Voices from THE WIRE

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"And then came Reinhold Friedl with a neo-Bechstein, a 1929 electric grand piano on which he delivered excellent versions of Henry Cowell’s Banshee and Aeolian Harp.”
[Stephen Robinson, The Wire 7/2003]
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“Friedl has developed his “inside piano” technique to such a level of delicacy and precision that the tonalities extracted from the instrument through the use of carefully positioned strings, cups, and rosined fingers bear little resamblance of their acoustic source.”
[Ed Ward, The Wire, 10/2002]
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”Literally playing it from inside, Friedl’s approach to performance launches his prepared instrument into a soundworld utterly removed from those discovered by prepared piano pioneer by John Cage. The resulting sounds absent themselves wholly from their acoustic instrumental source, projecting the listener into a situation in which, as Bernhard Guenter has noted, any anticipated distinctions between instrumental and electroacoustic music, or between inprovisation and composition, are dissolved or transcended.” [Stephen Robinson, The Wire 10/2002]
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