Stephan Micus: Ocean
Ocean
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- Label: ECM, 1986
- Erscheinungstermin: 1.10.2009
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Ocean parts 1-4
Stephan Micus ist mehr als die Summe seiner Teile. Der in Deutschland geborene Multiinstrumentalist hat etwas Seltenes getan: Er hat eine Fülle von musikalischen Traditionen und Mitteln aufgesogen, anstatt sie zu stehlen, und daraus eine ganz eigene Einheit geformt. Als eine seiner früheren Aufnahmen für ECM ist Ocean ein getöntes Fenster in eine Kunst von vollendeter Brillanz. Teil I beginnt mit seiner ungekünstelten, wortlosen Beschwörung, bevor er sich in eine Blüte aus gehämmerten Dulcimern öffnet. Wenn die klagenden Schreie des Nay seine Stimme ersetzen, ist es, als ob der Körper zum leibhaftigen Atem geworden ist, der sein sanftes Klanggeflecht in einem luftigen Himmel ausbreitet, während sich die Meditationen wie Podeste unter den Seelen erheben. Die shō (japanische Mundorgel) eröffnet den zweiten Teil, indem sie mit ihren Füßen auf Wolken tritt, wobei jeder Schritt vorwärts ein Ausatmen, jeder Schritt zurück ein Einatmen ist, so dass man am Rande des Fallens verharrt. Aus dieser Ansammlung von Fäden entspringt eine Shakuhachi, die sich rückwärts abspult, ihr müder Gesang ist nur ein Traum an einem wehmütigen Tag. Die Zithern setzen mit ihren hüpfenden Rhythmen ein, flatternd wie die Flügel eines riesigen tagaktiven Insekts, dessen Flügeldecken seine Füße sind und für das das Landen nur eine Erinnerung an eine Vergangenheit ist, in der die Menschen nie gesprochen haben. In der eröffnenden Hackbrett-Meditation von Teil III spüren wir die Verwandtschaft, in die uns Micus so tief einlädt, ein Versprechen der Stille in seiner Umarmung. Die Shakuhachi flüstert ihre Geheimnisse über das Wasser und endet in einem zarten Wasserfall, in dem sich die Tränen eines ganzen Lebens zu einem einzigen Ton verdichten und in den schalenförmigen Händen der Stille bündeln. Teil IV endet (oder beginnt er?) mit einem bewegenden shō-Solo, das sich wie ein aus Philip-Glass-ähnlichen Fäden gesponnener und durch Körperwärme geschmolzener Kristall in einen geriffelten Garten verwandelt, der sich mit dem Gesang eines jeden Regenwurms unter ihm wälzt.
Micus lässt ein so persönliches Territorium entstehen, dass es selbstlos wird und die menschlichen Elemente seiner Schöpfung irgendwie unbemerkt bleiben. In seinem Spiel spielen Namen, Etiketten und Cover, sogar Persönlichkeiten und Politik, keine Rolle mehr. Die einzige Einschränkung ist ihr Fehlen. Eine solche Musik geht über das Pathos der meditativen Handlung hinaus und blickt in die Seele der Stille, wo nur die Musik das ausdrücken kann, was alle Sprachen der Welt, die verlorenen wie die erhaltenen, nie konnten. Ihr Käfig ist nicht einer, der uns umgibt, sondern einer, den wir mit dem Versprechen der Schöpfung umgeben und mit geschlossenen Augen und offenem Herzen warten.
M.Inhoffen in stereoplay 9/86: "Eine Referenzaufnahme aus dem Hause ECM: Die meditativen Klänge von Stephan Micus perlen betörend aus den Boxen. In seiner Musik verbindet der Belgier Instrumente der unterschiedlichsten Kulturkreise."
Stephan Micus
Born in 1953 in Germany, Stephan Micus made his first journey to the Orient at the age of sixteen. Fascinated by the variety of musical cultures around the world Micus has travelled in virtually every Asian and European country as well as in Africa and the Americas. Studying with local master musicians he learned to play numerous traditional instruments, many of them unknown in the Western world. However, Micus‘s intention is not to play these instruments in a traditional manner, but rather to develop the fresh musical possibilities which he feels are inherent in them. In many of his compositions, which he performs himself, he combines instruments that have never before been played together. The resulting dialogues further reflect his vision of a transcultural music.
