VLADIMÍR HIRSCH has been composing since teen age, when, as pianist and organ player, he started to compose small romantic and classicist compositions for these instruments. Soon, though, he abandons these compositions for a longer period and takes up experimental rock music in various formations. In 1987 he decided to focus on classical musical form as well, nevertheless with an attempt to enhance the action potential by modern means of expression and by searching for specific processes. He attempts to resume the tradition of 20th century Czech and other Slavic music, but eventually attains his own clear-cut position both in tone creative principles as in composition style and opinion on orchestration and the role of not quite musical components in it.
Influences
Music: Antonín Dvorák, Leoš Janácek, Igor Stravinskij, Bohuslav Martinu, Iannis Xenakis, Edgard Varèse, Giacinto Scelsi, Swans, Miloslav Kabelác, Art Zoyd, Tuxedomoon, György Ligeti, Glenn Branca, Gang of Four, Tony Conrad, Diamanda Galás, Test Dept. Literature and philosophy: St.Thomas Aquinas, Graham Greene, Pierre Theilhard de Chardin, Fjodor M. Dostojevskij, Antoine de Saint-Exupéry, François Mauriac, Ray Bradbury, Gabriel G. Márquez, František Gellner, Alexander Solženicyn, Jorge L. Borges, Franz Kafka, Jakub Arbes, Gertrude von Le Fort, John Kennedy Toole. Film: František Vláčil, Luis Buňuel, Elmar Klos, Andrei Tarkovsky, Béla Tar, Orson Welles, Krzysztof Kieslowski, Juraj Herz, Michalangelo Antonioni
Vladimír Hirsch is a composer working with new forms of contemporary
classical, dark ambient and ambient industrial music. His creative direction
aims toward the modern form of classical music. Through the instrumentation
and exploitation of new sonic characteristics created by the force of
digital techniques upon classical instruments and the integration of these
sounds into ambient structures, his music characterizes the contemporary
post-industrial likeness of our world. Through these techniques, Hirsch strives to reach an organic incorporation of seemingly distinct and irreconcilable elements into a living form which he calls INTEGRATED MUSIC.
These principles represent the central idea of
his work, which rests in the collision of two spiritually opposite worlds
inside an individual. The author refuses the broadly accepted materialistic
and anthropocentric view of the world and challenges the spiritual
repression brought about by humanities transcendental nescience.
To the question of why his music is so dark, Hirsch answers, „I don’t reason about in similar categories. It is the subject of the slant, addictions or standards of individual perception. The artist can nothing else, than search for meaning of life, for its matter, disregarding what will be and without pretension to its fruition. For what remains the substance of light does not exists without the dark. I am in conviction that my music wants to be first an authentic scan of my mind. I reject all kinds of pinchbeck affirmation and optimism. It fills me up more darkness than the blackest expression of despair.”
