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Tibetan Bells 3: The Empty Mirror

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Tibetan Bells 3: The Empty Mirror

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Editorial Reviews

Product Description

By the expression of subtle harmonic relationships, Tibetan Bells III, quickly transcends the temporal domain. The resonance of the Tibetan bell tones, far richer than any synthetically produced sound, builds an increasingly fine perception and subtle comprehension in the listener. The purity of tone and long haunting echoes of Tibetan Bells III create an audible curtain permitting the listener to perceive a universe which extends beyond conventional limits. The spectacular duration and purity of the bell tones can be attributed to more than their composition. Wolff and Hennings are the sounding boards through which we can approach a visionary realm.

About the Artist

Tibetan Bells III completes the musical odyssey of Henry Wolff and Nancy Hennings, which began in 1969-1970 in India and Nepal. There, under the tutelage of the Gyalawa Karmapa, head of the Kagyu, or, Red Hat branch of Tibetan Buddhism, the artists began their approach to the cosmic vision embodied in Buddhist teachings. Wolff and Hennings' first album, Tibetan Bells, created a stir when it was released in 1971. It represented a pioneering style of music, unfamiliar to an audience experienced only in Western modes of composition and instrumentation. In 1978, they recorded Tibetan Bells II in San Francisco. The subsequent contribution by Wolff and Hennings to the Philip Glass soundtrack for Koyaanisquatsi, an avant-garde film, brought the bells before a new audience. In 1983, the artists released Yamantaka with the collaboration of Mickey Hart, a percussionist with The Grateful Dead. Less traditional in its use of the bells, it was an essential step in the realization of Tibetan Bells III. For Wolff and Hennings, this is the embodiment of their visionary quest to explore the limits of the space/time continuum.

Tibetan Bells 3: The Empty Mirror