With the Sacre Edit CD, Stefan Goldmann delivers a radically new approach to editing and electrifying orchestral music: A minimalistic cut up on the edges of perception celebrates one of the most thrilling works in orchestral music – Igor Stravinsky’s Le Sacre Du Printemps. Staying 100% true to the original score, the edit moves through over a dozen of classic recordings of the work in 146 individually treated segments. Nothing has been left out, nothing has been added. Still everything changes totally every few seconds. A statement for authenticity in an environment were everybody produces edits to alter originals to suit ephemeric functional needs. The result: a ground breaking version of a classic and a totally new take on the art of editing.
Spiegel Online: Hört man sich das Stück auf dem Kopfhörer an, hat man die interessante Erfahrung, durch immer neue Klangräume zu wandern, während die Musik die gleiche zu bleiben scheint. (Tobias Rapp)
Electronic Beats: Stefan Goldmann’s version highlights the subtleties of each recording.
Jorge Socarras: Ultimately what the edit achieves seems a harmonious parallel to Stravinsky’s efforts, a technical and conceptual reiteration of what the music effects: the demand that we listen to each note as if it has never been played/heard before.
LWE: Stefan Goldmann’s edit combines subtle layers of tone in ways that jar and frustrate, because no orchestra should be able to combine them in one sitting. Goldmann’s track is creepy. The familiar feeling of hearing an orchestra perform, subverted minute by minute by a collision of sounds that shouldn’t quite be with one another, gets under the skin. (Colin Shields)
Resident Advisor: After all these levels of detachment, it is Stravinsky whose voice remains. (Joshua Meggitt)
TAZ die tageszeitung: Konzentriert man sich ganz und gar auf das Stück, fallen Details auf, die normalerweise keine Rolle spielen. Sollte das Rätsel die Spitze an Sinn sein, dann hat Stefan Goldmann ein höchst sinnvolles Kunstwerk geschaffen. (Tim Caspar Boehme)
The Wire: The work is so subtle, it takes a number of hearings to discern exactly what’s going on. After a while, your ear begins to acclimatise to the microscopic alterations in background noise, studio acoustics and up-or down-ratcherings of intensity.