last edited in July 2007   

:: E1 OUT NOW!

The newest Die Schachtel edition, a deluxe box (with metallic design printed on matt silver) that contains all the Die Schachtel long sold out LP releases! The "metallic" series series was the starting point of all the Die Schachtel editions: this series (which still continues to present) on limited LP is mainly dedicated to the documentation of the archival and unreleased material from the most interesting (and often unknown) names of both the electronic avant-garde music and the sound-art scene, of the period 1960-1980. This special boxed edition has been created in order to give the opportunity to those who missed the now rare original editions to be able to find them now, even if in a very limited of 40 copies only, in a luxury boxset edition that actually includes the original first 5 LPs (containing all the inserts, booklets ecc.) issued for the silver series. Price is euro 125

European customers Outside Europe  

CD box "Arpe Eolie" + book edition "Aeolian harps and other useless things" will be available soon.

[extract from the G.M.Borio introduction] Starting with his move to Berlin in 1973-74, Mario Bertoncini begins to devote himself to the construction of objects based upon the principle of aeolian sounds, which he he uses both individually or in groups of sound sculptures according the the requirements of his various projects. At the Berliner Festwochen of 1974, one of his most ambitious works received its premiere, Vele. In this particular version, there were two large aeolian harps: one installed in the open air on the rear esplanade of Berlin's Nationalgalerie, and the other harp, inside in the main hall of the gallery. The first harp, whose triangular shape resembles a wind-blown Roman galley sail, uses an iron frame approximately seven meter’s tall. One of its sides, bent according to a logarithmic curve, supports 1500 very thin strings within a basic tuning, so to speak, and it naturally seizes the impulses of the wind, without any intervention from a performer. The second harp instead, composed of a rectangular frame (200cm x 400cm), receives on its metal strings the labial impulses of three vocalists who react to the sounds produced by the outside wind according to a predetermined code. The wind – the only “aleatoric” factor in this performance – makes the strings vibrate; the resulting sounds are amplified through crystal microphones and diffused in the room through a quadraphonic system of speakers. In another work from the same year, Chanson pour instruments à vent, the performer acts with both his breath and with four nozzles of compressed air on an installation made of aeolian harps and “gongs”, thus varying ad libitum the intensity of the air blow.


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