P-ART WEB of ARTISTS: [Clarence BARLOW] [Carl BERGSTROEM-NIELSEN] [Alvin CURRAN] [LOGOS-DUO] [Baudouin OOSTERLYNCK] [Klaus RUNZE] [Sabine SCHAEFER] [Laurie SPIEGEL] [Margaret LENG TAN] [Dominique Vermeesch & Daniel VAN ACKER] [Michel WAISVISZ] [Ward WEIS] [Af URSIN] [Daniel VARELA & José MARCHI] [P-ART]
2. Animali Musicali di Luna 2:19
3. White Walk 2:00
4. Guru 4:02
5. Bathed in Sound 2:01
6. Ritual Face 3:25
7. White Body 4:35
8. Piano in Gesture 9:52
9. Table PARTy in Concert 2:32
10. Invention for 2 digital voices 2:00
11. New Prepared 11:09
1. Field (1992©2003) In the intro, snapshots of fields on the river are linked in a chaotic sequence just like a rhythmic pattern. As soon as the sound makes its entrance in repetitive sequences of pictures, grazing cows start their breackdance, the river banks repeat their lamentation, small pebbles at my feet become powerful colourful strikes on the musical canvas, and you are picked up in the viewer of the hidden hunter who pores over the sloping plough land in search of the small wild. My digital retina holds "after-images" from observing the fields. The "red" picture-tracks of brown ground reflect a shot wild rabbit that is swept away by the rotating images. Sheep graze in surrealistic surroundings. The coloured tadpole gets an artificial location in the landscape and rattles as a cover breaking machine-gun.
2. Animali Musicali di Luna (1994©2002) is part of the white art boxes I produced. One of these boxes is filled with dozens of glowing little moon-animals. They search hesitating, firmly, streamlined or individualistically for an exodus in the moonlandscape. The aesthetic fight of these glowing moon-animals is growing into an intringuing audiovisual parade.
3. White Walk (©2003) When the weather is good, I often go cycling in the woods. Here, beeches stand as white shapes and shine in the sun. I see the white trees. They slowly pull their feet from the ground, and march to a 'safer' place. The beech-bark is very thin and cracks easely. Therefore, trees are treated with a white paint made of lime, fungicidal resources and disinfectant. The white paint symbolizes my strenght to survive, by making music mixed with sensitivity, creativity, relativism and a sense of reality.
4. Guru (1992©2003) can also be interpreted autobiografically: my mechanical typewriter, which I produced many articles with in the past, a slowly cracking gate, and sounds from nocturnal birds, accompany the audience into the 'Guru kosmos'. The Guru-laugh, set in multilayers in the sound spectrum, represents the ironical framework of the Guru-scène. The audience gets hallucinating snapshots scarcely perceptible (outlines from my music book, the crowing cock which thinks that the day begins at the end of the eclips, etc.).
5. Bathed in Sound (©2003) Only the sound from Bathed in Sound brings to my LP from 1983. As a bathing composer in naked condition, I make a watermusic suite in the bath water with two hands and ten fingers, by slapping my hands on the watersurface, and leaning with my wet, hairy arm on the bath-tub edge. My composing attitude is exactly the same as when I create an intuitive piano composition on my grand piano. Because the audience catches only a glimp of the video performance which I 'put down' in the bath-tub, they can let go of all associations, fascinated by bath music for two minutes.
6. Ritual Face excerpt (1987©2004) Do not think of academic danceskills. Let your body enjoy universal primeval movements. In my 27 minutes pianosuite for ritual dance (1984) only the basic script of ritual primeval movements is prescribed. Listening to my own pianosuite, I did a dance performance in my head. My ' ritual ' head dances.
7. White Body (1987©2004) In White Body, you don't see more than a dancing sheet, and from time to time a piece of shoulder or some trousers. However, it isn't a wild ghost, but a white body that dances. Whereas other dvd-pieces are focused on music, here the aesthetic 'imag'ination, dance aesthetics and also the quality of the sound process are disposed.
8. Piano in Gesture (1985©2004) The eighties were my "acoustic period" on my Jugendstil grand piano. What's special about 'Piano in Gesture' is that I execute an audiovisual performance par excellence. This piano piece consists for a large part of touching the keys without sound, and afterwards playing piano sounds carefully. You expect the sound of a piano but you listen to dancing fingers. ' Piano in Gesture ' is pianistic in every way. The piano performance is a choreography of pianistic gestures. In the second part, my pianoplay covers a very tonal approach. While going to the bottom of my piano soul, I opted for a very melodic 'sounding' piano sound.
9. Table PARTy in Concert excerpt (1991©2004) You watch the wooden piano table as if you were the performer. Around 1770 the pianoforte basically is a wooden table with four legs which the pianist plays piano (= softly) and forte (= strongly) on. I wanted to make table music by choosing another side of the wooden table each time. At the most elementary table side my piano hands listen to silence, on the other side I perform a playback version of Mozart's "Turkish Marsh" with ten fingers. At the most sofisticated table side, I say good-bye entirely to the classical piano à la Mozart, connecting the contact microphone (attached under the table top) to the soundeffects processor giving more presence to the sound and modulating the acoustic sound. Here, you enjoy an excerpt that I have created especially for this DVD-release.
10. Invention for 2 digital voices excerpts (1989©2003) At a time when the cd-player was becoming esthablished, I wondered if the discard cassetterecorder could get a new musical function. Currently, the cassettedeck records and plays tapemusic. It didn't produce sound on its own till 1989. Without special technical intervention, I discovered the common cassettedeck as a primitive duophonic synthesizer. You can see me playing two digital voices with left and right volume control, in my mind the duophonic Inventionen of J. S. Bach for piano.
11. New Prepared excerpts (2001©2004) My music videos 'New Prepared Gamelan' and 'New Prepared Synth' are dedicated to the prepared piano diva Margaret Leng Tan. The prepared piano has been invented in the thirties of the twentieth centuries by John Cage who had only a piano to execute percussion music. Screws and other objects between and on the strings change the pianomusic into gamelanlike sound. In the last piece on my DVD "White as Piano" I play piano, and you hear gamelan. The used sound effect (ring modulation) filters the lower frequencies of the pianosound and interferes with some harmonics of the pitch. The result is a prepared piano in electronic version. In 'New Prepared Synth', I continually play an arpeggio of two notes on the highest keys. This acoustic sound is registered and controlled by the LFO-filter. That makes it impossible to present a technically pure reproduction. In my case, it seems to be an advantage, because you are not dazzled by polished brass. In Central Africa, noise added (with small loose tubes around the lamels on thumbpianos) to ethnic instruments is appreciated as being fully musical.
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