OPUSES
Main works : SYNTHETICS - THEMES, op.17, experimental space-ambient SYMPHONY No.1 in E, Op.20; symphony for synthesizers ORGAN PIECES; organ compositions 7 PARTS OF DESOLATION, op.29; piano cycle INTERMEZZA, op.37; piano compositions SIMPLICITY OF HERESY, op.37; suite for integrated ensemble SYMPHONY No.2 „Defensa", op.47, symphony for integrated orchestra CONCERT INDUSTRIEL POUR ORGUE, op.49 SYMPHONY No.3 „Brands Of Tyrany", op.52; symphony for integrated orchestra, organ, percussions and mezzosoprano DIVERTIMENTO No.1 & 2, HYMNUS No.2; orchestral compositions SENSE GEOMETRY, op.54; experimental thematic opus DANCES & MARCHES, op.57; suite for organ, piano and orchestra EXORCISMS, op.61b; suite for integrated ensemble FIELD MASS, op.64; mass for industrial ensemble SYMPHONY No.4 „Descent From The Gross“, op.67; symphony for integrated orchestra, soloists and choir DE REGIONIBUS LIMINIS, op.68, thematic dark ambient work FRAGMENTS, THÈMES ET IMAGES SCÉNIQUES, op.72; scenic music NONTERRA, op.73; suite for integrated ensemble LES SCÈNES ARDENTES, op.75, thematic album CONTEMPLATIO PER NEXUS, op.77, composition for integrated techniques on the selected theme from "Teologia spiritualis II. Mystica" TORMENT OF NAISSANCE, op.78, thematic album TOBRUK, op.80; thematic album GRAUE PASSION, op.67b; live version of op.67 HERMENEUTIC CYCLE, op.83; thematic album (in process) ENDOANATHYMIA, op.84; thematic album (in process) MATKÉTA, THE DAUGHTER OF LAZAR, op.85 (in process), PSALMI, op.86; thematic album (feat. Dove - in process)
Entertainments : OUT OF YOUR OBJECTS, op.22; progressive rock album CASUAL CRIME, op.51; jazz album THERE'S NO HUMAN TRIUMPH op.40; experimental industrial-electronic album DREAMS OF AWAKENING, op.58; experimental industrial-electronic album
Scenic music & soundtracks: MUSIK FÜR DIE METAMORPHOSE, op.45; scenic music for stage addaptation of Franz Kafka story „Metamorphose“ PHANTOMYSTERIA, Teatr Novogo Fronta FRAGMENTS, THÈMES ET IMAGES SCÉNIQUES, op.72; scenic music ZWISCHENMENSCH, Teatr Novogo Fronta TOBRUK, op.83; soundtrack MATKÉTA, THE DAUGHTER OF LAZAR, op.85 (in process),
Since September 2006 has been stepwise released the collection of 7 albums (CDs) of Vladimír Hirsch solo works, partially separately, partially as a box set with the name "THE ASSENT TO PARADOXON" by Italian independent label ARS BENEVOLA MATER. The set includes following albums:
SENSE GEOMETRY (released 2006)
CONCERT INDUSTRIEL POUR ORGUE (released 2007)
SYMPHONY No.4 (released 2008)
NONTERRA (released 2008)
EXORCISMS (released 2008) and
LES SCÈNES ARDENTES (upcoming in March 2009) and
CONTEMPLATIO PER NEXUS (upcoming in March 2009)
SIDE PROJECTS:
Vladimír Hirsch's work is represented not only by his solo projects - he is founder and leader of avantgarde orchestral industrial and dark-ambient music ensembles AGHIATRIAS (Vladimír Hirsch, Tom Saivon), SKROL (Vladimír Hirsch, Martina Sanollová, Tom Saivon), LUMINAR AX (Vladimír Hirsch, Dove Hermosa), ZYGOTE (Vladimír Hirsch, Martina Sanollová) and TIRIA (Vladimír Hirsch, Lisa, Tom Saivon, iGod).
AGHIATRIAS
In 1999 Vladimír Hirsch (composition, keyboards, vocals, computer) and Tom Saivon (noise generator, computer, lyrics) joined their creative efforts in this project, which is a kind of extrapolation and the combination of contemporary classical (Hirsch) and noise (Saivon) tendencies, which was eventually, through mutual infiltration by basic theses and antitheses, brought to life as a fully homogenous structure by both members of the group.
FIELD MASS, mass for integrated enseble, version 1
EPIDAEMIA VANITATIS, thematic album
REGIONS OF LIMEN, thematic album
ETHOS, thematic album
RELIQUARY, selected compositions
SKROL
The ensemble SKROL was formed in 1995. Their inspiration derives mainly from Slavic melodic and harmonic techniques, reflecting the pursuit of proper ethnical musical roots, i.e. also music, which is founded on these traditions. This direction aims rather at the modern form of classical music, both through the instrumentation and exploitation of sound possibilities and through its integration into ambient structures, characteristic for the contemporary post-industrial likeness of the world.
