xvi reflections on classical music

tracklist

01 lawrence – daydream

02 takeo toyama – lithium

03 hauschka – zuhause

04 sylvain chauveau – il fait nuit noire à berlin

05 alva noto & ryuichi sakamoto – moon

06 gas – zauberberg iv

07 final fantasy – he poos clouds

08 francesco tristano – andover

09 philip glass – symphony #4 – heroes

10 murcof – maiz

11 slowcream – suburb novel

12 max richter – arboretum

13 akira rabelais – 1382 wyclif gen. ii.7

14 ryan teague – prelude iii

15 greg haines – snow airport

16 gavin bryars – tramp with orchestra iii

compiled by me raabenstein

artwork by simonraabenstein,
with the kind help of stephen weber & thomas meyer,
archimation, berlin.

in pop music, the days are finally over when a new genre simultaneously means the end of the old genre. the same applies to social and political relevance of styles in pop music. there will no longer be such a thing as a new music style, which comes along like punk did, leaving behind scorched earth and an entirely new attitude to life. pop music has gradually lost its identity-defining momentum. instead, crazy pop style mixes are becoming successful. happy eclecticism has long been suitable for clubs and even the charts. sampling is a common cultural practice, not just since yesterday and not only in music.

we are living in the age of open archives. since high-speed data transmission has enabled access to practically the entire repertoire of recorded music, a silent revolution has been underway. a revolution that is apparent in various ways, including the dissolution of stylistic boundaries. the musician and owner of the ‘nonine recordings’ record label me raabenstein has long been following these fundamental changes. what he is observing are not deliberately fabricated crossover hypes. the new combinations of the most diverse music styles have more of an organic nature.

xvi reflections on classical music gives a name to a genre that does not yet exist. that is to say, there is no term for it yet. but there are certainly well-established connections between classical and unconventional, often electronic music. in countless forms and hues, worldwide, conscious or unconscious. xvi reflections on classical music is dedicated to this musical meltdown.

xvi reflections on classical music was compiled entirely according to aesthetic criteria. this is not a question of musicological stringency or historical assignment. it is rather an individual effort by a music enthusiast who has painstakingly put together the pieces which he is most passionate about. so, on the one hand, this compilation is subjective. on the other hand, something has been created unintentionally here which can be considered a cross-section through a young musical genre.

this is an absolutely huge achievement for raabenstein, as the phenomenon of a music genre which is influenced equally by classical and electronic can be compared to a swarming beehive. just listing the similarities of the pieces compiled here is no simple task. all these musical pieces are imbued with the classical spirit, that much is certain, whereby ‘classical’ here embraces all the different types of art music from renaissance to new music.
press info

featuring takeo toyama, sylvain chauveau, alva noto, gas, final fantasy, francesco tristano, philip glass, murcof, max richter, akira rabelais, ryan teague, greg haines, gavin bryars. with exclusive tracks by lawrence, hauschka und slowcream

xvi reflections on classical music turns the spotlight on a young musical genre. a genre that has slowly evolved over the past number of years, not the kind of revolution that music used to create, but a silent one that has happened in different parts of the (music) world.

there isn’t even a name for it, but the growing connections between classical and unconventional, often electronic music cannot be denied. they occur in many different shades and colours, consciously and unconsciously. the artists aren’t part of a movement as such, but there are some direct connections between them and their artistic visions. this collection aims to assemble some of the most interesting artists of this genre together on a cd for the first time.

compiler me raabenstein – head of the label nonine – has selected his 16 favourite examples on a cd which will be released on point music in september 2009. it is not an attempt to put together a ‘best of”, but rather the subjective point of view of an individual with a passion for music. the result, however, gives a very good overview of this burgeoning musical genre.

feedback

this compilation was a total surprise. i’ll admit that i’ve never even heard of point music before – although i see that philip glass and gavin bryars released a few albums on this sub-label of london-based decca, which is in turn owned by the universal music group umbrella. but back to xvi reflections on classical music, which aims to compile selections from artists who have been part of a “silent revolution” in contemporary classical music – the genre i usually refer to as modern classical. and here are all of my absolute favorites: hauschka, sylvain chauveau, alva noto + ryuichi sakamoto, gas, murcof, max richter, ryan teague, and a contribution from philip glass and gavin bryars. it’s no wonder that with a roster like that, my ear instantly perks up and my wallet opens like a reverse mousetrap (whatever that is). thanks to me raabenstein, aka slowcream, for making the selections.
headphone commute, 2009

