"Schnitzler's tracks in the 1970s were lengthy and shared a musical pattern which varied only minimally. Hence the green album has just one track on each side and any changes in melodic structure are subtle in nature. Both pieces are very much typical of Schnitzler in style, but less so tonally. An analogue rhythm machine ploughs almost brutally through the astoundingly delicate electronic veil of Der Riese und seine Frau (The giant and his wife), bearing little resemblance to Schnitzler's usual sequencer cascades. The second piece, created four years later, sounds completely different. Its title may be similarly poetic, but Bis die Blaue Blume blüht (Until the blue flower blooms) transports the listener into another world altogether. A diminutive melody, consisting of just seven notes, becomes a kind of mantra, repeated with only the slightest variation until the end, as clusters of tiny sonic meteorites constantly swirl around, sparkling in all the colours of the spectrum. Listening to the rhythmic-harmonic character and taking into account the year in which it was made (1980), it is fair to assume that this was recorded in Peter Baumann's Paragon Studio, like the 'Con' album. The similarities are impossible to ignore. On the LP version, Bis die Blaue Blume blüht can be played at 33 or 45 rpm (on the CD version as bonus track), revealing a wholly different piece of music at the chosen speed. For a composer to come up with something like this by design speaks of great artistry or perhaps of great fortuity. Presumably the former. Schnitzler most likely experimented to this end and set up the recording in the studio to allow for both playback options an unusual device for the early 1980s and further evidence of his capacity for transcending artistic borders." (Asmus Tietchens)
soon in stock - please pre-order | DE| 2014| BUREAU B | 16.90

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