Burkard Schmidl – Der Fluss
Very beautiful electronic tool album under the name River from the German composer “with an experience” – Burkard Schmidl. Burkard is one of those German composers to whose music there is always a wish to listen again and again. I call it some kind of German phenomenon as there is a number of performers from Germany who create simply amazing electronic music which is really not deprived of mysticism and melody.
Pleasant keys, pensive melodies, very light, not straining music, which will help to relax, relieve tension and relax. The absence in the album of something that strains allows you to use this music to create a quiet creative atmosphere.
01.Drop by Drop.mp3
03.The Flow .mp3
05.Listen to the Stream .mp3
06.In the Morning.mp3
07.The Great Valley.mp3
11.To the Sea .mp3
Bitrate: 128 kbps
Package size: 46 Mb
Transfer server: MediaFire.com
Proposed for acquaintance
Burkard Schmidl received classical piano lessons at the age of ten. In the same year he founded his first band. At age 15 he gained experience on stage. He played in the opening act of Albert Mangelsdorff, Joachim Kühn, Volker Kriegel, Klaus Doldinger or Terje Rypdal. In 1973 he went to Munich to the Jazz School and became a student of Joe Haider and Joe Nay. After half a year, he left school because he thought he was too theoretical. He got the offer to join the cult band “Missus Beastly” and soon composed much of the repertoire of this fusion group. In 1976 he co-founded “April Records”, later renamed “Schneeball Records”. This was an author-inspired coalition of the groups Ton Steine Scherben, Embryo and Missus Beastly for the purpose of a common alternative record distribution.
In 1982 he dissolved “Missus Beastly” and gained new musical experiences on several trips with the dissidents to Tangier in Morocco. There he played among others with the musicians of the Gnawa Brotherhood. Out of interest in Moroccan music and the desire to combine ethnic music with western rock elements, the first dissident music. Another dissident project was the joint tour with the ensemble of the Karnataka College of Percussion. Collaboration with master drummer T.A.S. Mani and his wife, the singer R. A. Ramamani, was an important influence for Schmidl. Likewise the cooperation with the Indian Tavil players Paramashivam and Ramesh Shotham.
He left the dissidents and published a bizarre LP under the pseudonym “Ivan Opium” and completed several TV appearances with glued beard, peculiar dialect and claimed to be from Tashkent. He was a guest on Thomas Gottschalk’s radio show. At Bayerische Fernsehen he met the moderator, comedian and actor Eisi Gulp who recognized Schmidl’s funny side. Schmidl was five years as “Prof. Ivan Opium “Part of the Eisi Gulp Comedy Show with about 500 performances in Europe.
In parallel, he was a guest lecturer at the State Academy of Music in Würzburg, played with Charlie Mariano and strengthened the band Munju on the occasion of the ballet performances “Faust” at the Würzburg Stadttheater. He composed film music and worked as a studio musician – among others with ex-Spliff and Nina Hagen Band members Bernhard Potschka and Herwig Mitteregger. For the project “Art Disco”, the official cultural contribution of the Federal Republic of Germany to the Olympic Games in Seoul in 1988 Schmidl composed one and a half hours of music and gave some live concerts in South Korea for the Goethe-Institute.
In 1990, Burkard Schmidl retired from the stage. He sought to present new forms of musical projects – beyond the classical stage situation. He realized a sound installation with twelve discrete channels for the State Garden Show in Würzburg. The project “Klanggarten” was created and was presented in the same year at the Erlangen “Festival of Hearing” alongside works by Edgar Varèse and John Cage. He developed an individual mix of electronic and underground music, jazz, minimal music, electronics and experiences with the musical culture of other continents. For his work, the Bavarian Academy of Fine Arts awarded him a scholarship to the Cité Internationale des Arts Paris at the instigation of his patron Berthold Hummel. This is followed by 2 CD productions and Klanggarten Vol. II at the IGA Stuttgart EXPO 93 with 9 million visitors. Through such major events, Schmidl succeeded in bringing the genre sound installation closer to a large audience. Given the relaxing effect of his music, he installed in the following years, permanent permanent installations in parks and spa facilities z. B. in Bad Sassendorf, Bad Mergentheim, Bad Kissingen or Meran. Other projects were created, such as a Klangallee with 16 discrete channels for the first Hessian State Garden Show. In 1999, the third part of the Klanggarten trilogy premiered at the second Saxon State Garden Show in Olbersdorf and Zittau. In the spring of 2000, the premiere of the installation “Music in the dark” on the occasion of the “Festival of quiet sounds” in Kitzingen.
In 2004 the project “the secret element” was premiered in a dome building of the culture garden show Trier. At the center of this sound and light installation is a Disklavier. In 2005, the installation was to be experienced in the Würzburg “Museum im Kulturspeicher”. He was nominated for the German Sound Art Award in 2006, documented his concept “1000 m under Marl” in the Skulpturenmuseum Glaskasten Marl and performed the sound installation “the secret element” at Art Cologne 2006 as part of SoundART 06. In 2007, “the secret element” was installed at SoundART 07 in Duisburg as part of the Dreamtime Festival. The work “Rheinklang”, an installation which deals thematically with the theme “river”, was to be experienced from April 2008 on the state garden show in Bingen am Rhein, along the banks of the Rhine. The most extensive work he presented in 2010 in the City Park Aschersleben: “Sound Clock – The Olearius Symphony” – an installation that changed constantly throughout the day. Dedicated to the life and work of Adam Ölschläger – called Adam Olearius.
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