In addition to his exclusively acoustic instruments Micus also uses his voice, at times – with multitrack recording techniques – creating whole choral pieces by himself. The words he sings usually do not carry any known meaning. However, on Athos he set to music ancient Greek prayers to the Virgin Mary, on Desert Poems he performed two original poems in English and on Life he has set to music an ancient Japanese Koan.
Many of Europe’s leading dance companies have chosen his work for their productions. He has performed hundreds of solo concerts over the last 30 years throughout Europe, Asia and the Americas.
Studies
He has studied a variety of instruments including guitar, concert-flute, sitar in Benares (India), flamenco guitar in Granada (Spain), shakuhachi (Japanese bamboo flute) and sho (Japanese mouth organ) in Kyoto (Japan), suling (Balinese flute) in Ubud (Bali), Uillean pipes in Carna (Ireland), sinding (African harp) in Gambia, dondon (talking drum) in Accra (Ghana), doussn’ gouni (African harp) in Bamako (Mali), duduki (Georgian oboe) and Georgian polyphonic choral singing in Tbilisi (Georgia), hné (Burmese oboe) in Yangon and Mandalay (Myanmar), duduk (Armenian oboe) in Yerevan (Armenia), bagana (Ethiopian lyre) in Addis Abeba, nohkan (flute of the noh theatre) in Kyoto (Japan), Bulgarian polyphonic choral singing in Plovdiv (Bulgaria), genbri (bass lute of the gnaoua) in Essaouira (Morocco) and ryuteki (flute of the gagaku orchestra) in Kyoto (Japan).
In search of musical culture and context Micus has travelled extensively, in particular in India, Japan, Indonesia, Korea, Afghanistan, Morocco, Algeria, Tunisia, Thailand, Egypt, Burma, Sri Lanka, Turkey, USA, Canada, Israel, China, Gambia, Senegal, Nepal, Ladakh, Sinkiang, Venezuela, Tanzania, Argentina, Peru, Ghana, Mali, Jordan, Georgia, Ethiopia, Pakistan, Yemen, Cuba, Lebanon, Laos, Vietnam, Cambodia, Uzbekistan, Kyrgyzstan, Cabo Verde, Mauretania, Armenia, Karabagh, Siberia, Mongolia, Namibia.
Some of the instruments used by Stephan Micus on record and in concert:
Shakuhachi Japanese bamboo flute with five holes and no mouthpiece, capable of subtleties unequalled by any other flutes in the world. Used for meditation by Zen monks.
10 and 14-string guitar A new type of guitar designed by Stephan Micus, allowing many different kinds of stringing: 10 single strings, or 7 double strings, or sympathetic strings as on a sitar, etc.
Dilruba Indian bowed instrument with 4 metal and 24 sympathetic strings and frets like the sitar. The bridge runs over a goat skin.
Zither Originally from Bavaria, with different strings and tunings.
Sho Japanese 'mouth-organ' consisting of 17 reed pipes inserted into a cup-shaped wind chest. Blowing into this wind chest while closing holes in the pipes produces a series of chords. The pipes sound whether the player breathes in or out, so a constant tone may be obtained. Has to be heated before playing.
Hammered Dulcimer American version of an instrument that is played in many parts of the world, such as Persia, China, the Balkans and the countries of the European Alps: it has 62 metal-strings across a soundbox which are struck with two small wooden hammers - one of the ancestors of keyboard instruments.
Nay Ancient Egyptian hollow reed flute.
Sattar Long necked bowed instrument used by the Uigurs, a Turkman people from Western China. It has one metal playing string and ten sympathetic strings.
Sinding West African harp with five strings made of cotton. The resonating body is a gourd stretched with a goat skin. A tin rattle may be attached to the instrument. Plucking the strings sets the rattle in motion, adding a percussive element to the instrument ' s rather hollow sound.
Bolombatto West African harp with four gut strings over a gourd resonator and an attached tin rattle. The rattle is set in motion by the simultaneous striking of the strings and the sound box. In former times shepherds also used the Bolombatto to frighten off wild animals.
Doussn' Gouni West African harp with six nylon or gut strings. The resonating body is a gourd stretched with a goat skin.
Rabab Afghan lute with 13 sympathetic strings. A folk instrument with a very earthy character and an especially „dry“tone quality. The three main gut strings are stretched across a goat skin.