MARTYRIA, 10" vinyl
HERETICAL ANTIPHONY, integrated conceptual album
INSOMNIA DEI, album
DANCES & MARCHES FOR THE ORPHAN AGE, integrated suite, album
LUMINAR AX
LUMINAR AX is a conjoint experimental project between Vladimír Hirsch and American singer and poet Dove Hermosa, founded in the summer of 2007. It represents integration of dark ambient and dark industrial components with rock structure of composition. Dove Hermosa & Vladimír Hirsch finished their first fully conceptual album "Optem Spectris" in 2008.
OPTEM SPECTRIS
OUT OF THE AX, album of remixes
ZYGOTE
In 1998 Vladimír Hirsch founded ZYGOTE project, when he composed a large collection of compositions, where the fictive, geometric symbolism of certain mechanisms of the human psyche is applied. The author calls this musical form of mathematical theory “fractal musical geometry”. Zygote was originally a solo project, thanks to its successful stage presentation with vocalist Martina Sanollová and different creative orientation it was constituted as a detachment.
GEOMETRIE NEVĚDOMÍ, experimental conceptual album
TIRIA
TIRIA is conjoint experimental project of Vladimír Hirsch, Swiss vocalist Lisa, lyricist Tom Saivon and producer iGod. Members are contemporarily working on their album "ELYSIUM"
COOPERATIONS: EPIDEMIC MIND, conjoint album with Japanese cyberpunk writer Kenji Siratori
COMPILATIONS PARTICIPATION: GLASS ANVIL II (Hermeneutic Crc.4), 2009 WHY I REMEMBER (Nenia) , 2009, compilation dedicated in memory of Auschwitz Camp's martyrs and victims
Vladimír Hirsch has been composing since 1976, when, as pianist and organ player, he started to compose small romantic and classicist compositions for these instruments. Soon, though, he abandons these compositions for a longer period and takes up experimental jazz-rock music up to 1986, when established experimental post-punk band MARABU. Simultaneously he decided to focus on classical musical form as well, nevertheless with an attempt to enhance the action potential by modern means of expression and by searching for specific processes. He attempts to resume the tradition of 20th century music, but eventually attains his own clear-cut position both in tone creative principles as in composition style and opinion on orchestration and the role of not quite musical components in it. That year he created his first trial in this direction, experimental solo work with space-ambient characteristics SYNTHETICS-THEMES and following solo works SYMPHONY NO.1 (1989) and ORGAN PIECES (1991).
The group MARABU (later DER MARABU) was initially influenced by post-punk and from 1990 declares itself as „dark-core“ band, towards the end of its existence as „slavonic dark core“. With many breaks and personal changes the formation continues to perform in independent clubs of Prague till 1996 and does some concerts abroad as well. Vladimír Hirsch is only man to be in the band for the whole time, until he establishes new formation SKROL in autumn 1995.
The ensemble SKROL has stepwise evolving their activity in 1996 on the wrecked remains of DER MARABU. It was set together from composer and keyboard player Vladimír Hirsch, singer Martina Sanollová and not always performing member Tom Saivon, sound alchemist and writer, who provides noise structures, lyrics and manages the band single-handed. In the course of 1996 Hirsch prepares the rudiments of two studio projects, the ensemble than works on its initial concert program, to perform for the first time in March of 1997 in Prague’s palace Roxy, three months after definitive break up of Der Marabu.
The direction of SKROL’s creativity aims rather at the modern form of classical music, both through the instrumentation and exploitation of sound possibilities (synthesisers or samplers working with various configurations of instruments of a classical symphony orchestra) and through its integration into ambient structures, characteristic for the contemporary post-industrial likeness of the world. The actual result of a model conceived as generally as this appears as the incorporation of a musical statement into an artificial space, which should incite an intense perception of fullness or emptiness of space, where the central theme takes place. SKROL attempts to attain an organic amalgam of its own alternative of classical music with the post-industrial cultural space and thereby create a new form, as a continuation of previous activities, called INTEGRATED MUSIC by Hirsch.
