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- Stephan_Micus abstract "Stephan MicusBorn 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 and Panagia 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.StudiesHe 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) ryuteki (flute of the gagaku orchestra) in Kyoto (Japan), tama (talking drum) in Kafountine (Senegal).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, Iran, Tajikistan, Botswana.Contact for concert bookings please visit ECM's website, where you will find relevant e-mail address. Official Web SiteStephan Micus on Facebook: http://www.facebook.com/pages/Stephan-Micus/105728995005Some of the instruments used by Stephan Micus on record and in concert:ShakuhachiJapanese 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 guitarA 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.DilrubaIndian bowed instrument with 4 metal and 24 sympathetic strings and frets like the sitar. The bridge runs over a goat skin.ZitherOriginally from Bavaria, with different strings and tunings.ShoJapanese '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 DulcimerAmerican 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.NayAncient Egyptian hollow reed flute.SattarLong necked bowed instrument used by the Uigurs, a Turkman people from Western China. It has one metal playing string and ten sympathetic strings.SindingWest 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.BolombattoWest 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' GouniWest African harp with six nylon or gut strings. The resonating body is a gourd stretched with a goat skin.RababAfghan 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.SitarIndian string instrument with 13 sympathetic strings, 6 - 7 melody strings, and a resonant body fashioned from a dried gourd. The frets are movable.KortholtShort German Renaissance reed instrument.TischharfeTable 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.SarangiBowed instrument from India with 3 main gut strings and 35 sympathetic strings.TamburaAccompanying drone instrument from India.Gender, DjegokXylophones used in the Gamelan orchestras of Bali.Steel drumsWest-Indian percussion instruments made out of old oil drums.Stone ChimesIn 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.AngklungBamboo rattles in tuned pitch from Java and Sumatra.GongsFrom Burma, Bali, China, Korea.Bells and ChimesFrom Burma and Tibet.BodhranIrish tambourine drum, 50 centimetres in diameter. Played with a mallet while the other hand produces varying tones by pressing on the drum skin.FlowerpotsA set of 30 ordinary flowerpots, tuned with water and played with the hands or with mallets.SulingHollow reed flute of the Balinese Gamelan orchestra, similar to the recorder.Ki un KiA 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-stringsA 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 drumTongues of various sizes are sawn in the top part of a wooden box and hit with mallets or with the hands.MudbedshIraqi reed instrument.BaganaAncient 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.HnéDouble 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.HangA recently developed metal percussion instrument inspired by the steeldrums of the Caribbean. MandobaharAn extremely rare Indian bass bowed instrument, similar to the dilruba, with movable frets. The bridge runs over a goat skin.Tin WhistleIrish metal folk flute.KalimbaLamellophone 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.NdingoLamellophone from Botswana. It is similar to the Kalimba, but the ndingo´s metal tongues are made of thicker iron pieces which are tuned with small pieces of wax. Traditionally musicians play the ndingo over tin cans for better resonance. For Micus´recordings a wooden box has been attached to the instrument for this purpose.Maung A set of forty tuned gongs from Burma.CharangoPlucked 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. DudukArmenian 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 NplaimA free-reed pipe made from bamboo, played by the Hmong people of Laos for entertainment and courtship.Bass ZitherLarge zither made from Alpine sycamore maple. The vibrating length of the steel strings is about 1.70 m.Chord ZitherA new type of zither - designed by Stephan Micus - which allows its sixty-eight strings to be tuned in several chords.Chitrali sitarLong necked lute with frets from the Chitral area of Western Pakistan. Made from mulberry wood it has five metal strings.GenbriA bass string instrument with three gut strings from Marocco.It has a wooden resonance