Sitar Indian string instrument with 13 sympathetic strings, 6 - 7 melody strings, and a resonant body fashioned from a dried gourd. The frets are movable.
Kortholt Short German Renaissance reed instrument.
Tischharfe Table harp. A contemporary cross-breed of bowed psaltery, zither and harp. By means of a special string arrangement, the instrument can be both plucked and bowed.
Sarangi Bowed instrument from India with 3 main gut strings and 35 sympathetic strings.
Tambura Accompanying drone instrument from India.
Gender, Djegok Xylophones used in the Gamelan orchestras of Bali.
Steel drums West-Indian percussion instruments made out of old oil drums.
Stone Chimes In China, stone-instruments had been in use for thousands of years, but are nowadays neglected. Micus also plays the stone-instruments of German sculptor Elmar Daucher who has developed completely new shapes for sonorous stones.
Angklung Bamboo rattles in tuned pitch from Java and Sumatra.
Gongs From Burma, Bali, China, Korea.
Bells and Chimes From Burma and Tibet.
Bodhran Irish tambourine drum, 50 centimetres in diameter. Played with a mallet while the other hand produces varying tones by pressing on the drum skin.
Flowerpots A set of 30 ordinary flowerpots, tuned with water and played with the hands or with mallets.
Suling Hollow reed flute of the Balinese Gamelan orchestra, similar to the recorder.
Ki un Ki A wind instrument used by the Siberian tribe of the Udegeys. It is a two-metre long stalk similar to our hemlock cane. In contrast to almost all other wind instruments, the tone of the ki un ki is not produced by exhaling, but rather by inhaling. The sound is suggestive of a trumpet. As the instrument has no fingering holes, the pitch can only be altered by lip pressure.
Ballast-strings A one-meter long bronze rod is suspended from a hanging frame drum by means of a metal string. When the bronze rod is struck, the instrument ' s three components vibrate simultaneously and produce a gong-like tone of extremely long duration.
Tongue drum Tongues of various sizes are sawn in the top part of a wooden box and hit with mallets or with the hands.
Mudbedsh Iraqi reed instrument.
Bagana Ancient Ethiopian lyre with ten gut strings which produce a distinct buzzing sound. The resonating body is a wooden box stretched with a goat or cow skin. It is thought to derive from king David ' s harp and is traditionally used exclusively to accompany religious songs.
Dondon „ Talking-drum“from Ghana. The two ends of this hour-glass shaped drum are covered with membranes which are connected by leather strings. By squeezing and releasing these strings with the arm a variety of pitches can be produced.
Hné Double reed instrument from Burma. Due to its very high volume and piercing sound it is mostly played outdoors. The reed is made of layered palm leaves. Hang A recently developed metal percussion instrument inspired by the steeldrums of the Caribbean. Designed and made by Felix Rohner and Sabina Schärer, Bern. Mandobahar An extremely rare Indian bass bowed instrument, similar to the dilruba, with movable frets. The bridge runs over a goat skin. Charango Small mandolin from the Andes region. Tin Whistle Irish metal folk flute. Kalimba Linguaphone from Tanzania. Metal tongues (flattened bicycle spokes or umbrella spokes) are fitted on a small wooden box. One end of them is fixed to a bridge so that the other free end can be plucked by the thumbs. Little rings are added to the metal tongues that give a buzzing timbre. Some people used the instrument to induce a trance for walking long distances. Maung A set of forty tuned gongs from Burma. Charango Plucked instrument from the South American Andes, resembling a miniature guitar with five pairs of nylon strings. It evolved in the 18th century from the contact of Spanish settlers with American Indians. Originally its resonator was made from the dried shell of an armadillo, which has recently been replaced by a wooden body.
Duduk Armenian double reed instrument made from apricot wood with a distinctive breathy timbre. Although limited in its tonal range it is capable of subtleties unequalled by any other reed instrument in the world.
Raj Nplaim A free-reed pipe made from bamboo, played by the Hmong people of Laos for entertainment and courtship.
Bass Zither Large zither made from Alpine sycamore maple. The vibrating length of the steel strings is about 1.70 m.
Chord Zither A new type of zither - designed by Stephan Micus - which allows its sixty-eight strings to be tuned in several chords.
Nohkan Laquered traverse bamboo flute used in the Japanese Noh theatre. Its unique feature is a short tube that has been fitted inside, which upsets the normal acoustic parameters and makes it overblow not in octaves, but rather in sevenths and ninths.
