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Artist: PANHUYSEN, PAUL
Title: Pendulum Change Ringing
Format: LP
Label: Edition Telemark
Country: Germany
Price: $24.00
"First vinyl LP edition by Dutch sound and visual artist Paul Panhuysen since 1986. In terms of sound art, Paul Panhuysen is well-known for his long string installations, yet he has produced a vast amount of other sound installations using different materials and sound sources ranging from various instruments to animals such as birds. Edition of 300 copies. Full-color sleeve with photos of the installation and liner notes by René van Peer. Black poly-lined inner sleeve. This LP contains a recording of the installation "Pendulum Change Ringing", displayed at Pand Koloniale Waren in Hasselt (Belgium) in 2012. The installation consists of twelve engraved Turkish metal platters, each mounted onto a black plastic bin, and placed in a 20 meters long row. The rim of each platter is hit by a metal pendulum operated by a tiny electromotor. Each hit causes the platter to resonate with a rich sound texture full of dissonant overtones." - Edition Telemark.

Artist: PANHUYSEN, PAUL
Title: Partitas for Long Strings
Format: CD
Label: XI
Country: USA
Price: $13.00
1998 release. “Voted one of the top 50 records of 1999 by the writers and critics of The Wire, Partitas for Long Strings is the first album in 12 years to document Paul Panhuysens work with long string installations. Included with the CD is a 32-page booklet which details the history of Paul Panhuysens work with installations through pictures and text.” - XI. "Since 1982 Panhuysen has created over 200 such installations, playing the strings with his fingers, connecting them to pianos, letting them vibrate in the wind, always changing, always finding new sounds, and doing so with a particularly good sense of how the strings should look, and how they should relate to the architecture around them" --Tom Johnson. "Two aspects were of central interest to him: different tunings and density of sound. He made an installation in the large space of Het Apollohuis, stretching four strings lengthwise and attaching them to the wooden wall on the far end, which served as a resonator. He did not use automatons or electric amplification. He played the strings by brushing them, walking back and forth at an even pace. His aim was to make his playing as continuous and even as possible. For each partita he recorded his playing four times, superimposing these recordings over each other and listening to the earlier recordings over headphones whilst playing. The total sound of each partita is produced by sixteen strings. The three partitas differ in the systems according to which the strings are tuned. These tunings can be regarded as the score for each piece. In Partita I all strings are tuned to the same pitch. In Partita II and III each string is tuned differently, and after each take they were tuned to new pitches... The result is a considerable difference in overall texture between the three pieces." --René van Peer.

by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label