Stefan Goldmann Edit Igor Stravinsky

“Le Sacre Du Printemps - Limited Edition”

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Cat. No.MACROM10
Orders fromMon, 08 Jun 2009
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Stefan Goldmann delivers a ground breaking edit of a classic: A minimalistic cut up on the edges of perception celebrates one of the most thrilling works in music - Igor Stravinsky’s Le Sacre Du Printemps! Staying 100% true to the original score, he moves through over a dozen classic recordings of the work in 146 individually treated segments. Nothing has been left out, nothing has been added. Still everything totally changes every few seconds. Probably the most radical approach to editing & electrifying classical music ever. These are some of the most revolutionary notes in the whole history of music. Written in 1913, Le Sacre Du Printemps redefined what music could be, much as Beethoven’s Eroica had done a century before. While it’s debut performance caused massive riots, it has become one of the most celebrated works of music ever since. It has been performed and recorded by basically every reknown conductor and orchestra in the world and is one of the most often played orchestral works of all times. Stefan Goldmann’s edit is as radically innovative: nothing has been left out, nothing has been added. Staying 100% true to the score, he blends through dozens of recordings of Sacre in 146 individually treated segments - without ever messing with Stravinsky’s intentions. Every few seconds the listener encounters a different performance, room and recording set up. A minimalistic journey into the depths of interpretation and concert hall acoustics, microphone positioning and mixdown decisions. A silent and masterful celebration of an original. This disc also features a “classic” live recording of Sacre by Pierre Monteux.

MACROM10 in the media


Alex Attias (Planet E): “Simply beautiful! Great work!”

Ame (Innervisions): “A thrilling idea and great to listen to! It reminds me once again how wonderful the "original work" is indeed.”

Ame (Innervisions): “A thrilling idea and great to listen to! It reminds me once again how wonderful the "original work" is indeed.”

Der Spiegel: “Die Kunst des Editierens ist seit Jahr und Tag ein zentraler Teil der elektronischen Tanzmusik. So fing alles an: mit dem Zerschnippeln und neuen Zusammensetzen alter Discosongs durch eine Handvoll DJs in Chicago und London. Jeder auf Tanzmusik spezialisierte Plattenladen hatte und hat sie unterm Ladentisch: die sogenannten Edits. Doch seit man dafür keine Tonbänder mehr braucht und nichts mehr aneinanderkleben muss, seit Programme dies übernehmen und eine Arbeit, die früher Tage dauern konnte, sich in ein paar Stunden erledigen lässt, hat die Edit-Kultur erstaunliche Ausmaße angenommen: Jede Woche erscheinen neue Edits, einen Überblick hat kaum jemand mehr, meist hat man es mit recht phantasielosem Stückelwerk zu tun, das alte Discostücke mit der Brechstange für den zeitgenössischen Dancefloor plattklopft. Auch darauf dürfte Stefan Goldmanns Edit von Igor Stravinskys "Le Sacre Du Printemps" ein Kommentar sein. Goldmann ist selbst ja nicht nur Technoproduzent und DJ, er hat auch schon elektro-akustische Experimente veröffentlicht. Für seinen Stravinsky-Edit hat er dessen Werk "Le Sacre Du Printemps" in 146 Segmente aufgeteilt und aus einigen Dutzend Aufnahmen eine neue Version zusammengeschnitten. An der Partitur ändert sich dabei gar nichts - hört man sich das Stück auf dem Kopfhörer an, hat man aber die interessante Erfahrung, durch immer neue Klangräume zu wandern, während die Musik die gleiche zu bleiben scheint. Macro heißt das kleine Label, das Goldmann zusammen mit seinem Partner Finn Johannsen betreibt: eine Unternehmung mit einem wahrhaft eklektischen Programm. Neben Goldmanns House-Maxis und seinen Klangexperimenten ist dort unlängst eine Platte des Techno-Pioniers Santiago Salazar aus Detroit erschienen. Und als nächstes steht eine Wiederveröffentlichung des Hi-Energy-Produzenten Patrick Cowley an. So kann man sich das Plattenmachen nach dem Ende der Tonträgerindustrie vorstellen. Das einzige Kriterium, etwas zu veröffentlichen: die eigene Leidenschaft.”

dOP (Circus Company): “Lovely work on one of my favourite piece of music ever. And fits perfectly to this sunny day, announcing the beginning of spring. ”

Electronic Beats: “House and techno producer Stefan Goldmann recently stepped into the world of edits with a unique interpretation of Igor Stravinsky's majestic Le Sacre Du Printemps, otherwise known as The Rite of Spring. Where most of his contemporaries are dipping into their disco collections for sanitised cut and paste edits, Stefan instead decided to re-work a piece of classical music. Unlike Moritz Von Oswald and Carl Craig's take on Ravel's Bolero, rightly interpreted as a techno production, Goldmann retained the complete structure of Stravinsky’s original work. Piecing together various recordings into 146 sections, Goldmann’s version highlights the subtleties of each recording.”