body over which a camel skin is streched. Hitting this skin while plucking the strings adds a percussive element to the playing. Played by the Gnaur, descendents of former black slaves, the instrument which has its roots in Subsaharan West Africa is traditionally used only in collaboration with large metal castanets and human voices for healing ceremonies, which usually last through a whole night.RewabLong-necked lute of the Uigur people from Xinjiang, Western China.Traditionally seven metal strings run over a snake skin which gives the instrument a special resonance. Micus plays the rewab with three gut strings.NohkanLaquered 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”, AustriaDiscographySnow Stephan Micus: douss’n gouni, duduk, maung, gongs, tibetan cymbals, bavarian zither, sinding, steel-string guitar, hammered dulcimers, charango solo, nay, bass duduk, voicesECM 2063 CD 176 2533On the WingStephan Micus: sattar, mudbedsh, classical guitar, nay, shô, hné, suling, Tibetan cymbals, gongs, hang, 14-string guitar, steel string guitar, shakuhachi, mandobahar, sitarECM 1987 CD 985 4516LifeStephan Micus: bagana, Balinese and Burmese gongs, Bavarian zither, bowed bagana, dilruba, dondon, kyeezee, maung, nay, sho, Thai singing bowls, Tibetan chimes, Tibetan cymbals, tin whistle, voiceECM 1897 CD 981 8811Towards the WindStephan Micus: duduk, bass duduk, kalimba, steel-string guitars, 14-string guitar, shakuhachi, dondon, sattar, voiceECM 1804 CD 159 453-2Desert PoemsStephan Micus: voice, sarangi, sinding, shakuhachi, dilruba, dondon, steel drums, doussn’ gouni, kalimba, flowerpots, percussion, sattar, nayECM 1757 CD 159739-2The Garden Of MirrorsStephan Micus: voice, bolombatto, steel drums, sinding, bowed sinding, shakuhachi, suling, nay, tin whistles, percussionECM 1632 CD 537162-2 AthosStephan Micus: voice, Bavarian zither, sattar, shakuhachi, suling, flowerpots, nayECM 1551 CD 523292-2To The Evening ChildStephan Micus: steeldrums, voice, dilruba, suling, kortholt, nay, sindingECM 1486 CD/MC 513780-2/4Darkness And LightStephan Micus: dilruba, guitar, kortholt, suling, ki un ki, ballast-strings, tin whistle, balinese gong, shôECM 1427 CD/LP/MC 847272-2/1/4The Music Of StonesStephan Micus: shakuhachi, tin whistle, stone chimes, resonating stones, voiceElmar Daucher, Günther Federer, Nobuko Micus: resonating stonesECM 1384 CD/MC 837750-2/4Twilight FieldsStephan Micus: flowerpots, hammered dulcimer, Bavarian zither, shakuhachi, nayECM 1358 CD/LP/MC 835085-2/1/4OceanStephan Micus: voice, shô, shakuhachi, nay, Bavarian zither, hammered dulcimerECM 1318 CD/LP/MC 829279-2/1/4East Of The NightStephan Micus: 10- and 14-string guitars, shakuhachiJAPO 60041 CD/LP 825655-2/1Listen To The RainStephan Micus: guitars, suling, shakuhachi, dilruba, tambouraJAPO 60040 CD/LP 815614-2/1Wings Over WaterStephan Micus: acoustic guitar, nay, sarangi, voice, flowerpots, spanish guitar, Bavarian zither, sulingJAPO 60038 CD 831058-2 LP 2366038Till The End Of TimeStephan Micus: table harp, kortholt, Bavarian zither, guitar, voiceJAPO 60026 CD 513786-2 LP 2360026KoanStephan Micus: shakuhachi, Bavarian zither, gender, sarangi, rabab, bodhran, angklung, kyeezee, Burmese bells, guitar, voiceECM 804SP CD 839309-2 LP 2305804 MC 3105804ImplosionsStephan Micus: voice, guitar, sho, Thai flute, sitar, rabab, Bavarian zither, shakuhachiJAPO 60017 CD 829201-2 LP 2360017".
- Stephan_Micus activeYearsStartYear "1976".
- Stephan_Micus background "solo_singer".
- Stephan_Micus birthDate "1953-01-19".
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- Stephan_Micus recordLabel ECM_Records.
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- Stephan_Micus wikiPageWikiLinkText "Micus".
- Stephan_Micus wikiPageWikiLinkText "Stephan Micus".
- Stephan_Micus background "solo_singer".
- Stephan_Micus birthDate "1953-01-19".
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- Stephan_Micus name "Micus, Stephan".
- Stephan_Micus name "Stephan Micus".
- Stephan_Micus notableInstruments Kalimba.
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- Stephan_Micus notableInstruments "10".
- Stephan_Micus notableInstruments "Vocals".
- Stephan_Micus occupation "Singer".
- Stephan_Micus occupation "musician".
- Stephan_Micus origin "Germany".
- Stephan_Micus shortDescription "German composer".
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- Stephan_Micus yearsActive "1976".
- Stephan_Micus description "German composer".
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- Stephan_Micus comment "Stephan MicusBorn 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.".