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zeitkratzer WHITEHOUSE electronics

zeitkratzer [old school] Alvin Lucier

John Cage (old school)

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Stockhausen: Aus Den Sieben Tagen

$17.98


zeitkratzer directed by Reinhold Friedl

a soloist ensemble. Its strength comes from its members. Founded in1999, it gathers nine musicians, light and sound engineers living in different European cities from Amsterdam to London to Oslo meeting for working phases in Berlin. zeitkratzer benefits from its musicians ¨C their advanced and unique playing techniques, their acquaintance with electronics and technologies, their hybrid experience and varied backgrounds: new or improvised music, experimental Rock and Pop, Noise, Ambient, Folk Music… Meanwhile, individual awards to zeitkratzer members include the German Jazz Award (Gratkowski), a fellowship at the Kings College Cambridge (Lukoszevieze) and composition commissions from the French state (Friedl).

independent from music institutions. The ensemble finances itself through free projects and international concerts. This freedom facilitates an idiosyncratic and ground breaking repertoire that has made zeitkratzer internationally recognized. Faithful only to their own tastes and beliefs, they have established themselves to be one of the most intriguing ensemble to collaborate with. Musicians working with or for zeitkratzer include Helmut Oehring, Keith Rowe (AMM), Radu Malfatti, Nicolas Collins, Jim O’Rourke, Merzbow, John Duncan, Pluramon aka Marcus Schmickler, Bernhard Guenter, Alvin Curran, Lee Ronaldo (Sonic Youth) and Elliott Sharp.

Das Klangensemble Zeitkratzer spielt einfach alles.

  • Song
    03
    Koan: Having Never Written a Note for Percussion
    Zeitkratzer
  • [03/10/2013] zeitkratzer & Keiji Haino / Stockhausen

    driven by unique programs. Blocks of repertoire created by the ensemble can function either separately or mixed up. From Volksmusik of Danube waltz-reminiscences and zither noises to Xenakis [A]Live – a hommage to a great composer with a paraphrase of his “Persepolis”, the Electronics series including music by and with Keiji Haino, Terre Thaemlitz, Carsten Nicolai and William Bennett of Whitehouse, the Old School series dedicated to New Music of John Cage, James Tenney and Alvin Lucier, Noise with Merzbow and Zbigniew Karkowski, idiosyncratic Songs for soprano and ensemble and the famous Metal Machine Music by Lou Reed transcribed from guitar feedbacks to amplified instruments. Tours with these programs has brought zeitkratzer to many European countries where they regularly perform at renowned festivals from Madrid, Rome and London to Vienna, Budapest and Berlin.

    Reinhold Friedl, born 1964, lives in Berlin since 1987. He studied piano with Renate Werner, Alan Marks and Alexander von Schlippenbach, mathematics and musicology in Stuttgart and Berlin. As a performer, interpreter and composer, he has received various fellowships (Eurocréation Paris, the Rome Fellowship (Villa Serpentara) of the Berlin Academy of Arts, STEIM Amsterdam), as well as various composition commissions. Reinhold Friedl has published articles in newpapers and professional journals and conducted a seminar on? Music and Mathematics? in the department of Mathematics at the Berlin Free University together with Prof. Behrends. He founded and directs the ensembles Piano-Inside-Out and zeitkratzer.
    Friedl has worked as a curator for the Podewil center for contemporary arts Berlin and directed the Off-ICMC (International Computer Music Conference) Berlin 2000. He has been invited to take part in the Jury of the Ars Electronica and Gulbenkian Foundation, Lisboa. As pianist and composer, he has worked with musicians and composers such as Lee Ranaldo (Sonic Youth), Phill Niblock, Helmut Oehring, Nicolas Collins, Lou Reed, MERZBOW a.k.a., Masami Akita, Radu Malfatti, Bernhard Guenter, Mario Bertoncini (nuova consonanza) and has made countless radio and CD recordings. Lately he realized the "spazialisation piano-project" at ZKM Karlsruhe and Asphodel Studios in San Francisco. The main focus of Reinhold Friedl?s work is the inside-piano. He played all respective literature using inside-piano techniques and released several articles in this field.