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Amazon Music Unlimited Amazon Music HD Prime Music CDs & Vinyl Download Store Open Web Player MP3 cart Settings Alva.Noto Artist Overview Albums. NOTO,ALVA / SAKAMOTO,RYUICHI. Summvs NOTO,ALVA / SAKAMOTO,RYUICHI. Unieqav Alva Noto. Insen NOTO,ALVA / SAKAMOTO,RYUICHI. Transform Alva-Noto. 2009. Alva Noto + Ryuichi Sakamoto with Ensemble Modern. Alva Noto + Ryuichi Sakamoto Ensemble Modern +1. 506 8 Live 2002 archival 2018. Mika Vainio + Ryoji Ikeda + Alva Noto. Mika Vainio Ryoji Ikeda Alva Noto +2. 2018. Alva Noto & Ryuichi Sakamoto. Here you can download alva noto vrioon shared files: 2002 Alva Noto Ryuichi Sakamoto Vrioon.rar from mediafire.com 74.18 MB, 2002 - Alva Noto & Ryuichi Sakamoto - Vrioon Pt1.zip from 4shared.com 65.92 MB, 2002 - Alva Noto & Ryuichi Sakamoto.
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Год выпуска: 2008
Жанр: Glitch, Modern Classical, Experimental, Minimal, Ambient
Продолжительность: 01:14:23
Label: Raster-Noton
В ролях: Alva Noto & Ryuichi Sakamoto with Ensemble Modern
Описание:
utp_ is the fourth collaboration between legendary Japanese innovator Ryuichi Sakamoto and German sound artist Carsten Nicolai, as Alva Noto, following Vrioon in 2002 and Insen and Revep in 2005. In 2007, the pair were commissioned an audio-visual performance with eminent German contemporary orchestra Ensemble Modern, to celebrate the 400th anniversary of the city of Mannheim, situated in the state of Baden-Württemberg, in the South West of Germany. Released as a CD, presenting the various compositions, and DVD, documenting both the live performance, complete with synchronised visuals projected at the back of the orchestra, and utp_ Tryout, a behind the scene documentary showing every aspect of the preparation for the performance, from composition to the creation of the visual components, utp_ is quite a big piece of work, totally in contrast with the minimal aesthetic of the work itself.
Right from the opening moments of Attack/Transition, the tone is set, its electro-acoustic context and modern forms, built upon long string drones which are repeatedly stabbed by much sharper, incisive and short orchestral shards in its first section (the attack, supposedly), then left to sustain the rest of the piece, placing it resolutely in a totally different league to the pair's previous work. The piece then flows into Grain, which introduces richer and more consistent layers of sound, with Sakamoto digging deep in the entrails of his piano to source metallic noises or warmer wood textures, while the orchestra gives out autumnal resonances, contributing to the melancholic mood of the piece. On Particle 1, and later Particle 2, the entire formation turns to much more granular soundscapes, as each instrument is used to create microscopic elements which in turn disperse into the ether as soon as they appear or gather in effervescent grapes of noises, eventually growing in presence to the point of becoming overwhelming.
Elsewhere, the music relies on slightly more conventional orchestral exchanges, giving Ensemble Modern the chance to create interesting tones and shades. This is the case on the wonderfully pastoral and smooth Transition, with its vast plains of exquisite slow-moving string work, which become much more muted on following piece Broken Line 1 when Nicolai introduces piercing electronic dots, recalling the bleeps of early digital watches, and pneumatic rhythmic patterns, while Sakamoto finds here one of his most straightforward moments. The ensemble once again leads the way on Plateaux 1 and 2, this time with somewhat dense and threatening monumental orchestral slabs, which are not without recalling Murcof's Cosmos I, while on Broken Line 2, bass, drums, piano and orchestra all join forces to push forward an elegant moment which, despite its overly reflective mood, hints at intense moment of happiness.
The DVD helps placing these compositions in context and adds to the overall impression of the piece. Performed live, they become even more visceral and intense, the hypnotic visuals, often changing at an extremely slow pace, mirroring at times the progression in the music, seemingly substantiating the abstraction of the music. With utp_, Ryuichi Sakamoto and Carsten Nicolai have created a superb piece, and have, in the process, moved forward into their collaborative work a great deal.