someone finally had the seemingly obvious but previously unrealized—and therefore brilliant—idea to explore the many cross-connections between contemporary electronic and classical music. me raabenstein, founder of the berlin-based label nonine recordings, brings together works by hauschka, alva noto, murcof, gas, lawrence, and various artists from the type and miasmah labels on the decca-announced cd xvi reflections on classical music, creating a showcase of postmodern virtuosity.
rp online, 2009

the experiment succeeds: different compositional methods, sound concepts, and ways of thinking blend seamlessly together. the result, called xvi reflections on classical music, could provide new impulses for electronic music while also shaking classical music out of its centuries-old slumber. at the very least, the curators of austere avant-garde festivals from donaueschingen to märz musik should give this a listen.
de:bug, 2009

martin ‚me‘ raabenstein, label owner of nonine recordings, has observed the music scene over the past decades and the revolution within it—though it is more accurately described as an evolution. the blending of styles, the breaking of genre boundaries, and the merging of popular and classical music form the cornerstones of this development. combinations of modern electronic and classical sounds produce exciting results.

fortunately, this music has not yet been confined to a specific genre label. for this reason, raabenstein named his curated compilation xvi reflections on classical music. the way these pieces were brought together naturally feels subjective—raabenstein’s personal taste was the primary selection criterion. yet at the same time, he makes a statement and provides a representative overview for newcomers.

the broad concept of classical music, spanning from the renaissance to modern and contemporary works, encompasses both the artists and the tracks featured here. however, as mentioned before, a clear categorization is not possible. this very fact turns the tracks into fascinating sound exploration fields, requiring the listener to engage attentively and let go of familiar tonal and compositional principles.

lawrence from hamburg, a master of deep house, opens the journey with daydream, a track structurally inspired by classical music principles yet realized through electronic means. the result is a unique and emotional impression reminiscent of william orbit—alternating between joy and melancholy. lawrence contributed this track exclusively for the compilation.

takeo toyama follows with lithium, a crackling sound collage where rhythmic elements include a lulling piano, subtle flutes, and altered voice samples. this enchanting music will likely appeal to fans of radiohead or apparat.

hauschka takes over with his specially prepared piano. as one of the most important figures in contemporary piano music, with influences from john cage, he develops a track that is fully analog and recorded using classical methods. it’s a carnival of sound—a world turned upside down, yet never merely for its own sake, always in service of new sonic experiences for the listener. zuhause could be played in a club due to its loop-like structure, but it stands strong on its own.

gas, aka wolfgang voigt aka mike ink, contributes the monumental zauberberg iv. voigt’s decision to sample wagner once caused an uproar in the classical world. here, he crafts an atmosphere that feels like a fusion of berghain on a sunday morning and the mirror hall of neuschwanstein castle. surreal and detached, techno and droning sirens form a unique bond on the zauberberg.

final fantasy’s he poos clouds feels much brighter and more polyphonic. despite its pop-oriented arrangement, the violins genuinely evoke vivaldi. by this point, nothing seems surprising anymore.

wrong! murcof from mexico and his track maiz have less to do with the staple food than with aphex twin. digital drum loops intertwine with pizzicato strings and glitchy sounds reminiscent of a skipping cd. a subtle double bass hums underneath, slowly intensifying. violin motifs emerge, and what began as seemingly chaotic atonality gradually unfolds into a structured and harmonious track.

philip glass, a key figure in minimal music, joins this collection of intriguing sounds. symphony 4 – heroes, with its repetitive nature and slow build-up, has influenced much of today’s electronic music. elements come and go in a fluid cycle, with changes happening almost imperceptibly. yet, the soul and groove remain ever-present. the symphony is gripping and dramatic—it would make excellent film music, though it deserves more than to serve as a mere backdrop. it demands full sensory immersion.

xvi reflections on classical music leaves it up to the listener to classify the music into styles, categories, and genres. there are no predefined boundaries; the hybrid of electronic and classical music remains surprising and exciting. martin raabenstein, who curated and assembled this compilation, was also responsible for the visual artwork. not only did he make an excellent selection, but he also fulfilled a visionary task by making this „new“ music accessible to us.
martin tenschert, laut.de, 2009

that composers of popular electronic music draw a lot of inspiration from classical music is no secret. in many clubs and at raver parties, motifs and sound colors from bach to wagner shine through. the cd xvi reflections on classical music brings together 16 particularly creative minds in this field – including lawrence, takeo toyama, philip glass, sylvain chauveau, and max richter.
rondo magazin, 2009