From the beginning of SKROL’s existence Hirsch created five more or less compact projects for the formation: SIMPLICITY OF HERESY (Jan-May 96), INSOMNIA DEI (Jan-Apr 97), THE FALL VERIFIED (Jul-Oct 97), DANCES & MARCHES (May 1997- June 1998) and NEW LAWS/NEW ORDERS (Sept 1999- March 2000). SIMPLICITY OF HERESY is originally a suite of epic character, centred on the religious and seemingly obsolete theme of heresy, which nonetheless functions as a more symbolic expanse for the central idea - the tragedy of the inner conflict of values of the individual, who becomes the hero, slave and victim of social pressures, initiated by his own proclamation of his thesis. While making use to a great extent of unique synthesised sounds of string instruments, brass, classical organ, densely enhanced piano, drums and combinations of these, the atmosphere mentioned above serves here, contrary to other works by SKROL, only as a sort of hardly identifiable background. The album’s final version HERETICAL ANTIPHONY – it is the result of a consistent approach to the given matter. The work is more mono-thematic and gripped together; the plasticity of specific instrumentation, together with a binding, typically metallic sound of the instruments used help accentuate this. Shortened, the project is less epic, but more forceful thanks to the above said attributes, the statement is more earnest. The album came out as a CD in August 1999 on the German label MDP Records.
Likewise the strictly conceptual INSOMNIA DEI, an album achieving, at least in outline, the strived for organic integration of instrumentation, harmonisation and composition principles on one hand with a raw, dense and destructive sound, in which everything is submerged, on the other. The album is, in Hirsch’s words, “a belly-full”, where intensity and structurality of the sound masses has the effect of overbrimming fullness. The principles of tonal richness typical for SKROL, developed with an obvious affinity to their inter-linking with typical forms of the Slavic modus, unite all seven compositions into one complex. The full album first came out as a limited (100pcs) MC private edition, the songs Soaking, Movie Martyr, Insomnia and Dei irae came out as a 10..LP called MARTYRIA on the LOKI Foundation label in August 1998. The full CD came out in 2001 on U.S.label Chromozome/RRRecords and and again in May 2003 on the MDP Records label.
The album DANCES AND MARCHES FOR THE ORPHAN AGE (the basic version dates from June 1997) can “boast” the longest deferment of studio adaptation. This project again has the character of a suite, yet not of epic principle. The dominant theme is one of abandonment of a socially unacceptable individual, who seeks the raison d’etre of his existence and of the world, where he is forced to live, its premises, theorems, their impeachment and yearning for catharsis. The compositions often emanate from a sort of gaping void, akin to an open chasm. Yet it is not a void in the proper sense of the word, since within we feel the presence of something beyond our rationality. It gives the impression of a broad respiring depth (the ambient musical layer), whose dark mouth is surrounded by human mass (instrumental bases), where truly specific, emotionally wrought faces surface from anonymity (the actual musical statement, vocals, non-invasive noise samples). Typically, in some cases the compositions’ basic structure is the ostinata, the preference of uneven or incomplete rhythms is obvious. Practical application of the musical parallel of the so-called fractal geometry; while still following the vocal thesis-antithesis principle, the dominant female vocal pole assumes a sometimes distinctly sorrowful melodic, sometimes non-verbal, transcendental aspect, and the most important instrument here, not by its predominance, but by its content, is the organ, whose sound is like a raised finger, as if in warning. Album was released after Vladimír Hirsc..s repeated remix and remaster in March 2005 by Portugal label DAGAZ MUSIC.
The album NEW LAWS / NEW ORDERS was originally planned as a project that would be the culmination of the themes and conception possibilities of integrated music within the ensemble. Here SKROL attempts to eclectically capitalise on all the forms used until now. The finalisation of the definite version has been completed yet, due to doubts regarding the compactness of the project and its stylistic purity. That is why it has been remained partially in the phase of instrumental bases, but SKROL contemporarily working on its adaptation to a fully conceptual album, that was released in 2009 by Argentinian label Twilight Records.
