Label: CYBELE RECORDS 960203
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FRIEDHELM HARTMANN (*1963): Sirenes
RALF R. OLLERTZ (*1964): Unacrès
JUTTA RAVENNA (*1960): LeiseLaute
HELMUT ZAPF (*1956): Canto del Aria*
HARRY-ED ROLAND (*1948): Prayer Meeting: EO
MARTIN SUPPER (*1947): DH2
GUNTER HEINZ (*1954): Changes
GERHARD BEHLES (*1969): Silicea
LUTZ GLANDIEN (*1954): Südlich von Alexandreia**

Kai Rapsch, oboe*; Jurgen Kupke, clarinet**
The pieces on LeiseLaute are mostly based on heavily reduced material. This applies not only to the choice of sounds but also their compositional processing. The entire breadth of sound is only seldom exhausted on this CD. Simple runs and forms dominate. The structures are easy to grasp. In order to experience more music, the listener has to immerse himself into the sounds – a case of listening with rather than to. This change of perspective allows the strong dynamic, which is inherent in the pieces in various ways, to be experienced and perhaps thus sensitises the ear to the hidden world of sounds to be found in one’s daily life.

Label: CYBELE RECORDS 960204
Our Price: $15.75
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WILFRIED JENTZSCH (*1941): Kyoto Bells
ANDRE RUSCHKOWSKI (*1959): Nasoma
HEINZ-JOSEF FLORIAN (*1955): Hannah’s Tapesession IIa
CHRISTIAN BANASIK (*1963): Begegnung VI
JOHANNES S. SISTERMANNS (*1955): XIX MIKADO 2
MATTHIAS KIRSCHKE (1952): Masae
HANS TUTSCHKU (1966): extrémités lointaines

Musicians: Wilfried Jentzsch, electroacoustic composition

André Ruschkowski, electroacoustic composition

Heinz-Josef Florian, electroacoustic composition

Christian Banasik, electroacoustic composition

Edwin Alexander Buchholz, accordion

Johannes S. Sistermanns, electroacoustic composition

Matthias Kirschke, electroacoustic composition

Hans Tutschku, electroacoustic composition
The ”Deutsche Gesellschaft für Elektroakustische Musik” (DEGEM) (German Society for Electroacoustic Music) is a member of the German Music Council and of the ”Gesellschaft für Neue Musik” (GNM) (Society for New Music). It was founded in Berlin on 26 April, 1991 as ”DecimE” (Deutsche Sektion der CIME – Confédération Internationale de Musique Electroacoustique) (German Section of the CIME).
The DEGEM supports electroacoustic music in both the national and international sphere. To this end conferences and courses about, and concerts in, this field are organised, as is the international exchange of information as well as the issuing of publications and recordings. Each year a different editor compiles and issues a CD.

Label: CYBELE RECORDS 960205
Our Price: $15.75
Quantity in Basket: none
HANS MITTENDORF-LABICHE (*1952): Gesang der Winde (1993)
HARTMUT JENTZSCH (*1965): bleistift music (1999)
HIROMI ISHII: Dreaming Stones
GEORG KATZER (*1935): Die Landschaft von Vineta (1998)
TILMANN CLAUS (*1958): ...woraus Begegnung fließt... Giordano Bruno (1991/92)
GUNTER HEINZ (*1954): keep on the move (1998)
INGE MORGENROTH: Requiem für ein Schwein (1997)
FRANK SCHWEIZER (*1962): Beginner’s Mind (1997)

Bettina Romer, voice
The ”Deutsche Gesellschaft für Elektroakustische Musik” (DEGEM) (German Society for Electroacoustic Music) is a member of the German Music Council and of the ”Gesellschaft für Neue Musik” (GNM) (Society for New Music). It was founded in Berlin on 26 April, 1991 as ”DecimE” (Deutsche Sektion der CIME – Confédération Internationale de Musique Electroacoustique) (German Section of the CIME).
The DEGEM supports electroacoustic music in both the national and international sphere. To this end conferences and courses about, and concerts in, this field are organised, as is the international exchange of information as well as the issuing of publications and recordings. Each year a different editor compiles and issues a CD.

Label: CYBELE RECORDS 960207
Our Price: $15.75
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JAVIER ALEJANDRO GARAVAGLIA (*1960): Overture (in memoriam T.A.T.)
HANS MITTENDORF-LABICHE (*1952): Invisible Worlds
SVEN-INGO KOCH (*1974): saxl
H-ED ROLAND (*1950): N.A.M.A: “booty!” don’t walk
WERNER CEE (*1953): Cities’ Drift (Auszug)
KARL FRIEDRICH GERBER (*1954): Stream
FRANK NIEHUSMANN (*1960): Arbeit
FRIEDHELM HARTMANN (*1963): Electric Symphony (Fuge)
ROBERTO DOATI (*1953): Felix Regula IV
The ”Deutsche Gesellschaft für Elektroakustische Musik” (DEGEM) (German Society for Electroacoustic Music) is a member of the German Music Council and of the ”Gesellschaft für Neue Musik” (GNM) (Society for New Music). It was founded in Berlin on 26 April, 1991 as ”DecimE” (Deutsche Sektion der CIME – Confédération Internationale de Musique Electroacoustique) (German Section of the CIME).
The DEGEM supports electroacoustic music in both the national and international sphere. To this end conferences and courses about, and concerts in, this field are organised, as is the international exchange of information as well as the issuing of publications and recordings. Each year a different editor compiles and issues a CD.

