Translation of "Klanglichkeit" in English

The formidable sound quality combines modern concert culture with a regal presence.

For the different styles and sound range of the recorded works, different organs were selected.

A rhythmical pulse and fine sounds predominate.

Stefan Beyer's music is marked by an extremely fine, decisive and magical sonority.

The originals are already very much focused on tonal qualities, but the listener may discover new facets in these arrangements.

Whereas at first micro intervals had played solely a melodic function in the framework of various rhetorical figures, later they played a vertical role as well, producing beat frequencies or spectral fields, which create subtle sounds of expression.

Practically, the pieces that he realized up to 1964 in the studio represent systematic experiments in the exploration of electronic sonorities.

In the latter, which he composed in 2003, he creates multilayered musical sparks from relatively simple original material – small, linked elements of varying sonic quality combine to form a dynamic event.

Thus new forms are created - a new kind of music which embraces the imaginative playing of, and playing with a machine -a new quality of sound is created by the electronic processing of instrumental sounds which stands out clarity from a purely electronic as well as from a purely instrumental one.

For example, the Graz musicologist Werner Jauk replaces music as a technical term by "relational thinking", which he understands to be completely detached from sound.

Till Engel was born in Basel in 1951. The "Lexikon des Klaviers" (Laaber Verlag, 2006) describes him as a "proponent of a piano aesthetic that places special emphasis on the intellectual penetration of the work against the backdrop of a fine-tuned tonality".

Multi-coupled 8' registers and 16' registers dominate the sonority of the organ, bright colours and mixtures are to be used sparingly.

I thus had to thoroughly modify my manner of composition---in its material, its techniques, its sound world and its ultimate performative character in concert---at least for this purpose.

This setting is meant in the latter sense, as becomes particularly clear in the archaic tonality (pentatonic lines, "empty" chords) of the two "Kyrie" sections.

The sound of the 10 flutes symbolizes the bright sparkle of the sun (by a virtuoso endless movement) through their high registers and the dignity and power of this God the Father through their lower registers.

While maintaining a philological and historically correct approach to its early music repertoire, Concerto Romano never abandons its distinct style, with deep roots in Italian culture and voice quality. The ensemble is convinced that the specific cultural features embedded in the sound of a given musical ambient should be cultivated, and that experimenting with the elements and the differences that tie one repertoire or another to the physical and social environment for which the music was conceived, composed and performed is an essential aspect of their contribution.

A harsh sonority dominates many works which venture into atonal regions, their themes often derived from complex chords.

In particular, the variations are vividly differentiated from one another by individual sound spectrums, at times reminiscent of chamber music and at others reaching the extreme complexity of rich scoring for the full orchestra.

In many cases, my composer colleagues have not taken enough interest in "music by and for amateurs", so that a lot still has to be done in this field to make new ideas in sound and new compositional techniques and structures familiar.

The outcome is a very innovative film music that seems with its “noisy” sounds and strong rhythms like a forerunner of punk and techno, and was thus highly controversial at the time.

Contemporary, classical composition is extended in a targeted way by means of a contemporary and popular sense of sound (electronics, sampling, performance).

The third part Tonality covers the psycho-acoustic features of individual stimuli, the percep-tion of complex sound patterns under the aspects Attention and Selection, as well as research on the techniques of sound processing and the musical treatment of natural sound material.

The basis for this development was the extended sonority of the modern orchestra: the colourful, iridescent instrumentation in the scores of Mahler, R. Strauss, Schönberg and Debussy were the models for the emancipation of previously functional instrument sections.

After extremely working on sheet music with the Arte Quartett Niggli pushed back to freedom, embracing a concept that gives more room to improvisation and tonality of the E-music avant-garde without disposing of the eloquence and refinement of the virtuoso jazz playing Schaufelberger and Wogram are so experienced in.

The texts by Georg Trakl directly determine the structure as well as the sound of each piece.

Reimann whips final syllables upwards, he has the voice obsessively gasp for intervals, he alienates its time flow, offers it weightless phrases and almost sculptural tone quality.

The Rensch-organ in the Marienkirche in Laupheim with its plasticity was perfectly suited for the rhythmic and distinctive Toccata "Exodus", it allows a clear, yet atmospheric presentation of Widor's Adagio and is also suitable for the distinctive sound and the polyphonic structures of Reger's choral fantasia.