Released: 14 Jul 2008
Notes: The dvd contains the utp_ concert movie and a utp_ 'making of' to document both the
developing process of the piece and the final result.
Качество: DVDRip
Формат: AVI
Видео кодек: H.264
Аудио кодек: MP3
Видео: 608x336 (1.81:1), 23.976 fps, 1113 kbps avg, 0.23 bit/pixel, 595.24 Mb
Аудио: 48 kHz, MPEG Layer 3, 2 ch, 192.00 kbps avg, 1:14:21.072 / 102.11 Mb
- Release Date: 2018-02-16
- Format: CD, Digital, Vinyl
- CAT. #: N-044
- Glass
- Alva Noto + Ryuichi Sakamoto
Alva Noto Ryuichi Sakamoto Rar Download Free
Ryuichi Sakamoto Piano
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Fallout shelter for macbook. 'There are few locations more emblematic of contemplative modern aesthetic than Philip Johnson's 1949 residence, a transparent box stripped of much beyond its focused proportions and structure. And that seems a fitting location for the exposed materials of Ryuichi Sakamoto and Alva Noto.' – CDM
Glass is a recording of an inspired live improvisation by Ryuichi Sakamoto and Alva Noto at the architect Philip Johnson's hallowed Glass House, in the bucolic setting of New Canaan, Connecticut.The structure's transparency and seamless continuity with nature was given another dimension by the addition of this performance, whereby the building, location and audio coalesced into one perfect, harmonious whole.
Stylish, stunning and elegantly minimal, the duo's architectural sound design evokes and synergizes with the space creatively, acoustically and literally – by using the building's fabric as an instrument. This is the sound of glass and of glistening condensation. Pristinely fresh audio stratus float amorphously by, unfurling from a meditative calm into an evocation of sparkling wonder, like a baby observing raindrops on a nocturnal window for the first time. Although the work is largely tonal, textural and spatial, fleeting moments of melody appear towards the end, which despite their scarceness, achieve a profoundly moving effect. Built between 1949 and 1995 by feted architect Philip Johnson and exemplifying modern architecture and the International Style, The Glass House hosted this site-specific event. It was commissioned by Curator and Collections Manager Irene Shum, who recalls the experience'
'The emotional drama of the forty-five minute performance was echoed in the natural environment. A sudden rain storm forced the evening's guests into The Glass House at the start. During the performance, the storm cleared into a dramatic red and pink sunset and concluded in nightfall. Rehearsing only one day before, Sakamoto and Nicolai experimented with a keyboard, mixers, singing glass bowls, crotales, and the architecture of the building. Contact microphones were attached to the surface of The Glass House, and using various weighted gong mallets with rubber heads that were gently but firmly dragged along the surface of the glass, they transformed the walls into an instrument, creating wistful sounds of contemplation and longing. Similarly, Nicolai played two sets of high and low octave crotales with a horse hair bow. The pair improvised in what could be described as an intuitive call and response manner.'
To celebrate the 10th season open to the public and the 110th anniversary of Johnson's birth, Irene Shum invited the 87-year-old Japanese artist Yayoi Kusama to exhibit at The Glass House, resulting in the installation ‘Dots Obsession – Alive, Seeking For Eternal Hope.' Once the finishing touches to the exhibition were made, a party was thrown in the artist's honour, which featured this private performance by Ryuichi Sakamoto (who was responsible for connecting Shum to Kusama) and Alva Noto. Office home and business 2016 download mac. 'When I was offered to perform at The Glass House, the first idea that came to my mind was to use the house itself as a musical instrument', recalls Sakamoto.
'It was completely musical and 100 percent improvised, as that's what we usually do', he adds. 'Looking at the beautiful landscape through the glass wall with Kusama's dots was something, and it affected me, affected us, I should say, a lot. It's a strange mixture of natural, nature, and artificial things, art.'
This intimate evening brought Ryuichi and Carsten back together for their first live collaboration since Sakamoto's cancer diagnosis and treatment in 2014. Prior to that, Nicolai and Sakamoto had worked together on and off since 2002, releasing 6 albums as a duo. Having met in 1999 during Nicolai's first trip to Japan, the following year he was commissioned by the magazine Code Unfinished to remix a track by Sakamoto and impressed by what he heard, Ryuichi sent additional tracks to Carsten. This back-and-forth developed into a creative exchange that birthed their first long player ‘vrioon', which was voted electronica album of the year by The Wire in 2004. In 2016 the duo scored the music for Alejandro González Iñárritu's hit film, ‘The Revenant' which won multiple Oscars, Golden Globes, BAFTAs and Critics' Choice Awards.
