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"Art cannot be just a social novel, a manifestation of post-industrial culture nor avant-garde experimental composition,
without it being more thanitself. Equally, it cannot be defined by itself without a metaphysical overlap. If so, it exists with
absence of basic functions such as a humanhaving cardiac arrest. That state seems to be compatible with relatively little
life." V.Hirsch
VLADIMÍR HIRSCH is a Czech contemporary avantgarde composer, instrumentalist and sound alchemist, integrating
contemporary classical,industrial and dark ambient music. His compositional style is charac ...read more
"Art cannot be just a social novel, a manifestation of post-industrial culture nor avant-garde experimental composition,
without it being more thanitself. Equally, it cannot be defined by itself without a metaphysical overlap. If so, it exists with
absence of basic functions such as a humanhaving cardiac arrest. That state seems to be compatible with relatively little
life." V.Hirsch
VLADIMÍR HIRSCH is a Czech contemporary avantgarde composer, instrumentalist and sound alchemist, integrating
contemporary classical,industrial and dark ambient music. His compositional style is characterized by polymodality and using
digital technique to enhance sonic means ofexpression. Besides creating solo works, he is the founding member and leader of
AGHIATRIAS, SKROL, ZYGOTE and various other projects. He wasalso a member (keyboard player and vocalist) of the 80's
experimental post-punk group DER MARABU.
Vladimír Hirsch has been composing since he was a teenager, when, as a pianist and organ player, he started to write
romantic and classicistpieces with elements of experimental rock . However, he abandoned these compositions for some time
and delved into experimental jazz and rockmusic up to 1986, when he joined post-punk band MARABU. Simultaneously he also
started to apply modern classical forms to electronic andanalog music resulting in a more transgressive industrial style . The
trial in this direction is represented by the experimental space-ambient albumSYNTHETICS-THEMES (1987), SYMPHONY NO.1
for two synthesizers (1989) and ORGAN PIECES (1991).
MARABU was initially influenced by post-punk. The band originally consisted of drummer Josef Škoda ,bass-guitarist Tomáš
Hadrava ,Vladimír Hirschon keyboards, guitarist Janis Georgiu and singer Samír Hauser . Marabu performed for the first time in
1987 in Prague and the same year the bandcreated the first demo recording, MARABU I. In 1990, the band changed their
name to DER MARABU as well as the line up with guitarist MichaelKureš joining Vladimír Hirsch and Josef Škoda while other
members left the group.The band also changed their direction to a darker and moreaggressive style with some inspiration from
20th century Slavic classical music. The band's lyrics are a mix of existential disbelief and politicalcriticism of the civilized
world. The final result of this period was the album CRUCI-FICTION recorded in 1993. After many personal changes theband
finished its activity 1996 by the recording ALL OF US WILL FALL AWAY with Martina Sanollová doing vocals. Immediately after
the break,Vladimír Hirsch established the martial industrial band SKROL.
SKROL's activity started to evolve in 1996 on the wrecked remains of DER MARABU, consisting of Vladimír Hirsch (composition,
electronicinstruments, vocal), singer Martina Sanollová and Tom Saivon, sound alchemist, lyricist and band manager. The
creative principle of SKROL isbased on neo-classical concepts with a congregation of martial industrial. Vladimír Hirsch
attempted to attain an organic amalgam of the two onrudiments of rock music patterns. This led him in the direction, called
by him "integrated music." He composed 5 instrumental albums for the band:SIMPLICITY OF HERESY (1996), INSOMNIA DEI
(1997), THE FALL VERIFIED (1997), DANCES & MARCHES (1997- 1998) and NEW LAWS / NEWORDERS (1999-2000).
SIMPLICITY OF HERESY is a religious epic composed of digitially manipulated string instruments, brass, classical organ,
densely enhanced piano anddrums combined with additional dark ambient soundscapes created by Saivon. The conceptual
affinity of Hirsch to his classical models is evident,but does not surpass the scope of severe militant rhythms along with
obstinate instrumental loops as a counterpoint to the melodic calmnesswhich further enhances the relentless tension created
in the music. The final version of SIMPLICITY OF HERESY was reworked using vocals intoHERETICAL ANTIPHONY which came
out as a CD in August 1999 on the German label M.D.Propaganda Records.