Some years ago while travelling in a bus in Nepal it became clear to me how the perfect music should be. It was a very strong experience. We were driving through a valley at quite low altitude, maybe four to five hundred meters. In that area the landscape was very fertile. There were rice fields, water buffalos, children, trees, parrots and colourful villages full of vibrant life. Behind all of that one could see the mountains standing seven, eight thousand meters high, an inhospitable zone where no one can live. They appeared to be a symbol of eternity and with their shining snow peaks, also of purity. These two things side by side, colourful life and the eternal pure and unreachable, sometimes one dominating, sometimes the other, struck me to be the image of perfect music. The two opposites complemented one another; the fields would not have been so interesting without the mountains, and the mountains without the fields simply too cold. In my music I intend to have both of these elements present, the love of life’s emotions and this dimension of the eternal, unreachable. Music which emphasizes only one of these aspects becomes either too sweet or too cold. The perfect balance of course, will appear for each listener to be in another place. From an interview with the magazine “Die Bühne”, Austria
Micus lässt ein so persönliches Territorium entstehen, dass es selbstlos wird und die menschlichen Elemente seiner Schöpfung irgendwie unbemerkt bleiben. In seinem Spiel spielen Namen, Etiketten und Cover, sogar Persönlichkeiten und Politik, keine Rolle mehr. Die einzige Einschränkung ist ihr Fehlen. Eine solche Musik geht über das Pathos der meditativen Handlung hinaus und blickt in die Seele der Stille, wo nur die Musik das ausdrücken kann, was alle Sprachen der Welt, die verlorenen wie die erhaltenen, nie konnten. Ihr Käfig ist nicht einer, der uns umgibt, sondern einer, den wir mit dem Versprechen der Schöpfung umgeben und mit geschlossenen Augen und offenem Herzen warten.
Rezensionen
M.Inhoffen in stereoplay 9/86: "Eine Referenzaufnahme aus dem Hause ECM: Die meditativen Klänge von Stephan Micus perlen betörend aus den Boxen. In seiner Musik verbindet der Belgier Instrumente der unterschiedlichsten Kulturkreise."
Stephan Micus
Born in 1953 in Germany, Stephan Micus made his first journey to the Orient at the age of sixteen. Fascinated by the variety of musical cultures around the world Micus has travelled in virtually every Asian and European country as well as in Africa and the Americas. Studying with local master musicians he learned to play numerous traditional instruments, many of them unknown in the Western world. However, Micus‘s intention is not to play these instruments in a traditional manner, but rather to develop the fresh musical possibilities which he feels are inherent in them. In many of his compositions, which he performs himself, he combines instruments that have never before been played together. The resulting dialogues further reflect his vision of a transcultural music.
In addition to his exclusively acoustic instruments Micus also uses his voice, at times – with multitrack recording techniques – creating whole choral pieces by himself. The words he sings usually do not carry any known meaning. However, on Athos he set to music ancient Greek prayers to the Virgin Mary, on Desert Poems he performed two original poems in English and on Life he has set to music an ancient Japanese Koan.
Many of Europe’s leading dance companies have chosen his work for their productions. He has performed hundreds of solo concerts over the last 30 years throughout Europe, Asia and the Americas.
Studies
He has studied a variety of instruments including guitar, concert-flute, sitar in Benares (India), flamenco guitar in Granada (Spain), shakuhachi (Japanese bamboo flute) and sho (Japanese mouth organ) in Kyoto (Japan), suling (Balinese flute) in Ubud (Bali), Uillean pipes in Carna (Ireland), sinding (African harp) in Gambia, dondon (talking drum) in Accra (Ghana), doussn’ gouni (African harp) in Bamako (Mali), duduki (Georgian oboe) and Georgian polyphonic choral singing in Tbilisi (Georgia), hné (Burmese oboe) in Yangon and Mandalay (Myanmar), duduk (Armenian oboe) in Yerevan (Armenia), bagana (Ethiopian lyre) in Addis Abeba, nohkan (flute of the noh theatre) in Kyoto (Japan), Bulgarian polyphonic choral singing in Plovdiv (Bulgaria), genbri (bass lute of the gnaoua) in Essaouira (Morocco) and ryuteki (flute of the gagaku orchestra) in Kyoto (Japan).
