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• Sabine Vogel: Aus dem
Fotoalbum eines Pinguins – part1&2
cs 073 cd creative sources recordings, Lissabon, 2006
flutes, electronics, field recordings
01.Pygoscelis Antarctica - bsfl,el
02.IceCUT1 - fieldrec
03.WaterWings - fl,el
04.IceCUT2 - fieldrec
05.IngenTing - picc,el
06.IceCUT3 - fieldrec
07.Skrekkfyselig - fl,el
08.IceCUT4 - fieldrec
09.Wax and Wane - fl,bsfl,el,fieldrec
10.IceCUT5 - fieldrec
11.Selkie-o - fl, bsfl,el,fieldrec
12.IceCUT6 - fieldrec
13.Sealskin - fl,el
14. IceCUT7 - fieldrec
Total Time: 44:44
all compositions and photographs by Sabine Lara Vogel
graphyc design by Carlos Santos
production by Ernesto Rodrigues
Part 1:
tracks 1/3/5/7 rec. 14/04/04 by mattias petersson
at kungl. musikhögskolan, stockholm
these pieces were played and recorded on one nice
and sunny afternoon in stockholm.
thanks a lot to mattias!
Part2:
track 9 rec. april 05 for the exhibition
RESONANCE- echoing throughout stockholm -
“Stockholm for me is water – lakes, rivers, the
sea.
Here you can find everything.
Water is becoming – fading; to live – to die;
the circle of life, of existence;
it’s taking – it’s giving.
For this piece I use sounds of all kinds of water,
that I have recorded in Stockholm and Sweden and wherever
I was.
America, Italy, Tunesia, Kroatia, Germany...
The flute is like a waterbird. Diving, Breathing, Swimming,
Bathing in the water – between the water-
and sometimes just flying above it.”
April 2005
tracks 2/4/6/8/10/11/12/13/14 rec. and edited
between january and may 06 in ahrenshoop,
schomburg and potsdam
ice is just another state of water, but it makes different
sounds.
Presse:
Atmen, Pusten, Schnalzen, Summen
Zeit-online 25.1.09 von MAXI SICKERT
Schon 2006 machte die Flötistin Sabine Vogel die Geräusche
nordschwedischer Schneelandschaften hörbar. “Aus
dem Fotoalbum eines Pinguins” entstand mit Hilfe von
Körpersensoren
Das Geräusch von gefrorenem Wasser. Wind, der über
weite Schneeflächen streicht, das leise Klirren gefrorenen
Wellenschaums, Schritte auf brechendem Eis. Die experimentelle
Improvisatorin und Flötistin Sabine Vogel hat das alles
hörbar gemacht. Auf Einladung des Instituts für
Elektronische Musik (EMS) in Stockholm reiste sie in den Norden
Schwedens, sammelte Eisgeräusche und improvisierte mit
ihrer Querflöte darüber.
Technisch ist ihre Improvisation sehr anspruchsvoll: Hochempfindliche
Mikrofone nehmen den Klang im Inneren der Flöten ab.
An Sabine Vogels Handrücken und -gelenken sind Sensoren
befestigt, mit denen sie die Flötenklänge durch
Körperbewegungen beeinflussen und die aufgezeichneten
Wasser- und Eisgeräusche wie Bausteine abrufen und verändern
kann. Umschlungen von Kabeln und Isolationsklebeband wirken
ihre langsamen Bewegungen wie ein ritueller Klangtanz. Vorsichtig
arbeiten ihre Lippen oberhalb der Flötenöffnung,
sie atmet, pustet, schnalzt, summt.
Das Forschen am elektroakustischen Ton und die Klangveränderung
im Moment des Spielens sind Sabine Vogel Ausdruck innerer
Weite. Vor allem das Leise und die Stille als Teil der Musik
sieht sie dabei als Herausforderung. Sie erzählt von
ihrem Jazzgefühl, das sie immer weiter seziert habe,
bis zur nackten Klangbetrachtung und der Abkehr vom gewohnten
Umgang mit der Querflöte. So habe sie im Bereich der
Neuen Reduktion, der akustischen und elektroakustischen, leisen
Improvisation, ihren Platz gefunden. Eine lange Suche sei
es gewesen, über ihr Studium in Linz und herkömmliche
Jazz-Sessions bis zu der Begegnung mit Anthony Braxton und
den Fieldwork-Arbeiten experimenteller Improvisatoren wie
Ignaz Schick und der Gruppe Cobra. Die Improvisation gleiche
einem Kommunikationsmedium, das weltweit auch ohne Sprache
funktioniere, sagt Sabine Vogel.