„and“ strikes me as being the most successfully realized slowcream collection to date, with its five parts functioning as connecting movements within a grand orchestral scheme devised by me raabenstein. the berlin-based composer uses the human hand as a conceptual springboard for his third full-length in specifically focusing on the hand’s status as an organ of manipulation and sensation (the track titles thus refer to the fingertips‘ receptors‘ sensitivity to pressure, temperature, vibration, moisture, and texture). in general terms, ‚and,‘ which originated as a commission for a modern dance project, is a disturbing symphonic work that’s like a forty-minute-long nightmare transcribed into aural form. one presumes that raabenstein stitched the material together from classical samples, but the elements are so seamlessly woven together little evidence remains of their sampled origins.

emerging from silence in a swirling undertow of nightmarish strings and plummeting horn figures, “pressure” layers ominous string and braying horn melodies across a slow death march rhythm. a similarly brooding ambiance permeates the second part, where raabenstein subtly adds electronic treatments to the menacing mix of piano and sickly strings. the third part, “vibration,” initially alleviates some of the tension but gradually plunges headlong into an underground torture chamber of its own cryptic design, where it remains until the tortuous closing moments of the final part, “texture.” major major, whose speaking voice appears on ‚live long and prosper’s‘ “suburb novel” and a number of tracks on 2009’s ‚wax on wool,‘ is thankfully absent this time around; in place of the too-particularizing effect spoken word brings, ‚and’s‘ dramatic intensity is bolstered by the contributions of guest soloist greg haines, who adds cello and organ to three of the album’s five pieces.

unlike someone such as murcof, say, who underlays brooding classical music-based material with electronic beats, raabenstein eschews blatant dance music-related rhythms altogether (the closest thing to a regulated rhythm is the dragging pattern that crawls alongside the strings in “moisture”). such a choice might render ‚and‘ less accessible by comparison, but it ultimately gives the slowcream material more integrity; in short, ‚and‘ doesn’t compromise in its embrace of a classical style and is all the better for it.

raabenstein also was commissioned recently to compile ‚xvi reflections on classical music,‘ an eighty-minute collection that provides a comprehensive overview of the classical-electronic spectrum (and, incidentally, includes his “suburb novel”). one might question a few of his sixteen picks—lawrence’s “daydream,” for example, is certainly a pretty enough integration of choral singing and acoustic instrumentation, but calling it classical is a stretch—but ultimately, the collection should be seen for what it is: a personalized yet generally on-point representation of a young and still-evolving genre which has roots in multiple parts of the world (germany, japan, england, france, usa). invariably, a bit of a “usual suspects” feel can’t help but color the artist selections, with gas, philip glass, murcof, and max richter, among others, making expected though not unwelcome appearances.

the album is sequenced so that an initial emphasis on piano-based pieces gives way to diverse orchestral-related settings. takeo toyama situates elegant piano arpeggios within a hyperactive solarium setting in “lithium,” while hauschka’s “zuhause” provides a high-spirited representation of his “prepared piano” style. sylvain chauveau’s “il fait nuit noire à berlin” then offers a beautiful two-minute sampling of his own piano style, after which alva noto conjoins electronic rhythm patterning to ryuichi sakamoto’s delicate playing in “moon.” francesco tristano’s later “andover” weaves a seductive story of mystery in its intermingling of piano and electronic textures. elsewhere, murcof’s “maiz” well-represents fernando corona’s classical-electronic merger, while type records‘ ryan teague and greg haines receive some deserved exposure via “prelude iii” and “snow airport,” respectively.

any compilation is a trade-off of sorts. some pieces suffer by being presented in isolation from their original, fully integrated contexts; max richter’s “arboretum,” for example, memorably spotlights tilda swinton’s recitation amidst its typewriter clinks and strings, but ‚the blue notebooks‘ is best heard as a whole. akira rabelais’s “1382 wyclif gen. ii. 7” likewise has a more powerful impact when heard as part of ’spellewauerynsherde‘ rather than by itself, and the five-minute excerpt from gavin bryars‘ ‚jesus‘ blood never failed me yet‘ can’t help but feel unsatisfying when so much of the work’s effect is predicated upon long-form repetition (admittedly, it’s hard to argue against the idea that samplings of such works give unfamiliar listeners a starting point that may prompt investigation of the complete releases). other pieces surprisingly benefit: hearing philip glass’s brooding “abdulmajid” in isolation from its ‚heroes symphony‘ context actually engenders a newfound appreciation for glass’s nuanced arrangement of the bowie original.