SKROL’s concert programs has been often accompanied by film screening. One of the most favourite set is Saivon’s collage of cuts from documentaries by the Hungarian director Zoltán Huszárik. The ensemble regularly appears in Poland and Germany, in Czechia it generally limits its performances to the regular Prague industrial festival. It has been on several longer foreign tours, in Britain in 1998, Germany in autumn 1999 and the so-far longest and most successful in June 2001 in the USA, the Fire Martyrs Tour. The shows in New York, Boston, Cleveland, Pittsburgh, Detroit, Chicago and other towns was mostly a combination of programs by SKROL and AGHIATRIAS (see below). Since 2002 SKROL has been stopped their public appearence within many other activities of the members, but the ensemble has not announced definitive end of existence, what was confirmed by their work on the album New Laws / New Orders this year.
In winter 1998 Hirsch, composed a large collection of compositions, entitled SENSE GEOMETRY , where the fictive, geometric symbolism of certain mechanisms of the human psyche is applied. It is an attempt to detect or prove the existence of a certain order in illusory chaos. The author calls this musical form of mathematical theory “fractal musical geometry”, as has already been mentioned. To this purpose he uses signals of interval, rhythm, structure and instrumentation logic. Sound is an important component, creating a simply structured, yet emotionally tense atmosphere, where the lightly industrialised or noise instrumentation of the compositions plays the role of the chaotic and likewise irritating element, the hypnotic rhythm than the role of order’s go-between, pointing attention’s direction to new levels of seeing things. The opus was originally a solo project, also thanks to its successful stage presentation under the name ZYGOTE in May 2000 was cretaed an alternative album version with vocals by Martina Sanollová and Czech lyrics, entitled GEOMETRIE NEVĚDOMÍ. The original, almost meditative ambient features of the opus are distorted by apocalyptic vocals and multilayered instrumental and noise masses to the degree of acquiring new dimensions both formally and in content. Tom Saivon’s commanding lyrics underline the intentionally invasive over-structuring of the version – this contrast constitutes the actual basic message of the conflict between the unconscious and reality. ZYGOTE succesfully performed that album in Czechia, Germany and Poland between 2000 and 2003, when the project was ïnterrupted for author..s engagement in other activities. In 2004 Vladimír Hirsch remixed original instrumental version and this album was officially released by Italian label Ars Benevola Mater in 2006 as first of collection of his most important solo works.
In autumn of 1999 Vladimír Hirsch (composition, keyboards, computer) and Tom Saivon (samples, computer) joined their creative efforts in the project AGHIATRIAS, which is a kind of extrapolation of the combination of neo-classicist (Hirsch) and noise (Saivon) tendencies within SKROL, which was eventually, through mutual infiltration by basic theses and antitheses, brought to life as a fully homogenous structure by both the male members of the group. The project is based on grasping both ways in a manner, which would allow them to partake of each other’s principal formal attributes, both on the basis of violent confrontation and of mutual empathy, which should lead to a unification of seemingly irreconcilable worlds. This happens with the help of musical symbolism of their transsubstantiation into a single, indivisible essence, which act represents the metaphorical and philosopical principle of the formation’s work. The idea was conceived at the end of year 1998, but its realisation was very slow and so the first album, FIELD MASS , was not finished until December 2000, when it was also presented live for the first time. The album is formally a classical opus, a mass with all standard liturgical elements, but settled within a simple, central plot framework. In the beginning (Introitus) it illustrates a battle, interrupted by a scream so painful, so convincingly piercing above the turmoil of battle, that it makes both sides of the battle stop fighting and participate on a mass together. The mass eventually, at certain points, becomes the collision and analysis of the fight’s true motives, gradually eventuating into humility and a sign of peace (Agnus Dei), thereby uncovering the real motives of the battle, present on both sides. It is a drama, which does not end in an unequivocal solution, but a kind of common prayer in the sense of a final „ miserere nobis“. The album was released for the first time as CDR in the year of its finalization and as Hirsch..s solo work CRYPTOSYNAXIS, that is remixed live recording of the composition.
