Conrad Schnitzler
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Conrad Schnitzler was a founding member of both Cluster and Tangerine Dream. Kluster's Schwarz (Captain Trip, 2006) was Schnitzler's first solo album but technically the third Kluster album. His solo career then began with Rot (KS, 1973 - Very Good, 2002 - Captain Trip, 2006), which contains two lengthy electronic suites (Meditation and Krautrock) in the vein of Tangerine Dreams' Electronic Meditation, but closer to Morton Subotnick's avantgarde electronica than to "kosmische musik". The shorter pieces of Gelb (Block, 1981 - Plate Lunch, 2003), recorded in 1974 but unreleased for years, predated ideas that would surface twenty years later in new age, ambient and techno music.

It was followed by Blau (KS, 1974 - Very Good, 2002 - Captain Trip, 2006), that increased the presence of the sequencer. These three "color" album were compiled in the triple-LP Work In Progress (1974), which also included a 30-minute excerpt from the 50-hour composition Work In Progress. All three color albums came from the same recording session.

Predating the solo albums was the cassette Zug (1972 - Minium, 2010), a Cage-an experiment: the listener was supposed to play multiple copies of each side of the cassette.

Then, alas, he released a multitude of records that explored an unbound variety of techniques. Con (Paragon, 1978), later reissued as Ballet Statique (Spalax, 1992), is the album that downplayed the abrasive excesses of his technique, and basically returned him to the realm of popular music.

Schnitzler did not record anything for a few years, but, when he returned, he took advantage of the new dynamics of "indie rock", and began flooding the world with all sorts of albums. In 1981 alone he released: Consequenz (KS, 1981), Contempora (CT, 1981), Con 3 (Sky, 1981), Conrad & Sohn (GS, 1981), Conal (Uniton, 1981), Control (DYS, 1981), Grun (Block, 1981 - Captain Trip, 2006), containing two lengthy ambient pieces recorded in different years, the 32-minute Der Reise Und Seine Frau (1976) and the 20-minute Bis Die Blaue Blume Bluht (1980) to be played at both 33 and 45 rpm. Despite the inevitable low quality of these albums, Convex (GS, 1982) was actually one of the most daring, but the flood resumed with Con 3.3.83 (1983), Con '84 (Oldie-Markt, 1984), Concert (Idiosyncratics, 1985), Consequenz II (Esplendor Geometrico, 1986), Micon In Italia (Auf Dem Nil, 1987), Congratulacion (Esplendor Geometrico, 1987), ConGen: New Dramatic Electronic Music (Gencon, 1988), Constellations (Badland, 1989), Kynak - Camma (Edition Panseri, 1990), Tolling Toggle (FunfUndVierzig, 1992), Clock Face (Musical Trajedies, 1993), Con Brio (Spalax, 1993), Con Repetizione (Artgallery, 1994), 00/106 (Plate Lunch, 1997), 00/44 (Marginal Talent, 1997), plus live albums, rarities, reissues, etc. Surprisingly, the Piano Works Vol 1 (Individuelle Mythologie, 1997) are much more interesting than most of his avantgarde concertos. He also collaborated to the first two albums released by Jorg Thomasius e Lars Stroschen, aka Tonart: Tonart Eins (1992) and Tonart Zwei (1993).

In the next four years about 20 albums were released, including Construction (1999), Piano 00/071 (1999), Piano 00/063 (1999), Con/Solo/1 (1999), Piano 00/121 (1999), Concert 00/139 (1999), Con/Solo/2 (1999), Computer Jazz (1999), The 88 Game (2000), 5.5.85 (2000), Conal 2001 (2001).

Acon 2000/1 (Captain Trip, 2002) is a (very abstract) collaboration with Roedelius.

(Translation by/ Tradotto da Domenico Fernando Di Cunto)

Conrad Schnitzler è stato membro fondatore sia dei Cluster che dei Tangerine Dream. La sua carriera solista ebbe inizio con Rot (KS, 1973 – Ottimo, 2002), album contenente due lunghe suite elettroniche (Meditation e Krautrock) nello stile di Electronic Meditation dei Tangerine Dream, ma più vicino all’elettronica avantgarde di Morton Suotnick che alla "kosmische misik". Gelb (Block, 1981 – Plate Lunch, 2003), registrato nel 1974 ma mai pubblicato per lungo tempo, anticipava idee che si sarebbero manifestate vent’anni più tardi nella New Age, nell’Ambient e nella Techno music.

Ad esso seguì Blaus (KS, 1974 – Ottimo, 2002) e, ahimè, una moltitudine di dischi che esploravano una sconfinata varietà di tecniche. Con (Paragon, 1978) è l’album che sminuì gli eccessi abrasivi della sua tecnica, e, principalmente, lo restituì al regno della musica di consumo.

Schnitzler non registrò nulla per alcuni anni, ma, una volta tornato, sfruttò le nuove dinamiche dell’Indie Rock e cominciò a riempire il mondo con album di diverso tipo. Nel 1981 pubblicò: Consequenz (KS, 1981) Contempora (CT, 1981), Con 3 (Sky, 1981), Conrad & Son (GS, 1981), Conal (Uniton, 1981), Control (DYS, 1981), Grun (Block, 1981). Nonostante l’inevitabile scarsa qualità di questi album, Convex (GS, 1982) era, in effetti, uno dei più audaci, ma il flusso riprese con Con 3.3.83 (1983), Con '84 (Oldie-Markt, 1984), Concert (Idiosyncratics, 1985), Consequenz II (Esplendor Geometrico, 1986), Micon In Italia (Auf Dem Nil, 1987), Congratulacion (Esplendor Geometrico, 1987), ConGen: New Dramatic Electronic Music (Gencon, 1988), Constellations (Badland, 1989), Kynak - Camma (Edition Panseri, 1990), Tolling Toggle (FunfUndVierzig, 1992), Ballet Statique (Spalax, 1992), Clock Face (Musical Trajedies, 1993), Con Brio (Spalax, 1993), Con Repetizione (Artgallery, 1994), 00/106 (Plate Lunch, 1997), 00/44 (Marginal Talent, 1997), più album dal vivo, rarità, ristampe, ecc. Sorprendentemente, la serie Piano Works Vol 1 (Individuelle Mythologie, 1997) è molto più interessante di gran parte dei suoi concerti d’avanguardia. Ha collaborato, inoltre, ai primi due album pubblicati da Jorg Thomasius e Lars Stroschen, conosciuto anche come Tonart: Tonart Eins (1992) e Tonart Zwei (1993).

Nei successivi vent’anni furono pubblicati circa 20 album tra cui Construction (1999), Piano 00/071 (1999), Piano 00/063 (1999), Con/Solo/1 (1999), Piano 00/121 (1999), Concert 00/139 (1999), Con/Solo/2 (1999), Computer Jazz (1999), The 88 Game (2000), 5.5.85 (2000), Conal 2001 (2001).

Acon 2000/1 (Captain Trip, 2002) è una collaboratione (decisamente astratta) con Roedelius.

The soundtrack to the movie Slow Motion (1972) was released only in 2010.

Conrad Schnitzler died in august 2011.

(Translation by/ Tradotto da xxx)

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