- "The album’s title derives from the mould-breaking work of Edgard Varèse.
Composed in Paris between 1929 and 1931, Ionisation was written for 13
players (reduced here to six in an arrangement) and melded a huge array
of instruments from all the percussion families – whether made of wood,
metal, skin or plastic – into a single sound, striated with shimmering
detail.
The remainder of the album gathers up 20th-century American classics,
several of them written in the wake of Ionisation. Henry Cowell composed
Pulse in 1939, Lou Harrison’s The Song of Quetzalcoatl and John Cage’s
Third Construction both date from 1941 and the Toccata by Carlos Chávez from
1942. Each has its own, muscular idiom, and each uses the available,
kaleidoscopic variety of instruments in its own original way. The
polymetric structure of Pulse or Third Construction, the use of Asian
instruments, the focus on sounds from beyond the classical sphere, and
the oscillating rhythms that seem to imitate the freedom of
improvisation all appear to be precursors of developments that gained
recognition during the 1970s and 1980s, and especially in the work of
Minimalist composers such as Steve Reich, for whom Music for Pieces of
Wood (1974) was another breakthrough piece, making rhythmically complex
music from the simplest possible means. Indeed, rebellion from
established European norms of structure and harmony is a signal
characteristic of every work on the album.
Over the last 20 years, the Tetraktis Ensemble has made a name for
itself in Italy and abroad as a percussion group of particular
virtuosity, playing a diverse repertoire that embraces the classical
universe (Bartók, Cherubini, Stravinsky), jazz and pop.
This fascinating programme brings together some of the most iconic
percussion music by Varèse, Reich, Cowell, Chávez, Harrison and Cage,
written in the 30's and 40's of the 20th century.
The composers on this disc share their American identity, deriving their
inspiration from such diverse sources as medieval music, African
culture, astrophysics, Latin-American and Mexican music.
The Italian ensemble Tetraktis is one of the most innovating and
ground-breaking percussion groups of today. They work closely together
with contemporary composers and freely adopt influences from other
musical cultures like Rock, Pop, Jazz and Dance. They regularly perform
in festivals all over the world."
Composers: Michael Harrison, John Cage, Donnacha Dennehy
Performers: Sophia Subbayya Vastek, Michael Harrison, Nitin Mitta, Megan Schubert
Pianist
Sophia Subbayya Vastek lives in the intersections – struggling to know
her different cultural backgrounds, reveling in the questions, embracing
the space between music now and before, and living squarely in the
crosshairs of her wildest and most intimate emotional selves. Histories, her debut album, lives there.
With Sophia’s Indian heritage as a starting point, Histories is
an exploration of, and homage to, the idea of our individual stories –
those that make up our whole self, and which are unseen and unknown by
others. These stories are often painful, and often beautiful.
Included on Histories are the first studio recordings of two works by Michael Harrison, both recorded on a piano in just intonation. The first, Jaunpuri, is a composition based on a traditional Indian raga and
rare, old vocal composition. The work combines Western compositional
structures, notation, and harmony with the basic structures and
materials of Indian classical music, including raga (a melodic archetype), tala (rhythmic cycle), bandish (fixed melodic composition), gamak (melodic embellishments), and taan (virtuosic riffs).
Harrison’s other work, Hijaz Prelude, combines modal harmonies in raga Hijaz Bhairav (also known as the Hijaz mode in Arabic music) with a Western, arpeggiated keyboard figuration.
In between the works by Michael Harrison lies John Cage, who provides the spiritual glue, and Donnacha Dennehy’s pulsing Stainless Staining –
an expansion of the overtone series for piano and backing tape. In
Dennehy’s work, the repetitive structures and rhythms have the effect of
creating a high-energy mantra, one that might be sung or spoken with
the most ecstatic of convictions.
In many ways, Histories is an exploration
of a personal grief, but it’s also a kind of ‘call to prayer’. Each
track is a marker and the space between, the thread and continuing
narrative. Everyone has stories. Histories marks and honors them.
Baltimore-based Vastek, is a well-traveled
performer and visual artist. With composer David Ibbett, she is a
co-founder of Music of Reality, a multi-disciplinary series that
connects the world of scientific discovery and research with musicians
and artists.
- "We have developed some pretty sophisticated ways of using language to
describe music. But music remains such a slippery, elusive thing that
we often find ourselves approaching it sideways—through a kind of
linguistic sleight of hand. We use the language of the eye to describe
this language of the ear: the names of major musical movements were
taken from the visual arts (Classicism, Romanticism, Impressionism,
Expressionism, Minimalism). And the metaphor of color has been used, to
great effect, to talk about music for centuries, at least. In fact, the
ancient classical music traditions of India are built on this metaphor:
the word “raga” literally means “color.”
When the PRISM Quartet decided to commission a body of work built
around the idea of musical colors, it seemed a natural next step for a
group that has already created a substantial and diverse repertoire of
music built around the almost infinitely variable sounds of the
saxophone family. The sax has a long tradition in classical music, and
rock, and even South Indian music; but its most famous players have been
jazz musicians—from Coleman Hawkins to Charlie Parker to John
Coltrane—whose sound was built around the so-called “blue” notes that
are part of the fabric of jazz. So the members of the quartet had a deep
connection with the idea of tone colors. But that wasn’t the Color
Theory moment of genius. No, that came when PRISM decided to ask
composers Steven Mackey, Ken Ueno, and Stratis Minakakis to write for
the combination of saxophone quartet and percussion. There is no more
kaleidoscopic palette in the instrumental world than in the percussion
section—where over the years composers have placed such sonic oddities
as bird calls, a record player, automobile parts, and the piano.
Color Theory pairs PRISM with two percussion-based ensembles: Sō
Percussion, the New York-based quartet whose definition of “percussion”
is liberal enough to include teacups, twigs, and fuzz; and Partch, the
California-based ensemble that plays mid-20th century instruments
designed by Harry Partch, whose 42-note-to-the-octave tuning system
operates with a completely different sonic palette."
- "The
Jasper String Quartet has spent a decade performing premier works old
and new at top concert halls around the world, but for the creation of Unbound,
they looked close to home for inspiration. With an equal mix of men and
women, the members of the Quartet sought to create an album that
represents themselves and their community. Using Judd Greenstein’s “Four
on the Floor” as a centerpiece — a virtuosic, dynamic piece that requires togetherness and spirit to perform — the
Quartet built a collection of moving, post-genre, and technically
impressive works by male and female composers close to their generation.
An album for and reflective of right now, Unbound is unbound by convention, yet retains the performance quality expected of a traditional classically trained string quartet.