on the positive side, the diversity of approaches within the genre is brought into sharp relief: following the gas excerpt with the final fantasy song indicates just how different the material within a shared genre can sometimes be. certainly, wolfgang voigt’s “zauberberg 4,” a prototypical gas fusion of brooding orchestral samples and 4/4 techno beats, is galaxies removed from owen pallett’s melodically distinctive final fantasy track “he poos clouds,” which audaciously fuses vocals and classical orchestra instrumentation. in the final analysis, ‚reflections on classical music‘ at the very least succeeds in providing a generous and encompassing portrait of a burgeoning genre that should be of especial benefit to the neophyte.
textura, 2009

a new perspective on classical music through the contemporary lens of electronic sound is embodied in the compilation curated by me raabenstein (martin eugen). it seems that a new musical genre is emerging, one that has yet to be named. electro-classic? no, that wouldn’t be the right definition. there’s also acoustic music here…

already recognized in the world of modern classical music, me raabenstein from berlin, owner of the renowned young label nonine recordings, producer, composer, musician, and multi-instrumentalist (taub, patron & patron, slowcream…), was given a highly interesting task by the prestigious record label universal music, which strictly focuses on classical and jazz music—to compile a collection of contemporary classical music from what could mostly be called a pop perspective.

there’s no doubt that this was a real challenge for him, and he has gathered a significant portion of today’s modern classical music elite, as well as a handful of artists who create unique and intelligent electronic (and electro-acoustic) works, into a full 80-minute compilation.

the title 16 reflections on classical music refers to the definitive conclusion of traditional classical music principles in a broad historical and cultural sense, shaping a new style that practically still lacks a name. the old genre is ending, and a new era is beginning—one that, over the last fifty years, has emerged through intersections of electro-acoustics, psychedelia, electronics, rock, punk, and pop, giving birth to an entirely new kind of music. a precise definition does not yet exist, although terms like experimental, minimalist, drone, abstract, and modern classical music are used. however, these terms span multiple genres, from rock and jazz to industrial, electronic, or even metal.

one of the genre’s most prominent representatives, featured on this compilation, is the renowned philip glass, who has captivated audiences across classical, rock, electronic, and avant-garde scenes for over forty years. his works often sit at the intersection of electronic, pop, classical, and abstract music (consider his legendary minimalist opera einstein on the beach or the iconic soundtracks for koyaanisqatsi, powaqqatsi, and 1000 airplanes on the roof). his mini symphony symphony #4 – heroes is no exception here. deservedly, it takes up the largest portion of the compilation (a full nine minutes), presenting a synthesis of classical music with a refined minimalist pop touch.

among other long-established names who have shaped contemporary music for over three decades is the japanese electronic master ryuichi sakamoto, who collaborated with alva noto for this occasion, creating the electro-glitch/piano bar composition moon. younger artists include pianist hauschka, who adapted zuhause by merging minimalist elements of john cage and steve reich with piano, electronic bass, xylophone, and other percussive instruments.

also featured are max richter (arboretum) and pianist sylvain chauveau (il fait nuit noire à berlin), both of whom have long explored unconventional connections between classical compositions and electronic dream-pop.

most of the newer and relatively lesser-known artists come from diverse musical backgrounds. the compilation opens with lawrence, a deep-house artist who contributes daydream, a dreamy, floating ambient instrumental that reinterprets classical music through delicate drone electronics. next is takeo toyama (lithium), whose piano-driven composition recalls the symphonic/space influences of the ’70s, blending jazz and electronic textures. one of the most unusual inclusions is gas (wolfgang voigt) from cologne, whose track zauberberg iv could easily fit within a techno or post-electro-industrial album as an intro or outro. his signature style frequently incorporates samples of classical composers like wagner and bruckner.

the only vocal track on the compilation is he poos clouds by young artist owen pallett, also known as final fantasy. the song, from his second album of the same name, features a string arrangement that forms the foundation of the composition. another standout is maiz by mexican artist murcof, which disrupts expectations with its blend of string samples and danceable electro-glitch elements. murcof enjoys playing with the listener’s nerves, digitally distorting sounds as if a cd were skipping precisely at crucial moments, creating a quirky effect.

other contributors include francesco tristano (andover), a gentle ambient electro-piano piece; akira rabelais (1382 wyclif gen. ii), composed entirely of reversed female vocal samples; ryan teague (prelude iii), a steve reich-inspired electro-glitch track; gavin bryars (tramp with orchestra iii (no strings)), a slow, melancholic murmured piece that carries a nostalgic charm.

the compilation’s curator, me raabenstein, is also featured with his solo project slowcream, contributing suburb novel, a glitch-based spoken-word composition narrated by major major. intriguingly, this track was not included on his excellent album wax on wool, likely to maintain the intended arrangement concept. another of raabenstein’s collaborators appears towards the end—cellist and composer greg haines, who offers snow airport, a minimalist ambient electro-string landscape.