Likewise the strictly conceptual album INSOMNIA DEI is the most aggressive and heaviest martial industrial album from Skrol
with raw, dense anddestructive sound, in which everything is submerged. The aggressive substratum of the music is
supported by the emotional overlapping femaleand male vocals. The songs Soaking, Movie Martyr, Insomnia and Dei irae came
out as a 10´LP called MARTYRIA on the LOKI Foundation label inAugust 1998, followed by the release of the full length in
2001 on the U.S.label Chromozome-RRRecords and again in May 2003 on theM.D.Propaganda Records label.
The album DANCES & MARCHES FOR THE ORPHAN AGE, created over a period of 7 years, can “boast” the longest deferment
of studio adaptationdue to the differing visions of SKROL’s individual members. The preference of uneven or incomplete
rhythms in this album is obvious. The dominantfemale melodic vocals assumes a distinctly sorrowful voice, sometimes non-
verbal with a transcendental character, and the most importantinstrument here, not by its predominance, but by its content,
is the organ, which has the role of disquieting and dramatizing the figurative, fierilysymbolism of Saivon's lyrics. The album
was released after extensive remixes byVladimír Hirsch in March 2005 by the Portugal label Dagaz Music.
The last SKROL album NEW LAWS / NEW ORDERS was originally planned as a culmination of the conceptual possibilities of the
band. It was finallyrestructured and released in August 2009 by the Argentinian label Twilight Records. With this album, the
band eclectically closed the whole workof Skrol. Some of the tracks are revisited from earlier instrumental versions combined
with previously unreleased material influenced by thecontemporary solo works of Vladimir Hirsch. Skrol's action potential was
reached in this album which oscilates between modern classical music,ritual and martial industrial.
Some of SKROL´s tracks also appeared on a few compilations. The track "Eternity Ltd.“, was included on the compilation
album THORAK, whichcame out on the label WAVS 2003 in September 1998 under the name "Ewigkeit“ and "Fall A Prey“,
which was released in 2000 as part of avoluminous compilation on the Russian label AchtungBaby! with the name BEHIND THE
IRON CURTAIN / TEN YEARS OF MADNESS. The ritualistictrances of the singer who often sang in ecstatic frenzy combined
with kinetic physical theatresque performance, while the two noise makers stoodbehind in terrorist masks, was a signature
mark of Skrol's live perfomances . SKROL regularly appeared in many European countries, including toursin Britain in 1998,
Germany in 1999, and their most successful "Fire Martyrs Tour“ in June 2001 in the US, which was a combination of SKROL
setsand the new project AGHIATRIAS. The band fully stopped its public appearence in 2002.
In winter 1998, Hirsch composed a large collection of tracks, entitled SENSE GEOMETRY, as an attempt to apply some
geometric principles inmusic, inspired by mathematical theory of fractals. To this purpose he uses simple signals of interval,
rhythm, structure and instrumental logic.Industrialised instrumentation plays here the role of the chaotic, irritating element
and forms an emotionally tense atmosphere, the hypnoticrhythm has the role of keeping order, meanwhile the ambient sounds
pivot the listener's attention to another level of perception. Originally Hirsch'ssolo work, after the successful stage
presentation with vocalist Martina Sanollová, changed into the project ZYGOTE. In 2000, ZYGOTE recordedan alternative
version of the album under the name GEOMETRIE NEVĚDOMÍ. The original sound was distorted by apocalyptic vocals
andmultilayered instrumental and disturbing noise together with the existential and impassioned Czech lyrics of Tom Saivon.
ZYGOTE - sometimesusing the alternative names Zygote CZ or Zygote (CZ) - performed that album very succesfully between
2000 and 2003. In 2006, ARS BENEVOLAMATER, released Vladimír Hirsch's remix (2004) of the original work, which was the
first in line of many solo albums put out by this Italianindependent label.