Releasing Unbound on
both New Amsterdam Records and Sono Luminus is an extension of the
album’s ideals. New Amsterdam is celebrated for its commitment to
releasing expertly performed post-genre music, and Sono Luminus is
praised for its meticulous recording process that pulls the best
performances out of its groups. Unbound captures the spirit of both labels, and the spirit of the Jasper String Quartet."
Composers: Zosha Di Castri, Jocelyn Morlock Nicole Lizée, John Estacio
Life Reflected is a stunningly original live experience: a celebration
of youth, promise and courage, revealed in the compelling and diverse
portraits of four exceptional Canadian women: Alice Munro, Amanda Todd,
Roberta Bondar and Rita Joe. Alexander Shelley, Music Director of
Canada’s National Arts Centre Orchestra, brought together four
remarkable Canadian composers to collaborate with Creative Producer and
Director, Donna Feore, and an ensemble of extraordinary performers to
create this unique symphonic experience. Life Reflected’s four musical
works immerse audiences within a 3D environment featuring photography,
motion picture and graphic design, projected on screens surrounding the
orchestra. This creative landscape and the accompanying visuals were
created and adapted by artistic partner, the innovative Montreal visual
design company Normal. This recoding showcases the music from this
multi-discipline, multi-media collaboration. The NAC Orchestra was
formed at the creation of Canada’s National Arts Centre in 1969 and
gives over 100 performances a year with world renowned artists. It is
noted for the passion and clarity of its performances and recordings,
its ground-breaking teaching and outreach programs, and nurturing of
Canadian creativity.
Shaped equally by her roots in China as well as European influences,
Ying Wang, with her struggle for an individual musical language,
embodies in an exemplary way the challenges of finding a point of
balance between two cultures. Ying Wang mediates between the two
cultures. She has achieved quite personal solutions in her works,
integrating dramatic impulses and meditative sensual sonorities. She
regards as especially fruitful the transferring of techniques for the
creation of electronic sounds to acoustical instruments.
Restriction and freedom are important criteria in "Wave in D", where
Wang, out of extremely limited tonal material, draws a rich assemblage
of differentiated sound colors from the possibilities of the traditional
instrument and the electronics.
In "Tun Tu" baritone saxophone and electronic sounds interact and come
together in an imaginary sound landscape. The distorted sounds of the
instrument, embedded in a cosmos of mysterious electronic colorations,
seem at first almost improvisatory, but "Tun Tu" is rigorously
organized.
In "Coffee & Tea" Ying Wang reflects on contrasts between the
cultures of Asia and Europe and uses coffee and tea as metaphors.
- was born in Shanghai. She studied at Shanghai Conservatory
of Music and Cologne Conservatory of Music and Dance (Hochschule für
Musik und Tanz Köln). 2011 she got the “Konzert-Examen”-degree there.
2010 she completed a master degree in contemporary music at the
Frankfurt University of Music and Performing Arts (Hochschule für Musik
und Darstellende Kunst in Frankfurt). 2012 she was selected for the
“Cursus de Composition et d’Informatique Musicale” in IRCAM Paris.
To name but a few she collaborated with Markus Stenz, Brad Lubman,
Marcus Creed, Muhai Tang, Dmitri Slobodeniouk, Camilla Hoitenga,
Ensemble Phoenix Basel, Deutsche Radio Philharmonie, Gürzenich
Orchester, Brandeburger Symphoniker, Giessen Philharmonische Orchester,
Avanti Orchester Helsinki, Ensemble Phonix Basel, Lucerne Festival
Academy Ensemble, Norrbotten – Neo Ensemble, Ensemble Resonanz, Tokyo
Sinfonietta. . . . .
New from the always interesting Sub Rosa Early Electronic Series:
Bülent Arel's (1919 Turkey - 1990 USA) work occupies a special
place in the history of electronic music because one thing is certain:
Arel's work is still fresh, groundbreaking, and it seems always to look
out for the next adventure in sound.
Bülent Arel was a Turkish-born American composer of electronic and
contemporary classical music. He was also a devoted teacher, a sculptor,
and a painter. From 1940 until 1947 Arel studied composition, piano,
and 20th century classical music at the Ankara Conservatory. In 1959
Arel came to the U.S. on a grant by the Rockefeller Foundation to
work at the Columbia-Princeton Electronic Music Center. By that time the
center had just started out under its director Vladimir Ussachevsky. During
Arel's work in Princeton he also met Edgard Varèse with whom in 1962 he
worked on the electronic sections of Varèse's 'Déserts'. Frank Zappa
lists Arel as a key influence. Today's electronic music - may it be by
Autechre's 'Confield', Aphex Twin's 'Selected Ambient Works Vol. II', or
Squarepusher's 'Do you know Squarepusher' - builds upon a solid
foundation which Bülent Arel helped to pave.
Bhajan is the general term for any Hindu devotional song, typically
sung, with a strong melodic component. The piece is deeply influenced by
Indian raga and the soundscapes of Chase’s Arab heritage while
intentionally remaining rooted in a Western classical vocabulary. It
explores concepts of free tempo and melodic non-structure layered with
fusions of musical genre, ethnicity and instrumentation. Performed in
four continuous sections, Bhajan has an organic ebb and flow
guided by an elusive yet inherent sense of logic. A live duet between
the violinist, Robin Lorentz, and the composer, Nicholas Chase on
electronics and computer, the music propels ever forward as the
violinist interacts with the synthesized and processed sounds occurring
around her.
. . . "The meditative, unhurried tone of the material is evident from the
beginning of “Bindu” (Sanskrit for "point"), which features Lorentz
hewing to a single pitch (Eb) and repeatedly voicing the note as a locus
of orientation for Chase's effusive effects. Even when the violin
recedes the pitch remains as a suspended echo, the ghostly residue of
the instrument kept alive by the faint sine wave and undulating warbles
of the painterly synth flourishes. As restrained as the material might
generally be, it's also marked by insistence, particularly in the
insect-like incessantness with which the violin attacks the note
repetitions. A single pitch is also adhered to in the second part
“Drsti” ("focused gaze" or "concentrated intention") though this time
the note's lower (D4, or D above middle C) and deviations away from the
pitch are generated when the computer takes the violin's strokes and
turns them into shadow melodies that arise in tandem with the violin.
During such passages, the sounds undulate meslismatically, rendering the
connection between Chase's composition and Indian music all the more
pronounced. Straying from the one-pitch idea, “Japa” ("repetition")
introduces a haunting theme that the computer and violin return to over
and over, its presentation different each time but the familiar melody
always declaring itself clearly, after which the last, titular section
of the work arrives, a comparatively plaintive chorale whose string
expressions are offset by the pitch-shifting swoop of the computer
accompaniment" . . .
