- "When the light gradually fades, only minutes after in vain begins, the
quick, interlaced downward lines starting from the outset cease, while
soft, lying tones remain, dodging each other by way of quarter-tone
intervals. As in Violinkonzert, two harmonic starting points are
contrasted: on the one hand, extracts of pure overtone series, on the
other hand, chords in the tempered piano mood made of thirds, fourths,
and fifths. The difference between these two tone system blurs after the
end of the second dark phase with a renewed acceleration of the tempo
in the increasing density of the sound. The hearing experience of the
overall sound is decisive for Haas:"I don't trust in sound analyses nor
in row charts", he explains, examining the detailed computer analyses of
real sounds. Georg Friedrich Haas really has a bent for numbers; the
implicit symbolism of numbers applies in vain, even to the relation
between the size of orchestration (24 instruments in the dark, plus the
director in the light) and the microtonal 24:25 interval." (Bernhard
Günther)
Georg Friedrich Haas joined
Columbia University’s composition faculty as a full-time tenured
professor in September 2013. This appointment promises to sustain and
enhance our composition program’s reputation as one of the strongest,
most progressive, and most international such programs in the United
States.
Haas has emerged as one of the major European composers of his
generation. His music synthesizes in a highly original way the Austrian
tradition of grand orchestral statement with forward-looking interests
in harmonic color and microtonal tuning that stem from both French
spectralism and a strand of American experimentalism. The result is an
exploratory, uncompromising music that is also sensuously attractive.
His music appeals to unusually diverse constituencies, from avant-garde
composers for its microtonal investigations to casual listeners for its
spacious forms and euphonious harmony.
Haas’s hour-long in vain, for 24 musicians, is widely
regarded as one of the most original and path-breaking new compositions
in the past quarter century. Another important work is limited approximations, for
orchestra and 6 microtuned pianos. He has composed several operas and
concertos and a variety of chamber works, including seven string
quartets. He has received numerous national and international prizes,
including the Kompositionspreis of the SWR Symphony Orchestra (2010) for
limited approximations and the Grand Austrian State Prize for Music
(2007), the country’s highest artistic honor.
Professor Haas comes to Columbia after having held dual
professorships at the Hochschle für Musik in Basel, Switzerland, and the
Kunstuniversität in Graz, Austria.
null I think so. I didn't get to the page you meant until @BN posted his link. Latin Disco was the one that lept out at me... but I can never remember which cds I bought back when Stearns had a shop in London (still sadly missed all these years later).
The Rose Ensemble conducted by Jordan Sramek, Stephen O’Malley, Don
McGreevy, Mike Gamble and Jamie Saft on guitars, Marco Benevento on Pipe
and Rheem Organs, Reed Mathis on bass and Bobby Previte himself on
drums, organs and synthesisers.
A choral mass in nine movements. An essay on the short life of a
lonely sheep. A dark parable about the death of the individual. A heavy
metal requiem.
Bobby Previte teams up with writer/director Andrea
Kleine, and visual artist Anna Kiraly to create a highly combustible
fusion of art, theater, and music.
Previte's doom metal trio
crashes into the mystical voices of The Rose Ensemble in a
re-imagination of both Guilliaume Dufay's 15th century choral epic,
Missa Sancti Jacobi, and Olivier Messiaen's organ masterwork, La
Nativitié du Seigneur. Eerie shadow puppet films creep across Kleine's
dark story about the dueling desires of conformity and individuality - a
critical examination of the so-called separation of Church and State.
MASS - a theater piece about music. A live band invading a stage play. The future invading the past.
Taken from the album 'Hubris' released as LP, CD and Download, Players: Oren Ambarchi, Crys Cole, Will Guthrie, Arto Lindsay, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman
Discovered. . . - Here's a real treat from 2008 for everyone with a soft spot for the roots of electronic music:
Arne Nordheim is considered among the leading composers of
contemporary music. For a long time the general belief was that he began
his electroacoustic work during his stay in Warsaw. Now, however, it
has been documented that Nordheim started his experiments with
electrophonic music much earlier in the 1960s, with the help of sound
technicians in the studios of NRK (the Norwegian Broadcasting
Corporation). All the music Nordheim made for the productions of the
Radio Theatre he himself assumed was lost, but the material has been
discovered in the archives of NRK, labelled as “sound effects”.
