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Hans Otte (Germany, 1926) was perhaps the first visionary of "deep listening"
music, music whose emotional core is as distant from the surface as it can be,
basically the exact opposite of German romantic/symphonic music.
The peaks of his minimal art were brief
piano sonatas in which very little happens, inspired by Eastern calligraphy
and philosophy:
Das Buch der Klaenge (1982), documented on The Book of Sounds (1992),
and
Stundenbuch (1998).
Orient:occident/ Minimum:maximum (Pogus, 2005)
collects Minimum:maximum (1973) for voice and two organists,
and Orient:occident (1977) for two woodwind-players and tape.
The former is the main piece, at 41 minute. Its uneventful beginning is
misleading, as eventually (12') the background sounds, in the form of a
distorted harpsichord sonata, begin prevailing over the reciting voice,
and this (15') degenerates into a videogame-like orgy of metallic noises.
Then (23') the atmosphere regresses to sparse dissonant counterpoint to the
voice till the final crescendo of distortions.
Orient:occident (1977) is also surprising in that it employs minimalist
repetition and Eastern overtones in the vein of Terry Riley's Rainbow In
Curved Air.
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