- "An astrophysicist searches for his wife
in the stars. As the cosmos unfolds, the birth, life, and death of a
star trace the couples loss of their child. With stunning images from
the Hubble Space telescope, the space-inspired cantata culminates in a
five-minute virtual reality film that launches the audience into an
immersive voyage through the universe. Starring Nathan Gunn and Jessica
Rivera. Written by Royce Vavrek, Film by Eliza McNitt, conducted by
Julian Wachner. Through his narration, New York Times
best-selling author and eminent astrophysicist Dr. Mario Livio explains
the larger celestial implications at stake, placing the characters’
story within the grand scheme of the cosmos.
In a final gesture, this family-friendly performance incorporates
virtual reality cardboard headsets, simulating an immersive voyage
through the universe, expertly created by The Endless Collective, a
leading VR FX firm, with a 360-degree soundscape developed by Arup, the
global leaders in acoustic and sound design. This mesmerizing live
experience, co-produced by VisionIntoArt/National Sawdust, Beth Morrison
Projects and Arup, reflects Livio’s poignant themes and the powerful
realization that humans discovered, explore, and continue to expand the
understanding of the universe, and man’s place in it.
Commissioned by Jill Steinberg. Original commission by Bay Chamber
Concerts for A New Frontier 2013. The Hubble Cantata is supported in
part by generous individual donors, Time Warner Inc. in collaboration
with 150, an award from the National Endowment for the Arts, public
funds from the New York City Department of Cultural Affairs in
Partnership with the City Council, and by the New York State Council on
the Arts with the support of Governor Andrew Cuomo and the New York
State Legislature.
Either/Or:
Russell Greenberg, percussion; David Shively, cimbalom; Dan Lippel,
acoustic guitar; Taka Kigawa, piano; Jennifer Choi, violin; John Popham,
cello
Keeril Makan (b. 1972) composed his longest instrumental work to date, Letting Time Circle Through Us
(2013), on commission for the New York City-based ensemble Either/Or,
with whose musicians Makan has worked intimately over the course of many
years and on several projects. The larger trajectory of Makan's musical
explorations has not been a linear one, so this close collaboration was
invaluable in arriving at the final recorded realization of the
project.
A near-constant in Makan's work is his use of the power of
expectation and disruption via the establishment, continuation,
variation, and interruption of musical cycles, whatever their content.
Repetition and recurrence, periodicity - whether of rhythm or of
complete musical fragments - change things, are capable of completely
upending the listener's expectation of the syntax and flow of an idea,
and thus of its expressive significance within a piece. Related to this
are parallels between musical periodicity and the cycles we experience
in life - sunrise/sunset, the phases of the moon, the seasons, and
other, including perhaps more personal patterns - that are reflected
explicitly in Indian and Indonesian musical traditions.
These patterns or recurrence are acknowledged, at least obliquely, in Letting Time Circle Through Us,
Makan's most direct and extended engagement with cyclic structures and
periodicity. To quote his brief description of the piece, "The friction
between two contrasting types of music creates the emotional journey of Letting Time Circle Through Us.
From the foundation of a single note, stable music emerges that repeats
throughout the piece. Between these repetitions, singular, novel
musical events occur which contrast with the initial stability. Over
time, these singular events darken, while the repetitions of the opening
music strain to move past the stressful interruptions. Eventually the
desire for a return to stability merges with the reality of continual
change, and the tension of the piece dissipates."
Either/Or:
Russell Greenberg, percussion; David Shively, cimbalom; Dan Lippel,
acoustic guitar; Taka Kigawa, piano; Jennifer Choi, violin; John Popham,
cello
Oh yes! nice one @Brighternow. How did you know that I had £1.36 left of my balance this month (and this was 42p for 47 minutes of captivating music)? Love that cimbalom sound. I really should check out more Either / Or and dig deeper than I have into the New World Records catalogue.
Oh yes! nice one @Brighternow. How did you know that I had £1.36 left of my balance this month (and this was 42p for 47 minutes of captivating music)? Love that cimbalom sound. I really should check out more Either / Or and dig deeper than I have into the New World Records catalogue.
Heh ! . Well, I didn't . . . I've been digging ever since the massive NW and NWCRI drop in 2009 on Amie Street. - New World is steady on Emusic with something like 1 album per month.
I've found out that Mode Records is active on Emusic. The catalogue is dramatically reduced, but there's some new "postmigration" albums (as well as some misplaced), such as:
Joan La Barbara is a long recognized pioneer of extended vocal
techniques and champion of new music. She emerged from the New York
Downtown scene to perform in the ensembles of Steve Reich and Philip
Glass, including the premiere of Glass' "Einstein on the Beach."
Composer/Vocalist Joan La Barbara has created a rich body of
experimental works, many initially produced on analog tape. This
collection includes a first release of the award-winning CYCLONE plus
two LP reissues offered here remixed to her original surround concept:
as lightning comes, in flashes explores a vast array of La Barbara's
signature extended vocal techniques; Autumn Signal is a rare example of
the composer's work with Buchla synthesizer for spatialization as well
as modification of vocals. 96khz/24-bit transfers were made from the
original multi-track analog tapes. New stereo and surround mixes were
then created under the supervision of the composer. On the Bluray
edition: The stereo soundtrack is presented in uncompressed 24-bit PCM
audio. The surround versions are presented in 24-bit 5.1 Surround Dolby
TrueHD and DTS-HD Master Audio..
"as
lightning comes, in flashes" [1981] Mixed media performance
environment with 7 singers, 5 dancers, stereo tape, 8-channel tape,
electronics, video and costumes. Premiere: February 28, 1981 at
Contemporary Music Festival '81, California Institute of the Arts,
Valencia, CA. Performers- Voices: Joan La Barbara, Sharon Krofina,
Elizabeth Lindenfeld, Guillermo Gomez-Pena, Annebarbe Kau, Kim
MacInnes, Guy Ornduno; Dancers: Maria Talamantes, Susanna Steg, Anne
Sotelo, Sarah Bergman; Electronics: Hal Dalby, John Faverman, Rand
Steiger, George ("Skip") Brunner, Steve Bilow. Recorded
with Joan La Barbara doing all vocals on LP of the same name: "as
lightning comes, in flashes", Wizard Records RVW2283, LP
released 1983. Note: new surround-sound mix will be included on Mode
Records dvd and cd recording "The Early Immersive Music of Joan
La Barbara", release date in 2017.
Pioneer of contemporary harp practice and performance Zeena Parkins’ new LP Three Harps, Tuning Forks & Electronics
will be released by Good Child Music January 27th, 2017. A sought-after
collaborator, Zeena Parkins has worked with Björk, John Zorn, Nels
Cline, Yoko Ono, Matmos, So Percussion, and Thurston Moore among many
others. As a bandleader and solo artist, she has released a staggering
catalog stretching back to the early eighties.
