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| Discography |  |
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Reviews |
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»Klaus ends 1994 with an incredible trio of releases. ...
Totentag is his brand new opera, complete with male/female voice and some of his most dramatic
neo-Wagnerian electronic compositions yet.« ("Eurock", USA) |
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»The Totentag is a little difficult to get into, since the singing is all in German. Fortunately
there is the English translation. The story is quite frightening.« (P. Johnson, radio, Australia) |
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»Totentag est une oeuvre majeure du répertoire contemporain et affirme de fait l'élément le
plus remarquable de la personnalité de Klaus Schulze...« (and 1014 additional enthusiastic words) (D. Roux, "Rubycon", "KS Mag" and "Crystal Infos", F) |
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»Ich halte es für sehr schwer, dieses Werk als gut oder schlecht zu bezeichnen. Ich würde es auf
alle Fälle als "sehr interessant" bezeichnen. ... Wenn auch musikalisch nicht übermäßig neu, ist
Totentag mit Sicherheit eines der anspruchsvollsten Schulze-Alben.« (S. Thieme, "Cascades", Germany) |
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»Tour de force, à la fois technique, émotionnel et vibratoire. Technique, car Klaus Schulze utilise
de façon magistrale, le sampling. S'offre le luxe de passer en revue tous ses sons et samples,
issues de tous ses disques de ces cinq dernières années. ... Génial. ... Emotionnel en ce sens qu'il
revisite dans la Love Scene, le deuxième tableau... du plus bel effet. ... Il est clair que Klaus
Schulze, de ce fait, se positionne de plein pied comme compositeur de musique contemporaine, à
la maniére d'un Boulez ou d'un Bério. ...« (J.C. Allier, "KS Mag", France) |
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»... It doesn't take long to realize that Totentag is a masterwork. ... The traditional elements of
music, not pop gimcrackery, animate Totentag. With this heraldic work Schulze claims a distinguished place in the ranks of electronic artistry. That was his challenge; ours is to listen, and
maybe to push our own envelopes a little harder.« (and 300 additional enthusiastic words) (R. Doerschuk, "Keyboard", USA) |
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»Respecto a la música en sí, la orientación de Schulze no se aparta del estilo electrónico que
siempre le ha caracterizado. No obstante, a diferencia de sus álbums normales, en esta ópera
recurre a variados y breves pasajes musicales, cambiando de unos a otros con una frecuencia poco
habitual en él. Los hay cósmicos, ritmicos, clasicistas, siniestros, abstractos, y de diversa índole,
tanto en la forma de melodías concretas como de música más bien incidental para apoyar un
momento determinado de alguna escena.« (J.Munnshe, "Voice", Spain) |
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»This is Schulze's first attempt at opera, and it has yielded mixed results. The first two
tableaus contain diverse yet high-quality music that goes well with the singers. After that, the
opera becomes erratic. Of course, in saying that, I found quite a few magic moments in the rest
of Totentag. But it's difficult to give a positive or negative review - it depends on how much
you're willing to ride with an artist has he pursued different avenues of expression, inconsistent
though the outcome may be.« (D. Kaufmann, "Beyond the Horizon", USA) |
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»This sounds like bits from Royal Festival Hall & Silver Edition remixed & overdubbed!« (Freeman Brothers, "Ultima Thule", GB) |
