BOOKING OFFER: JOSEF VAN WISSEM

Hello,

I’m booking some dates for Josef Van Wissem.
He’s available during the first week of December.
Please visit his myspace The sublime Dutch master of the lute returns with
his strongest album yet, ‘Ex Patris’ (Important), a record that truly
shows the depths of the tortuously minimal beauty in his compositions and
playing. And he always delivers jaw-dropping hypnotic live sets. » Jozef
Van Wissem is renowned for his ability to appropriate the Renaissance and
Baroque lute in the context of contemporary experimental music.  By
cutting and pasting classical pieces, reversing melodies, « medieval
sampling » and adding processed field recordings, Jozef is able to bridge
the language of 17th century music with that of the 21st century without
compromising the timbre and resonance of traditional lute playing
techniques.  He runs the Incunabulum label, lectures on ‘the liberation of
the lute’ ( Harvard, Wesleyan Universities, Mills College) and performs
throughout the world.  He did five releases on Important Records. Most
recently he has been commissioned by London’s National Gallery to compose
a sound piece to Hans Holbein’s painting « The Ambassadors ». Some press
clippings: “In “The Mirror of Eternal Light,” the Dutch lutist Jozef van
Wissem catches his own reflection in tender, minimalist picking and
gold-spray overdubs.”- – ROLLING STONE MAGAZINE  » HYPNOTIC MINIMALIST
FIGURES SEEM TO BREEZE ACROSS MUSICAL BOUNDARIES WITH EFFORTLESS FLUENCY’
_PITCHFORK “Jozef van Wissem has been slowly reinventing the lute for the
last three decades. Among the slew of fast-picking, fancy-fretting guitar
players so prevalent today, his lute’s voice is a quiet oasis, and
Stations of the Cross a small masterpiece”. The Wire « The way Van Wissem
traces and retraces denying the listener any resolution or catharsis, is
also pretty contemporary in its attitude of refusal; has there ever been a
time besides now when more musicians refuted the expectations of audiences
and authorities? The lack of pay-off makes the music potentially
maddening; it actually stymies linear thought On an even more symbolic
level, by constructing pieces that begin where they end and

Plus d’infos : http://www.myspace.com/vanwissem#ixzz0xLfiP3hL
              and also here the text here under:

The sublime Dutch master of the lute returns with his strongest album yet,
‘Ex Patris’ (Important), a record that truly shows the depths of the
tortuously minimal beauty in his compositions and playing. And he always
delivers jaw-dropping hypnotic live sets. » Jozef Van Wissem is renowned
for his ability to appropriate the Renaissance and Baroque lute in the
context of contemporary experimental music.  By cutting and pasting
classical pieces, reversing melodies, « medieval sampling » and adding
processed field recordings, Jozef is able to bridge the language of 17th
century music with that of the 21st century without compromising the
timbre and resonance of traditional lute playing techniques.  He runs the
Incunabulum label, lectures on ‘the liberation of the lute’ ( Harvard,
Wesleyan Universities, Mills College) and performs throughout the world.
He did five releases on Important Records. Most recently he has been
commissioned by London’s National Gallery to compose a sound piece to Hans
Holbein’s painting « The Ambassadors ». Some press clippings: “In “The
Mirror of Eternal Light,” the Dutch lutist Jozef van Wissem catches his
own reflection in tender, minimalist picking and gold-spray overdubs.”- –
ROLLING STONE MAGAZINE  » HYPNOTIC MINIMALIST FIGURES SEEM TO BREEZE ACROSS
MUSICAL BOUNDARIES WITH EFFORTLESS FLUENCY’ _PITCHFORK “Jozef van Wissem
has been slowly reinventing the lute for the last three decades. Among the
slew of fast-picking, fancy-fretting guitar players so prevalent today,
his lute’s voice is a quiet oasis, and Stations of the Cross a small
masterpiece”. The Wire « The way Van Wissem traces and retraces denying the
listener any resolution or catharsis, is also pretty contemporary in its
attitude of refusal; has there ever been a time besides now when more
musicians refuted the expectations of audiences and authorities? The lack
of pay-off makes the music potentially maddening; it actually stymies
linear thought On an even more symbolic level, by constructing pieces that
begin where they end and

Plus d’infos : http://www.myspace.com/vanwissem#ixzz0xLfiP3hL

I’d like to hear from you asap.

Regards.

Alain

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