Musical Style
His music, a contemporary pluralistic position, balances narrative and abstract moments with their relationships to the composed and/ or improvised overall texture. Some works are made of, or include, interactive and/ or room-related elements (Cinema Series, Orchestra Series). Inspired by the spacious choir work of Johann Sebastian Bach at the St. Thomas Church, Leipzig and the spacious orchestra work "Prometeo" of Luigi Nono, he developed an extended instrument for his multi-perspective spacial idea of guitar music.
His playing style is adapted from classical guitar, using right hand technique to express complex harmonic structures and quick jazz-inspired melodic lines while sustaining impulsive strumming in the manner of the Spanish rasgueado, a typical colour in flamenco, and enhanced with playing techniques between tone and noise. He also uses hand symbols, the electronic sounds of the guitar amplifier, and various materials like wood, metal, and paper.
The music of Andreas Paolo Perger ranges from solo pieces for classical guitar and electric guitar, concert pieces for guitar and cello or string quartet, compositions for jazz-rock trio and quartet, to room-related interactive group improvisations and room-related compositions for video, electronics and guitar, based on lo-fi electronic sounds and found footage material, reflecting the guitar in a contemporary new media context. His composing technique emphasizes improvisation. As part of a more comprehensively notated composition, or even as central source for real-time composing of any extent. He also works with modular playing, improvising, and composing concepts (Concert for 5.1 surround guitar).
Read more about this topic: Andreas Paolo Perger
Famous quotes containing the words musical and/or style:
“If we cannot sing of faith and triumph, we will sing our despair. We will be that kind of bird. There are day owls, and there are night owls, and each is beautiful and even musical while about its business.”
—Henry David Thoreau (1817–1862)
“As we approached the log house,... the projecting ends of the logs lapping over each other irregularly several feet at the corners gave it a very rich and picturesque look, far removed from the meanness of weather-boards. It was a very spacious, low building, about eighty feet long, with many large apartments ... a style of architecture not described by Vitruvius, I suspect, though possibly hinted at in the biography of Orpheus.”
—Henry David Thoreau (1817–1862)