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Hermann NITSCH

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2 CD

Hermann NITSCH
“Musik der 155. Aktion”

Large-scale symphony composed for the 155. Action of Hermann Nitsch’s Orgien-Mysterien-Theater Performed and recorded 1. September 2018 at the Nitsch Museum, in Mistelbach, Austria. Directed by Hermann Nitsch and Leonhard Kopp Conducted by Andrea Cusumano Performed by Klangvereinigung Wien, Stadtkapelle Mistelbach, and Chor con cor & Musik- und Gesangsverein Asparn a.d. Zaya. Photography: Reinhard Ehn, Wolfgang Kober Recording: Daniel Löwenbrück, Patrick Quick Mastering: Giuseppe Ielasi
21,00€
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LP

Hermann NITSCH
“Akustisches Abreaktionsspiel”

Reissue of Nitsch's very first release, originally published 48 years ago by Edition Galerie Klewan in a limited edition of 100 copies. Produced and recorded at the WDR Radio in Cologne, Germany, the Akustisches Abreaktionsspiel (Aktion 38b) is "neither a radioplay nor a work of music. it merely portrays the acoustic part of an "abreaktionsspiel" (a play of abreaction). the special and specific usage of the acoustic possibilities are in the foreground, while the visual part of the play is communicated by a narrator." A prime example of the intense & noisy wildness of Nitsch's early actions employing scream-choirs, beating, whistles, chaotic austrian folklore juxtapositions, rough brass sections and dissonant strings. Edition of 400 copies on vinyl and 200 copies on CD.
21,00€
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CD

Hermann NITSCH
“Akustisches Abreaktionsspiel”

Reissue of Nitsch's very first release, originally published 48 years ago by Edition Galerie Klewan in a limited edition of 100 copies. Produced and recorded at the WDR Radio in Cologne, Germany, the Akustisches Abreaktionsspiel (Aktion 38b) is "neither a radioplay nor a work of music. it merely portrays the acoustic part of an "abreaktionsspiel" (a play of abreaction). the special and specific usage of the acoustic possibilities are in the foreground, while the visual part of the play is communicated by a narrator." A prime example of the intense & noisy wildness of Nitsch's early actions employing scream-choirs, beating, whistles, chaotic austrian folklore juxtapositions, rough brass sections and dissonant strings. Edition of 400 copies on vinyl and 200 copies on CD.
12,00€
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In stock

2 CD

Hermann NITSCH
“Albertina Quartett”

Hermann Nitsch’s String Quartet No.2 in six movements for 2 violins, viola, and violoncello, transcribed by Michael Mautner and performed by the Viennese Koehne Quartet. Recorded during the exhibition NITSCH. Spaces of Color at the ALBERTINA Museum, Vienna on the 29th May 2019. The Koehne Quartet: Joanna Lewis – 1. Violine, Anne Harvey-Nagl – 2. Violine, Lena Fankhauser – Viola, Mara Achleitner – Violoncello. Hermann Nitsch does not write his music in regular musical notation, but divides the individual movements into time segments of one minute duration and precisely defines sound events, durations, dynamics and actions with words or signs. His instructions are e.g.: deep sound, whole tone cluster, D minor, F major or noise.
18,00€
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Out of stock

2 LP

Hermann NITSCH
“Traubenfleisch”

Double LP. Edition of 300 copies in fullcolour gatefold sleeve. First recording of the grand scale "Traubenfleisch 2007-2017" symphony by Hermann Nitsch. Performed at the Nitsch Museum, Mistelbach, September 2, 2017, by Orchestra "Klangvereinigung Wien" and a new choir formed for the occasion. Directed by Andrea Cusumano.
30,00€
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2 CD

Hermann NITSCH
“Musik der 135. Aktion, Kuba”

Recorded in 2012, Musik der 135.Aktion Kuba captures the controversial performance from Herman Nitsch's Orgien Mysterien Theater (Orgies Mysteries Theatre) as part of the Havana Biennial art exhibition. For more than fifty years Nitsch has been an influential and striking figure of Austrian art - In his Orgien Mysterien Theater he uses actors, blood, animal bodies and entrails, fruits, symbolic crucifixion, music, processions and ritualistic gestures to enact a new form of Gesamtkunstwerk: pagan ceremonies that aim to a kind of collective catharsis. "Dionysos gegen den Gekreuzigten" (Dinoysus against Christ Crucified") was performed by 150 musicians and 30 actors, including the University's Symphony Orchestra ISA and the artist himself, celebrating Afro-Cuban rituals and ceremonies.
18,00€
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Out of stock

