01. July 17, 2006
02. April 27, 2004
03. May 3, 1997
‘Three Compositions’ presents a cross-section of composer Kenneth Kirschner’s highly diverse output. The collection includes ‘July 17, 2006’, a spare study in simple harmony and silence; ‘April 27, 2004’, an ever-shifting, rhythmic juxtaposition of acoustic percussion and digital sound; and the nearly 40-minute ‘May 3, 1997’ for microtonal piano, percussion, and noise, one of Kirschner’s signature pieces. For those new to his music, ‘Three Compositions’ offers an ideal introduction to Kirschner’s large body of work, while those already familiar with it will appreciate the opportunity to hear these recordings in the highest sound quality yet available. Composer Kenneth Kirschner was born in 1970 and lives in New York City. An advocate of open source audio, Kirschner releases his music freely online and encourages other musicians to sample, appropriate and interpret it. His work has been released on CDs from labels such as 12k, Sub Rosa, Sirr, and-OAR and Leerraum, as well as online through a wide variety of netlabels and other sources. (Sirr)
By now Kenneth Kirschner should be well-known, at least in these pages he is. He has had various releases on labels such as 12K, on the internet and plays the piano. On his website you can find samples of his piano playing and the way he treats them, and nothing else. A bit like this CD, really. It has a nice cover, mentions the titles of the three compositions, but nothing else. The piano sounds are fed into the computer and inside the world of ones and zeroes it’s treated. Although I heard quite a bit of his music, I don’t recall I ever treated to this extent. Not so much in the short opening piece (or rather relatively short), but in the following piece, the sound of the piano entirely disappeared, and is replaced by extensive computer treatments. Ambient glitch with capital A and G. In the third and longest piece, Kirschner walks more a balance between the natural acoustic sounds of the piano and treatments that run along. Kirschner’s compositions are always ‘quiet’, but not in a Lopez/Gunter/Feldman way. Sounds are heard, but very seldom die out beyond sustain or have long passages of no sound. There is always something happening. I was reminded here of the work Eno did with Harold Budd: ambient music, using a real instrument, the environment, and sometimes electronics. From the various works I heard so far by Kirschner, I think this is the most varied work, showing well the various sides of his work and recommended as an introduction – the die-hard fans will get this anyway.
(Frans de Waard, Vital Weekly)
Donc trois compositions genres expérimentales de ce militant (né en 1970) du ‘creativecommons’ : ’17 juillet 2006′, ressac harmonique comme une manière d’étude du silence. ’27 avril 2004′, une juxtaposition rhythmique de percussion filtrée et d’sons numériques. ‘3 mai 1997’ pour piano, percussion et microtonalité. ‘Three compositions’ c’est, en gros, de lentes mutations pour une musique éthérée, répétitive, sérieuse et jolie. (Metamkine)
On n’est jamais à l’abri d’une bonne surprise, mais pour Sirr ça sent le sapin. Plus de nouvelles sorties depuis des lustres, puis plus de nouvelles tout court, et aujourd’hui même plus de site web. Et un Kenneth Kirschner qui maintient son cap pendant ce temps.