Ryuichi Sakamoto Vinyl
Alva Noto Ryuichi Sakamoto Rar Download Mediafire
Fallout shelter for macbook. 'There are few locations more emblematic of contemplative modern aesthetic than Philip Johnson's 1949 residence, a transparent box stripped of much beyond its focused proportions and structure. And that seems a fitting location for the exposed materials of Ryuichi Sakamoto and Alva Noto.' – CDM
Glass is a recording of an inspired live improvisation by Ryuichi Sakamoto and Alva Noto at the architect Philip Johnson's hallowed Glass House, in the bucolic setting of New Canaan, Connecticut.The structure's transparency and seamless continuity with nature was given another dimension by the addition of this performance, whereby the building, location and audio coalesced into one perfect, harmonious whole.
Stylish, stunning and elegantly minimal, the duo's architectural sound design evokes and synergizes with the space creatively, acoustically and literally – by using the building's fabric as an instrument. This is the sound of glass and of glistening condensation. Pristinely fresh audio stratus float amorphously by, unfurling from a meditative calm into an evocation of sparkling wonder, like a baby observing raindrops on a nocturnal window for the first time. Although the work is largely tonal, textural and spatial, fleeting moments of melody appear towards the end, which despite their scarceness, achieve a profoundly moving effect. Built between 1949 and 1995 by feted architect Philip Johnson and exemplifying modern architecture and the International Style, The Glass House hosted this site-specific event. It was commissioned by Curator and Collections Manager Irene Shum, who recalls the experience'
'The emotional drama of the forty-five minute performance was echoed in the natural environment. A sudden rain storm forced the evening's guests into The Glass House at the start. During the performance, the storm cleared into a dramatic red and pink sunset and concluded in nightfall. Rehearsing only one day before, Sakamoto and Nicolai experimented with a keyboard, mixers, singing glass bowls, crotales, and the architecture of the building. Contact microphones were attached to the surface of The Glass House, and using various weighted gong mallets with rubber heads that were gently but firmly dragged along the surface of the glass, they transformed the walls into an instrument, creating wistful sounds of contemplation and longing. Similarly, Nicolai played two sets of high and low octave crotales with a horse hair bow. The pair improvised in what could be described as an intuitive call and response manner.'
To celebrate the 10th season open to the public and the 110th anniversary of Johnson's birth, Irene Shum invited the 87-year-old Japanese artist Yayoi Kusama to exhibit at The Glass House, resulting in the installation ‘Dots Obsession – Alive, Seeking For Eternal Hope.' Once the finishing touches to the exhibition were made, a party was thrown in the artist's honour, which featured this private performance by Ryuichi Sakamoto (who was responsible for connecting Shum to Kusama) and Alva Noto. Office home and business 2016 download mac. 'When I was offered to perform at The Glass House, the first idea that came to my mind was to use the house itself as a musical instrument', recalls Sakamoto.
'It was completely musical and 100 percent improvised, as that's what we usually do', he adds. 'Looking at the beautiful landscape through the glass wall with Kusama's dots was something, and it affected me, affected us, I should say, a lot. It's a strange mixture of natural, nature, and artificial things, art.'
This intimate evening brought Ryuichi and Carsten back together for their first live collaboration since Sakamoto's cancer diagnosis and treatment in 2014. Prior to that, Nicolai and Sakamoto had worked together on and off since 2002, releasing 6 albums as a duo. Having met in 1999 during Nicolai's first trip to Japan, the following year he was commissioned by the magazine Code Unfinished to remix a track by Sakamoto and impressed by what he heard, Ryuichi sent additional tracks to Carsten. This back-and-forth developed into a creative exchange that birthed their first long player ‘vrioon', which was voted electronica album of the year by The Wire in 2004. In 2016 the duo scored the music for Alejandro González Iñárritu's hit film, ‘The Revenant' which won multiple Oscars, Golden Globes, BAFTAs and Critics' Choice Awards.
Ryuichi Sakamoto Vinyl
Alva Noto Ryuichi Sakamoto Rar Download Torrent
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