In autumn 1999, Vladimír Hirsch (composition, electronic keyboards, computer) and Tom Saivon (samples, computer) joined
their creative efforts inthe project AGHIATRIAS, which is a kind of extrapolation of the combination of neo-classicist (Hirsch)
and noise (Saivon) tendencies within SKROL.The first live performance in December 1999, introduced a few new tracks from
their first album FIELD MASS, an adjusted industrial and powerelectronics version of Vladimir Hirsch's original track MISSA
ARMATA." The album was released non-officially in 2000 by Hirsch's label CatchArrowRecordings. Also for this reason, Field
Mass was later modified after many years by Vladimír Hirsch into the more cohesive solo workCRYPTOSYNAXIS for audiovisual
presentation (2009). Cryptosynaxis translates as "hidden worship" in ancient Greek and as such the structuralcomposition is
based on standard liturgical elements. The music clearly demonstrates a highly structured industrial sound combined with
classicalinstrumentation. It expresses a battle that is eventually disrupted by a violent scream convincing enough to end the
turmoil and for both sides totake part in holy Mass together. The Mass becomes the moment of realization, gradually
eventuating in humility and a sign of peace. Thesynchronized video montage to the album by Marianna O (2010) narrates
between light and darkness, the holy and the profane.
The second AGHIATRIAS album, EPIDAEMIA VANITATIS, came out as the 1st release on the group's own label, INTEGRATED
MUSIC RECORDS, in2002. Contrary to the preceding album, the general character aims more towards dark ambient - the
structure of the material is richer,compositions have a deeper and wider ambience and the emotional perceptions are more
immersive, without sparing the original intensity andurgency.
Their third album, REGIONS OF LIMEN, completed in August 2003, is an adjusted version of Hirsch’s solo project DE
REGIONIBUS LIMINIS. Thisextensive dark ambient album is devoted to subliminal mechanisms of perception and its conception
consists in the confrontation between thesurreal (artificial ambient) and real (industrialized sound). The seemingly sombre
character of the composition is brightened by an irradiationrepresenting the fleeing moments of dawning. The album was
released in March 2004 by the Czech label Epidemie Records. The reworked versionof the original composition "De Regionibus
liminis" with the name UNDERLYING SCAPES became a bonus CD for Vladimír Hirsch's boxset (ArsBenevola Mater) of solo works
THE ASSENT TO PARADOXON in March 2009. The fully synchronised video montage by Marianna O, a continuingvideo
cooperator since 2010, uses manipulated cut-ups of films, documentaries and stills, sequenced into a narrative that manifests
the surrealsubconscious ambience of the music. 0
In 2005, AGHIATRIAS created their final official album ETHOS, which was released early in September 2006 by Epidemie
Records. Structurally, it isprobably the best representation of their confrontation with contemporary classical, dark ambient,
noise and industrial structures. AGHIATRIASdiscontinued their activities in 2007 after the non-officially released album
RELIQUARY, whose content includes earlier excluded material togetherwith tracks that were released for various compilations
(e.g. RAINY NOVEMBER DAY IN WROCLAW).
Vladimír Hirsch´s solo work was never interrupted during his conjoint projects. He has been composing an extensive collection
of music, foremost anumber of conceptual albums, including symphonies, soundtracks, suites and concert opuses, and many
experimental compositions for his favouriteinstruments, organ and piano. A part of the most important albums were stepwise
released from September 2006 on 7 discs, partially separately,partially as a box-set with the name THE ASSENT TO
PARADOXON. The collection includes the albums: SENSE GEOMETRY (2006), CONCERTINDUSTRIEL POUR ORGUE (2007),
SYMPHONY No.4 (2008), EXORCISMS (2008), LES SCÈNES ARDENTES (2009), CONTEMPLATIO PER NEXUS (2009)and
NONTERRA (2010) which came out only as a compound of the set. The unified cover art was designed by Hirsch using the
photography of theexceptional Czech conceptual photographer Jan Vávra. The box-set was released by the Italian label Ars
Benevola Mater on 17th May, 2010.
