Label: Werner Pirchner – wp numero eins
Format: Vinyl, LP, Album / Country: Austria / Released: 1973
Style: Avantgarde, Parody, Contemporary, Psychedelic, Experimental, Free Improvisation
Recorded at Tonstudio Hanno Ströher, Innsbruck bei Rum, Tirol, Austria, 1973.
Artwork [Repros] – Sir Heinz Grosskopf
Artwork [Silkscreening] – Michael Berger
Recorded By – Hanno Ströher
Photography By [Vorderfoto] – Bert Breit
Photography By, Graphics [Fotografik] – Gert Chesi
Lyrics By, Music By, Producer – Werner Pirchner
Orchestra – Mitglieder Des Kammerorchesters "Lokomotive Rum"
Pressed By – Taunus Ton Technik
Matrix / Runout (Runout A, stamped): WP-1-A-2 TTT
Matrix / Runout (Runout B, stamped): WP-1-B-2 TTT
Comes with silkscreen printed fold out cover in 3 parts. Gold letters printed on inside and on transparent booklet.
Orange labels, also exists as german reissue with red labels.
side 1:
EIN HALBES DOPPELALBUM .................................................................................... 23:19
A1 - Prolog
A2 - Das Land Der 1000 Träume
A3 - In Dem Bestreben, Edlere Werte Als Heimat, Scholle Und Vaterland Zu Besingen
A4 - Mein Gewissen Erlaubt Mir Nicht
A5 - Lasset Uns Singen
A6 - Lied Über Nicht Gesellschaftsfähige Tätigkeiten , Die Jedoch In Trautem Kreise Einen
Großen Teil Der Bevölkerung Immer Erleichterung, Oft Entlastung, Manchmal
Zerstreuung Und Nicht Selten Vergnügen Spenden
A7 - Manchem Lehrer Hinters Ohr Zu Schreiben
A8 - Ein Halbes Kilogramm Brot
A9 - Das Steinerne Gesicht
A10- An Die Ungestümen Weltverbesserer
A11- Wir Haben Ja Unsere Zwei Akkorde
A12- Ende Der Ersten Seite
A13- Bitte Wenden
A14- Ein Merkwürdiger Trialog
side 2:
EIN HALBES DOPPELALBUM .................................................................................... 23:06
B1 - Lob
B2 - Fürchtet Euch Nicht
B3 - Das Lied Vom Guten Ausländischen Kameraden
B4 - Bundeslied Der Traditionsverbände Aller Länder
B5 - Wo Das Büchserl Knallt
B6 - Das Mühlenrad, Welches Durch Sein Verhalten Seinen Klassengenossen Die Augen
Öffnete Und Einen Neuen, Revolutionären Weg Wies
B7 - Bescheidene, In Mittelkärntner Mundart Abgegebene Erklärung Arbeitstechnischer
Vorgänge Aus Dem Fachbereich Tonschnitt In Beantwortung Eines, Offenbar Durch
Einen Laien Getätigten, Bewunderden Ausrufes
B8 - Ein Ungewöhnlicher Bluestext Oder Das Zusammentreffen Zweier Nicht Vereinbarer
Welten
B9 - Gschamsta Diena, Herr Zensor
B10- Über Verschiedene Institutionen
B11- Ein Vorschlag Zur Unblutigen Und Dauernden Lösung Eines Problems, Das Einen
Alpenländischen Volkskörper Dritheilt Und Solcherart Demütigt Und Quält, Daß Er,
Obwohl Von Natur Aufrechten Und Geraden Wesens, Sich Schmerzerfüllt Im Grame
Beugt
B12- Eisenkäppchen
B13- Was Wir Über Das Leben Nach Dem Tode Wissen
B14- Epilog
B15- Coda
B16- Ein Hinterfotziger Streich Des Tonknechts
Werner Pirchner (born February 13, 1940 in Hall in Tyrol, † August 10, 2001 in Innsbruck) was an Austrian composer, poet and draftsman.