Her latest work, Three Harps, Tuning Forks & Electronics,
represents a return to her most essential form, while extending her
unique voice and musical language into the world of concert music.A translation of the music written for her 2008 collaboration with choreographer Neil Greenberg entitled Really Queer Dance With Harps, Three Harps transforms
her original improvised score into a stand alone, composed piece
anchored in Zeena’s pioneering use of “extended technique.” Utilizing
the entire apparatus of the harp and various objects to create and
process sound, Zeena and two additional harpists elicit a tangible sense
of movement from their unusual processes, resulting in a harp record
unquestionably like no other.
Three Harps, Tuning Forks & Electronics was co-produced by Zeena Parkins and Lawson White (David Lang, John Zorn, Gil Scott-Heron, Bryce Dessner, Alarm Will Sound, So Percussion, Victoire / Glenn Kotche) and will be released digitally, on CD, and Vinyl January 27th, 2017 by Brooklyn label Good Child Music. Three Harps is slated to be the first in a series of releases by Zeena Parkins on the label.
Genevieve Cross – Flute
Rachel Lewallen – Tenor Saxophone
Luke Damrosch – Vibraphone
J. P. A. Falzone – Vibraphone, Hohner Cembalet, Rhodes Piano
Francesca Caruso, Florence Wallis – Violin
Christopher Sadlers – Contrabass
Noah Fields – Viola
The music of The Providence Research Ensemble drifts past the listener
like clouds in late afternoon. Laden with vintage keyboards, strings,
woodwind, and vibraphone,
the début release of J. P. A. Falzone and The
Providence Research Ensemble draws together a selection of pieces
written over a three year period. Though the pieces themselves are
informed by such heady approaches as change-ringing, power law
distributions, and simultaneous variation, the resulting texture is
lighthearted and evocatively cinematic.
is a musical lab of sorts for Rhode Island New Music composer James Falzone.
It’s been three years since composer James Falzone created the Providence Research Ensemble,
but he still has trouble categorizing the group. They’re not classical,
he says, because they don’t really play classical music. Experimental
doesn’t quite sound right, either, although some of their performances
certainly sound that way.
“I write systems-based music,” he says, before jovially launching
into specifics about structure, mathematics, and how his compositions
are adaptable depending on which players are in the room. “There’s
actually something called Systems Music, but that’s really a British
thing and we’re not that, either.” He settles on New Music, a term
generally applied to the border-pushing fringes of contemporary
classical composition.
As the name suggests, Providence Research Ensemble is largely a lab
for Falzone to figure out his own work. “What’s wonderful about the
group,” he says, “is that it’s friends of mine coming together in an
informal, convivial way to perform music that might not otherwise be
performed.” He loves the performance side of music, which isn’t the case
for many composers.
“It’s so easy to sound overblown,” Falzone says, laughing. “There’s
nothing I hate more than the image of the composer that comes from
romantic music. I like some of the music, but that tortured genius
image…”
In 2016, Falzone was awarded one of the RISD Museum’s inaugural
fellowships, a paid honor that allowed him to research museum
collections and also perform regularly in its grand European painting
gallery. (One memorably odd performance featured cello, trombone, two
basses, and Falzone on an electroacoustic instrument called the
Cembaphon.)
Aisha Orazbayeva and Naomi Sato link up for this richly textured reading
of John Cage´s Two4, a late work from the composer's series of Number
Pieces.
Steady, crystalline tones emanate from Naomi Sato’s shō - a Japanese
wind instrument associated with gagaku court music, and one of the few
non-Western instruments that Cage wrote explicitly for. In contrast,
Orazbayeva brings out the violin’s fragile grain with the soft scraping
of horsehair and the interplay of upper partials.
Like all of Cage´s work from the early 1950s onwards, the Number Pieces
were composed using chance procedures, in an attempt to free music from
the composerly impulse to order and fixity.
The Number Pieces occupied Cage throughout the last six years of his
life, and are marked by the use of time brackets: simple fragments of
music with timings indicating when, in the overall composition, they
should begin and end. In Two4 (as in the majority of the series) these
timings are flexible, to be determined by the musician either in
performance or, again, through chance procedures.
In Two4, the fragments are often no more than a single note. The
interaction of sounds becomes highly unpredictable: at some points
violin and shō mesh in a kind of brief unity, while elsewhere they seem
to drift serenely past, or through, each other. Throughout, sounds spill
out like ink on blotting paper, surrounded by pregnant silence.
Performer [Performed By], Electric Guitar [Godin And Moog Electric Guitars], Piano [Bowed Piano], Tape [Field Recordings]
–
Håkon Stene
Håkon Stene and Kristine Tjøgersen announce a new album with music by Michael Pisaro due for release on June 6, 2017
Imagine
a breath that goes on forever; where everything is different yet
everything the same. ‘asleep, street, pipes, tones’ is a remarkably
beautiful electro-acoustic work by the eminent composer Michael Pisaro
(born 1961, Buffalo, New York), whose seventeen short movements –
organised according to the four groupings indicated by the title – last
in total for just over one hour. Interpreted in this recording with
great precision and delicacy by Håkon Stene and Kristine Tjøgersen, it
presents us with a partially frozen sound world where small, even
infinitesimal shifts of emphasis in an otherwise glacial rate of change
appear to take on the dramatic status of major events. Observing the
oscillations of sound waves as the piece’s file plays out, one might see
a long flat plain suddenly interrupted by vertiginous skyscraper peaks
before the shimmer of reverberation decays and we’re flat out on the
plateau again, as if a mysterious metropolis of mile-high buildings
intersected a vast expanse of sea-level swamp.
The intensity of
these sudden, transfiguring peaks – like a brief glimpse of colour or
figuration seen against an abstract monochrome ground – is strikingly
apparent, and one learns to regard them as a kind of gift from the
composer to the listener, although there’s a different type of pleasure
to be had from the steady, sustaining drones that form the figure’s
ground. As the critic Ben Ratcliff wrote in The New York Times: "Michael
Pisaro likes his music to develop as a slow-motion force, with
adjustments of tone and pitch and instrumentation so long-brewing that
you lose your awareness of the player’s hand and the composer’s will."
Once we grow accustomed to the slow duration and rate of change, our
ears begin to notice more and more detail, like eyes growing used to the
dark and discovering new constellations in the night sky. And as the
music begins to work on us, we in turn start to work on it, decoding
more and more information as each listening-minute passes, or the
experience is repeated by playing the piece again, and the associations
we bring to it continue to deepen. In simpler words, it’s trippy.
