norbert walter peters
composer• sound artist
Installation VASI-ON - detail
 

about the site-specific sound spaces:

   
2002 "(The) figures (of Ablinger, Haas, Kubisch,
Peters, Stäbler, Tsangaris) on the following
pages may show that also traditional New
Music Festivals strives for the extension of the
artistic means of expressions (picture text
page 53: 'Day- and nightpiece in the magic
circle: Norbert Walter Peter in his sound
installation Vasí-on, which he produced
with the Donaueschinger Musiktage 1999')
… No, we want the places of the arguments
with fresh musical ideas to be taken not to be
able! … It is function, to tear barriers (also the
own) again and again and awake remain as
open in relation to all moving resistances… "

Reinhard Schulz
"dossier - the up-to-date and old-fashioned
on the Festivals of New Music"
nmz (Neue Musikzeitung) february
2001 newspaper notices to CavæTóna:

" ... also the composers Norbert Walter
Peters (and Nicolas Collins) shifted one
further room each into an agile sound art
situation: dark, spiriually loaded cave the
one ..."

Stefan Fricke
Saarländischer Rundfunk 2001-10-21



"… The most bruise room (author:
Norbert Walter Peters, Germany) however
was completely darkly and you hear
uniquely trickle water and of the far croak of
crows, the whole has a 'goody-goody-world'
atmosphere, very scaled, I long persistency
already now. Then if oneself feels the desire
again to back-go from the darkness to the
sun, a match ignited. A white-dressed
young girl offers this match and points to the
desk, where a vessel is situated, with thin
burned down matches in it. You are
thereafter placed on your own, however
more than an 'outcast umbrage', alone with
a white 'elephant' to which yourself
'lean-to'. Additionally nothing more is
'intended' to you. The dapple-blacks there
are croaky, the trickle water is more a
'tributary stream', yes indeed there is this
'weak' hotel room, which carries
the name 'weeply installation', nevertheless,
it is not under provocation and there is none
vocally action with the ... girl. Wherefor I
was parting scared, where still in addition
your imaginative power is required there,
in the happening of the space installation
of the musicprotocol ..."

Lojze Smasek
VECER (The Evening)
2001-10-16, Slovenia
 
  radiofeature:

"Norbert Walter Peters wants other one
than the others and is accordingly difficult to
arrange, already the subline of this portrait
guessing attempt, which apostrophies him
as a ‚composer', ‚sound artist' or completely
simply as a‚musician', does somewhat
heavily. In particular the performer and his
sound installations extract themselves from
trained definiton levels, although even the
area of the sound art could capture a fixed
workstation between the Kunstvereine and
the Festivals for New Music in the last years ...

With the question about the process, which
entrenches itsself as musical 'work of art' into
one sound track, under any circumstances
is not easier to associate with Peters'
following concentration on the sound
installation. The permanent installation
of a sound event indeed expands
the finiteness of the performance of an
exhibition, it stores away thereby its 'concert
character' in the long run, is repeatable
at other sites under others spatially, acousticly
signs and is nevertheless irrevocably
pasted, if one diminishes. The installation
is the instant drawn into the length, in certain
way the sporadically frozen internal
message, over whose rigidity the sound
jump over themselves. Their reproductibility
is not therefore under any circumstances
more simply, the sound track is their music,
however, without the authenticly
environment it is doubtful; but there it is no
other means to remind the installation
because the photography of the given
remains mute.

For example "EKSIT", an 'organic music
over linen stripes', an 'acoustic way of the cross',
1991 layed out for the southern loft of the
'Kunst-Station Saint Peter Cologne' ...

14 associative stations of the cross laid out
riven along linen strips, past at the
acoustic centers of the recorders. The tree,
like alraedy so often a poplar tree, is sound
metaphor also in the case by the chain saw.
It concerns also suffering. The acoustics,
anyway smeared by the church room, are
additionally limited by the simple machines
(mone tape recorders). Peters falls back
again and again to these simple machines.
Partially it reminds with its technique
understanding of the sound installation
pioneer Rolf Julius. Sophisticated digital
tapes does not interest him with the
installation work. He wants the sad recorder
with the small loudspeakers in the prison of
a cheap plastic housing, whose sound is
damaged from the outset. Although he
processes his tapes meanwhile on the
computer, it conserves thereby a technical
material status of the late 70i's. That is his
sound quality! Peters maintains in the
transferred sense a type musical 'arte
povera' aesthetics. The sound-total is
almost impossible. The recording has to
increase or coarsen and cannot seize the
gnawing intensity; or sounds, around it
somewhat casually to assure, like a mixture
from building site, swimming pool and
camping site ...

The smearing in the lack of definition is
substantially for evenly the 'arte povera'
sound world of the small, already marked,
cheap tape recorders, which already waste
the part song of their endless tapes in the
poor mono noise. The part song relates
itsself around repeatedly; in the indiviual
tapes as it were covered, polyphone veined
is set into the space, which it swallowed,
resounded or disconcerts it in the multiple.
Depending on, where the visitor of the
installation is, he assumes the
polyphonicness differently. The potential
voice tangle of the moaning tone givers is
at the moment non-standard regulated by
the auditor-spectator moving in the
installation.The composer puts tracks, which
are only shadowly recognizable, the
recipient clears his own seeing, hearing
way by the network of the optically acoustic
signals. But which to it is still composition? ..."