Personnel:
Personnel:
Werner Pirchner – vocals [alle playbacks], voice [sprache], harpsichord, piano,
vibraphone, clavinet [clavichord], tuba [ultraschalltuba], glockenspiel,
guitar [hackgitarre], flute [zehenflöte], sitar [tastensitar], tape
[tonbandmontagen], typography, layout, painting, other [hölzernes
glachta, schwarzbrot, speiben, schmatzen, räuspern, einzählen,
zusammenpacken, kohlen holen]
Franz Renwart – flute [tse-flöte], voice [jammern]
Josef Binder – trumpet
Florian Pedarnig – flugelhorn, bass
Vladimir Navratil – oboe [oboje]
Hanno Ströher – harp [tastenharfe]
Dieter Merth – bassoon [fagott]
Christine Pedarnig – vocals [z'öschtezu]
Bert Breit – voice
Heinz Cabas – guitar, electric bass
Günther Pollack – bass
Peter Mayrhofer – percussion [schlafzeug], other [mühlenrad]
Hansjörg Maringer – percussion [schlachtwerk]
Pirchner began his musical career in jazz, but dealt with early on the contemporary music and its theorists (Theodor W. Adorno, Arnold Schoenberg, Olivier Messiaen, etc.). From 1963 he was a vibraphonist of the Oscar Klein Quartet; He plays marimba on the first record of the Vienna Art Orchestra. In the last 15 years of his life he worked mostly as a composer. In 1973, he released his first LP with a self-drawn cover, "half a double album", which triggered a positive to enthusiastic media response in the German-speaking world. He then plays a large number of different instruments in the playback, sings self-texted songs, alienates familiar templates and mixes, almost always provocative, styles and sounds. This has earned him his reputation as a representative of the new folk music and as the author of "critical Heimatmusik".
Pirchner began his musical career in jazz, but dealt with early on the contemporary music and its theorists (Theodor W. Adorno, Arnold Schoenberg, Olivier Messiaen, etc.). From 1963 he was a vibraphonist of the Oscar Klein Quartet; He plays marimba on the first record of the Vienna Art Orchestra. In the last 15 years of his life he worked mostly as a composer. In 1973, he released his first LP with a self-drawn cover, "half a double album", which triggered a positive to enthusiastic media response in the German-speaking world. He then plays a large number of different instruments in the playback, sings self-texted songs, alienates familiar templates and mixes, almost always provocative, styles and sounds. This has earned him his reputation as a representative of the new folk music and as the author of "critical Heimatmusik".
He later used some of the songs of the "half double album" in a film that he produced together with Christian Berger in 1974: "The Fall of the Alpine Country". He not only wrote the music, but also the lyrics and appeared in the film as a singer and actor. He ironically uses Tyrolean folklore stereotypes, which earned him fierce criticism from conservative circles. In 1975, Bert Breit invited him to compose music for a film about Tyrol, which Breit planned with Otto Grünmandl. The result was the "String Quartet for wind quintet", PWV 15.
Werner Pirchner became known throughout Austria for his sound design for the ORF cultural channel Ö1 in 1994. In 1995 he composed the incidental music for Hofmannsthal's Jedermann at the Salzburg Festival. Another commissioned by a large public was the music for the television break film of the New Year's Concert of the Vienna Philharmonic on January 1, 2000.
Werner Pirchner's multi-layered music uniquely combines elements of jazz, entertainment and so-called serious music. From the electronically processed Yodler to the obliquely harmonized Schubert, from a tribute to John Cage to the persiflage of the adolescent Indian pilgrims and drug users, from the parodied language of advertising to today still valid sociocritical texts spans a wide arc. His works often alternate between direct vitality and a kind of meta-music, which deals analytically with many-used music models. As a self-taught Werner Pirchner had begun to classify idiosyncratic and in no style stereotype until his death.
Anyone who deals with Austrian artists (of whatever genre) will find again and again that this is a particularly oblique genre. As authors, I come to mind for example Thomas Bernhard.
Werner Pirchner is the musical counterpart. So, watch out: Here is strong Tobak offered, only something for die-hard!
.... "Weird, weird, the weirdest" ... Werner Pirchner!
(Original text is in German and borrowed from sammelsuriumblog.wordpress.com)
Note:
For the sake of protecting my photographs, I deliberately in Artwork made the reverse in a couple montages, which of course does not affect the quality of the original design.
Note:
For the sake of protecting my photographs, I deliberately in Artwork made the reverse in a couple montages, which of course does not affect the quality of the original design.
If you find it, buy this album!