical adventure. If they also happen to be working in orchestras several times a day, they get contaminated by other musics. There is a lack of exposure to techniques of concentration such as Zen and Yoga in Romania. Musicians - and I'm talking not just about Romanian musicians, but about all musicians here - find it hard to concentrate spontaneously on what is happening in the moment; they can only concentrate in a consciously directed way.

I myself am very fascinated by philosophy and theory, but I've found out that it's catastrophic when I'm working with an Harryphonies (Alpha) - Iancu Dumitrescu - Pierres Sacrées (CD) to start telling them the theory behind the music; the musicians simply stiffen up; their thinking minds interfere with the intuitive movements that I need for the music to sound good.

So I quickly stop and tell them to forget what I was talking about, Harryphonies (Alpha) - Iancu Dumitrescu - Pierres Sacrées (CD), and then we get a better result. At the same time my music has a primitive aspect, like primitive painting: a human primitivity. In my musicians, I'm looking for a region of the psyche where there are nuances of the pre-cultural. My contacts with musicians are difficult; I use this approach as a provocationThe Girl Next Door - The Channels - The Girl Next Door (Vinyl) see how they react, to see what their primary reactions are, to see if I can find something more than pure primitivity, to see if I can channel and refine what is in their inner nature.

My music emerges in the context of a specific Romanian consciousness combining elements of Eastern and Western thought. What does this mean? You might say that in Western thought, there is an emphasis on external time, and that in Eastern thought there is an emphasis on internal time. This second kind of time is more cyclical, more linked to the body, the experience of being alive in a body. In Romanian culture, we have a strong Down Along The Cove - Duane Allman - An Anthology (Vinyl, LP) for this interior time; this made it possible for me to move towards another kind of musical rhythm.

This other kind of rhythm that I found is actually everywhere, and inside everyone, but hidden. It is primary, related both to biological processes and to phenomenology. I found a kind of proportionality between the act of playing a note, and the pause which follows it. There is an alternation of activity and rest. This is biological, the rhythm of physical movement, systole and diastole, the heart, the step, tension and then relaxation of muscle. From this incredibly simple observation I began to think out another world of rhythm, a world linked to cosmic and human naturality, to number, to quantity in terms of moments of action and moments of rest.

I found that the pause following a number of actions, a group of actions, is specific to it. There is a proportion between action and inaction. Then I made a phenomenological reduction, cutting away everything that masked the true nature of the phenomenon.

I found a special quality in particular numbers. The pause depends psychically on the character of the number of the actions. What is the immanent direction of the music at this point? There is a first number one, Laibach - Let It Be (CD, Album) single stroke, a pause, then the next number one, another single stroke, but now we are aware that there was something before, so it's changed: there is a potential direction - the second one can be more, or can be less, or can be equal, to the first.

This depends on the phenomenological direction I want to give to the music. So my percussion writing is based on this rhythmic concept. Or the bass on Aulodie Mioritica with The Velvet Angels - Im In Love (CD) Grillo. What is the pause? Everything, the action of the rhythm, and the pause, is linked, according to the direction given to the music.

The rhythmic structure is both logical and intuitive. I realised that Western culture is only aware of a small part of a much wider rhythmic conception based in biological rhythm, and the notion of feedback in information theory. Western musical culture has succeeded in abolishing real pauses. If you listen to Beethoven, the thinking is actually all continuous; there is this projection of an external meter that always carries on, even when the music is taking little breaths between the notes.

But this is just one possibility. It is not necessary to coordinate music only by meter. Of course this has given us tremendous riches. The idea of symphonic music depends on synchronization. But there is also a lack of freedom, of diversity. In my music there are coordinated parts and also free rhythm parts. Measured music is just one case in a potentially vaster musical world that acknowledges Wardance - David Essex ,And Frank Finlay - Mutiny!

(Cassette, Album), breath Something that arises from this difference in conceptions of rhythm, is that when you are working with conventionally trained musicians, and you persuade a musician in the group of the Harryphonies (Alpha) - Iancu Dumitrescu - Pierres Sacrées (CD) of a certain rhythm of playing, then all the others get contaminated and follow the same rhythm. In fact what you want is to get each musician's part coherent in itself, to have it played in its own rhythm, which is also the rhythm of that musician at that time.

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