Die Zeit Vor Dem DJ Und Seinem Laptop Gotthard 2007 Cw

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Die Zeit vor dem DJ und seinem Laptop Gotthard 2007 cw. Als die moderne Technomusik Anfang der 90-Jahre ihren medialen Siegeszug zündete und sich die grossen Publikumsmassen darauf stürzten, um ihre hedonistische Tanzwütigkeit auszuleben, hatten einige Pioniere schon längst langatmige Vorarbeit geleistet. Einer unter ihnen war der von Musikproduzenten oft als Vorbild genannte Klaus Schulze. Der Berliner mit Jahrgang 1947 begann mit der Musik auf sehr bodenständige Art, als Schlagzeuger aber lernte er die Rhythmusarbeit von der Pike auf und spielte in diversen Bands mit. Er wandte sich von den verschiedenen Forma- tionen jedoch bald ab und wählte den Sololauf, weil er „von den Diskussionen Klaus Schulze’s Studio in den Gruppen, welche zeitlich oft länger andauerten, als die Zeit, in welcher © 2002 Georg Abts wir zusammen Musik machten“, genervt war (Schulze in einem seltenen In- terview aus dem Jahre 2004). Beeindruckt durch musikalische Minimalisten wie Steve Reich und geschult in elektronischer Klangerzeugung führte er zusammen mit der Band ‘Tangerine Dream’ alsbald als Speerspitze die sogenannte Berliner Schule an. Diese zeichnete sich durch lang andauernde, statische Improvisationen aus, in welchen Klangveränderungen in Zeitlupe erfolgen - ganz im Gegensatz zu ihren ebenfalls universitär geschulten amerikanischen Kollegen, welche eine stark strukturierte Musik bevorzugten. Beiden ist jedoch gemein, dass sie Töne und Klangbilder produzierten, welche selten etwas mit den überlieferten Tonlehren zu tun haben. Damit erwuchsen sie als Pioniere der elektronischen Musik - heute auch Techno bzw. Ambient genannt. Laptops existierten Anfang der 70-Jahre nicht, und DJs spielten ihre Platten ab, aber eine nach der anderen, wenn möglich mit sauberem Übergang zwischen den einzelnen Stücken, nur bestimmt nicht miteinander wie heute. Der Komponist und Klang- tüftler Klaus Schulze benutzte für seine hypnotischen Elektro-Klangteppiche sperrige Geräte wie Synthesizer, Sequenzer, Keyboards, Echogeräte und diverse Filter. Schulzes ‘Big Moog Modularsystem’ wog z.B. damals rund 100 Kilo, und dennoch absolvierte er Live-Auftritte, wenn auch nicht gerade oft und schon gar nicht mehrere pro Abend oder Wochenende. 1980 spielte er mit ‘Dig it’ das erste vollständig digital produzierte Album überhaupt ein - mehr als 2 Jahre vor der Produktion der ersten CD (Compact Disc). Und später (1986) setzte er vermehrt auf Midi-Technik und Sampler, Instrumente, wie sie heute immer noch benutzt werden. Böse Zungen haften dieser elektronischen Musik das Etikett von Lift- oder Hintergrundmusik oder gar New-Age (Musik für esoterische Übungen) an, unbestritten ist der Einfluss auf aktuelle elektronische Trendsetter wie Aphex Twin oder Orbital. Unlängst erhielt Klaus Schulze die Rechte an seinen Frühwerken zurück und veröffentlicht diese nun über einen Zeitraum von mehreren Jahren in originalgetreuer Aufmachung und mit authentischer Klangüberspielung. Nebst diesen Deluxe-Editions ist heuer mit ‘Kontinuum’ das neueste Studioalbum des Klangtüftlers erschienen - und spaltete wieder mal die Hörgemeinde. Klaus Schulze, Diverse Veröffentlichungen, SPV/K-tel 24 TAXI Nr. 4 9.

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