2 CD

Hermann NITSCH
“Traubenfleisch”

Double CD. Edition of 300 copies in six-panel digipak. First recording of the grand scale “Traubenfleisch 2007-2017” symphony by Hermann Nitsch. Performed at the Nitsch Museum, Mistelbach, September 2, 2017, by Orchestra “Klangvereinigung Wien” and a new choir formed for the occasion. Directed by Andrea Cusumano.
21,00€
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In stock

LP

Hermann NITSCH
“Orgien Mysterien Theater – 25. Aktion (wiederaufgeführt)”

Re-Performance of the 25. Action, March 1982 in the gallery Pakesch, Vienna (Premiere was in New York 1968). Hermann Nitsch, Austria, painter, performance-artist and composer, was a crucial founding artist of “Viennese Actionism”. Exhibitions and performances all over the world since the 60s. The idea of the very sensual and archaic “Orgien Mysterien Theater” was developed in the late 50s and is performed in variations untill today. Nitsch works out all settings of the rituals, the feast in great detail, precisely composes days of art, performance, food, wine and music – to celebrate the existence of mankind…
25,00€
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Out of stock

2 LP

Hermann NITSCH
“Orgelkonzert Jesuitenkirche”

Hermann Nitsch playing the church organ in the Jesuit church of Vienna, 20.11.2013. 4 heavy drone pieces, mastered by Martin Siewert. Different cover-artwork on CD and vinyl.
25,00€
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Out of stock

CD

Hermann NITSCH
“Orgelkonzert Jesuitenkirche”

Hermann Nitsch playing the church organ in the Jesuit church of Vienna, 20.11.2013. 4 heavy drone pieces, mastered by Martin Siewert. Different cover-artwork on CD and vinyl. CD comes with 8 page booklet with artworks and essay by Nitsch about music (in German).
15,00€
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In stock

2 CD

Hermann NITSCH
“6. Sinfonie”

Hermann Nitsch’s Sixth Symphony for large orchestra performed and recorded November 1, 1980 at Museum des 20. Jahrhunderts, Vienna. Edition of 500 copies in big 2CD jewel-case with 12 page booklet with a text by Günter Brus (German only).
14,00€
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4 CD

Cornelius CARDEW
“The Great Learning”

All seven Paragraphs of Cardew's The Great Learning by the Scratch Orchestra Strasbourg under Didier Aschour, an orchestra born from an open call and two years of shared practice: 4CD box with a 116-page booklet. 4CD box with a 116-page booklet. Shiiin's thirteenth release is a complete recording of Cornelius Cardew's The Great Learning, the seven Paragraphs written between 1968 and 1971 on the opening of the Ta Hio (Daxue, "the Great Learning"), the Confucian treatise on self-cultivation and the harmonious ordering of collective life, in Ezra Pound's translation. Mixing voices, instruments, objects and actions through graphic and verbal notation, the score prescribes relationships between the performers more than sounds, and shares out among them the responsibility for the form. The work is inseparable from the Scratch Orchestra, which Cardew founded in London in 1969 with Michael Parsons and Howard Skempton. The Scratch Orchestra Strasbourg grew out of an open call launched by the Musica festival in spring 2023, with no condition of level or background: amateurs and professionals, the self-taught and people with no previous practice. First gathered in September 2023, the group worked regularly under Didier Aschour, with members of the Dedalus ensemble and Strasbourg musicians versed in improvisation, graphic scores and open protocols passing on tools rather than imposing a reading. The aim was neither to reproduce a traditional orchestra nor to rebuild Cardew's, but to put his principle back into play: turning a diversity of skills into a shared resource. On 15 September 2024 the orchestra performed all seven Paragraphs in the Saint-Paul church in Strasbourg, a concert of nearly seven hours that opened the music programme of the 42nd Musica festival, in dialogue with Mode d'emploi, the exhibition of instruction-based works at the city's museum of modern and contemporary art. The group went on working on other pieces and came back to The Great Learning for this recording, made in the same church from 27 to 29 November 2025. What it fixes is an interpretation shaped by more than two years of common practice, not a line-up assembled for a single date, which brings it close to Cardew's own idea of the orchestra as a lasting space of practice, learning and collective change. Alongside Aschour play Lou Renaud-Bailly, Jeanne Barbieri, Stéphane Clor, Yannick Guédon, Jean-Philippe Gross and Thierry Madiot, with Jérémy Marchal on the church organ, the Pelicanto choir directed by Mathilde Mertz and the De-ci De-là choir directed by Cédric Dosch. Paragraphs 1 to 3 fill the first disc and Paragraph 4 the second; Paragraph 5 alone runs over an hour and a quarter on the third, and the fourth holds Paragraphs 6 and 7. The booklet opens with a text by Stéphane Roth and gathers two essays. Dean Inkster's, written for the 2009 Cardew exhibition at CAC Brétigny, places the work within the composer's aesthetic and political path and shows how the dispersal of the voices opens onto a shared freedom of listening rather than a fusion of the collective. Matthieu Saladin's, first published in Revue & Corrigée in 2020, examines the devices of each Paragraph as so many attempts to contain the relations of domination that form again within any group.
49,00€
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2LP