Ihre CD Aus dem Fotoalbum eines Pinguins erschien in zwei
Teilen, vor zwei Jahren fügte das portugiesische Label
Creative Sources sie zusammen. Es waren einige der ersten
Aufnahmen, die mithilfe elektronischer Improvisationsmuster
und Körpersensoren entstanden. In der reduzierten Echtzeit-Improvisation
verwischt die gewohnte Zuordnung der Klänge zu bestimmten
Instrumenten. Die aufgezeichneten Feld-Aufnahmen – wie
die von Wasser und Schnee – ergänzen das Klangvokabular
der Musikerin.
Die Klänge gleichen gefrorenen Landschaften, die langsam
bedrohlich werden. Das Knacken der Schritte und die fühlbare
Kälte rufen Bilder des Ausgeliefertseins hervor. Die
Schönheit des Eises und des gefrorenen Lichts verwandelt
sich in Hilflosigkeit, Wärmeverlust und Erschöpfung.
Gefrorener Atem vor einer endlosen Eisfläche. Die Schritte
entfernen sich.
“Aus dem Fotoalbum eines Pinguins, Part 1 & 2_ von
Sabine Vogel ist im Jahr 2006 bei Creative Sources erschienen.Through
different types of flute, electronics and field recordings
Sabine Vogel affirms her strong compositional individuality
in a truly splendid work, which uses air as a primary ingredient
for a series of microscopic analyses of the sonic content
of incorporeality. Vogel's phonetics are made of pretty simple
elements that reveal multitudes of tiny facets; her pieces
scan the no man's lands of sounds lacking the consistency
of a proper body, bringing out forward-looking harmonics that
render their effect similar to being caressed by marine winds
or wandering through desertic desolations. Indeed the sea
and the rain are an engrossing presence in "Wax and wane",
possibly the finest moment of this conceptual link, a gorgeous
piece where flute and bass flute seem to try and determine
the geographic coordinates of a lost soul amidst a holy forest
of timbral reliquiae and natural lonesomeness. One imagines
Vogel with pursed lips and concentrated attitude, captured
by her own thought-provoking contemplations while using her
instruments for outlandish insufflations of consciousness.
Quantifying the value of a record like this is not easy, but
there's a definite quality in Sabine Vogel's work that's enough
for me to collocate her very high in my recent preferences'
scale. "Aus dem Fotoalbum eines Pinguins" is a pleasing
surprise from every point of view, a mature statement which
effortlessly nails a few fundamental concepts right into our
system. It's music that avoids collision but also disdains
dialogue, fed by its very depth which could be difficult to
understand completely. Not for everybody, then - yet approaching
masterpiece status. Massimo Ricci (Touching Extremes)
[...] Sabine Vogel plays flute and electronics and on her
CD there are four recordings made in at a concert in Stockholm,
a piece for an exhibition and whole bunch of very short field
recording pieces involving ice ('just another state of water,
but it makes different sounds'). In her concert pieces, Vogel
treats her instrument as an object: careful blowing, producing
small sounds, but it's hard to think of this as a flute, at
least most of the times. In the exhibition piece see uses
a large dose of echo on her field recordings of water to create
an atmosphere of walking around, along with her flute, which
acts as a bird. It's altogether a pretty varied disc, quiet
listening music, but full of tension. Frans de Waard (Vital)
If Beside The Cage brings forward some typical elements of
impro-combos, Sabine Vogel can be better qualified as many
solo performers on Creative Sources and on similar labels.
Does what I wrote stands for "here’s you have you're
average anonymous release"? Absolutely no, with those
words I simply meant if there's a modus operandi with which
you can distinguish the work of a band as much as that of
a soloist like in this case. But given that the world is full
of contradictions, let's say if we'd not consider this one
as an only acoustic/instrument cd, this should be a big mistake
since the fifty percent of this whole effort is made out of
field recordings. Believe it or not, the fact is that miss
Vogel mixed really well some solo performances with some silent/non
intrusive field soundscapes and I dare you to recognize the
different sections without the liner-notes accompanying every
track. The recording is superb and Sabine mixed the different
elements so well it all sounds as a unique continuative trip
that passes from a soft half choked blowing to a silent audio-scape.
This minimal work is brilliantly engineered and conceived
well enough to offer a enjoyable listening even in terms of
time length._Review by: Andrea Ferraris
"Aus dem Fotoalbum eines Pinguins"
to pierwsza solowa plyta Sabine Vogel. Piszac to zdanie nie
mialem na mysli omawianej plyty, lecz identycznie zatytulowany,
limitowany CDR wydany wlasnym sumptem przez niemiecka flecistke
przed dwoma laty. Tegoroczny "Fotoalbum" miesci
w sobie caly material zawarty w poprzednim, a dodatkowe dwadziescia
minut muzyki sprawia, ze to wlasnie wersja CD staje sie kanoniczna._Trzydziestoletnia
obecnie Sabine Vogel jest absolwentka Konserwatorium im. Antona
Brucknera w Linzu. Zwiazana z niemiecka scena muzyki improwizowanej,
wspólpracuje równiez z kompozytorami z kregu
muzyki wspólczesnej w przeszlosci otarla sie tez o
jazz. _Jej domena jest sonorystyczna improwizacja, przekraczajaca
ograniczenia artykulacyjne i laczaca brzmienia akustyczne
z elektronicznymi. Cztery utwory zarejestrowane przed dwoma
laty potwierdzaja akces Sabine Vogel do grona "poszerzaczy"
mozliwosci brzmieniowych instrumentów. Wydaje sie,
ze jej zamiarem bylo uczynienie z fletem tego, co inni (np.:
Dörner, Kelley, Rainey, Bosetti) robia z trabka czy saksofonem.
