Roland Kayn - Werke Fur Tasteninstrumente 1 = Keyboard-Works 1 Label: Reiger-records-reeks - KY-CD 9401-2 Format: 2 x CD, Album Country: Netherlands Released: 1995 Genre: Electronic, Classical Style: Experimental, Modern Tracklist Funf Kleine Klavierstucke (3:13) Piano - Manfred Gutscher 1-1 Präludium 0:28 1-2 Burleske 0:13 1-3 Wiegenlied 0:55 1-4 Tokkata 0:26 1-5 Choral 0:58 Divertimento (9:20) Piano - Angela Schouten, Henk Ekkel 1-6 Rapsodia 3:51 1-7 Blues 2:10 1-8 Mambo 3:01 1-9 Quanten 7:36 Piano - Peter Roggenkamp Fractals- A La Maniere De... (48:45) Piano - Roland Kayn 1-10 - Nr. 1 8:39 1-11 - Nr. 2 4:09 1-12 - Nr. 3 3:48 1-13 - Nr. 4 8:43 1-14 - Nr. 5 7:29 1-15 - Nr. 6 9:10 1-16 - Nr. 7 5:58 Live-Elektronische Fassungen 2-1 Quanten 14:20 Piano - Peter Roggenkamp 2-2 Diffusions 18:09 Organ - Roland Kayn 2-3 Circuits Integres 25:58 Performer - Roland Kayn Companies, etc. Made By - Dureco Published By - Edizioni Suvini Zerboni Published By - LRKA Recorded At - Studio Fur Neue Musik, Reutlingen Recorded At - Conservatorium Utrecht Recorded At - Instituut Voor Sonologie Recorded At - Studio De Recherches Et De Structuration Electroniques Auditives Credits Artwork [Cover Art] - Maerklin Photography By - Lydia Kayn Notes Musik des XX. Jahrhunderts in historischen Aufnahmen. Funf Kleine Klavierstucke - Privataufnahme, Studio fur Neue Musik Reutlingen, 1955 Divertimento - Privataufnahme, Conservatorium Utrecht, 1978 Quanten - Privataufnahme, Hamburg, 1967 Fractals- A La Maniere De... - Privataufnahme, 's-Graveland, 1994 Quanten - Studiofassung: Instituut voor Sonologie, Rijksuniversiteit Utrecht, 1977 Diffusions fur 1-4 elektronische Orgeln - Fassung fur vier Instrumente (playback) - Instituut voor Sonologie, Rijksuniversiteit Utrecht, 1978 Circuits Integres fur 1-4 Klaviere, Schlagzeug und Tonband - Fassung fur einen Spieler und Tonband - Studio de Recherches et de Structurations Electroniques Auditives, Bruxelles, 1978 Umschlag: "Superfice", 1994; Original 11,3 x 21 cm. im Besitz von Lydia Kayn Made in the Netherlands. Edizioni Suvini Zerboni, Milano - ubrige: LRKA, 's-Graveland, tracks 1-6 to 1-9, 2-1, 2-2, 2-3 ® Multidisk, Blaricum/NL © LRKA, 's-Graveland The title shown on the spine: Keyboard-Works 1 The title shown on disc, booklet, front cover and back cover: Werke Fur Tasteninstrumente 1. Barcode and Other Matrix / Runout (Disc 1): DURECO-NL CD 9401 Matrix / Runout (Disc 2): DURECO-NL CD 9402 Mastering SID Code (Discs 1 & 2): IFPI L371 Rights Society: STEMRA SPARS Code: ADD Other (CD 1 Catalog Number): KY CD 9401 Other (CD 2 Catalog Number): KY CD 9402 ######################################################## translated booklet: WORKS After the ORCHESTRA PIECE No. 1 (1950 - '52), the FIVE SMALL PIANO PIECES form the introduction to aphoristic forms - but also as character pieces - with the simplest, consciously chosen compositional material; in contrast to the serial composition that was in vogue at the time, the aim was to dare to listen to music that was simple and spontaneously comprehensible, a position that only entered the consciousness of most composers in the mid-1970s. The DIVERTIMENTO (1955) was intended to prove that it should be possible - surrounded by an atmosphere of "punctual" composing by friends and colleagues - to write music that should be "entertaining" and yet not have to sink to the usual level of the industry. Whether this was successful at the time is up to the listener to decide. After the two evidently pronounced "anti-attitudes" in the pieces of the fifties, the composition QUANTEN (1956) brought with it the insight that other "tunings" should be achieved in addition to the usual twelve-part division of the octave space, in order to avoid the serial system as well as the tendency to take opposing positions. The original version of the piece is based on a temperament that divides the octave space into 24 equally suspended micro-intervals, in such a way