what you are saying

about

lon'tano [cata33]

and

an-men



erwin panofsky: (an-men's music is a) "lonely and inaccesible island in the stream of tradition, the real secret of his magnificent nightmares and daydreams has still to be disclosed. we have bored a few holes through the door of the locked room; but somehow we don't seem to have discovered the key"


"oriental, tribal, strange, contemporary, spacey, fantastic experimental music for an amazing journey!!!" cph321



"eerie, varied and fascinating!" george christian vilela pereira

 


jeff gburek: "pretty amazing work"



about "aphigenneea":


bipolarbeats: 'sublime' tunedin52: “what a journey that first track, south seas flavor, stravinsky, dance, opera, but so modern and fresh.”



about "maria (2)":


tunedin52: "develops into very deep emotional spheres. all the time i feel i'm being dragged into some terrible tragedy. a wonderful piece of music and thankfully not embellished with smooth synth pads, but earthy gritty samples. it leaves me a bit devastated, how cruel! as great sound should be.”


moody alien: "this really is grand -and note that i'm not your typical ambient afficionado. melodic yet minimal, very engaging... just beautiful...”


zenjungle: "love the slow built-up... breathing colours, the left-right activity is superb! big journey, it starts in full light it ends in shadows. wonderful.”





pieter hurst  (in memoriam)

 

PIETER HURST [silk screen print (c) edward lacqueur]

 

 

ORPHEUS' PAGE > 

 

 

this page consists of the memories we have left from pieter hurst in the shape of many things and sounds. we have been since 2005 recovering and restoring pieter hurst's own recordings but it is a slow process and money it's too tight to mention. we have two albums that are free downloads from our digital store (except if you want to help us with a donation for speed up the restoration process). so this page is in constant renewal and it would be a good idea to stop by anytime in the future.

 

 

it is simply not possible to ignore the music of pieter hurst: you like it or you do not. in between seems to non-exist feelings or opinions. piano mobile was composed in venice in a period of extreme happiness while on visit with the Koch couple (painter and photographer.) composing was continuous and the city itself reverberates on the three parts of the piece. the ancient wells on ciarooscuro squares with cats sleeping, closed wooden windows, the sea breeze bringing memories from other times and ghosts - laundry drying slowly up there in colourful banners between buildings and the dancing of ochre waters, the bells of churches and the waves licking the gondolas, pigeons flapping their wings in slow motion in the air, the fog of mysterious qualities with echoing voices from the past, the churches empty perspiring incense and choral music...

 

PIETER HURST [silk screen print (c) edward lacqueur]

 

j. herron (belfast, composer) said that piano mobile is 'time altering beautiful music' and added that [it has] 'beautiful sounds, gets a lot of play on my mp3 device. nuvoloso always moves me, it has the special drift that i enjoy listening to. i hope to find time one of these days to sample a little and remix it (for my own joy.)'

"the ecstatic state induced by this music... is created by an independent libido, freed of all the restrictions of reality", wim mertens, composer and philosopher.

 

being the catalogue of wonders a community of artists without a penny/cent, it is herculean to try to release the historical recordings performed and produced by hurst. piano mobile, as other recordings by hurst, presented several problems to us. recorded in analogue tapes and those forgotten in a wardrobe in berlin for decades, it was a miracle they survived at all. a box of these were given to anto'nio vinagre (sound engineer) in lisbon in 2004 by pieter hurst and subsequently to benjamin silva-pereira and david h. hillman that tried to recover and remaster the originals. it is a work in progress that started in 2005 at the sheen road studios (london.) all of the music included within these recordings has been transferred from the original analogue tape master sources and digitally remastered and/or remixed specifically for this release. however, and due to the technology involved and process or work and analogue sampling, there is a certain amount of tape-hiss or background noise. where possible and without compromising the integrity of the original works, we have digitally enhanced the master recordings but ultimately there is only so much we can do and in certain cases we are sure the untreated, originals would be preferred.

 

          (c) koch gmbh

  

 

PIETER HURST > [2nd of august 1950 - 14th of june 2007] german novelist, essayist, germanics’ professor and composer that was at centre of the utopic psychological realism and the de-deconstructivism in europe and the main author of their manifesto (with the ‘thinker’ william b. heinz). his literary work, that include the trilogy of the blues (lemuria chants, 1976; blast off herr commandant, 1979; impossible corpses, 1981) is the perfect representation of the utopic psychological realism movement with its dystopian, deranged and complexly absurd world where all the characters are dependent of/on something, without any kind of salvation. after 1981 the author devoted most of the time to composing, but he would return to literature in 1999 with a god’s notebook, after starting the de-c movement, and later in 2006 with balance and the order, critically acclaimed.

