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APL025 >> KENNETH KIRSCHNER - MAY 3, 1997
[04.10.2004 | CALM MICROTONAL PIANO WHITENOISE]
Kenneth Kirschner was born in 1970 in Princeton, New Jersey, and
began studying piano at the age of 5. Starting to study
Composition at College briefly he found the academic atmosphere
of the time (1988) to be too conservative and stifling, with
little support for electronic music or for experimental approaches.
He therefore gave up studying Music academically and moved to New
York City to develop his work on his own. Kenneth spent the 1990s
composing and developing his style, while doing occasional
commissions for ballet and modern dance. Being aware that soon
the technology would exist to allow the online distribution of
music, it was Kenneths ambition to make his work freely available
online. He therefore turned to his old friend Taylor Deupree of
12k, and began a series of CD releases - all under open licenses
- that have included post_piano, September 19, 1998 et al.,
and a number of forthcoming CDs, all of which have been a great
help in raising awareness of his work.
Being asked on how he consequently labels all of his works with
dates, Kenneth comments that when he was very young, he used to
make up titles for his pieces which were terrible from Kenneths
point of view: Just pretentious and awful, I thought. At times
they even seemed to "damage" the music itself. I wanted my work
to remain purely abstract, and for listeners to be able to bring
whatever meaning or interpretation they wanted to it. In 1989,
Kenneth ultimately decided to start using the dates on which the
pieces were begun, and it's a system he has pretty much stuck with
ever since. It causes a lot of chaos, of course, as even I
sometimes can't tell which pieces are which! But it's something
that I'm very happy with philosophically.
On to May 3, 1997. The piano has always been an important part of
Kirschners work - not least because it was the first instrument he
ever learned, and the one he knows best. May 3, 1997 uses the
"post.piano" patch described in his liner notes to the post_piano
CD - it was in fact the first track on which he used this sound.
Kenneth: Basically, the sound is a single, 22-khz piano sample that
has been stretched across the entire keyboard. In theory, this
should sound terrible, as it's the exact way you're NOT supposed to
make a piano patch! But I've always found it to be the most
interesting and expressive piano sound I've ever created. Here, as
previously noted, the patch uses a microtonal scale, which is another
factor that differentiates it from a "natural" piano sound. But
thats not the only element this piece consists of, as Kenneth
continues: The percussion sounds, as I mentioned before, were all
created by sampling various found objects - there are a few actual
percussion instruments in there, I think, but most of the sounds are
bits of junk I found, pieces of metal, silverware, random objects,
etc., that were then further manipulated in the sampler. As for
the white noise, well, I added that in because when I first started
writing the piece, I was concerned that the inherent noise in the
low-tech piano sample was very obvious and distracting, and I wanted
something to cover it up with.
The result of May 3, 1997 is a breeding composition, where each of
the individual components (i.e., each piano motif, each percussion
sound, each fragment of noise, etc.) was composed in isolation from
the others, through a spontaneous, highly improvisational process.
Then, using chance procedures, all of these short fragments were
randomly arranged in a linear sequence. Over a long period, this
rough version is edited down so that all the chance arrangements that
"don't work" are slowly removed, leaving only the interesting accidents.
The large-scale structure of the piece is therefore random, but edited
- the successful moments are retained and emphasized, and the
unsuccessful ones removed, producing a final narrative that seems to
have a certain logic and order to it, but which has really just
"emerged" from a combination of chance and selection.
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:: 1 track :: 37min 23sec :: 52.59 MB ::
01: Kenneth Kirschner - "May 3, 1997"
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[AUTOPLATE.RELEASES]
APL001 VA - "Bauhaus"
APL002 Andrey Kirichenko - "00.00"
APL003 Danny Kreutzfeldt - "Furtherspace"
APL004 833-45 - "Solar Cycle"
APL005 Affective Disorder w/ Undacova - "Study Of A Ladybug On A Rope"
APL006 VA - "Constructions for Andrey Kirichenko"
APL007 Taavi Tulev - "Televiisor On Tuksis"
APL008 Vultrapia - "Autopianotationalismasoschism"
APL009 Dighom - "Vibrating Colours - Coloured Vibrations"
APL010 Sable - "Dusk"
APL011 Randomajestiq - "UnclassifiEP"
APL012 Gultskra Artikler - "Gruppa Turistov"
APL013 The Moglass w/ Andrey Kirichenko
APL014 Off The Sky - "Studies of Lifeform In Transit"
APL015 Johan Wieslander - "Gas"
APL016 Fernando Lagreca - "Suave"
APL017 Marsen Jules - "Lazy Sunday Funerals"
APL018 Tlon - "Acoustic Lazy Dolls"
APL019 Gultskra Artikler - "Gololed"
APL020 VA - "Many Things Worth Living For"
APL021 Konrad Bayer - "Shall We Go To The Park?"
APL022 Normal Music - "Let's Do Really Strange Things And Call Them Normal"
APL023 Marsen Jules - "Yara"
APL024 Konrad Bayer - "Songs For Sunhi (Summerrain)"
APL025 Kenneth Kirschner - "May 3, 1997"
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.nfo inspired by mono211;ascii by dipswitch;.diz by rasterburn
composed and hacked by sebastian redenz november 22nd 2003