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craquelé - FAZ on 29.10.2010 (Elisabeth Risch)
Translated from German: A sound like strained tinfoil, which haptic is increasing the skin’s resistance as well as the heart frequency, shaped the beginning of Franz Martin Olbrisch’s new work »craquelé« at its premiere in the broadcasting hall of the ‘Hessischen Rundfunk’. Conductor Roland Kluttig as well as the hr-symphony orchestra seemed to engage joyfully in this first concert of the series »Forum Neue Musik« (‘Forum New Music’). Very successful has been the composition of the fine fissures that run unpredictably through the orchestral sound fabric without breaking it. |
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Schichtwechsel - temps et mouvement - DARMSTÄDTER ECHO on 8.8.2006 (Heinz Zietsch)
Translated from German: Totally different, Franz Martin Olbrisch in his night concert at the art gallery. The electronic sounds of his concert environment “Schichtwechsel – temps et movement” for twelve speakers and video projection (Beate Olbrisch) do not seem constructed but leave room for spontaneity. Especially for the audience which, by wandering through the room, can find their own way through the music. Depending on the location you will have different hearing and visual perspectives. Strewn across the ground lie, comparable to a Mondrian painting, graphically arranged polystyrene mirrors which change the videos and at the same time reflect the room of the art gallery. An additional element is the shadow of the visitor which is created by his or her wandering through the audio installation. This shadow becomes an integral part of the environment. |
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El mundo haz de tus imagenes - DIE ZEIT on 22.3.2001 (Frank Hilberg)
Translated from German: Next to the elaborate art of composing that can best be found in the hermetic muse tempels, the music biennale also shows us paths beyond the concert hall. In the ‘Kulturbrauerei’ Franz Martin Olbrisch’s El mundo haz de tus imagenes , a hybrid between space-sound-ensemble, audio installation and audio play, was performed. Isles of little speaker groups and musicians form sources of sound in the room. The environment is permeated by instrumental sounds and invigorated by unreal noises. The whizzing of breaking slates is pulling you in an underworld of sound, dripping of water and gargling sounds with surreal, iridescent resonance seem to belong to the perspective of another creature. In its best moments, the composition is bringing forward a body of sound that is suggestive like the strangeness of a stalker, who is having an encounter in one of Andreij Tarkowskis “zones” (places where objects develop a foreign and hostile dynamic of their own) with the un-nameable, the surreal. Noises are the language of objects, they are the traces of their clandestine activities which remain invisible. Creating a reality behind reality is something that can be accomplished by art: transcending the everyday life and evoking the visionary, dreamy, premonitory. |
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Dissimilation - BRAUNSCHWEIGER ZEITUNG on 22.7.2000 (Alexander Huber)
Translated from German: Out of dabbed random sounds a delicate, multi-faceted gauze is spun that intertwines itself to form vague, only surmised rhythmic patterns without freezing in rigid regularity. Shrill screeching of wheels can break in and an extensive crackle and sough of stones unfolds. With Olbrisch, chance and order are in a dialogue that remains undecided. |
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Dissimilation - FAZ on 29.04.1999
Translated from German: In the newly dressed and fashionably furnished operational building, Franz M. Olbrisch is installing his „Dissimilation“: 1742 Friedrich II. of Prussia ordered the mines of Witten to be occupied, the same year Car Phillip Emanuel Bach composed the “Preußische Sonaten” (‘Prussian sonatas’). A ‚contemporaneity‘ which, according to Olbrisch by referring to Jean Piaget, is based on an ‘intellectual construction’. With his installation, Olbrisch is bringing together the elements that describe the area of tension: black pathways, pieces of black coal, documents of former times that are read by a narrator. The visitor of “Dissimilation” himself/herself is creating sounds and noises that are bundling the signs in the room. This possesses remarkable powers of suggestion. |
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FM o99.5 - JAZZTHETIK 1998 Nr.5 (Eric Zwang Eriksson)
Translated from German: The third production – Olbrisch‘s FM 099,5 – already tells us in its title what material was used by the artist for his composition. No live instrument can be heard. Instead recordings from the archive of the radio station that is broadcasting in the region of Donaueschingen (!) on the frequency FM 099.5 are played. Originally the composition was designed as a 48 hour long radio program that was sent through the aether during the Donaueschingen Music Days 1993. Now, this program has been shortened and an edited version has been pressed to CD. The music has to be called graphic, and even the word music seems misplaced in the dense network of sounds, noises and voices. Audio play? Sound collage? Tone landscapes? The inclined listener experiences secret and sinister worlds in this challenging sound spectacle, these three intertwined webbings of electronic citations that originate from the Donaueschingen anniversary. |
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FM o99.5 - DIE ZEIT on 6.8.1998 (Frank Hillberg)
Translated from German: Who does still believe that the computer made work life easier? Everybody. Even though the ‘paperless office’ has caused a five times higher consumption of paper (manuals, faulty print-outs). Even though countless hours trickle away while trying to understand a basic program function. Nevertheless, the superstition is still very common that computers have freed sophisticated mankind from the drudgery of dirty and repetitive work. |
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FM o99.5 - WESTZEIT 1/1998 (Karsten Zimalla)
Translated from German: To the series of my „Best of 97“ belongs next to the five listed records the 4th series of the trend-setting “edition zkm”. |
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différance / Spuren - OHREKREIS VOLKSSTIMME on 18.8.1997
(Liane Bornhold)
Translated from German: Ostinating rhythms are hammering, then flute sounds, sounds of everyday life, a melancholic melody, a pause, later a sound emerges from the signal of a siren that is provoking the listener at times and at times is simply driving him on. The music is coming from tape which also means from speakers that are skillfully arranged in the room. But this music is not terrifying as it does not stand alone. In the room which is completely dark, you see pictures. A span above the ground, four projection canvases are stretched on which color slides can be seen, pictures that generate a joint composition with the music. A composition which every visitor and listener is creating for themselves when he or she is wandering through the room, when he or she is experiencing pictures and sounds from different points of view, sitting down and letting the changing color, light and sound rhythms sink in. |
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FM o99.5 - FAZ on 10.7.1995 (Achim Heidenreich)
Translated from German: Musical art non-stop for two days and nights: Everyone who, after the jump into the cold water of the Darmstadt open air pool on the ‘Lichtwiese’, was in the mood for aesthetic immersion was able to let him or her get sprinkled by Franz Martin Olbrisch’s sound shower “FM o99.5” for 48 hours at the Technical University. This monumental piece of work was composed for the Donaueschingen Music Days 1993 – back then it could be received by radio via the denominating frequency in the city at Danube’s origin – and is now filling the auditorium of the department of architecture with digitally altered sounds but also electronically untreated music in which passages from composer interviews were fitted according to a specific schedule. |