"I transport energy ..."
A portrait of the composer,
sound artist and musician
Norbert Walter Peters (selection)
from Reinhard Ermen
swr Baden-Baden/
KUNSTFORUM INTERNATIONAL
DeutschlandRadio Cologne
2001-07-28 Studio for new music
2000 "Space- and site-specific installations
seem to be removed for miles from
transmissions by satellite, fon- and
internet-concerts. When the term
'site-specific' appeared about 1967 in
the USA it meaned an art, cutted to a
concret site; for example the land-art.
Very fast the term however removes
from an exclusive definition which
meaned to site art on a concret place
by accentuating its characteristic. It
was impossible to de-signate a
situation without thoughts to a
noticeable subject; the recipient
aproached into the centre of defintion:
art constitutes as a concret esthetics
experience.

The presence of a visitor on an
appointed place to an appointed time
is provided. Simulations with sound are
showing forms of possibility from sites.
But also inventions are arising if traces,
overlooking -, overgrowning- or
subsoiling things are being produced.
With nearly subliminal sound traces
Norbert Walter Peters draws spaces
from a model which shall also awaken
remembrances to longest past things.
In Vasí-on from 1999 he referses to
a mysterious remote antiquite by
marking the district of the pavillon in the
palace-parc of Donaueschingen with
sounds.

'The district of the pavillon in my
comprehension is a feminin distincted
jewel: a site where the Yin domineers
very strong.'

The organic music is portrayed by tape
recorders. The connexions to philantropic
or animal-like sounds or to the structure
of the Nocturne in g-minor by Chopin are
transformed to a mysterious sound ritual
in Vasí-on of Norbert Walter Peters."

Helga de la Motte-Haber
"Grenzüberschreitungen zwischen den
Kunstgattungen" -
2000-02-19 SWR2 Baden-Baden
"Vom Innen und Außen der Klänge"
 
1999 "The inspired power of a space is an
important assumption for the composer
Norbert Walter Peters. Concret noises of
the environment are transformed in a
micro-tonal texture, that however by an
exactly listening takes effect like in
allusions as rhythmic-hammering or
melodic-whistling; in the space it emits
often very silent meanings distributed
from small mono tape recorders, its
time-structur has to contoured by passing
by. Sound-traces rises, as it concernes of
archaeological relics of a setted world.
Peters often likes to illustrates such
traces in an optic manner with dust and
other minimal supplements ...
Peters squeezes the space, its history
and problems of the present to questions,
which dramaturgically drain the observer
can be a contributory determinant. The
narritiv structur is different from tradional
gestures of expression. It is the space
which speakes ... "
(p. 260-262)
"In the connection of temporal-acousticly,
gestural-spatialy components traces are
seized or exposed but whose remains
mysterious also like the titels of his
works ..."
(p. 316-317)

Helga de la Motte-Haber
"Klangkunst. Tönende Objekte und
klingende Räume" - 1999
Handbuch der Musik im
20. Jahrhundert, Band 12
ISBN: 3-89007-420-0
 
1999 newspaper notices to 'Vasí-on':

"If you want to escape the noise of a city,
then you often accept long drives, in order
to find in nature peace and silence.
In Donaueschingen there is only a few
steps, which seperates one from the other
one. From the Fürstenberg-Brewery over
the bridge, then the way leads the Brigach
along into another world: Each step into this
nature sharpens the hearing, lets it also
again differentiate quiet noises. In the
pavilion in the palace-parc Norbert Walter
Peters fixed noises on mono tape recorders,
which as sound-installation on endless-tapes:
Vasí-on, is in optical correspondence
with the 'marterl', which stands outside
of the pavilion in the parc. The suggestions
of nature noises, which penetrate from the
loudspeakers, add themselves with the
sections of the nature, which one assumes
through the windows, to the audiovisual unit,
those are as leitmotiv over the music days ..."

Dieter Kölmel
Stuttgarter Nachrichten
1999-10-21


" ... A poetic work, mandatory to quiet
contemplation (Johannes S. Sistermanns).
A certain similarity existed to both works
in and at the pavilion of the parc, where
Norbert Walter Peters with his extremely
quiet, almost amorphously roaring
attachments (sic!)
Vasí-on required
highest concentration with the wire-tapping ..."

Stefan Dettlinger
Südkurier (Konstanz)
1999-10-19
installations
– textes –
about CavæTòna
about VASÌ-ON
Radiofeature DLF
Reinhard Ermen:
"Ich transportier' Energie"
Helga de la Motte-Haber
"Vom Innen und Aussen
der Klänge"
Helga de la Motte-Haber
"Klangkunst.Tönende Objekte
und klingende Räume" -
Handbuch der Musik im
20.Jahrhundert, Band 12