The second album - EPIDAEMIA VANITATIS – released as a 1st releas on our own label INTEGRATED MUSIC RECORDS in 2002, is, from the viewpoint of musical form, another step of this formation on its way of integrating tonality into atonality, classical into postindustrial, etc. But this is only a music-theory description; it is a more matured transsubstantiation of form into a morphologically purer structure. Once again the effort is more obviously aimed not at getting a chemical compound, but an indecomposable element. Contrary to the preceding album the structure of the material is richer and more compact, the songs have a deeper and wider ambience, the emotional perceptions are more intense. The basic motif of the project is the intergrowth of anthropocentric materialism in the society’s thinking, the ways and consequences of its manipulation. From the viewpoint of the protagonist’s history of efforts it is an authentic reflexion, as the epic and expression of the project prove.
So far the last project of the formation is the album REGIONS OF LIMEN , finished in August 2003, representing a kind of „aghiatrisation“ of Hirsch’s solo project DE REGIONIBUS LIMINIS. An extensive dark-ambient album devoted to the theme of subliminal sensual perception and its fictive musical application. An abstract conception of the confrontation between the surreal and real world (artificial ambient versus realistic industrial sound). The meditative character of the compositions is brightened by discharges of a kind of radioactive irradiation, representing the fleeing moments of understanding. The formation aims for purity of expressive means in an effort to accentuate the role of the primarily suppressed and ignored spiritual dimension of our world, while pointing to the importance of the liminal “structures” of our perception. Album was released in March 2004 by Czech label Epidemie Records.
In 2005-2006 AGHIATRIAS created its last album in the meanwhile ETHOS, which was released early in September 2005 by Epidemie Records. The fourth and as before thematic album of the formation, accomplishing its own concept of so-called integrated music that represents a confrontation in broad dimensions of contemporary classics, dark ambient, noise and industrial. The central motif of this album is the refusal of broadly accepted materialistic view of the world and its future, demonstration of awareness of historical lapse of the human in relation to that what transcends him, well thought out attack against the "soul swallowers" supporting pathological mechanisms of hidden, nevertheless sophisticatedly planned process leading to the suppression of spirituality.
Vladimír Hirsc..s creative effort in his solo activities has been never interrupted during activities in conjoint projects. He has composed extensive collection of works, above a number of conceptual albums, incl. 3 symphonies and one voluminous concert opus, scenic music, soundtracks and some organ, piano and chamber compositions. The most important of them has been stepwise released since September 2006 has been stepwise released on 7 discs, partially separately, partially as a box set with the name THE ASSENT TO PARADOXON The set includes following albims: SENSE GEOMETRY (rel.2006), CONCERT INDUSTRIEL POUR ORGUE (2007), SYMPHONY No.4 (2008), EXORCISMS, LES SCÈNES ARDENTES, CONTEMPLATIO PER NEXUS and NONTERRA. Unifyied covers design created by exceptional Czech conceptual photographer Jan Vávra. with cooperation of author. All discs, whether separately or as component of the box-set are released by Italian label ARS BENEVOLA MATER. All albums produced by Tom Saivon.
SYMPHONY no. 1 (1989) and no.2 („Defensa“- 1997) are formally – both in instrument selection and structurally – a classical composition for analogue synthesizers, enriched by industrial noises The following SYMPHONY no. 3 , subtitled Sinfonia per orchestra, organo e percussione (1998), is a very aggressively and uncompromisingly conceived composition for integrated ensemble with classical and digital techniques, its theme is centred on the value crisis of the contemporary world. It is a merciless view of its chaotic image, which paradoxically serves as its own justification of feckless stereotypes and a cheap reasoning behind the absence of joint liability for it. This symphony was presented to the public in December 1999 at the V. Prague festival of industrial and post-industrial culture.
