ROYAL FESTIVAL HALL VOL. 2

Volume 2

Shaped again in the concept of one empiric construction followed by complementing material, Royal Festival Hall Vol.2 resembles this time in Ancient Ambiance the masterwork and the main frame of almost every detail possible to be elaborated or to be argumented (unlike Vol.1, where, as I've said over there, the secondary-sized piece comes surprisingly superior to the epic). There is no issue of a contrast, there is the demonstration of force, of power, of language and of sophisticated style to its utmost form. Complete, concise, stretched only towards the imaginative infinite, the piece is a lush judgment, a close to perfect call and a generic, but substantial credit towards the sampling style. Acute, minute, still not a divagation of the emotional trend, actually quite the opposite, really an immense portrait of musical sensations (instead of mechanical punctuations) that made a surprising touch even for me. Why? Because sampling normally reduces to the experiment of layers and any exterior results are strictly linked to the success of that experiment's range. Here, besides the usual associative processes of the style, we receive the extremely comfortable feeling of complete comprehendible ideal and relation and of the magic of "fluid emerging from still canvas". This ambiance driven (though not entirely) construction isn't an "ancient" source, but it will be vintage, for it is a peak of general greatness. Just like the two entries from Vol.1 (if not even above), this piece stands as the strong definition and as the key reference. In fact, nothing else than a rigorous third part of the concept that goes essentially flawless. Diversificated with forty-four minutes, three forms go as the grand reference: the abstract of sampling, the succumbed sound-experimentation of sampling and the hectic dynamism of sampling. That mixture shattering glasses.

Lower and simpler are the two complementary efforts, bringing standards once more upon stable fixations. Most likely the contrast between overpower and suitable short-stream makes Vol.2 "a centimeter below" the first. Notable in both Anchorage and Variations on B.F. is the still projection of one theme, embracing nonetheless the variated orientation. First one is slow, second extravagant. B.F. considers the stream a silent merger of connotations.

The second volume of the Royal Festival Hall notable project (presumably the second concert from which the material was later pronounced and defined) is an exploration of melody and of mood. Less of didact or cluster event, like the style compendium that was Yen from Vol.1, the music illustrates and invigorating side of the sampler manifest, one denoting the passion of constructing, of realizing, of insinuating more deeply and the will of a fluent relation instead of a precise call. A momentum scape instead of the plastic infinity to which others stay appointed. A crystal sensation that suites the spirit, in its journey to discover, to decipher, to comprehend, to be ravished and to be educated. Mostly the main work of the volume carries the role, the effort and the accomplishment of the desire stage, but the pieces of background explain as well the striking force of emitting light instead of controlling light. More melodic means more accessible, yet it is nonetheless a qualitative accessibility. Vol.2 would please the listener ready to be moved by music, not to move the music itself and would just satisfy the mind ready to interact with the functions and the interior music annotations. Meanwhile Vol.1 remains the prominent feature of Schulze sampler music obscurantism, making dimensions closed, still preferably artistically. In the end, it would be essential to grasp both occasions into the viewpoint experience and the attitude approach, as a portretization of one volume in the absence of the other one's image, would weaken the "Royal Festival Hall" musical universe.

Ending chapter

The rather cultural than casual event of Klaus Schulze's Royal Festival Hall reflections are a highly important asset of the sampler years, of the musical evolution state and of the choices' regards. Quality, music, emotion, purity, stability, devotement and satisfaction signal a powerful work that, if ignored, becomes a tragic outlook and an incomplete phase of knowledge, desire , connotation..Four stars both volumes for music that, in case of one seeking it, will reward the search and the expectation. I've looked into the frames of it. And saw not vanitous play. But master lines. In the typical case, enjoyement.

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