17 Clips

by Florian Wittenburg

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about

“Very slow yet very majestic flowing music, with on the DVD – the only piece that has a film images to it, by Marcel Wierckx, with equally slow changing patterns, which follow the music quite well. It has a fine modern classical feel, both the music and the images, reminded me of serious academic backgrounds, which is certainly the case with Wittenburg. My favorites here are the two Reich pieces, but then the rest is as equally good, I should think. A fine release of modern minimal music.”, Frans de Waard (Vital weekly)

"Ich finde es immer wieder faszinierend, wie es Dir mit Deiner Musik gelingt, eine ganz eigene Stimmung und Atmosphäre zu schaffen, die einen Hörer - ob er es will oder nicht - in ihren Bann schlägt. Ich finde nach wie vor das, was du komponierst, sehr sehr spannend.", Prof. Dr. Gunter Senft

"Ik vind het weer een erg mooi album. Je hebt echt wat te pakken in je muziek", Anthony Fiumara (Composer, Musicologist, co-founder of Ensemble Lunapark, he writes for Trouw)

"The whole album is strongly contemplative, flawlessly constructed, and a joy to listen to. There is also a DVD where “17 Clips” (and only that piece) is accompanied by gorgeous video abstractions by Marcel Wierckx.", Monsieur Delire

"Dass an dieser Stelle trotzdem eine Rezension erscheint, ist der enormen Musikalität geschuldet, die Wittenburgs eigene Kompositionen -,,1st patch for Steve Reich", ,,2nd patch for Steve Reich " und ,,17 clips" (nach einer 0riginalkomposition von Stephan Froleyks) - sowie ,,FürAlina" von Arvo Pärt auszeichnet. Form und Struktur dominieren in den beiden Reich-Stücken, die in ihrem Minimalismus dem Vorbild durchaus das Wasser reichen können. Florian Wittenburg gestaltet auf der Marimba und den eingesetzten electronics einen sphärischen 5ound, dessen Ambientcharakter das prächtige Bild einer neo-minimalistischen Unmittelbarkeit zeichnet.", Klaus Hübner (Jazzpodium)


" In what is partly one of the year´s most interesting cover albums, Florian Wittenburg revisits classic modern works armed with a sampler and a computer language called Kyma. On “First Patch for Steve Reich”, he uses the same marimba patterns as “Drumming” and allows the program to shift its pattern along a Gaussian curve, he explains. The “wandering” effect this creates is mesmerizing – “hi-def” crystal clarity yet still warm. On 17 Clips´ second “patch”, he interweaves a vibraphone pattern and its reverse variation. Plummy and yummy, from cradle rocking to delayed sensory discombobulation and back again. '17 Clips' is an original composition. Wittenburg was supplied with twenty “clips” of cello and accordion by composer Stephen Froleyks, seventeen of which were finally used. “Convuluting” the original fragments, sorting them according to a proposed beginning, middle and end, he improvises a luscious arrangement, taking great gulps of air midway through, beautifully “performed” as it were, on sampler. A sweet, slow counterimage of the implacable Reichian tattoo and in fact the highlight of the album, as it perhaps should be. Canadian video artist Marcel Wierckx created a video interpretation of quivering grids and spirographics, included on DVD in the package", Stephen Fruitman (AMN reviews)

"Als intermezzi speelt Wittenburg ‘Für Alina’ van Arvo Pärt. Het staat twee keer op de cd, rond het stuk ’17 Clips.’ De Estse componist schreef het werkje in 1976 voor piano. Wittenburg speelt het op vibrafoon en ‘Für Alina’ blijkt zich daar uitstekend voor te lenen. De noten vermengen zich tot een mooie volle resonantie. In ’17 Clips’ put Wittenburg uit compositiefragmenten van de componist Stephan Froleyks. Froleyks verwees naar de fragmenten als clips vanwege de connotatie met filmmuziek. Wittenburg gebruikte er zeventien. Het resultaat is een langzaam verglijdende klank die soms wringt, wegsterft en dan weer aanzwelt. Het is muziek uit een desolaat landschap", Jan Nieuwenhuis (Gonzo)

"17 Clips is an interesting and rigorous project developed for CD and DVD by Florian Wittenburg and released by German sound art label NurNichtNur. The album takes its name from the third track and is based on sound fragments of cello and accordion provided by Stephan Froleyks, a colleague and co-author of these micro-scores. The individual scores, which had not been previously juxtaposed, now find themselves orchestrated in a grandiose and refined manner.", Aurelio Cianciotta (Neural)

"In ‘1st Patch For Steve Reich’ speelt Wittenburg een eigen spel door een marimba-melodie in twee versies te gebruiken, gespeeld met andere stokken. Dit klankverschil zorgt voor een auditief 3D-effect dat het hele phasing verhaal een eigen geluid geeft...Die elektronica bepaalt ook de titeltrack van de cd. Daarin kneedt en boetseert Wittenbrug gedurende meer dan twintig minuten, zeventien geluidsfragmenten voor cello en accordeon, gecomponeerd door Stephan Froleyks. Het werk van Wittenburg is zodanig precies dat de twee akoestische instrumenten vaak niet meer te onderscheiden zijn, waardoor het geluid verrassend homogeen, metalig en geheimzinnig ruimtelijk wordt...een alles behalve evidente combinatie die Wittenburg op deze cd opmerkelijk vaak weet te treffen.", Koen van Meel (Kwadratuur)

Digital distribution administered by Hans Tammen. CD copies available at www.nurnichtnur.com

credits

released January 1, 2013

1 Florian Wittenburg: marimba, electronics
2 Florian Wittenburg: vibraphone
3 Daniela Grenz: cello; Burkart Zeller: accordion; Florian Wittenburg: electronics; Marcel Wierckx: visuals
4 Florian Wittenburg: vibraphone
5 Florian Wittemburg: vibraphone, electronics

1, 5 composed by Florian Wittenburg
2, 4 composed by Arvo Pärt
performed and recorded by Florian Wittenburg
3 composed by Florian Wittenburg after Stephan Froleyks
recorded by Radio Bremen, electronically manipulated by Florian Wittenburg

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NurNichtNur Brooklyn, New York

Founded by Dieter Schlensog, NurNichtNur soon became a large underground label for sound art releases. Based in Kleve, Germany, the majority of its releases are experimental solo projects. Since they often transcend the realm of traditional “music”, they are considered Experimental Sound Productions.



Digital distribution administered by Hans Tammen.
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