The last symphonic work, SYMPHONY no. 4 "Descent From The Cross" and its live, revisited version GRAUE PASSION is a thematic opus, inspired originally by Dostoevski’s interpretation of Albrecht Dürer’s painting of same name. It is a polemic with his questioning of the Christian faith in Christ’s resurrection, since the level of cogency in portraying a truly dead body is strikingly exposed in the works of the German artist. The author is trying to create a deeply immersed, painful perception here, dominated by uncertainty and doubt, but through the belief in spiritual strength inclined to hope and strife for the fulfilling of the faith’s thesis. In expressive terms the work combines expressive means ranging from symphonic to noise, in a totality which up to now represents the author’s concept of the so-called integrated musical form the best. First version of the composition from 2001 was revised in 2006 and final product was officially released in August 2008 by Ars Benevola Mater.
The voluminous composition CONCERT INDUSTRIEL POUR ORGUE, created in 1998, is a project of only generally classical form. It is characterised by themes, surfacing in irregular pulses, which, after a sort of incandescent outburst, disappears again, as if tired or suddenly on the contrary, within a mass of industrial sounds, the idea is never fully brought out though. The industrial matrix is also a space and energy source for volcanic activity proper. Yet even this essence of sound is not stable, from time to time it changes the intensity and rhythm of its existence, restlessly and traipsingly. The re-worked second version of the composition is markedly shorter, placing more emphasis on systematic approach to its theme, without essentially influencing the above said basic qualities of the opus. Reworked version was officially released in 2007.
Between 2004 and 2008 Vladimír Hirsch created other four albums, planned for his collection of most important works. These compositions represent new author..s creative attitudes, both in sound organization and tonality or instrumentation. Their main characteristic traits are polymodality, systematic organisation of chaotic sound structures, incorporation of new instrumental combinations and another step into their trying of their cohesion with non-instrumental sounds. These are EXORCISMS, thematic album for integrated ensemble, revocated of the theme of exorcisms (op. 61) in fully integrated musical form, LES SCÈNES ARDENTES, integrated suite NONTERRA and extent composition (79 min.) on philosophical-teological theme, coming out of the writing "Teologia spiritualis mystica", describing the process of transformation of human mind during mystical contemplation CONTEMPLATIO PER NEXUS. These albums are contemporarily waiting for releasing by Ars Benevola Mater label.
Another titles, released until now as CDRs by Integrated Music Records are compilation of scenic musical works FRAGMENTS, THÈMES ET IMAGES SCENIQUES (January 2005), studio remix and application of concert program as fully conceptual album with the theme of creationist paralells between the nascency of cosmos and human, described here as phases of the birth TORMENT OF NAISSANCE, represents a parallel vertical and horizontal organization of original chaotic structures, resulting in consequential order of composition and its thought and TOBRUK, originally composed as a soundtrack.
Vladimír Hirsch's attention is not always paid only on deep-going themes, as evidenced by his occasional excurses into another genres. He called this kind of production "entertainmants". To those projects belong e.g. CASUAL CRIME, album of compositions for jazz quartet from 1998, arising from romantic author's themes and developing by standrad way in terms of jam session as some reminiscence of composer..s period of active interest in jazz music, THERE'S NO HUMAN TRIUMPH (1996), created by selection from two projects very similar in orientation, characterised by author as subpop, being rather rock than serious, nonetheless it is a certain specific form of applying integrated music concepts involuntarily or DREAMS OF AWAKENING, which scheme is also basically rock, typically combined within with sampled loops. The melodramatic expression of states of anxiety, full of lyrics, together with the formally compact sound of the album makes for a unique statement, regardless of certain formal defects and occasional shoddy resources.
In summer 2007 was established by American singer and poet DOVE HERMOSA and Vladimír Hirsch project LUMINAR AX as an experimental formation, unific author's compositional style and sound alchemy with expressive poetry and meditative and character of singer's subtlety of vocal expression, as symbolism of a dialogue between dark and light. Until half of 2008 they finished conceptual album OPTEM SPECTRIS, contemporarily waiting for its official releasing. Dove Hermosa participates also as vocalist and lyricist on Hirsch's albums CONTEMPLATIO PER NEXUS and TORMENT OF NAISSANCE.