this compilation represents only a small fragment of a scene that has existed for years in various hybrid forms, shaped by highly inspired artists who never strictly adhered to a singular genre combining pop, classical music, and contemporary sound. notable predecessors include meredith monk, tuxedomoon, laurie anderson, blaine reininger, and david sylvian (both solo and with nine horses), as well as harold nono (who comes to mind first). the significance of this work lies in its pioneering effort to uncover and connect a sound that brings together like-minded artists on a global artistic level, despite originating from vastly different stylistic backgrounds.

all the artists on this compilation present minimalist compositions that showcase different forms of creativity, yet they share a sense of ease, tranquility, and a strong influence from modern classical music. judging by the rapid rise of some of these musicians, this scene has great potential to evolve into something truly unprecedented, even with minimal formal musical education.

just three weeks after the release of this compilation, slowcream followed up with a new album, and, which further solidifies its place in this flourishing style that still lacks a definitive name. ocjena albuma [1-10]: 8
horvi, terapija.net, 2009

a broad, up-to-date overview of the trend is offered by the compilation xvi reflections on classical music. lawrence, a hamburg-based techno dj and producer, opens the album with a track that builds a sound cathedral—steady yet reverberating vibraphone accents in the foreground, soft choir samples in the background, and synthetic strings in between. the mood is serious. but relaxed: often, little happens, as nearly all techno-classical explorations take cues from minimal music.

and often, the grand piano takes center stage—whether prepared, plucked, or played traditionally. at least on xvi reflections… what remains of pop is simply the flair for repetition, the sweet inability to let go of melancholy, for example. the drug here is often the beauty of approximation. usually, it’s the older artists, like philip glass, who show more interest in strictness.
frankfurter rundschau, 2009

similarly exciting on the sampler xvi reflections on classical music is the way the boundaries between so-called serious and popular music are explored. a certain me raabenstein gathered his own works alongside those of young and old pop adventurers, from final fantasy and gas to gavin bryars and phillip. all of it is surprising music, where the borders of techno, electro, classical, and avant-garde merge in imaginative and unexpected ways. of course, this does not indicate a great new trend. but perhaps it does reveal the realization that classical and pop music are moving closer together.
christoph dallach, der spiegel, 2009

reflection, according to the duden dictionary, is on the one hand the bouncing back of light, electromagnetic waves, sound waves, or compression shocks on surfaces, and on the other hand, thinking, comparing and examining thoughts, considering, observing, or immersing oneself in a train of thought. xvi reflections on classical music can therefore be many things—commentary and expansion, contemplation and reorientation. in any case, these sixteen unorthodox engagements with contemporary sound culture, which dj and conceptual thinker me raabenstein has combined into a cohesive arc of tension, offer a fascinating excursion into a world of intellectual challenges that refuse to settle for conventional interpretations of music.

some of the participants have been around for a long time. take ryuichi sakamoto, for example. the artistic pioneer from nakano, japan, is a dazzling figure in the international pop business. he is a musician and producer, film composer and fashion visionary, internet pioneer and conceptual artist. someone who relies on the precision of his observation skills to stay in tune with the pulse of the times, leaving his mark on modern music from the yellow magic orchestra to film scores for bernardo bertolucci. or philip glass, one of the forefathers of minimalism, a compositional style that focuses on a relatively small set of motifs, which—inspired by indian ragas—are varied in different iterations and forms. in 1968, he founded the philip glass ensemble to help him realize his new ideas, concentrating on composing for theater, film, and opera, which he developed in close collaboration with director robert wilson.

two prominent examples of composers working at the intersection of different musical worlds. xvi reflections on classical music brings them together with representatives of both advanced pop and classical culture, such as luxembourg pianist francesco tristano, japanese multi-instrumentalist takeo toyama, contemporary composer max richter, or mexican sound experimenter murcof, all of whom approach the genesis of contemporary sound from completely different perspectives. some pieces take a commentary, remixing, or deconstructive approach, while others search for rhythm, the core of artistic expression, or simply a pure, universal melody. what makes this compilation by nonine label head me raabenstein special is the sensitivity with which he approaches the subject of reflection.

because this is not about clichés or simple statements on the state of contemporary music from the perspective of adjacent genres. xvi reflections on classical music is rather an invitation to potential door openers into unexpected realms of sound fusion. the compilation avoids normative approaches, but in doing so, it establishes new markers for a changing understanding of classical music. this heritage is alive, productive, and experiments as playfully as it does confidently with a tradition that reaches deep into music history. a bold yet convincing acoustic experiment between past and future.
klassikakzente, 2009