Trzy nowsze utwory nie zmieniaja tego obrazu, a co najwyzej
pozwalaja odnotowac, ze obecnie w muzyce Vogel wieksza role
zaczynaja odgrywac nagrania terenowe. Na pozór delikatna,
a w rzeczywistosci mocna i gesta, elektroakustyczna pajeczyna
fletowych podmuchów, elektronicznych preparacji i field
recordingu (glównie sa to odglosy wody i lodu) zachwyca
misternym splotem improwizacji i kompozycji, brzmien naturalnych
i preparowanych, akustycznych i elektronicznych._Ta muzyka
jest nadzwyczaj delikatna i subtelna, wykorzystuje drobne
dzwieki poszerzajace klasyczny tembr fletu, ale to nie poszerzenie
mozliwosci sonorystycznych instrumentu jest jej najwieksza
zaleta._Najwazniejsza jest umiejetnosc wykorzystania wszystkich
wspomnianych skladników do zbudowania interesujacych,
zróznicowanych form, która sprawia, ze "Aus
dem Fotoalbum eines Pinguins" to pelna, dojrzala wypowiedz
artystki, potrafiacej efektywnie poslugiwac sie wypracowanym
przez siebie osobistym jezykiem wypowiedzi. _Tadeusz Kosiek
(Gaz-Eta)
The other release I have listened to a couple of times this
evening is Aus dem Fotoalbum eines Pinguins which I believe
translates as From the photoalbum of a penguin, which is of
course a great title for an album, irrespective of how good
the music it accompanies may be! I have heard Vogel’s
music before on a few releases, the best of which is the phono_phono
CD alongside Magda Mayas and Michael Renkel on the Absinth
label. She plays flute, though on this release her solo improvisations
are broken up by seven tiny fragments of sound (the longest
is thirteen seconds in length, the shortest just four) scuplted
from field recordings made around ice. Water and ice seem
to form something of a theme throughout the album. The first
four improvisations were recorded in Stockholm, Sweden on
a sunny day, but the fifth is all about the water that flows
through and around the city, and the short poetic notes included
on the piece describe the flute playing here as “like
a waterbird, diving, breathing, swimming, bathing in the water-
or sometimes just flying above it”
Hmm… how does it all sound? Well not that bad at all
really. The album opens with a nice, whispery, breathy piece
for bassflute and (to my ears inaudible) electronics that
has a nice feel to it, a good use of space and a balance between
sudden stabs of air and a lighter dreaminess. It does not
overstay its welcome, and is followed by that four second
long brief click of sound that could easily be a flick at
a laptop keyboard, but is in fact a microscopic extract from
a field recording. There follows further pieces for flute
and electronics that extend the use of what sounds like digital
processing much further, taking the flute sound some way away
from its recognisable flutiness in places, sounding not unlike
some of Axel Dorner’s brief trumpet exercises some of
the time. The fourth improvised piece, the grandly titled
Skrekkfyselig is a favourite, made up of rapid-fire blasts
of dry air for the most part, but with a grainy undercurrent
that actually sounds (and probably not by any accident) very
close to the eleven second icy field recording that follows
it.
At ten minutes in length, the fifth of the longer pieces here,
called Wax and wane is indeed the longest of all and is by
some way the most beautiful. More of a musique concrete construction
rather than a straight piece of improvisation it combines
Vogel’s flutes with field recordings of water, sometimes
recognisably so, elsewhere not so much, to the degree that
in places it becomes difficult to tell the acoustic playing
apart from the recorded material. There are glimpses of crashing
waves, a little section of very beautiful rainfall, but for
the most part the rainy sounds are less obvious, perhaps originating
from the ice recordings as well. This is a gorgeous piece,
quiet, understated and attractive from a very simple, natural
perspective. The only criticism is that it is too short. I’d
have preferred more of the album to be like this. The final
pieces return to the more roughly sculpted improvisations
with electronics that opened the album, with these closing
tracks actually better than the earlier ones, again with a
degree of field recordings somehow involved, but never obviously.
This is a fine release, carefully constructed and skillfully
performed. I certainly hope there are more like this amongst
this collection of Creative Sources discs. Richard Pinnell
(The Watchful Ear)
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