that when a key is struck (in the middle area of the instrument), three strings per key with different pitches are played. ... different pitches, so to speak a mixture of tones - which - when several keys are struck at the same time - builds up to a sound aggregate and becomes audible. In the second version presented here, the above-mentioned temperature was excluded for practical reasons, but was approximately simulated using live electronic connections. The form of the composition is mobile, which means that every interpretation allows for a considerable variety of new constellations - an absolute necessity in an age of technical reproducibility of almost similar things with the stigma of wear and tear. With FRACTALS (1994), a term that was introduced in 1982 by scientists at the University of Bremen around Heinz-Otto Peitgen in the field of computer-generated graphics - after Benoit Mandelbrot (1975) - the processes of self-regulation have been transferred to the organic-mechanical area (interpreter ↔ piano), since the creation of innovative computer or cybernetic music proves to be extremely time-consuming. After his experience as a performer in the ensemble "Gruppo Internazionale d'Improvvisazione Nuova Consonanza" (Rome, 1963), it was a compelling logic to try out such processes, which can only become reality when the performer has access to what is being heard at that moment, in the solo area, as was already done in 1965 with the DIFUSSIONS for organ and others. This type of work could be compared to the "action painting" of the fifties, which enables the performer to articulate himself spontaneously without a program or scheme and to create the "object" in real time. The FRACTALS presented here are in a certain way related to the DINO-CONCERTO realized in 1982, in that the manner of acting can certainly be recognized as a similarity in this respect. ROLAND KAYN Live electronic projects The projects presented here document excerpts from a period of fifteen years of compositional work and outline the phase of the departure towards cybernetic work design, from the self-control of an interpreter in QUANTEN (1957) to the collectively oriented control of DIFFUSIONS (1965) to the multi-meshed control circuits in CIRCUITS INTÉGRÉS (1972). Cybernetic regulation, as it is to be understood in this context, is not goal-oriented, but rather randomly controlled and takes on a specific function in the combination of electronic and organic systems in the interpretation process, so that the result is reflected in a widely diversified spread of aesthetic perception variants due to the retroactively coupled systems. Since aesthetic information of a higher order is documented above all in how the material components appear to be distributed between assembly and disassembly during a realization and how they provide an innovative additional load when the work is performed repeatedly, cybernetic process design in this category cannot be used in view of the unrestricted possible consumption using today's reproduction devices - counteract the consumption of the aesthetic object: repetition is identical with reconstruction and causes wear and tear - cybernetic process control, on the other hand, evokes the unique, the unrepeatable. The piano piece QUANTEN is no longer based on the structural in terms of the generation of macro-temporal super signals, but on a basic constellation that acts as a "program" and inherently determines the entire process. In the DIFFUSIONS and the CIRCUITS INTÉGRÉS, the performer only refers to an almost entropically arranged sign memory and directly transmits the previously undetermined receiver information. The live electronic projects recorded here may illuminate the optimization of the function between the "network systems" under the aspect of cybernetic control and clarify the transitions between composition and improvisation as well as between instrumental and electronic.