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andré o. möller with hans eberhard maldfeld
out of a matrix (partially)
order reference:   
EWR 2103
andré o. möller (composition, sound direction, playback)
hans eberhard maldfeld (double bass)



audio excerpt:
►  out of a matrix (partially), part VII (16:40)
andré o. möller (1962)
out of a matrix (partially) I, II, III, VII (2008-2021)

pure digital silence 01
out of a matrix (partially) I         five intensional obscursions (double bass quartet + solo)
pure digital silence 02
out of a matrix (partially) II        half-ly intentional harmolody (double bass quartet)
pure digital silence 03
out of a matrix (partially) III       intentional excursion tension (double bass sextet + unison duo)
pure digital silence 04
out of a matrix (partially) VII      intentionally high mathology (three double bass quartets)

hans eberhard maldfeld (double bass), andré o. möller (composition/sound direction/playback)


out of a matrix (partially) is a group of as yet 7 pieces for 5-stringed double bass and pre-produced playback (double bass choir).

it is also part of the (partially) series for string instruments, of which my first string quartet size matters (partially) (2005/06) is one element.

all compositions of the (partially) series have in common that all used pitches are natural partials (overtones), either flageolet or open strings. the also "natural" inharmonicity of the more or less thick strings is hereby nearly ignored.

out of a matrix (partially) is based on a justly tuned scordatura (from deep to high):
the 5 strings are tuned to the following partials of a fundamental sub-sub-contra D# +49cent (5Hz):

string V IV III II I
partials 6 8 11 14 20
(in Hz) 30 40 55 70 100
pitches B0 -49 cents D#1 +49 cents A1 +-0 cents C#2 +18 cents G2 +35 cents
(tuning meter calibrated to A4 = 440Hz)

the tuning concept for the 5 stringed bass was thought of with care, so the tensions inside the instrument do not vary too much from the classical tuning, making it easily achieveable and stable in a rather short time.

out of a matrix (partially) is inspired by:
1. my love for just tuning concepts, hence rational frequency relations, paired with an "insufficiency" of instrument versus physics and man versus machine,
2. my deep admiration for the musician hans eberhard maldfeld, with whom i also love to work on a contemporary original music for the historical one-stringed instrument tromba marina (cd in memory of james tenney also out on wandelweiser EWR 1503). his pure dedication to and into sound stuns me when we transform numbers to music!

düsseldorf, 2021, andré o. möller