The symphonic works probably offer the best review of the development of Hirsch's compositional and sound techniques.
SYMPHONY no. 2 (1997)with the epithet "Defensa“ is formally a classical composition, but incorporates synthesized
percussion and brasses, contrary to the firstsymphonic work enriched by industrial sounds. The following SYMPHONY no. 3
(1999), subtitled descriptively "Sinfonia per orchestra, organo epercussione" is once again relatively a classical unit where
tonality integrates into atonality and classical into industrial, using digitally processedinstrumentation and synthetic sounds.
This album was performed live in December 1999 at the Prague Industrial Festival (Galerie Exodus) underthe patronage of the
Open Society Fund, which provided the grant. Both the second and third symphonies were released after light revision onCDr
in 2003.
The last symphonic work, SYMPHONY NO. 4 "DESCENT FROM THE CROSS" (2001) is a thematic opus, originally inspired by
Dostoevski’sinterpretation of Albrecht Dürer’s painting of the same name. Epically, the symphony may be understood as a sort
of filling of the gap betweenChrist’s death and laying into the grave, the process which is not given much space in the bible.
The atmosphere created here is a deeplyimmersive and sharply painful experience, with a tragic and apocalyptical impact at
the beginning, yet intimate inclination to hope in the end of thework. The album combines expressive means ranging from
symphonic to noise, but attains unity and a fully homogenous structure. The albumincorporates haunting choir singing and
female solo vocals of contradictive (violent vs.ethereal) characteristics. The original composition wasofficially released in
August 2008, its' completely revisited and remastered version, GRAUE PASSION, in September 2009. This album
closelyrepresents the composer's concept of “integrated” musical form the best.
The voluminous CONCERT INDUSTRIEL POUR ORGUE, created in 1998, is a project which can only generally be described as
using classical musicform. It is characterized by themes surfacing in irregular pulses, which after an incandescent outburst,
disappear again as if exhausted or suddenlyon the contrary, rise up in a mass of industrial revolt. However, the main theme is
never fully brought out on the surface. The reworked secondversion of the composition is markedly shorter, placing more
emphasis on a systematic approach to its theme, without disturbing the above saidbasic qualities of the opus. This version
was officially released in 2007.
Between 2004 and 2008, Vladimír Hirsch created four solo albums which represent new creative attitudes, both in sound
organization, tonality andinstrumentation. Their main characteristic traits are polymodality, systematic organisation of chaotic
sound structures, incorporation of newinstrumental combinations, as well as heavier usage of vocals in the form of distorted
dialogues and choirs. All of them constitute various ways inreaching inner cohesion of dark ambient, post-industrial and
modern classical means of expression.
The albums EXORCISMS and LES SCÈNES ARDENTES are similarly conceived. The core is one of an achingly nervous harmonic
structure with richinner life and articulation, corresponding with mighty, monolithic sounds of orchestration in integrated
arrangement. The second album is acollection of scenic music, adapted as a fully conceptual, originally composed or arranged
for theatre performances in the period between 1994and 2003. It also implements emphatic components of solo and choral
vocals arranged systematically amongst primarily unordered particulars,threading around powerful industrial rhythms.
THE ASSENT TO PARADOXON collection of solo works was completed in 2009 by a philosophical-theological themed album,
CONTEMPLATIO PERNEXUS, inspired by the writing "Teologia spiritualis mystica." This is the process of the mind's
transformation during mystical contemplation. Thecomposition describes all the phases of this process, divided into
thematically antagonistic parts (complementary - affirmatory), which areindiscerptible compounds of the contemplative
process. Particular sections are represented by subsections, which are continuously merged intoeach other. The album is a
musical dialogue between space and detail, a kind of transcription of the relationship between man and the cosmos.The
compositional architecture and sound characteristics of the work oscillate from intimate and almost subconscious layers over
naturallyradiating sounds to excruciating strength, tension or ecstatic heights. The album exists also in original sequenced
version, CONTEMPLATIO PERNEXUS IN SEQUENTIIS (2008).