In search of musical culture and context Micus has travelled extensively, in particular in India, Japan, Indonesia, Korea, Afghanistan, Morocco, Algeria, Tunisia, Thailand, Egypt, Burma, Sri Lanka, Turkey, USA, Canada, Israel, China, Gambia, Senegal, Nepal, Ladakh, Sinkiang, Venezuela, Tanzania, Argentina, Peru, Ghana, Mali, Jordan, Georgia, Ethiopia, Pakistan, Yemen, Cuba, Lebanon, Laos, Vietnam, Cambodia, Uzbekistan, Kyrgyzstan, Cabo Verde, Mauretania, Armenia, Karabagh, Siberia, Mongolia, Namibia.
Some of the instruments used by Stephan Micus on record and in concert:
Shakuhachi Japanese bamboo flute with five holes and no mouthpiece, capable of subtleties unequalled by any other flutes in the world. Used for meditation by Zen monks.
10 and 14-string guitar A new type of guitar designed by Stephan Micus, allowing many different kinds of stringing: 10 single strings, or 7 double strings, or sympathetic strings as on a sitar, etc.
Dilruba Indian bowed instrument with 4 metal and 24 sympathetic strings and frets like the sitar. The bridge runs over a goat skin.
Zither Originally from Bavaria, with different strings and tunings.
Sho Japanese 'mouth-organ' consisting of 17 reed pipes inserted into a cup-shaped wind chest. Blowing into this wind chest while closing holes in the pipes produces a series of chords. The pipes sound whether the player breathes in or out, so a constant tone may be obtained. Has to be heated before playing.
Hammered Dulcimer American version of an instrument that is played in many parts of the world, such as Persia, China, the Balkans and the countries of the European Alps: it has 62 metal-strings across a soundbox which are struck with two small wooden hammers - one of the ancestors of keyboard instruments.
Nay Ancient Egyptian hollow reed flute.
Sattar Long necked bowed instrument used by the Uigurs, a Turkman people from Western China. It has one metal playing string and ten sympathetic strings.
Sinding West African harp with five strings made of cotton. The resonating body is a gourd stretched with a goat skin. A tin rattle may be attached to the instrument. Plucking the strings sets the rattle in motion, adding a percussive element to the instrument ' s rather hollow sound.
Bolombatto West African harp with four gut strings over a gourd resonator and an attached tin rattle. The rattle is set in motion by the simultaneous striking of the strings and the sound box. In former times shepherds also used the Bolombatto to frighten off wild animals.
Doussn' Gouni West African harp with six nylon or gut strings. The resonating body is a gourd stretched with a goat skin.
Rabab Afghan lute with 13 sympathetic strings. A folk instrument with a very earthy character and an especially „dry“tone quality. The three main gut strings are stretched across a goat skin.
Sitar Indian string instrument with 13 sympathetic strings, 6 - 7 melody strings, and a resonant body fashioned from a dried gourd. The frets are movable.
Kortholt Short German Renaissance reed instrument.
Tischharfe Table harp. A contemporary cross-breed of bowed psaltery, zither and harp. By means of a special string arrangement, the instrument can be both plucked and bowed.
Sarangi Bowed instrument from India with 3 main gut strings and 35 sympathetic strings.
Tambura Accompanying drone instrument from India.
Gender, Djegok Xylophones used in the Gamelan orchestras of Bali.
Steel drums West-Indian percussion instruments made out of old oil drums.
Stone Chimes In China, stone-instruments had been in use for thousands of years, but are nowadays neglected. Micus also plays the stone-instruments of German sculptor Elmar Daucher who has developed completely new shapes for sonorous stones.
Angklung Bamboo rattles in tuned pitch from Java and Sumatra.
Gongs From Burma, Bali, China, Korea.
Bells and Chimes From Burma and Tibet.
Bodhran Irish tambourine drum, 50 centimetres in diameter. Played with a mallet while the other hand produces varying tones by pressing on the drum skin.
Flowerpots A set of 30 ordinary flowerpots, tuned with water and played with the hands or with mallets.
Suling Hollow reed flute of the Balinese Gamelan orchestra, similar to the recorder.
Ki un Ki A wind instrument used by the Siberian tribe of the Udegeys. It is a two-metre long stalk similar to our hemlock cane. In contrast to almost all other wind instruments, the tone of the ki un ki is not produced by exhaling, but rather by inhaling. The sound is suggestive of a trumpet. As the instrument has no fingering holes, the pitch can only be altered by lip pressure.