In
time, as with prolonged exposure to the comparable, process-based works
of artists James Turrell or Bill Viola, who also deal with both the
minutiae of subjective perception and the big stuff of existential
questions in their practice, we might think that all of human life is
here: birth, existence, death, even the mystic stew of gases cooling to
form the universe itself. This enlarged sense that one is engaging with
something really profound is reinforced by the links between Michael
Pisaro’s particular interests in the organisation of sound and what we
might know about the music and philosophy of other cultures, especially
the transcendent sense of time we encounter through the role of the
tamboura drone in classical Indian music.
By placing the listener
at the very centre of his work ("What would it mean to experience the
world primarily through listening?”, he writes in the notes to accompany
this recording), Michael Pisaro is making the processes of how we
receive and apprehend sound and music, his effective subject. Similarly,
his interpreters in ‘Asleep, Street, Pipes, Tones' are given a degree
of freedom that goes far beyond the normal boundaries separating
composer and performer, becoming co-creators of what he describes as “a
new realisation of the piece made for and with Håkon.”
When
Ann and Bob were typical California kids filling notebooks with musical
sketches (including ideas for their magnum opus: Millikan’s Symphony),
little did they realize how that would eventually turn out. Ann never
stopped composing and her brother Bob became a major epidemiologist,
vet, violinist, and rowing enthusiast. When he died at the age of 55 it
was time to bring all those threads together in one musical homage.
Ann Millikan’s Millikan Symphony —
recorded here by the Boston Modern Orchestra Project, directed by Gil
Rose with Jennifer Curtis as violin soloist — is more than a loving
tribute to her sibling; it is a research project in its own right,
worthy of its brilliant dedicatee. Each movement focuses on one aspect
of Dr. Robert Millikan’s life: science, animals, rowing, and violin. As a
scientist, “Dr. Millikan and his colleagues conducted three waves of
this country’s groundbreaking longitudinal study of breast cancer in
African-American and Caucasian women,” said Shelley Earp, MD, director
of UNC Lineberger. “Through the Carolina Breast Cancer Study (CBCS), he
sought to understand the complex reasons for poor breast cancer outcomes
in African-American women. His seminal findings, published in 100
papers, have changed the face of breast cancer disparities research.”
The opening movement of Ann’s symphony, Science, models the molecular genetic battle going on in a breast cancer tumor. The second pastoral movement, Animals, pays tribute to his years in veterinary medicine and his life as an avid outdoorsman. Rowing,
the third movement, brings the rhythms and splashes of a boat race
(specifically the Millikan Cup race founded in his honor since he had
been faculty advisor to the University of North Carolina-Chapel Hill
Crew) to life in orchestral terms. The extensive finale, Violin,
amounts to an elegiac violin concerto in its own right and is a fitting
conclusion to a life cut all too short.The symphony may be heard
without detailed knowledge of the stories behind the sounds but is all
the richer when the listener appreciates the community effort behind the
collaboration, Ann’s passionate work with microscopes and stopwatches
to dig deeper, and the impressive human all-rounder that gave rise to
such an outpouring.
St. Paul-based Ann Millikan’s music has been
described as “tonally challenging yet emotionally involving” (Joseph
Woodard, LA Times), “packed with propellant polyrhythmic textures” (New
Sounds, WNYC), and “characterized by high energy and a quirky
inventiveness that defies easy categorization...Her scoring is clean and
transparent and her felicities of orchestration are among the most
attractive elements in her work.” (Stephen Eddins, All Music). Ann
Millikan composes concert music for orchestra, chamber ensembles and
choir, opera, and experimental and interdisciplinary projects involving
installation, theatre and dance. Rhythmic vitality is a powerful force
in her music, stemming from previous years playing jazz, African and
Brazilian music.
Known for her collaborative projects that connect
deeply with community – story, history, and culture are often an impetus
behind her work.
"The scariest music you will hear throughout your entire life. Period"
Performed By: Chorus and Symphony Orchestra of the National Philharmonic, Warsaw
Tenor: Kazimierz Pustelak - Soprano: Stefania Woytowicz
Bass: Bernard Ładysz - Chorus Master: Jozef Bok
Conductor: Andrzej Markowski
- "Unnerving, intense, bloodcurdling, sinister, dramatic – the music of
“Kosmogonia” features Penderecki’s famous, unorthodox instrumental
techniques, and some of the darkest music ever composed.
Hailed by The Guardian as “Poland’s greatest living composer”, Krzysztof
Penderecki is the maestro behind the unforgettable, disturbing music on
The Shining (including ‘De Natura Sonoris No. 2’, featured here). A
complex tapestry of sound with striking use of pizzicato and flexatone,
with aggressive barrages from brass and percussion, dissonant woodwind
chords, spoken and hissing sounds, fervent strings, swirling organ,
climactic choral and solo vocals.
Krzysztof Penderecki’s unique music has featured in films such as: The
Shining, The Exorcist, Children Of Men, The People Under The Stairs,
Shutter Island, and many more.
Thanks to the estate of Krzysztof Penderecki, Cold Spring are honoured
to present this masterpiece in digital format for the first time since
the 1974 vinyl release. Sympathetically remastered for CD by Denis
Blackham and Martin Bowes."
(born November 23, 1933, Debica, Poland), outstanding Polish composer of his generation whose novel and masterful treatment of orchestration won worldwide acclaim.
Penderecki studied composition
at the Superior School of Music in Kraków (graduated 1958) and
subsequently became a professor there. He first drew attention in 1959
at the third Warsaw Festival of Contemporary Music, where his Strophes for soprano, speaker, and 10 instruments was performed. The following year was marked by the performances of both Anaklasis and the Threnody for the Victims of Hiroshima for 52 strings. The Threnody
illustrates Penderecki’s skilled and refined treatment of instruments,
making use of quarter-tone clusters (close groupings of notes a quarter
step apart), glissandi (slides), whistling harmonics (faint, eerie tones
produced by partial string vibrations), and other extraordinary
effects. The techniques used in Threnody were extended to his vocal work Dimensions in Time (1961) and his operasThe Devils of Loudun (1968) and Paradise Lost (1978).
Penderecki’s Psalms of David (1958) and Stabat Mater
(1962) reflect a simple, linear trend (letting interwoven melodic lines
predominate and determine harmonies) in his composition. The Stabat Mater combines traditional and experimental elements and led to his other well-known masterpiece, the St. Luke Passion (1963–66). In form, the latter work resembles a Baroque passion, such as those by Johann Sebastian Bach, and Penderecki makes use of traditional forms such as the passacaglia (a variation form), a chantlike freedom of metre, and a 12-tone
row (ordering of the 12 notes of the chromatic scale) based on the
motif B♭-A-C-B (in German notation, B-A-C-H) in homage to Bach.
