DarkRoom Magazine

Salve, sono qui per parlare di uno dei migliori compositori di musica industrial, purtroppo non molto conosciuto nel ns paese.
Qui un estratto da wikipedia inglese e poi di seguito un link di una recensione su Heathen Harvest.
Faccio notare che su Rumore di questo mese c'è la recensione dei suoi 2 ultimi album...unici dischi in tutta la rivista a prendere 9/10....tutti gli altri album hanno preso al massimo 8/10.

Vladimír Hirsch has been composing since 1976, when, as pianist and organ player, he started to compose small romantic and classicist compositions for these instruments. Soon, though, he abandons these compositions for a longer period and takes up experimental rock and jazz music up to 1986. He was a member (keyboard player and vocalist) of experimental post-punk group Der Marabu (1986-95). In 1987, he decided to focus on classical musical form as well, nevertheless with an attempt to enhance the action potential by modern means of expression and by searching for specific processes. He attempts to resume the tradition of 20th century Czech music and draws inspiration from first Leoš Janáček, later also Miloslav Kabeláč, but eventually attains his own clear-cut position both in tone creative principles as in composition style and opinion on orchestration and the role of not quite musical components in it. Vladimír Hirsch's music is a kind of extrapolation of the combination of contemporary classical music, (where was initially also inspired by Giacinto Scelsi or György Ligeti) on the one side and dark ambient, industrial and noise components on the other side, which, through mutual infiltration by basic theses and antitheses, brought to life as a fully homogenous structure. Compositions are based on grasping both ways in a manner, which would allow them to partake of each other’s principal formal attributes, both on the basis of violent confrontation and of mutual empathy, which should lead to a unification of seemingly irreconcilable worlds. This happens with the help of musical symbolism of their transsubstantiation into a single, indivisible essence, which act represents the metaphora and philosophical principle of Hirsch's “integrated” musical form.

http://www.heathenharvest.com/article.p ... 0224319671

... eh vabbè ma quella recensione l'ha fatta il Morelli , fosse almeno stata scritta dal Baroni scherzo neh , non conosco ne uno ne l'altro , però li leggo molto volentieri , piu il secondo però

Comunque io lo conosco e mi piace , o meglio , precisiamo che non si sa mai co' sti tempi , mi piace il disco ( che ho ) "Concert industriel pour orgue" , bel confezionamento e stupenda copertina , solo che è un po difficile stare dietro a sto artista , c'è troppa roba in giro ed io mi distraggo facilmente .

grazie.
bah...se consideri che Vladimir suona dal 1976, non è che ci sia tanta roba...come invece puo' aver fatto un Folkstorm (e progetti paralleli).
fai conto che i suoi lavori sono datati dal 1988 in poi...ma lui ci lavorava gia' da prima..solo che per vari problemi personali...non poteva farli uscire.
di Vladimir ufficiali sono usciti solo 7 cd per me...poi alcuni cdr spartani, ma che si stampava lui dato che non era interessato alla stampa dei suoi lavori.
Vladimir è un vero genio abbastanza perso nel suo mondo.
cmq aveva fatto un disco anche con Diamanda Galas...poi lei ha usato le musiche per una sua opera solista...e hanno litigato.

Di Vladimir trovi i vari progetti : Skrol ed Aghiatrias....ma anche qui non si parla di molti titoli.
poi esistono altri progettini...

hai ragione, la recensione l'ha fatta Morelli, ma...quella su Heathen Harvest non l'ha fatta lui.
e poi...proprio ieri ho ricevuto un messaggio da Hermann Knopp che mi parlava della bellezza della musica di Vladimir.

e per ultima cosa....se vai sul post sul festival a Wroclaw...chiedi al ragazzo che era presente l'anno scorso...com'era il concerto di Vladimir... da paura!!!

Beh ... quantomeno allora un personaggio un po strano .

... scusa se vado off-topic , ma parli di Hermann Kopp ? quello che di recente ( 2008 ) ha tirato fuori quel bel dischetto (secondo me ) di Under A Demon's Mask ? se si allora oltre alle tue parole credo anche alle sue e mi darò da fare perlomeno in ascolto e poi si vedrà ...

esattamente, lui in persona
mi ha ordinato i cds di Vladimir e poi mi ha scritto i suoi complimenti per la qualità della musica.
ovviamente ogni opera di Vladimir è ostica, di difficile ascolto...dato che è un mix di classica ed industrial.
Consiglio vivamente Graue Passion, uno dei suoi lavori piu' riusciti.

Ecco una splendida intervista avuta in america :

http://www.heathenharvest.com/article.p ... 8055415417

Artist: Vladimir Hirsch

Title: Symphony No. 4: Descent From the Cross

Label: Ars Benevola Mater

Genre: Classical/ Electronic/ Dark Ambient/ Industrial/ Contemporary/ Experimenta


01 Part I: After Expiry
02 Part II: Night Under The Cross
03 Part III: The Descent
04 Part IV: The Pass From Golgotha
05 Part V: Entombment
06 Part VI: Apotheosis
07 Part VII: Marc VI/16