Ballast-strings A one-meter long bronze rod is suspended from a hanging frame drum by means of a metal string. When the bronze rod is struck, the instrument ' s three components vibrate simultaneously and produce a gong-like tone of extremely long duration.
Tongue drum Tongues of various sizes are sawn in the top part of a wooden box and hit with mallets or with the hands.
Mudbedsh Iraqi reed instrument.
Bagana Ancient Ethiopian lyre with ten gut strings which produce a distinct buzzing sound. The resonating body is a wooden box stretched with a goat or cow skin. It is thought to derive from king David ' s harp and is traditionally used exclusively to accompany religious songs.
Dondon „ Talking-drum“from Ghana. The two ends of this hour-glass shaped drum are covered with membranes which are connected by leather strings. By squeezing and releasing these strings with the arm a variety of pitches can be produced.
Hné Double reed instrument from Burma. Due to its very high volume and piercing sound it is mostly played outdoors. The reed is made of layered palm leaves. Hang A recently developed metal percussion instrument inspired by the steeldrums of the Caribbean. Designed and made by Felix Rohner and Sabina Schärer, Bern. Mandobahar An extremely rare Indian bass bowed instrument, similar to the dilruba, with movable frets. The bridge runs over a goat skin. Charango Small mandolin from the Andes region. Tin Whistle Irish metal folk flute. Kalimba Linguaphone from Tanzania. Metal tongues (flattened bicycle spokes or umbrella spokes) are fitted on a small wooden box. One end of them is fixed to a bridge so that the other free end can be plucked by the thumbs. Little rings are added to the metal tongues that give a buzzing timbre. Some people used the instrument to induce a trance for walking long distances. Maung A set of forty tuned gongs from Burma. Charango Plucked instrument from the South American Andes, resembling a miniature guitar with five pairs of nylon strings. It evolved in the 18th century from the contact of Spanish settlers with American Indians. Originally its resonator was made from the dried shell of an armadillo, which has recently been replaced by a wooden body.
Duduk Armenian double reed instrument made from apricot wood with a distinctive breathy timbre. Although limited in its tonal range it is capable of subtleties unequalled by any other reed instrument in the world.
Raj Nplaim A free-reed pipe made from bamboo, played by the Hmong people of Laos for entertainment and courtship.
Bass Zither Large zither made from Alpine sycamore maple. The vibrating length of the steel strings is about 1.70 m.
Chord Zither A new type of zither - designed by Stephan Micus - which allows its sixty-eight strings to be tuned in several chords.
Nohkan Laquered traverse bamboo flute used in the Japanese Noh theatre. Its unique feature is a short tube that has been fitted inside, which upsets the normal acoustic parameters and makes it overblow not in octaves, but rather in sevenths and ninths.
Some years ago while travelling in a bus in Nepal it became clear to me how the perfect music should be. It was a very strong experience. We were driving through a valley at quite low altitude, maybe four to five hundred meters. In that area the landscape was very fertile. There were rice fields, water buffalos, children, trees, parrots and colourful villages full of vibrant life. Behind all of that one could see the mountains standing seven, eight thousand meters high, an inhospitable zone where no one can live. They appeared to be a symbol of eternity and with their shining snow peaks, also of purity. These two things side by side, colourful life and the eternal pure and unreachable, sometimes one dominating, sometimes the other, struck me to be the image of perfect music. The two opposites complemented one another; the fields would not have been so interesting without the mountains, and the mountains without the fields simply too cold. In my music I intend to have both of these elements present, the love of life’s emotions and this dimension of the eternal, unreachable. Music which emphasizes only one of these aspects becomes either too sweet or too cold. The perfect balance of course, will appear for each listener to be in another place. From an interview with the magazine “Die Bühne”, Austria
Rezensionen
M.Inhoffen in stereoplay 9/86:"Eine Referenz- aufnahme aus dem Hause ECM:Die meditativen Klänge von Stephan Micus perlen betörend aus den Boxen.In seiner Musik verbindet der Bel- gier Instrumente der unterschiedlichsten Kul- turkreise."- Tracklisting
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Ocean [Part 1]
- 2 Ocean [Part 2]
- 3 Ocean [Part 3]
- 4 Ocean [Part 4]