Jorge Socarras (Indoor Life /: “"Le Sacre" has always been a definitive piece of 20th century music for me personally, if not thee definitive 20th century work altogether. Aside from hearing it performed live symphonically, one of the most electrifying interpretations I've ever experienced has been Pina Bausch's dance. Now, in a totally different manner, Stefan has rendered it in all its newness again. The very definition of the project, conceptually and technically, alters the conscious experience of listening - something Stravinsky of course achieved to the first degree dynamically. Stefan's edit affirms the music's power via a conceptual subtlety more typically found in the world of "conceptual art." While musical works such as those of John Cage achieve comparable effects in the listener's consciousness by focusing attention on dynamic and temporal elements, it would seem that here we have moved into a new realm of enhanced listening. Ultimately what the edit achieves seems a harmonious parallel to Stravinsky's efforts, a technical and conceptual reiteration of what the music effects: the demand that we listen to each note as if it has never been played/heard before. ”

Joro Boro (Mehanata NYC): “I LOVE this project !!!”

JPLS (m_nus): “This is amazing! Not surprised it was Stefan who decided to take on such a radical project. We need more releases like this. Time to open boundaries. ”

Pepe Bradock (Atavisme): “I love the Le Sacre Du Printemps edit! ”

Peter Kruder (K+D, G-Stone): “Der Stravinsky Edit ist grosse Klasse.”

Raudive (Cocoon): “I love the Stravinsky cd, that’s a very brave thing to do! There aren't many labels doing that kind of thing.”

Raveline: “Der Berliner Produzent und DJ Stefan Goldmann überreicht uns mit seinem Edit die Eintrittskarte in den schillernden Zauberwald der Klassik. Igor Stravinskys abwechslungsreiches, elektrisierendes Werk "Le Sacre Du Printemps" zählt wohl zu den bedeutendsten der klassischen Musik und ist schlicht und ergreifend überwältigend. Goldmann nimmt bei seinem Arrangement keinen Einfluss auf die Stücke selbst, sondern teilte viel mehr Dutzende verschiedene Aufnahmen aus unterschiedlichen Sälen in 146 Segmente und fügt diese so zusammen, dass ein neues innovatives Hörerlebnis entsteht. Die Intention Stravinskys sollte dabei zu keiner Zeit verloren gehen. Man begibt sich mit dieser Interpretation eines Meisterwerks auf eine Reise durch die Konzerthallen dieser Welt, ohne dabei auch nur einen Fuß vor die Tür zu setzen. Für Freunde der Klassik, aber auch für diejenigen, die diesem Genre nicht so zugeneigt sind, eine klare Bereicherung des Musikportfolios. ”

Sebo K (Mobilee): “Beautiful project! Respect!”

Shinedoe (Intacto): “Interesting! Well done ”

Sian (Poker Flat): “A truly unique idea. Nice to see people breaking new turf like this.”

The Wire: “Stefan Goldmann takes a longer view of history than many of his Minimal Techno peers. His mix album from earlier this year was entitled The Empty Foxhole, in homage to Ornette Coleman, and this new project is a wholehearted immersion in the work of Igor Stravinsky. [...] Here, he’s executed a plunderphonic collage whose nearest precedent would be John Oswald’s “Grayfolded” CD of 1994, in which Oswald stitched together a CD’s worth of the improvised bits from successive renderings of The Grateful Dead’s “Dark Star”. Goldmann’s gone a step further, drawing attention to the way the classical recording industry thrives on the competition between multiple versions of the same piece. [...] The work is so subtle, it takes a number of hearings to discern exactly what’s going on. After a while, your ear begins to acclimatise to the microscopic alterations in background noise, studio acoustics and up-or down-ratcherings of intensity. This works on a number of levels, both as a ‘perfect’ version composed of the very best moments from the available range; to a critique of the way modern classical recordings are usually, in themselves, assembled from hundreds of minute digital takes, in quest of perfection; to a conceptual highlighting of the phonographic impurities that give classical recordings their unique imprint even as they strive to make the process invisible. Goldmann’s explorations of these nuances are all more welcome emanating from someone who works in a field in which history is more commonly deemed to have finished. ”

Tokyo Black Star (Innervisions: “This is GORGEOUS! I am breathless. This is so beautiful. How can you touch such a masterpiece and take it to this level! Stefan is very talented, one of the most talented and creative ecclectic producers in today's electronic music. This is another level. Big up! I would love to get a CD for sure. ”

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