Contemporarily, Vladimír Hirsch is working on a few new electroacoustic titles (HERMENEUTIC CYCLE, ENDOANATHYMIA) and an extense stage soundtrack for adaptation of Vladislav Vančura novel MARKÉTA, THE DAUGHTER OF LAZAR. He has also cooperated for many years with avantgarde ensemble of "physical theatre" Teatr Novogo Fronta
Vladimír Hirsch's music is a kind of extrapolation of the combination of contemporary classical music on the one side and dark ambient, industrial and noise components on the other side, which, through mutual infiltration by basic theses and antitheses, brought to life as a fully homogenous structure. Compositions are based on grasping both ways in a manner, which would allow them to partake of each other’s principal formal attributes, both on the basis of violent confrontation and of mutual empathy, which should lead to a unification of seemingly irreconcilable worlds. This happens with the help of musical symbolism of their transsubstantiation into a single, indivisible essence, which act represents the metaphorical and philosopical principle of Hirsch's "dark ambient classical" form as a specific unit, INTEGRATED MUSIC.
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We keep mostly head down and trudge forward with crazed and dazed diligence that discerns opportunity and forward focus found. Comeuppance is my just deserts for spilling life’s energy in only one direction for to long of time. Art is the king and we are the subjects who command such pomp. I suffer, if not responded by such grounded talent, and wonder how this holiday season is going to conclude for you. You are a muse and season is merely a reason to ponder upon such. I love art and I love the art and the artists who place it for us all to snatch like presents under symbolic green growth. Water us; my season wish is to receive comments from others of truth.
Great to here from you! As usual, your work sounds phenomenal. I've been approaching "the classics" from a different direction in recent years, by taking historic pieces by Bach, Beethoven and others and feeding them into my randomization algorithms whihc transform them into new works. Most of this stuff has been presented as installations over the last few years, but I am hoping to do some performances this spring.
We run the numbers but just don’t know it. We scribble the notes and random letters that seem to add up in the end. There are more possible moves to make on parchment than stars in the sky. Timeless timelines stretch to infinitum in all directions and yet possibility is a stronger force than fate. Omega, Alpha, no end and no beginning, no accounting for the start to end. We are just a blip on the screen and that is what makes it all so real and wonderful. If you sat down to a chess match and knew every move to come and the results as well, would you want to sit down at all? Our home, which truly is the universes, (yes plural according to the most renowned), is not just this magnificent azure sphere we finally wish to understand and nurture in a symbiotic relationship. Our lives are part of this scary and relentless monster of eternity and mortal law. Our music, our arts, our human interactions are all reflections of this paradox of love and questioned existence. I speak of the good and not the vast dark side. I speak of you and your friendship and your ability to also see the possible moves while not truly knowing the outcome. Our universe is, in essence, well into the middle of an explosion. That is the energy I, you and everything around us is drawing from. Yes we are here for a short time. Yes we are small in stature and yes, some shine brighter than others. Everything is relative and although we are not at the center, or all knowing, we are literally the heart of this ever expanding embraceable mystery called life. Thank you again for your friendship
Sorry for my bad English! Here the link to the interview where I speak about you: http://www.darkroom-magazine.it/ita/108/Intervista.php?r=1367
It's in Italian! The question and the answer are: Cosa conosci di questo strano mondo di nicchia che è il 'dark'?
"Sarà per il mio legame con Praga che mi viene in mente Vladimir Hirsch, un musicista molto interessante della Repubblica Ceca. Oltre ai suoi lavori da solista è anche uno dei componenti (come tastierista e vocalist) del gruppo post-punk Der Marabu..." take care Alessandra
You are not a treasure, you are the treasure. In azure mix with elixir fix, you bring the blue sky and physician’s witchlike tone that grounds my soul. From deepest pit to last atmosphere, you hold gold in all that tears. Happiest smile that reflects your response is mine to now fire your way in an appreciative way that brings such crack to my face, I can’t hold back, only to spread my love for your consistent friendship and lack of fear to face life and all its gear. You are my privilege.
Thank you for your friendship and kind comment. I appreciate deeply your music which has a great symphonic and dramatic force. A sense of sacred and ritual emerges from it obviously. And I like this very much.
