BENT LORENTZEN An Introduction to Electronic Music LIGETI Brun BERIO Avant Garde
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BENT LORENTZEN An Introduction to Electronic Music LIGETI Brun BERIO Avant Garde
BENT LORENTZEN An Introduction to Electronic Music Avant Garde
Edition Wilhelm Hansen / J. & W. Chester Ltd. JWC 1001 Gatefold cover w/8 page booklet
With compositions by Herbert Brun, Bulent Arel, Luciano Berio, Gyorgy Ligeti, Francois Dufrene-Baronnet
Vinyl is EX+ due to some marks made by the inner sleeve, but vinyl is barely-used and has no scratches. Cover is EX with light edge wear and a checkmark on cover.
This record was presented in the recommendations archive of Trunk Records (December 2006).
Bent Lorentzen studied musicology at the university in Aarhus and at the Royal Danish Academy of Music in Copenhagen. He is a pupil of Knud Jeppesen, Finn Høffding, Vagn Holmboe and Jörgen Jersild. After his final examination he taught at the Academy of Music in Aarhus for some years. Bent Lorentzen occupies a special position in modern Danish composition music. In the sixties Electronic Music inspired his creativity to take new paths, and since then innumerable other composition techniques have exerted an influence. Lorentzen was one of the earliest pioneers in the field of Danish electronic music (The Bottomless Pit in 1972 for the Nordic Music Days in Oslo, and Visions 1978), which was also introduced with an educational aim: the LP Elektronmusikkens materiale [The Material of Electronic Music, 1968] and the LP Water – electronic music for children, 1968. The possibilities of serialism perfectly matched his constructivism and his interest in sound as totality and potential for experiences, which were not limited by traditional musical elements. Bent Lorentzen’s music is often characterized as "sonic", meaning that it has the actual sounds - the experience of sonority and materiality at its centre.
He has composed in nearly all genres. His orchestral music includes concertos for oboe (1980), cello (1984), piano (1984), saxophone (1986), trumpet (1991) and violin (2001); his chamber music comprises solo works for organ, piano, trumpet, saxophone, clarinet, guitar, violin, cello and double-bass, as well as string quartets and works with mixed ensembles (2-12 instruments). His choral music consists of a wealth of works in a special theatrical style. To these we can add electronic music and instrumental theatre works. Lorentzen has held a number of important posts in different organisations in the Danish musical life, and he was the artistic director of the Ebeltoft Festival 1990-93. He was a prizewinner at several foreign competitions such as the Prix Italia in 1970 (for Euridice), the Serocki composers’ competition in 1984 (for Paradiesvogel), the International Competition for Choir Compositions in Austria 1987 (for Olof Palme), the Olivier Messiaen Organ Prize in 1988 (for Luna), Vienna Modern Masters in 1991 (for the Piano Concerto) and the Music and Poetry Prize in Belgium in 1989 (for Enzensberger’s Prozession). He was awarded ”Danish Choir Composer of the year” in 1990 and the Carl Nielsen Prize in 1995.
Lorentzen was one of the earliest pioneers in the field of Danish electronic music (The Bottomless Pit in 1972 for the Nordic Music Days in Oslo, Visions 1978), which was also introduced with an educational aim (the LP Elektronmusikkens materiale (The Material of Electronic Music, 1968) and the EP Water ? electronic music for children, 1968). The possibilities of serialism perfectly matched his constructivism and his interest in sound as totality and potential for experiences, which were not limited by traditional musical elements. His music drama also features accompaniment of a purely electronic nature (Slangen, Det her er vist noget af Mozart, Tristan Variationer), but in recent years his attention has been focused on what might be called ?sound scenography?, which is very often produced electronically. Operas like Bill and Julia and Den Stundesløse do full justice to the composer?s ideas of an almost cartoon-like sound production. Throughout the years the composer has abandoned pure electronic music as such and has not felt particularly tempted by the new possibilities in computer technology. The reason for this might be that his feelings towards the ?automatic? and non-human elements of this music is somewhat ambivalent. Indeed, Comics - written especially with Danish entertainer Thomas Eje?s special talents in mind ? shows that all sorts of sounds from comics (scenography) may be reproduced acoustically by means of microphones and amplifiers.
Lorentzen belongs to the "league" of western Europe composers that experimented with the electronic medium during the 60-70's such as Karlheinz Stockhausen, Pierre Henry, Andre Almuro, Bernard Parmegiani, Ralph Lundsten, Mauricio Kagel, Krzysztof Penderecki, Iannis Xenakis and others. Close to also danish composers Henning Christiansen, Gunnar Moller Pedersen and the dutch Jan Boerman, Ton de Leeuw, Louis Andriessen, Misha Mengelberg, Ton Bruynel.
Please check out my other auctions this week for more excellent classical records!
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525 (GS 6.6.5 (525))
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