The ancient Greek philosopher, Plato, in his text ‘The Republic’ viewed the Arts as potentially dangerous forces and put forward the theory that they should therefore be censored in order to protect the citizens. He believed that as the Arts were capable of eliciting strong emotional responses they were also powerful shapers of character for good or for ill. It was his conviction that the content and scope of the Arts be strictly controlled with the harshest censorship being reserved for painting and music because of their inherent power educate, stir and appeal to the soul. Plato’s theories have long been seized on by Dictatorships; control the arts and you hold control over the masses. The Artist, you see, is a potentially prophetic and visionary beast capable of turning divine inspiration into enlightened works that surpass everyday existence and by default, or endeavour, exposing truths or ideas that could destabilise the rule of the elite or corrupt society. That the collation of and composition of the Bible appears to have been shaped along Platonist ideals should probably come as no surprise given the controlling and repressive nature of the early Christian Church and through the subsequent centuries. Certainly, after the murder, jealousy, wrath, rages, genocide and plagues of the Old Testament, the New Testament is an exercise in presenting the story of Jesus Christ in a sanitised and carefully stage managed manner conveniently omitting gospels that could be considered contradictory and not dwelling on negative aspects of the Christ story. The result? An allegorical story that has inspired the Arts into raptures of adulation, religious piety and devotion! Not until later centuries have few peered through the gaps and chinks in the story and looked behind the sanitised veneer to produce polemic art that explores the darker aspects of the New Testament and Jesus’ life, especially that central act of the Christian faith, the Crucifixion. Had Plato been alive today I suspect that he would have had Vladimir Hirsch firmly in his sights for ‘Symphony No. 4: Descent From The Cross’ is most definitely a work of Divine Inspiration.

Inspired by Dostoevsky’s interpretation of Hans Holbein’s painting of the same name, ‘Descent from the Cross’ is an ambitious undertaking that explores the Christian faith in the Resurrection and shines a bright light on the darker aspects of this biblical event. Holbein’s painting portrays the body of Christ in a striking and disconcerting manner as exactly that,… a dead body, rendered lifeless through the barbaric act of crucifixion. Vladimir Hirsch has considered the possible reality of the aftermath and built a truly magnificent musical artifice to encapsulate the events between the death of Christ and the laying into the grave. There really is only one way that the true horror of the aftermath of such a bloodstained and murderous episode can be recast in music and the industrial idiom lends itself admirably to the task, especially when expertly melded into an avant-garde classical form. Vladimir Hirsch manages to achieve this feat in seven segments that tell a story

‘Part I: After Expiry’ is an exercise in abject darkness and despair. Ancient voices, industrial atmospheres, metallic hits and crushing percussive blows split the rank air asunder depicting a nightmare vision of a barbaric and excruciating death on the cross. Voices sussurate and coalesce with pitch-black atmospheres and the subterranean rumble of timpani that exquisitely convey true horror in minute detail. This is violent imagery more akin to ‘The Passion of the Christ’ and it’s gore laden vision of the crucifixion.’ ‘Part II: Night Under The Cross’ is constructed from the darkest ambient riveted together with cavernously reverberating percussive strikes, full-on orchestral hits and bursts of white noise rising like steam from some hellish pit. The atmosphere here is cloying and claustrophobic with extra tension delivered by an apocalyptic chorale vomiting dark laments into the night air: the soundtrack to a blackened vigil. You can almost see the swirling maelstrom of storm clouds and taste the bitter heat of the desert lands.

As if slicing seconds from the archaea, the periodic sounding of discordant bells in the intro to ‘Part III: The Descent’ couples with heavenly voices to deliver a welcome lull in the violent auditory assault. The peace is short-lived, however, soon to be ruptured by strident metallic percussion that segues neatly into a refrain of bass heavy staccato strings and brass. Sepulchral voices swirl, ebb and flow on the tide of dark orchestrations like dust on a dry wind. The intensity builds with the strings and brass coupling in a martial dual of madness driven by the unrelenting and abrasive percussion. ‘Part IV: The Pass From Golgotha’ begins with funereal drumming that suggests of a cortege on the move. Slow. Subdued. Reflective. Resilient. The air is solemn and has a fragrance of martial power.

‘Part V: Entombment’ is a final rite of passage towards the last place of resting. Somnolent, majestic and brooding! Sacred voices emanate that speak of ceremony from another time. This is a powerful track that captures the process and ritual of interment perfectly. ‘Part VI: Apotheosis’ continues the thematic of earlier tracks but scales back on the frenzy to deliver a more subdued yet equally striking passage. The final track, ‘Part VII: Marc VI/16’ concludes the journey that Hirsch set out to explore bringing the listener down with a reflective and sombre interlude that is imbued with shades of light and dark and hope and despair. Tinged with a melancholic hue this provides the perfect outro to the seven segments and thus completing the hypothetical journey of Christ from cross to grave.

That Vladimir Hirsch has pulled off a masterstroke with Symphony #4 bordering on genius is without question. That he might also be one the most important avant-garde composers alive today is also a distinct possibility. I would venture there is a mind at work here that is bordering on genius such is the complexity, modernity and scale that Hirsch has delivered with Symphony #4 that few others in the underground scene could hold a candle up to his achievements. This is a simply stunning work that should appeal to anyone with an appreciation for dark music in general and a bent for the neoclassical avant-garde. This is not a release to be dipped into lightly but to be savoured, at leisure, in a darkened space where you can fully immerse yourself and let your imagination provide the film for this epic soundtrack. Breathtaking, moving and darkly divine!

Interessante, cercherò senz'altro. Di Skrol mi ricordo qualcosa, ma moooolto vago