Eliane RADIGUE
“Occam XIII, Occam River XI, Occam V”

Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.
45,00€
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Out of stock

CD

Eliane RADIGUE
“Occam XIII, Occam River XI, Occam V”

Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.
23,00€
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CD

David GRANSTRÖM
“Echoes of Impermanence”

Echoes of Impermanence sees David Granström’s previously established strict hermetic minimalist musical topography undergo a major shift with the introduction of the electric guitar, which instigates a breaking of the sealed crystal walls of the composer’s previous work within music of long duration and precise digital synthesis, bringing forth a riff-laden spirit previously lingering below the surface. The album was recorded at the world-renowned Elektronmusikstudion EMS as well as in the composer’s own studio with the help of Mats Erlandsson and features a guest appearance by long-time collaborator and XKatedral co-founder Maria W Horn performing on the Hurdy-Gurdy on the title track. David Granström is a composer and musician from Umeå in the northern part of Sweden. His hometown is a stronghold of extreme musical expression and consequently Granström grew up playing guitar in a metal band and started to compose music within that context which eventually evolved into solo projects, having access to studio facilities adjacent to the rehearsal space. Granström initially found his personal musical voice within the context of electroacoustic composition utilizing his advanced programming ability to manifest a sound and formal structure governed by algorithmic processes. The resulting musical work is characterized by harmonic simplicity and spatiotextural complexity, employing sounds of synthetic and acoustic origin in combination with strict digital synthesis techniques.
17,00€
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Out of stock

CD

William BASINSKI
“Passing the Cup of Sorrows”

In the realm of past-life regression hypnotherapy, there is a concept known as “Life Between Lives,” wherein a sacred exchange of energy occurs between two souls in the spirt world, helping a spirit fully understand and forgive a being who hurt them in a past life. This exchange – called “passing the cup of sorrows” – became the unexpected inspiration for William Basinski’s first new album in six years. While sinking deeper into the daily abyss of our collective negativity bias, William Basinski stumbled upon a video describing the spiritual hypnotherapy exercise known as “passing the cup of sorrows.” Fixed on the glow of a screen that projected mounting anxiety and cynicism at a seemingly interminable pace, Basinski found the testimonials of this fascinating therapeutic practice to be profoundly moving. He sat at his piano, translating the transformation of those traumatic memories of past lives into cathartic tears of the present day. Channeling the quiet curiosity and asymmetrical patterns of pioneering 20th Century composer, Morton Feldman, Passing the Cup of Sorrows is a single 40-minute piece that employs a solitary piano and subtle electronics to truly haunting effect. It recalls fragments of traumatic memories and projects them as fractals in a slow-moving soft focus that’s as eerie as it is enlightened.
15,50€
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In stock

LP

Oren AMBARCHI
“Cooked”

With Cooked, Oren Ambarchi takes his adventurous sonic universe into gloriously unpredictable territory. Bringing together an extraordinary cast of international collaborators, including Eiko Ishibashi, Jim O’Rourke, Joe Talia and members of his Ghosted trio, the album unfolds across two expansive, side-long compositions. Blending hypnotic grooves, shimmering guitars, intricate electronics, jazz-inflected rhythms and surreal sonic detours, Cooked moves effortlessly between delicate atmospheres and exuberant experimentation. Meticulously constructed yet remarkably spontaneous, it reveals Ambarchi at his most playful, inventive and delightfully unpredictable. A dazzling journey through the outer limits of contemporary experimental music. Oren Ambarchi - Guitars and whatnot Hidden Tableau: Johan Berthling - Double bass Eiko Ishibashi - Piano Jim O'Rourke - Synth Konrad Sprenger - Voice synthesis, electronics & production Joe Talia - Drums Sleight of Hand: Johan Berthling - Double Bass Will Guthrie - Gamelan & drums Isak Hedtjärn - Whistling Michiko Ogawa - Shō Marcus Pal - Synthetic Sound Fredrik Rasten - Guitars James Rushford - Celeste, piano & portative organ Andreas Werliin - Drums
30,00€
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