Penderecki’s Canon for 52 strings (1962) made use of polyphonic techniques (based on interwoven melodies) known to Renaissance composers. Yet he also made some use of the techniques of aleatory (chance) music, percussive vocal articulation, nontraditional musical notation, and other devices that stamped him as a leader of the European avant-garde. His later works include the two-part Utrenja (1969–71; Morning Prayer), Magnificat (1973–74), Polish Requiem (1980–2005), Cello Concerto No. 2 (1982; Grammy Award, 1998), the opera Ubu Rex (1990–91), and the choral work Phaedra (2002).
In
addition to composing steadily, Penderecki taught composition and
conducted. His collected essays, an interview, and other writings were
published in Labyrinth of Time: Five Addresses for the End of the Millennium (1998). In 2004 he received the Japan Art Association’s Praemium Imperiale prize for music.
Oh goodness! I haven't heard that Penderecki album in decades. It was a favorite that used to ooze out of my bedroom in the mid-70s. I'll have to revisit it.
Oh goodness! I haven't heard that Penderecki album in decades. It was a favorite that used to ooze out of my bedroom in the mid-70s. I'll have to revisit it.
Often had family members comment loudly and/or slam my door closed when I played stuff - not because it was always loud, but usually because it was "weird."
Eighth Blackbird founding cellist and co-Artistic Director Nick Photinos
will release his debut solo recording, Petits Artéfacts, on August 25 through
New Amsterdam Records.
"The album brings together never-before-recorded works from some of the most acclaimed names in new music — David Lang, Andrew Norman, Bryce Dessner, David T. Little — but also a newer generation of groundbreaking composers like Angélica Negrón, Florent Ghys, Molly Joyce, and Pascal Le Boeuf,
who are quickly gaining notoriety as well. The music ranges from quirky
and hilarious to profound and ethereal, and the pieces create worlds
and context far outweighing their length. The music is enlightened with
the help of Photinos’s favorite collaborators, pianist Vicki Ray and percussionist Doug Perkins. Perkins also serves as the album's producer, with Todd Reynolds and Pascal Le Boeuf as co-producers. . . ."
Metatron was composed as part of Eliot Britton’s doctoral
dissertation at McGill a couple of years ago, and it has now happily
been recorded by Montreal-based quartet Architek Percussion. This music
is the result of a very purposeful collision of two different sound
worlds: the kaleidoscopic sounds of Architek’s drums, cymbals, other
percussive instruments and synthesizers are woven together with recorded
samples of old vinyl, mostly jazz and swing music. Britton has deftly
integrated these two sources, not only exploiting the obvious sonic
dissonances between them, but also finding surprising ways to bring them
into harmony with each other.
The liner notes say that Britton was partly inspired by memories of
destroying his childhood piano with a chainsaw, an experience that led
him to reflect on the relationships between technology, history, and our
musical lives. At times the pummelling power of the percussion
certainly feels like it is annihilating the sampled music, but Britton
also reserves sparser passages for the samples to stand on their own,
offering brief glimpses of earlier musical aesthetics between the
percussion and electronics.
Metatron is a thrilling record, though perhaps not one for all
occasions. Bristling with a youthful energy and fearlessness, at times
it reaches the same rhythmic intensity as techno, making it a record
that is more likely to give you a jolt than soothe you.
-"After the Second World War my grandparents dragged a used 1902 upright piano down the road and
installed it in their living room. This is the first instrument I can remember. My grandmother’s
collection of yellowing song sheets sat in the piano bench my entire life with watercolour
illustrations of well-dressed couples dance across each page, beaming out at the reader,
overflowing with sentimentality for a dance culture that was slipping away. A beautiful memory, but
eventually the piano had to go, and it would go by chainsaw.
When she died, I inherited my grandmother’s musical materials. Beloved music cuts a path through
format, technology, and time, an idea that planted the seeds for Metatron. A
more fully formed concept came from my 95 year old grandfather. During one visit I was greeted in
the garage by a dull chainsaw and a stripped down piano. “Finish the job,” he said. With grim
determination and a dull tool, I dismembered my first musical experiences, thinking of the strange
place technology holds in our lives."
- (b.1983) - composer, sound artist - has marked his place in the ever changing musical climate with
a unique musical aesthetic. Each of his compositions expresses his diverse musical experience, including that of
sound designer, producer, orchestral and jazz performer, DJ, and audio technician. By drawing on these sound worlds
as well as others, Eliot Britton's work is as unique as he is an individual. His compositions have been heard by
audiences across Canada and internationally.
Eliot Britton is currently pursuing graduate studies in composition at the Schulich School of Music at McGill
University. There he holds the position of composer in residence for the McGill Contemporary Music Ensemble with
the Digital Composition Studio. Prior to his work at McGill, Eliot Britton graduated with a B.Mus from the
University of Manitoba, and was also conferred with certification from the Precursor Productions School of Electronic Music.
Throughout his studies, Eliot Britton has won numerous awards and scholarships. Recent accolades include the
Social Sciences and Humanities Research Scholarship (SSHRC), winner of the Winnipeg New Music Festival's Young
Composers' Competition, and the Margaret H. Tyler Award in music.
While select performances of his work include the CCMW Toronto, McGill CME in Montreal, Winnipeg New Music
Festival, the Royal Winnipeg Ballet, the Winnipeg Fringe Festival, and the Pazzia Performing Arts Collective in
Edinburgh, Eliot Britton continues to evolve musically. He will be pursuing a doctoral thesis on the relationship
between acoustic instrument performance and interactive computer-based live electronics.
- "Time, silence, light, reflection, and transcendence are
all explored in Jane Antonia Cornish’s new album, Into Silence. A
breathless fragility on the precipice of liminal space imbues the
album’s six over-arching linear meditations; each work an inquiry into
the transitory beauty of the unknown, through self-reflection and the
conscious reorientation of perspective. These hallmarks of Cornish’s
aesthetic experience, along with the exquisitely balanced unfolding of
her material, all contribute to a highly expressive and brave musical
narrative that is unafraid, and, once heard, cannot be unheard.
The six works featured here are not only unified
conceptually, but also through their instrumentation; each features a
subset of an aggregate ensemble of violin, piano, four ‘cellos, and
electronics. Throughout, Cornish brilliantly uses a carefully planned
unveiling of instrumental sonorities to actuate and propel the
over-arching design of the album’s broader narrative.
Memory of Time (solo violin and four cellos) explores a
distant nocturnal pathos as the solo violin’s expressive presence
floats, suspended, over the ‘cello ensemble’s irrevocable sighs. The
titular Into Silence I incorporates piano and electronics into the sonic
tableaux of the proceeding work, reorienting the seemingly unappeased
yearning of the introductory material with a tender earthbound comfort.