These early works are typically Nordheim. In the radio drama studio
he was given the opportunity to develop the ideas which later became the
well known electroacoustic works Colorazione, Warszawa and Solitare,
groundbreaking pieces that sat the standard for this genre. Nordheim
sought “the sound never heard before”, and he played with the technical
equipment in order to make a musical laboratory that produced exactly
the tones and noises he was looking for. He used the electronics
consciously and carefully, and was very selective in his choices of
sound and effects to the radio productions.
Nordheim does not belong to any particular school of composition;
instead he has let himself be guided by his own feeling of sound and
form. What is most important for him is that the music has purpose and
meaning. Nordheim says that he “always writes the same piece” – he has
an easily recognizable signature, which also is found even in these
early works. When the unprepared Norwegian audience was presented with
the European electroacoustic sound, they were shocked – and many
performers refused to play the music. Nordheim fought for recognition
from within the composer’s organizations and did not mind dealing with
contemptuous reviews of his own music. On one occasion he told an editor
that one of his reviewers should never be allowed to express an opinion
on contemporary music again.
While one probably won’t find this on any top 100 charts in this or
any other universe, Megasonic Chapel is a single 80-minute
improvisation, very subtle, shimmering and beautiful, never harsh or
abrasive, in fact at times one might even forget that it’s on it gets so
quiet, yet it functions just fine as background music for the listener
who doesn’t want to focus on it, yet if one chooses to focus there are a
lot of exciting and emotional moments, with subtle evolutionary
transitions that link one section to the next.
This is just too good to be left to possible "listening thread oblivion"
Andy Diagram: Trumpet through effects and loops. Richard Harrison: Drums and Percussion Max Eastley: The Arc
The second Spaceheads CD with sound sculptor Max Eastley playing the Arc, an instrument of his own invention. The
tracks were recorded live in two places. The shed, a very small club in
Yorkshire and the Mimi festival on an island just off Marseille Max
Eastley's Arc is a nine foot long instrument with one string, stretched
over wood & played with a bow or glass rods. The pitch is changed
by flexing the wood. The string can also be shortened with clips. It is
then fed into electronic effects.
^^^Thumbs Up^^^ Playing now on a steamy London morning. Thanks @Brighternow The metal just under his left hand is a hing so that he can fold the thing and travel with it in a case so he has to re-string the monochord for each performance.
Shall we say re-discovered? Stumbled across the Dancing Cat/George Winston label - so in this era of paucity you will find a treasure rove of Hawaiian Slack Key artists there, and George Winston. Anyhow, there are some great albums there including two sampler type collections. https://www.emusic.com/label/52852/Dancing-CatGeorge-Winston
Visage 2 (1955-56) 10:02
for brass, piano and percussion Musiques Nouvelles
Jean-Paul Dessy, conductor
First recording
Après presque rien (2004) 31:47
for fourteen instruments and two samplers Art Zoyd, samplers
Musiques Nouvelles
Jean-Paul Dessy, conductor
First recording
Madame de Shanghai (1996) 15:22
for three flutes and digitally stored sounds Li Ping Ting as “Madame Shanghai”
Scottish Flute Trio
I've been searching but found nothing about this or the other numbers.
I found this excellent release on Phono Suecia from 2011 (or 1994) on eMu:
- Sweden’s Åke Parmerud, born in 1953, has been professionally active as a composer since his early twenties. He studied at the Gothenburg Music Conservatory, after having worked as a professional photographer from 1972 to 1974. His list of works includes instrumental music as well as electro-acoustic compositions, multimedia, video and music for theater and film. It is his electro-acoustic music, however, that has gained international interest as well as numerous festival prizes, including awards at the Bourges Festival (12 total, first in 1978), Prix Ars Electronica (1990, 1994), Prix Noroit (1991), Metamorphosis Festival (Belgium), and the Stockholm Electronic Arts Award (1993). He has released 2 CDs and 3 LPs, one of which earned a Grammy award for the best classical CD in Sweden (Invisible Music, 1995).In 1997, his piece "Grains of Voices" was performed in the New York headquarters during the United Nations day; the same piece was nominated in 2006 for the Nordic Music Award.
Parmerud has composed a number of works commissioned by international institutions in Holland, France, Germany, Norway and Denmark, and also works as a stage performer, doing live electroacoustic music with different kinds of interactive instruments. Other projects include artistic direction for large audiovisual events, concert design, and sound and software designer for innovative interactive audio/visual installations, including his own interactive installations. Parmerud has also recently started a dance/media company called "The Seventh Sense" together with Canadian/Swedish choreographer Mireille Leblanc, creating interactive sound/video performances (see www.youtube.com/akeparmerud). He is a member of The Royal Academy of Music since 1998, and teaches computer music and composition at the Lindbladstudio of Gothenburg University.
