Der Siebente SatzDer Siebente Satz / The Seventh Sentence
01/01/1990
Hörstück
3 Stimmen, Geräusche, hallige Räume
mit Texten von Hazrat Inayat Khan
Komposition/Realisation:
Johannes S. Sistermanns, 1989/90
35'13
Aufnahmen im Hallraum / Reflexionsarmer Raum des
SIM Tonstudio, Berlin
+ Studio Heiko Rüsse, Berlin
Produktion
Südwestrundfunk Baden-Baden 1989
Ursendung: 1990
Ausstellung KlangNotation
Sound Barrier Kunstraum mo.ë, WienRadio Sound Project
breath, three voice, noise and echoing spaces
with texts of Hazrat Inayat Khan
Composition/Realisation:
Johannes S. Sistermanns, 1989/90
35'13
Recordings in Hall space / Anechoic Room of the
SIM Studio, Berlin
+ Studio Heiko Rüsse, Berlin
Exhibition SonicNotation
Sound Barrier Kunstraum [Gallery] mo.ë, Wien
+++Die Zeit vor dem Wort.
Das Geräusch, der Klang, der zum Wort führt.
Am Anfang war nicht das Wort. Genauer:
Am Anfang war das Geräusch.++++++The time before the word.
The noise, the sound, which leads to the word.
At the beginning was not the word.
More exactly: At the beginning was the noise. +++Vom Geräusch
zum Laut
zum Wort.
Geräusch wird
Laut wird
Wort.
„1 There is an ancient story in the East which tells that there was a wall of mystery.
2 Whenever anyone tried to climb up the wall to look at the other side, i instead of coming back he smiled and jumped over and never came back again.
3 So the people of that country became very curious to know what mystery was behind that wall.
4 Once when someone was climbing up the wall to see what was on the other side they put chains on his feet, and held him so that he would not go over.
5 When he looked at the other side, he too was delighted with what he saw and smiled;
6 and those standing at the foot of the wall, curious to know what he had to say, pulled him back.
7 But to their great disappointment he had lost his speech.“
© Hazrat Inayat Khan, The Sufi Message of Hazrat I. Khan
Vol. II, S.184, Genf, 1962Of the noise
to the sound
to the word.
Noise becomes
Becomes loud
Word
„1 There is an ancient story in the East which tells that there was a wall of mystery.
2 Whenever anyone tried to climb up the wall to look at the other side, i instead of coming back he smiled and jumped over and never came back again.
3 So the people of that country became very curious to know what mystery was behind that wall.
4 Once when someone was climbing up the wall to see what was on the other side they put chains on his feet, and held him so that he would not go over.
5 When he looked at the other side, he too was delighted with what he saw and smiled;
6 and those standing at the foot of the wall, curious to know what he had to say, pulled him back.
7 But to their great disappointment he had lost his speech.“
© Hazrat Inayat Khan, The Sufi Message of Hazrat I. Khan
Vol. II, S.184, Genf, 1962
pictures
Klangnotation
© Johannes S. Sistermanns
für
Hildegard Schmahl (Schauspieler) und
Peter Fitz (Schauspieler)
zur Interpretiation im Studio -
prima vista
Pastell-Ölkreide auf PapierSonic notation
© Johannes S. Sistermanns
for
Hildegard Schmahl (actor) and
Peter Fitz (actor)
to the Interpretiation in the studio -
at sight - prima vista
Oil pastels on paper
Klangnotation
© Johannes S. Sistermanns
für
Hildegard Schmahl (Schauspieler) und
Peter Fitz (Schauspieler)
zur Interpretiation im Studio -
prima vista
Pastell-Ölkreide auf PapierSonic notation
© Johannes S. Sistermanns
for
Hildegard Schmahl (actor) and
Peter Fitz (actor)
to the Interpretiation in the studio -
at sight - prima vista
Oil pastels on paper
Klangnotation
© Johannes S. Sistermanns
für
Hildegard Schmahl (Schauspieler) und
Peter Fitz (Schauspieler)
zur Interpretiation im Studio -
prima vista
Pastell-Ölkreide auf PapierSonic notation
© Johannes S. Sistermanns
for
Hildegard Schmahl (actor) and
Peter Fitz (actor)
to the Interpretiation in the studio -
at sight - prima vista
Oil pastels on paper
Klangnotation
© Johannes S. Sistermanns
für
Hildegard Schmahl (Schauspieler) und
Peter Fitz (Schauspieler)
zur Interpretiation im Studio -
prima vista
Pastell-Ölkreide auf PapierSonic notation
© Johannes S. Sistermanns
for
Hildegard Schmahl (actor) and
Peter Fitz (actor)
to the Interpretiation in the studio -
at sight - prima vista
Oil pastels on paper
Klangnotation
Ausstellung 'Vom Rauschen der Räume'
'Villa Streccius' 2005, Landau
© Johannes S. Sistermanns
Pastell-Ölkreide auf PapierSonic notation
Exhibition 'Vom Rauschen der Räume'
'Villa Streccius' 2005, Landau/Germany
© Johannes S. Sistermanns
Oil pastels on paper
SIM Studio, Berlin
Hallraum
Foto©J S SistermannsSIM Studio, Berlin
Hall space
Photo©J S Sistermanns
SIM Studio, Berlin
Hallraum
Stimme J S Sistermanns
SIM Studio, Berlin
Hall space
Voice J S Sistermanns
Photo©J S Sistermanns
SIM Studio, Berlin
Reflexionarmer Raum
Foto©J S SistermannsSIM Studio, Berlin
Anechoic Room
Photo©J S Sistermanns
SIM Studio, Berlin
Reflexionarmer Raum
Fußboden
Foto©J S SistermannsSIM Studio, Berlin
Anechoic Room
Floor
Photo©J S Sistermanns
SIM Studio, Berlin
Reflexionarmer Raum -
schalldämmende Zungen von der Wand in den Innenraum ragend
Foto©J S SistermannsSIM Studio, Berlin
Anechoic Room -
sound-damming tongues of the wall in the interior up rising
Photo©J S Sistermanns
sounds