 

 

PIETER HURST [silk screen print (c) edward lacqueur]

 

the americans ron silliman and mei-mei berssenbrudge’s poetry and their experimental, critical and philological work heavily inspired hurst, even his music. mute pleonasm, a novel and a concerto [opus 21, 1990] is based in one paragraph of the first and illustrates well the surreal, dada, futurism and cut-up methods [in sound and writing] that hurst adopted earlier as methods and influences expanding his work to include various media and collaborations [in mute pleonasm he works with ryuichi sakamoto, izumi tateno, frederic chiu, boris bergman, and oliver knussen using themes and sounds from john cage to decaux, debussy and telectu.] this pattern will follow until his last recorded work [outono em lisboa / autumn in lisbon, opus 39 and 40] written across the decades and using samples and collages with other author’s materials.

 

hurst lists very early the large significance of the american minimalists, brian eno and the baroque composers, especially antónio aivaldi, alongside modern masters as john cage and stockhausen, as the main inspirations and raw material to work upon. this dissection of other author’s work, instead of creating him any problem, provoked him to return to composition, as it is often the case [al santo sepolcro, adagio molto, is a large concerto in three variations of the same name by his adored vivaldi and using some techniques that eno used in discreet music – opus 16, 1987.]

 

while teaching in berlin in between 1985 and 1989 hurst spent his nights in hans-joachim irmler’s studio [a member of the krautrock band faust] working and experimenting with ‘sound’ tapes, as he called them, which result of his love for abstract, concrete sounds and repetition being, most famously and enduringly als das kind kind war [opus 18, 1988.] his approach to electronic music and studio composing produced also, later in life, pieces of a hybrid nature as poemaths in 2000 [opuses 22 to 25], that used electronic sources and also the traditional symphonic orchestra.

 

 

one of hurst first loves was the ancient culture of china, country he visited several times, and from where he brought several musical instruments and recordings. one of them would transform itself into a work of musical variations [the bamboo plant named after the imperial concubine of xiang, opus 10, 1983.]

 

the themes on pieter hurst’s oeuvre, though his output was small, are large and various. his love for the arts, especially literature, took him to dip deep in poetry, film and painting. friends with edward lacqueur he would compose the latter’s requiem [rito funebre e pagano per edward lacqueur, opus 41, 2004], and soundtrack for abdullah al azakyas’ documentary film enfant de ton silence, hurst’s last opus. orfeo, music for ballet, saw hurst compiling old pieces of his and re-writing them, adding a vast amount of new compositional material to produce a veritable astonishing new avant-garde piece of music, premiered at the royal opera house, london, in 2003 [opus 34, 2002.]

 

 

mythological scenes and sketches are present since the beginning of his career, as the referred orfeo, but especially on his collection of miniatures, nocturnes and interludes, as his nudi maschile, a collection of nineteen miniatures [opus 14, 1986], intermezzi illuminati [opus 17, 1987], prisioneri de note [opus 15, 1986.]

 

 

 

his admiration for the french piano music took him at length to produce some of his most lyrical and passionate works, as his mirages i-iii and his mirages’ suite [opus 13, 1985] but essentially his homage to william s. burroughs, the piano concerto no. 1, in memoriam [opus 9, 1982] and brion gyson piano sonata no. 1, in memoriam [opus 11, 1984.] the piano, always a present instrument, figures predominantly in les sentiments apparents [opus 7, 1981], two long pieces based on poems by paul éluard that features, on movement two, a soprano with her voice treated electronically.

 

 

very keen in mocking and transform the ‘classical’ world, hurst would frequently misname his compositions, altering the meaning of the usual definitions and labels of musical nomenclature. the most flagrant example is his sonatini automatici [opus 8, 1981], a six part concerto for percussion, recorded birds’ songs, orchestra and pianos, where the normal definition of sonata is completely obliterated.

 

 

when hurst died in 2007, he was working in the final production touches for his biggest project, autumn in lisbon, originally composed and produced for maria de medeiros’ film of the same title, that was lost to the fire in 1998, including the original manuscripts for the score. since then hurst fell in love with portugal and composed extensively to finalise his monumental project. the result is a three full-length compact disc oeuvre with re-written pieces and new ones, as the epic os lusiadas / the lusiads [opus 39, 2002.] here he returns to collaborating and collage work with the figures like lisa gerrard, montserrat figueras or jordi savall, among other portuguese artists like paulo bragança, and a vast assortment of worldwide vocalists and instrumentalists.

 

 

PIETER HURST [silk screen print (c) edward lacqueur]