han:
zehn hoechst eigenwillige improvisationen, großteils oesterreichischer herkunft, luden muehlbacher und dafeldecker ein, jeweils unabhaengig voneinander, ein solo einzuspielen.
per computer wurden die soli in folge von den beiden in selektiven prozessen zu mehrstimmigen stuecken zusammenmontiert. das ergibt die sogennanten diphtongs, gespielt von einem virtuellen ensemble. klangpuzzles koennte man auch sagen. muehlbacher und dafeldecker haben sich ausgekluegelte schnittboegen zurecht gelegt, anhand derer sie die improvisationen zu einem strukturierten kollektiv verdichten. das klangliche 'rohmaterial', die improvisationen sozusagen, wird gewissermaßen aufgeladen und enthaelt in daraus modellierten klangaggregaten neubewertete dringlichkeit. in ihrer ganzen klanglichen wucht besitzt die musik etwas betoerend reduziertes. denn das schweigen zwischen den tonfeldern ist oftmals gold. muehlbacher und dafeldecker gehen ausladenden klangcollagen gezielt aus dem weg und konzentrieren sich lieber auf kristalline, durchhoerbare, aber dennoch kompakte konstrukte, denen, grund der von den beiden musikern eingesetzten subtilitaet beim 'klaengeschneiden', eine erweiterte raeumlichkeit erschlossen wird. sowohl improvisation wie komposition erhalten eine veraenderte positionierung und ein neugieriges bezugsverhaeltniss.


julian cowley / the wire:
... each player was asked to perform a solo, in isolation, which then founded material for 12 collage improvisations, structured with assistance from a computer. working after the fact, the composers have been scrupulous in their respect for the essential qualities of this musicians performances. sensitivitiy to acoustic specifics is as evident here as in stangls solo work. the titles assigned to the pieces are derived from chemical elements. the aesthetic is again seemingly derived from laboratory, from meticulously controlled experimantation. but the result is by no means arid intellection. perhaps it is appropriate to invoke a venerable viennese precursor: the extraordinary sparse beauty of anton weberns five pieces for orchestra might be discerned behind the exquisite tonal colour and translucent structure of these superbly crafted pieces.


fanfare / art lange:
where do composers get their ideas and material ? inspiration of course, the romantic ideal, but there many more pragmatic possibilities. consider this one.
cocomposers christian muehlbacher and werner dafeldecker asked 10 instrumentalists to each record an unacompanied free improvisation, giving them no instructions about pitch, key, meter, tempo or, presumably mood. taking the results as raw sourse material and using a computer, they cut these solos apart and combined fragments of them together with bits of others, ultimately constructing the 12 short pieces heard on this disc. they call them collages, and rightfully so, since the original material was not intended to interrelate, and has now been juxtaposed into a new form which does just that.
in so doing muehlbacher and dafeldecker have upset the composer/interpretor equation; what began as improvisation now becomes a compositional forum, as opposed to soloists using precomposed material as a basis for improvisation or interpretation. moreover, reversing even the cagean polarity, nonintention now becomes intention, as the composers plot strategies-extensions, responses, complementary and contrasting interaction, simultaneities, and counterpoint-where none previously existed, opposing the spontaneity and self-sufficiency of the improvisers.
the music they have created is the product of a phantom ensemble, and questions the nature and identity of group interaction. the compositional skill required to organize these sounds into convincing musical events is considerable; the proof of their success is that regardless of method, the music is substantial, surprising, convincing. the 10 instrumentalists are never heard en masse; rather smaller combinations ensure clarity and transparent textures, blending colors or contrasting timbres as sounds succeed other sounds in a slow, steady carefull progress, giving the illusion of an almost telepathic connection between them. with few large gestures or 'big' moments, the focus is on timbral and textural effects-some almost physically palpable- and the message may be subtle, even minuscule. most of the pieces have a kind of brooding ambiance that is the remaining unifying link between improviser and composer. personally, while i find the method of construction intellectually engaging, i also enjoy the fascinating music, which could not have come to exsist in any other manner.