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Andreas Raseghi – Farbtonstücke, Buch I & II
Edition Zeitgenössische Musik des Deutschen Musikrates


Erstes Buch der Farbtonstücke (1979-84)
I. Aphoriste
II. An einem grauen Wintermorgen
III. (ohne Titel)
IV. (ohne Titel)
V. Verformung
VI. (ohne Titel)
VII. La musica riservata

Zweites Buch der Farbtonstücke (1987-93)
Aufladung eines Engels
Besteigung der hallenden Öde
Rapido Assai
Nächtlicher Altar
Sprechende Hand
winterblue piano

Christoph Grund - piano

total duration: 61:30

item no.: WER 6533 2
retail price: € 16,00
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"The Farbtonstücke make use of striking musical processes or structures to represent a thought which is often logical or philosophical in nature. (...) One might say that the key characteristic of a Farbtonstück is the way it blithely juxtaposes things which are irreconcilable or have never before been brought together. In doing so it creates a context which, through contradictions, raises the question of overriding coherence."

In these words Andreas F. Raseghi describes an idea which, over the years, has become the starting point for many of his works. His Erstes Buch der Farbtonstücke (‘First Book of Farbtonstücke’) unites into a self-contained cycle seven short pieces written between 1979 and 1984. The second book, which he started in 1987, is more open-ended in its form. The pieces are more differing (...) and are not directly interrelated. The second book forms the metaphysical complement of the first.
A cosmos of acoustic events opens (...) in Besteigung der hallenden Öde (‘Ascension of the resounding wasteland’) (...) Microtonal reverberations from the upper partials of the overtone series intermingle with tempered neighbour-notes to form pulsating interference patterns. Beats generated by a sharply struck second are perceived as a trill and then imitated by the pianist. (...)
The minuscule interval of time lying between two keys struck almost simultaneously generates a lower sound, the pitch of which may be controlled by the pianist. Raseghi’s term for this (...) phenomenon is "Zeittöne" (Zeit tones). (...) The piece reaches a climax with the so-called ‘phantom tones’, a very timely phenomenon in our age of virtual reality. Here the notes of a chord are regarded as combination tones of superordinate but hidden ‘cores’ or ‘virtual’ sonorities. (...)
Besteigung der hallenden Öde makes us sharpen our auditory faculty. It invites us to pursue sonorities and to eavesdrop upon them, thereby leading us into a world of sense perception in which time is no longer of essence, a world in which space has been made to resound.
Michael Iber

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