The studio application of the concert program TORMENT OF NAISSANCE (2007), consitutes an evidently rising shift to
microtonality and intenseinsight into amorphic harmonic structures. It is based on the theme of creationist parallels between
the nascency of the cosmos and Man. Themusical energy is very concentrated and has an impression of the inward expansion
of sound masses into a collection of sharp, penetrating rays ofsound. The album EPIDEMIC MIND (2008), comprises of
Japanese cyber-punk writer Kenji Siratori's texts and declamations. The parallel verticallyand horizontally organized chaotic
atonal melodic elements contrast with the slow, heavy rhythmical patterns and monotonic and emotionally plainexpression of
the spoken word. The Japanese text is highly experimental, uncompromising, progressive and intense, written in a style that
not onlybreaks with tradition, but severs all cords with it, embracing the mayhem of the digital age. Siratori's prose is made
relentless by its manyscientific terms from molecular genetics, which at first glance seems nonsensical, but in the end shows
very convincingly the absurd reality ofcontemporary society. Both albums were released as CDRs by Integrated Music
Records.
Integrated Music Records also releases compilations of tracks from Vladimír Hirsch's solo works and his projects, e.g.
INTEGRATED MUSICARCHIVES VOL.1 (2004), FRAGMENTS, THÈMES ET IMAGES SCENIQUES (2005) and INTEGRATED MUSIC
ARCHIVES VOL.2 (2009).
An important part of Vladimír Hirsch's works constitute his soundtracks. These are TOBRUK (2008), originally composed for the
film with the samename (but not incorporated into it) and music for the stage play MARKÉTA, THE DAUGHTER OF LAZAR
(2009-10). Both of them are epics createdwithin a classical m musical framework, but keep all typical attributes of integrated
compositional techniques. The stage play soundtrack is moreclassical than any previous albums without leaving digital
manipulation with sound. It is the inspiration for the current development of albums inprocess . These are HERMENEUTICAL
CYCLE, ENDOANATHYMIA and the compilation album ORGAN & PIANO WORKS, a survey of revisited versionsof Hirsch´s
compositions (1976 -2009) with the main role of sound processed piano or organ, combined with an ambient matrix and
oddinstruments, like gas organ, telharmonium, water harp, etc.
Vladimir Hirsch has also delved into other genres bordering on rock - jazz as with the album CASUAL CRIME (1998), a
melancholic piano fuelledalbum where alt-saxophone, contrabass and drums create a raw early jazz energy. The album is a
reminiscence of the composer´s earlier interestin jazz music in the seventees. It was created from his older romantic and
ethnic themes which were arranged for a classic jazz quartet. Thealbum, THERE'S NO HUMAN TRIUMPH (1996-1999), an
industrial rock album with manipulated samples echoing on top of clashing drums, guitar riffsand metallic percussions. DREAMS
OF AWAKENING is another rock based album with melodramatic expressions of states of anxiety and full ofwailing lyrics. In
2007, the project LUMINAR AX, was established together with American singer and poet Dove Hermosa. It is an experimental
rockformation, unifying integrated compositional style on top of expressive ethereal vocals. In 2008, the album OPTEM
SPECTRIS was completed butunfortunately never officially released. Dove Hermosa also participated as vocalist and lyricist on
Hirsch´s albums CONTEMPLATIO PER NEXUS andTORMENT OF NAISSANCE.
VLADIMÍR HIRSCH's musical aim is an alchemical transmutation of modern classical forms and dark ambient, industrial and
noise components into ahomogenous indivisible structure. This act represents metaphysically the central idea of his concept
of INTEGRATED MUSIC, which consists in thecollision and reconciliation of two seemingly spiritually opposite worlds inside an
individual. « hide |
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