Scattered Light, scored for ‘cello alone, expounds an unbridled moment
of cadenza-like virtuosity. As the harmonic rhythm increases and
intensifies the work concludes in an evaporated calmness. Elegia returns
to the sound-world and material of the album’s opening work (Memory of
Time), now examined through the aperture of elegiac reflexivity. A
meditation on solitude, Into Silence II, for piano solo, probes some of
the album’s most inner-directed moments of isolation. Luminescence
(scored for solo ‘cello, three ‘cellos, and electronics) is a
culmination of the entire album’s exploration of liminality. The
electronic component returns with an exquisite and arresting subtly of
hushed empyrean filigree. A solo cello momentarily transforms the
sighing motif of the opening into a hopeful upward reach towards
transcendence. The work ends in deliquesce silence, and the album
concludes with a return of the opening motif, exemplifying the elegant
notion that silence is the path to transformation."
Jane Antonia Cornish is a British Academy Award winning composer who
grew up in England and lives in New York City. In the world of film
scoring, Cornish composed the music for many films, including the drama
“Fireflies in the Garden”, starring Julia Roberts, Ryan Reynolds and
Willem Dafoe. . . .
George Lewis (b. 1952) combines an astonishing level of
creativity with trenchant critiques of many traditional conceptions
about experimental music. The four compositions on this album reference a
wide range of ideas, from rhetoric in Ancient Rome to actor network
theory, and the album's eponymous composition finds its grounding in the
concept of the "assemblage," (or agencement in French) a pragmatic, material, non-teleological approach to composition.
Among the album's compositions, Mnemosis (2012) and Hexis (2013) foreground repetition, and feature hypnotic patterns with striking sonic surfaces. Mnemosis,
scored for flute, clarinet, violin, viola, cello, piano, and a
percussionist, features repeated cells of dissonant interlocking lines
that take shape as elaborate, even baroque loops. The overall impression
is one of a clock with several hands turning unpredictably in different
directions, triggering an oddball circus of sounds, recurring
asynchronously, sometimes raucously. Hexis (2013) appears as something of a slightly smaller and shorter sequel to Mnemosis, and is scored for the same band of instruments, but without viola.
By comparison with Hexis and Mnemosis, Assemblage (2013) is more energetic, even chaotic. Written for a 9-piece version of Ensemble Dal Niente, Lewis describes Assemblage as
having a feeling of pushing ahead all the time, "or turning a wheel."
It can give the impression of an urban crowd bustling in every
direction. Or a rising and falling activity of bouncing against the
interior of a box that nonetheless manages to contain a certain sense of
entropy.
The unpredictable interplay between human and material agencies is an explicit theme of the piano and violin duo, The Mangle of Practice (2014).
It explores how practical relationships, decisions, and mediations
structurally disfigure the elements in a given situation. Over the
course of minutes, one hears episodes of internally consistent materials
that are set in motion like windup toys, until a cut occurs, and a new
sonic palette unfolds. It gives the impression of a single sonic object
with over a dozen sides, being gradually flipped from one side to the
next.
Celebration(2014) is a work for computer-controlled pipe
organ commissioned by and created for the spectacular church
Hallgrímskirkja in Reykjavík, which with its height of 73 metres is one
of Iceland’s tallest buildings. Construction on the church began in 1945
and was not completed until 41 years later in 1986. The church is named
for the Icelandic poet and priest Hallgrímur Pétursson (1614-1674), who
with his 50 ‘Passion Hymns’ based on the Passion of Christ is
internationally acclaimed and remembered as one of the greatest poets in
the history of Iceland. It was in connection with the quatercentenary
of the birth of Hallgrímur that the work Celebration was commissioned and performed.
In
the work Siegel integrates characteristics from this special place in
several ways: firstly, the huge organ of the church is the only
instrument we hear. The instru-ment, which is from 1992, has a height of
15 metres and a weight of 25 tons, four manuals, 72 stops and 5275
pipes. In the work we hear fragments of six Icelandic hymns with
melodies known from Hallgrímur’s ‘Passion Hymns’, all of which are in
the regular musical repertoire at services or other rituals in the
church. The recording we hear on the CD is of course also from the
church. Siegel chose to record it at night so that the risk of
interference from traffic noise or sounds from the visitors to the
church would be as small as possible. In the present recording it is
therefore not the place’s specific social and functional characteristics
that are integrated; instead the place is used in a music-historical
context and as an instrument for the composition; a composition that may
well refer to extra-musical layers, but which in itself also cultivates
and challenges the abstraction of the music. After the recording Siegel
has explained: “But the work is very much also intended for public
performance. The first performance was for example held in the daylight
hours, the day after the recording. The two ‘performances’ were very
diffe-rent, as the music is composed anew each time. In this respect the
CD release is a docu-mentation of a single version or an example of a
work that can have infinitely many versions.”
Wayne Siegel was born in Los Angeles in 1953. From 1971 to 1974 he
studied composition and philosophy at the University of California at
Santa Barbara (UCSB). After three years at UCSB he decided to complete
his Bachelor of Arts degree while studying with Per Nørgård
in Aarhus, Denmark. After receiving his degree in composition from the
Royal Academy of Music in Aarhus, Wayne Siegel chose to remain in
Denmark and work as a freelance composer.
Since 1986 Wayne Siegel
has been director of DIEM (The Danish Institute of Electronic Music) in
Aarhus and is an enthusiastic promoter of Danish electronic music. In
1994 he chaired the 19th International Computer Music Conference (ICMC)
in Aarhus. In 2003 DIEM became part of the Royal Academy of Music in
Aarhus, and Siegel was appointed professor of electronic music - the
first Danish professor of electronic music.
Wayne Siegel has composed music for many Danish and international orchestras and ensembles, including the American Kronos String Quartet, which often works with acoustic intruments and electronic techniques.
Wayne
Siegel's music has deep roots in American music. During his child-hood
he was influenced first by American folk music and later by blues and
avant-garde rock, especially Frank Zappa. Other important influences
include Steve Reich, György Ligeti and American minimalism, a genre with
which Siegel is often associated. Early influences from more popular
genres have become increasingly apparent in his music, which may explain
why Siegel's work often seems more accessible than much contemporary
music.
Computers and other electronic musical instruments are
commonly used in Siegel's work. He has composed a number of works that
mix acoustic instruments with new technology. Interactive computer
music, or music where humans interact with computers during the creative
process, is a field that Siegel has explored intensely since the 1990s,
in modern dance, music, and installations. He has contributed to the
field both through his research and through his interactive
compositions.
Performed by the brilliant TAK Ensemble, “Sanctuary” is a ritualistic
masterwork of modern classical music, combining acoustic and electronic
elements with visionary intensity.
For the third full length document of his classical works, Mario Diaz de
Leon presents his most unified offering to date, distilling the
modernistic hellfire of his previous releases to a crystalline essence.