Label: CYBELE RECORDS 960208
Our Price: $15.75
Quantity in Basket: none
GEORG KLEIN (* 1964): Ankündigung der Wirklichkeit: imperial news
RILO CHMIELORZ (* 1954): ff (floor+feet)
CHRISTIAN BANASIK (* 1963): Glass Cutter
GEORG KATZER (* 1935): Landschaft, blühend
RALF HOYER (* 1950): ort.rand. 1; ort.rand. 2; ort.rand. 3
HANNS HOLGER RUTZ (* 1977): Halbschlaf
JOHANNES S. SISTERMANNS (* 1955): A No Rak
HEINZ-JOSEF FLORIAN (* 1955): Einwahl
GUNTER MARX (* 1943): Kurzer Traum - Version 1
TILMAN KUNTZEL (* 1959): Crystal Bussing
DIRK SPECHT (* 1968): 3 Parts à 90 Sekunden - Part 1; 3 Parts à 90 Sekunden - Part 2; 3 Parts à 90 Sekunden - Part 3
HANS MITTENDORF-LABICHE (* 1952): Transformationen
BERNHARD GAL (* 1971): this is for real
FRANK NIEHUSMANN (* 1960): Overdrive Boulevard North; Overdrive Boulevard South
ONNEN BOCK (* 1973): Fragmentierung, Studie 1
MICHAEL HIRSCH (* 1958): Drei Episoden aus „Das Konvolut, Vol. 3“Episode 1; Drei Episoden aus „Das Konvolut, Vol. 3“ – Episode 2; Drei Episoden aus „Das Konvolut, Vol. 3“ – Episode 3
FRANK NIEHUSMANN (* 1960): Overdrive Boulevard West; Overdrive Boulevard East
PAULO C. CHAGAS (* 1953): Einblick II
MICHAEL HOELDKE (* 1955): Musik für Musik
ROSWITHA VON DEN DRIESCH (* 1964): 33.3
BODO HARTWIG (* 1966): Golden Goal
KIRSTEN REESE (* 1968): Windrad 1
ANN IKRAMOVA (* 1966): Klangkulissen
KLAUS KESSNER (* 1957): 10 x 90''
HARALD MUENZ (* 1965): dreimal neunzig sekunden wirklichkeit - realitäteins? - realität?zwei– ?realität drei
JAN-PETER E.R. SONNTAG (* 1965): mono O
FRANZ MARTIN OLBRISCH (* 1952): Van Ness
RALF HAARMANN (* 1970): Trilogie #1 - Teil a - Teil b - Teil c
THOMAS (BARADELAN) SAUERBIER (* 1972): c:MusikSound.exe
MARC PIRA (* 1961): Réalit-taire/Realitär
KARL-HEINZ SCHOPPNER (* 1954): Birds, rendered, with clicks, take 8.
HELMUT ZAPF (* 1956): parish-music
ISABEELLA BEUMER (* 1951): new cut
ACHIM BORNHOFT (* 1966): Courage
THOMAS GERWIN (* 1955): In 90 Sekunden um die Welt
What reality is cannot be defined, really. In the thirteenth century, when Meister Eckhart translated the Latin “actualitas” into the German “Wirksamkeit” (in English “actuality”), the mystic was not considering the current vernacular and the term “reality”, which has been a guiding force in our common language since the eighteenth century. He was thinking much more about the results of effecting or acting. Music – regardless of how one would like to define it – is something that always exists as the result of a particular deed. Music – indeed, art in general – does not simply exist; it is not natural. Music requires the craftsman, the creator, the composer, the musician, the one who is acting or effecting, in order to come about. John Cage – and a few before him – taught us that there is no silence in the world, that an acoustic void is nothing but an illusion, a pious hope. Something is always making sound. The unpremeditated sounds around us, which are the result of something moving, is what he called silence.
The world abounds with sounds for us to hear in order that we should experience something from the world, something more than we otherwise might. And this is what we have been doing since time immemorial – certainly incompletely and of course not on a global scale, but we do it more often and in a more concentrated way, perhaps than ever before. And we do it with an extraordinarily advanced understanding of music. This is because everything in our acoustic environment could be considered music. At the very least, all the sounds around us have had the potential to become music ever since we mastered the ability to capture, record and reproduce any sonic event at any time and any place. With these sounds we take action, create works, construct objectivities from realities, produce actualities, demand action from listeners as to whether that which is to be heard is to be affirmed or rejected, make offers, formulate new realities, and make music out of that which exists.
At the beginning of the 17th century, another German mystic, Jakob Böhme, said that “Every thing speaks its own revelation.” The shoemaker from Görlitz thus established a tradition of investigation and invention, which through Joseph von Eichendorff, Oskar Fischinger, John Cage, Marcel Duchamp and a number of others has forever changed the way art is created: the aesthetic investigation of the everyday in terms of the concreteness of its objects, the remixing of actualities so as to make them effective, in order to comprehend them as realities. The German Association for Electroacoustic Music presents this compact disc for just such a purpose. It’s about miniatures, shards of reality, each about 90 seconds in duration, each disclosing what it is, each effecting precisely which reality has become an artistic actuality.