- is a professional chamber choir committed to the a cappella repertory, the creation of contemporary works, and oratorio and opera. Founded twenty five years ago by Laurence Equilbey, it now appears in the leading concert halls and festivals in France and around the world. Accentus was voted "Ensemble of the Year" at the Victoires de la Musique Classique in 2002, 2005, and 2008, and its extensive discography, ranging from early Baroque to Dusapin and Manoury, has received many awards from the musical press. The album "Transcriptions", which has sold more than 130,000 copies, was nominated for the Grammy Awards in 2004.
Just Dropped - Pedro The Lion/Phoenix. I was worried when it didn't show up yesterday, but much to my delight, it's here now. Enjoy these occasional treasures. Cheers from a snowy Boston.
And here are the three titles available on both eMusic and Bandcamp if you have credits you are trying to burn through before cancelling your subscription... ;-)
Comments
Edit: search Klangforum Wien for several very low priced albums
?
Search results page: https://www.emusic.com/search/rough guide/albums
I think so. I didn't get to the page you meant until @BN posted his link. Latin Disco was the one that lept out at me... but I can never remember which cds I bought back when Stearns had a shop in London (still sadly missed all these years later).
- Bobby Previte 2016 - RareNoiseRecords
Mary Halvorson Quartet : Paimon: The Book Of Angels Volume 32
ETA:
Players: Oren Ambarchi, Crys Cole, Will Guthrie, Arto Lindsay, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman
- Here's a real treat from 2008 for everyone with a soft spot for the roots of electronic music:
These early works are typically Nordheim. In the radio drama studio he was given the opportunity to develop the ideas which later became the well known electroacoustic works Colorazione, Warszawa and Solitare, groundbreaking pieces that sat the standard for this genre. Nordheim sought “the sound never heard before”, and he played with the technical equipment in order to make a musical laboratory that produced exactly the tones and noises he was looking for. He used the electronics consciously and carefully, and was very selective in his choices of sound and effects to the radio productions.
Nordheim does not belong to any particular school of composition; instead he has let himself be guided by his own feeling of sound and form. What is most important for him is that the music has purpose and meaning. Nordheim says that he “always writes the same piece” – he has an easily recognizable signature, which also is found even in these early works. When the unprepared Norwegian audience was presented with the European electroacoustic sound, they were shocked – and many performers refused to play the music. Nordheim fought for recognition from within the composer’s organizations and did not mind dealing with contemptuous reviews of his own music. On one occasion he told an editor that one of his reviewers should never be allowed to express an opinion on contemporary music again.
- Presto Classical.
Andy Diagram: Trumpet through effects and loops.
Richard Harrison: Drums and Percussion
Max Eastley: The Arc
The tracks were recorded live in two places. The shed, a very small club in Yorkshire and the Mimi festival on an island just off Marseille
Max Eastley's Arc is a nine foot long instrument with one string, stretched over wood & played with a bow or glass rods. The pitch is changed by flexing the wood. The string can also be shortened with clips. It is then fed into electronic effects.
Max Eastly playing The Arc
The metal just under his left hand is a hing so that he can fold the thing and travel with it in a case so he has to re-string the monochord for each performance.
https://www.emusic.com/album/144208530/Bernard-Herrmann/Psycho
for brass, piano and percussion
Musiques Nouvelles
Jean-Paul Dessy, conductor
First recording
Après presque rien (2004) 31:47
for fourteen instruments and two samplers
Art Zoyd, samplers
Musiques Nouvelles
Jean-Paul Dessy, conductor
First recording
Madame de Shanghai (1996) 15:22
for three flutes and digitally stored sounds
Li Ping Ting as “Madame Shanghai”
Scottish Flute Trio
Parmerud has composed a number of works commissioned by international institutions in Holland, France, Germany, Norway and Denmark, and also works as a stage performer, doing live electroacoustic music with different kinds of interactive instruments. Other projects include artistic direction for large audiovisual events, concert design, and sound and software designer for innovative interactive audio/visual installations, including his own interactive installations. Parmerud has also recently started a dance/media company called "The Seventh Sense" together with Canadian/Swedish choreographer Mireille Leblanc, creating interactive sound/video performances (see www.youtube.com/akeparmerud). He is a member of The Royal Academy of Music since 1998, and teaches computer music and composition at the Lindbladstudio of Gothenburg University.
Here's a reference.