“Sanctuary” is an album length piece created in collaboration with TAK
Ensemble, a brilliant NYC based quintet devoted to energetic and
virtuosic performances of contemporary music. Featuring soprano voice,
flute, violin, bass clarinet, marimba, and the composer’s own
synthesizer work, the album is a hypnotic and ritualistic journey
through realms of angelic and demonic experience, combining acoustic and
electronic elements with visionary intensity.
Since 2002, Mario Diaz de Leon has created a significant body of new
works for acoustic instruments and electronics. Following his teenage
years playing hardcore punk, metal, and electronic music, Diaz de Leon
was inspired by the mystically oriented modernisms of Stockhausen,
Scelsi, Messiaen, and Dumitrescu, and soon after developed his signature
style while a student at Oberlin Conservatory. His debut album as
composer, "Enter Houses Of" was
released in 2009 on John Zorn's Tzadik label, and praised by the New
York Times for its "hallucinatory intensity". A second album, entitled
"The Soul is the Arena", was released in 2015 on Denovali, and was named
a notable recording of the year by New Yorker Magazine. Pitchfork
wrote that the album "combines his interests seamlessly into music that
throbs with snarling exuberance." Both releases were performed by his
longtime collaborators in the International Contemporary Ensemble (ICE).
He currently leads the metal band Luminous Vault as vocalist and
guitarist, whose “Charismata” EP was released on Profound Lore Records
in spring 2017. From 2012-2016, his solo electronic project Oneirogen
(o-NI-ro-jen) toured internationally and released three full length
albums on Denovali. He collaborated with director Zev Deans to create
the score for Alien: Biotic, a short film commissioned by Fox as part of
the official Alien: Covenant campaign. In 2016, the Los Angeles
Philharmonic commissioned and premiered his “Lightmass” for their “Noon
to Midnight” festival of contemporary music. He has also collaborated
with Nate Young of Wolf Eyes on “Standard Deviance One”, which they
recently performed at Tectonics Festival Glasgow with the BBC Scottish
Symphony Orchestra.
Born in Minnesota, he has lived in in New York City since 2004, and
received a doctorate in music composition from Columbia University in
2013, where he currently teaches.
Comments
John Cage: Third Construction
Sophia Subbayya Vastek
- Innova Recordings
Music for Saxophones, Percussion and Harry Partch Instruments
Blue Notes and Other Clashes (2016) by Steven Mackey (b. 1956)
PRISM Quartet and Sō Percussion
Future Lilacs (2016) by Ken Ueno (b. 1970)
PRISM Quartet, Partch, Derek Johnson, Stratis Minakakis
Skiagrafies (2016) by Stratis Minakakis (b. 1979)
PRISM Quartet, Partch, Stratis Minakakis
—John Schaefer at XAS Records / PRISM Quartet
http://thelogjournal.com/2017/04/14/album-review-prism-quartet-color-theory/
http://provparksconservancy.org/4831-2/
Composers: Donnacha Dennehy, Annie Gosfield, Judd Greenstein, Ted Hearne,
David Lang, Missy Mazzoli, and Caroline Shaw
- Sono Luminus / New Amsterdam - Emusic
Jasper String Quartet
Composers: Zosha Di Castri, Jocelyn Morlock
Nicole Lizée, John Estacio
Canada's National Arts Centre Orchestra
Classical Voice North America
(Track by track description)
Nikola Lutz: Saxophone, Teodoro Anzelotti: Accordeon, Ensemble Phoenix Basel,
Nina Janssen-Deinzer: Clarinet, Isao Nakamura; Drums,
Mam.Manufaktur Für Aktuelle Musik
Ying Wang: Electronics
- Wergo
of electronic music because one thing is certain: Arel's work is still fresh, groundbreaking, and it seems always to look out for
the next adventure in sound.
- Must be exerpt 1 and 2
Robin Lorentz and Nicholas Chase.
Nicholas Chase
- Recommended to fans of Johann Johannsson.
Chaz Knapp - Withheld
Alex Wand - FluteCasey Dean Hudlow - Clarinet, Bass Clarinet
Chaz Knapp - Organ, Piano, Noise
Claire Chenette - Oboe
Jacob Hiser - Violin
Melissa Irwin - Cello
Out on a label called Varied Frequencies
Paola Prestini
- http://paolaprestini.com/projects/the-hubble-cantata/
- Vision Into Art - http://visionintoart.com/projects/the-hubble-cantata/
- https://van-us.atavist.com/cosmos
- More Paolo Prestini at Emusers
Either/Or:
Russell Greenberg, percussion; David Shively, cimbalom; Dan Lippel, acoustic guitar; Taka Kigawa, piano; Jennifer Choi, violin; John Popham, cello
Keeril Makan
Either/Or Ensemble
I've been digging ever since the massive NW and NWCRI drop in 2009 on Amie Street.
- New World is steady on Emusic with something like 1 album per month.
I've found out that Mode Records is active on Emusic. The catalogue is dramatically reduced, but there's some new "postmigration" albums (as well as some misplaced), such as:
- Good Child Music
- Emusic
http://www.zeenaparkins.com/
Rachel Lewallen – Tenor Saxophone
Luke Damrosch – Vibraphone
J. P. A. Falzone – Vibraphone, Hohner Cembalet, Rhodes Piano
Francesca Caruso, Florence Wallis – Violin
Christopher Sadlers – Contrabass
Noah Fields – Viola
- https://infrequentseams.com/
- Take Magazine
J. P. A. Falzone
-
Bass Clarinet, Contrabass Clarinet
–
Kristine Tjøgersen
-
Composed By
–
Michael Pisaro
-
Performer [Performed By], Electric Guitar [Godin And Moog Electric Guitars], Piano [Bowed Piano], Tape [Field Recordings]
–
Håkon Stene
Håkon Stene and Kristine Tjøgersen announce a new album with music by Michael Pisaro due for release on June 6, 2017- Hubro
Michael Pisaro at Emusers
Håkon Stene at Emusers
- Innova Recordings
http://www.millikansymphony.com/
Ann Millikan
Tenor: Kazimierz Pustelak - Soprano: Stefania Woytowicz
Bass: Bernard Ładysz - Chorus Master: Jozef Bok
Conductor: Andrzej Markowski
It was a favorite that used to ooze out of my bedroom in the mid-70s.
I'll have to revisit it.
- New Amsterdam - Emusic
NICK PHOTINOS
- ActuellesCD / Ambiances Magnétiques - Emusic
Eliot Britton
Architek Percussion
- Innova Recordings.
- New World Records.
George Lewis
Ensemble Dal Niente
- Much more fascinating stuff at - Dacapo Records.
- Wayne Siegel at Emusers- TAK Ensemble and Mario Diaz de Leon at Emusers
ETA: Nice to see Denovali active again on eMu.