- is a musical Scheherazade. His music keeps pulling you
in and referencing itself, sometimes branching off and reinventing
itself, and sometimes returning to where it started. He weaves musical
stories that are linked with a delicate interconnected web. . . .
"Music for Jydsk Telefon" is written on one of the many reel-to-reel tapes in the cardboard box archive, and it is electronic music that Else Marie Pade made for a documentary about the telephone company Jydsk Telefon entitled "Of my life and my time".
Composed for ELECTRA
(Michaela Riener, Susana Borsch, Diamanda Dramm, Saskia Lankhoorn) and
made in collaboration with visual artists Johannes Schwartz and Maria
Barnas.
Face is a multimedia composition for voice,
violin, recorders, piano, live electronics and video, based on notions
of face, not only as a manifestation of emotion and identity, but as a
data set to be collected and used by external powers. The piece
navigates between the problematic practice of anthropometry in the early
20th century, specifically the measurement of cranial features to
determine character types, to the current use of emotional face
recognition software to collect data about the emotional engagement of
consumers.
Para a frente is the first EP by pianist Késia Decoté on Nonclassical.
Interweaving evocative piano lines with whimsical toy piano and pulsing
electronics, the EP celebrates Decoté’s close collaborations with
emerging composers. Taking its name from Yfat Soul Zisso's playful
fragment for toy piano, Para a frente includes works by composers
Michael Taplin, Angela E Slater, Omar Peracha and Max Gibson.
Késia
Decoté is a pianist from Vitoria, Brazil. She holds a PhD (CNPq
scholarship) and MA (Distinction, Santander scholarship) in Contemporary
Arts and Music from Oxford Brookes University (Oxford, UK), Master
Degree (CAPES scholarship) and BA (Cum laude, CNPq scholarship) in Piano
Performance from Universidade Federal do Rio de Janeiro (Rio de
Janeiro, BR). She studied under Mr. Luiz Senise and Dr. Myrian
Dauelsberg (piano), and Dr. Ray Lee (Contemporary Arts and Music).
Késia has been developing a
rich and diverse career, as piano soloist, chamber music
instrumentalist, contemporary music interpreter and as a musician in
theatre productions. As a soloist, Késia has performed solo piano
recitals to great acclaim in the UK, Brazil, Portugal, Canadá and
Norway. She has also been developing an exciting career as an
improviser, being member of Oxford Improvisers, and performing and
recording in duo with cellist Bruno Guastalla
October 16, 2020 is the official release date for Lovely Music's recording of a wonderful 1995 performance of Robert Ashley's opera FOREIGN EXPERIENCES
Voices: Sam Ashley, Jacqueline Humbert
Voice Recording: Gustavo Matamoros
Orchestra: Synthesized orchestra parts: Sam Ashley
MIDI driven orchestra parts: Robert Ashley and Tom Hamilton
Mixing and Processing: Sam Ashley
Produced by: Sam Ashley
Background Voices: Robert Ashley, Sam Ashley, Thomas Buckner, Marghreta
Cordero, Jacqueline Humbert, Joan La Barbara, Amy X Neuburg
Background voice recording: Tom Hamilton
"The original seven-voice version of the opera was recorded in my
studio. It was edited by Sam Ashley to match the performance orchestra
that had been used in seven-voice performances to that date. Because of
the way they are treated, the seven, recorded voices are referred to in
this version as the "background voices." Later, Sam and Jacqueline
Humbert suggested a "two-voice" version as a performance piece for
themselves using the original MIDI generated performance orchestra.
Jacqueline and Sam divided the seven-voice original score between them
based on decisions about a new way to tell the story. They were recorded
live in performance at the Subtropics Festival, Miami, 2002. Then this
"two-voice version" CD was produced, to reflect that way of telling the
story, using the Subtropics Festival recording along with newly created
material and elements from the original performance orchestra and
processed versions of the existing, edited "background voices."
Many of the background voices were processed in an extreme fashion to
create extra parts in the orchestra. Sometimes they can be heard as
ghostly premonitions similar to "EVP" recordings ("Electronic Voice
Phenomena"). "EVP" recordings, important in the 1970's (the time
situation of Foreign Experiences), frequently feature subtle "voices"
that are either buried in or constructed from noise."
- The reception of Scelsi has gone through an amazing process: from the passionate hagiography of the early 1980s, marked by the pioneers’ exitement about a musical phenomenon initially nobilitated as “unanalyzable”, through the confusion after Vieri Tosattis confession or assertion (“Scelsi, c’est moi”) immediately after Scelsi’s death in 1988, to a more objective approach to a music that has become almost part of the mainstream. This interesting development is paralleled by an iconographical habit according to which the composer’s face was initially not allowed to be shown – instead the wellknown “Om”-circle served as a demiurgical substitute. Moreover the disciples of Giacinto Francesco Maria Scelsi, Conte d’Ayala Valva, possessed ominous tapes as a precious relic, which initially had to be kept secret.
In the meantime, this vow has been broken: in 2009, the archive of the Fondazione Isabella Scelsi in Rome opened its doors, and the tapes have since been accessible to an interested professional public. Most of these are sonorous working materials, sounding sketches, on the basis of which a collaborative process was to be initiated: Scelsi recorded his Ondiola performance on tape, thus often producing complex, multilayered sound documents by means of multiple dubbing processes; while Vieri Tosatti and others successfully produced performable scores from those tapes, Scelsi did not always interfere intensively in the process of transcription. Contrary to Scelsi’s noble habitus, he did not use luxurious equipment: the Ondiola is a kind of cheap tube synthesizer with a three-octave keyboard and several filters, his Revox tape recorder a homesuited model from the 1960s – Scelsi, c’est nous!and yet he pursued the highest artistic standards. Lo-Fi quality and extremely delicate musical lines and counterpoints mingle, evoking a very special esthetical aura. That those tapes are accessible now is quite a sensation: the wellknown works can be re-visited in greater detail with regard to the sound documents, and a scripture driven musicology can now be much more overt to the event of sound.
- In the project Scelsi Revisited the tape material is for the first time reflected in the medium of art: seven composers (Ragnhild Berstad, Georg Friedrich Haas, Fabien Lévy, Tristan Murail, Michael Pelzel, Michel Roth, Nicola Sani) were commissioned by Klangforum Wien to create new works from Scelsi’s tape music; Uli Fussenegger had prepared data packages consisting of excerpts from two to three tapes each, which Scelsi apparently had not used for the elaboration of de-finitive works, the latter always manifesting themselves in conventional scores. The ensemble line-up of the new compositions had to be based on Scelsi’s work Anahit for violin and 18 instrumentalists (1965), which was also performed in the Scelsi Revisited concerts. All new works presented here are live recordings.
@Brighternow - I bought the Scelsi Revisited album through eMusic and am in total agreement with you, an excellent collection. Kairos is one of the best things left on on eMusic
I found something on this site and it seems that they were not supposed to be released before 03/12/21.
Neuwirth produces changing musical textures, boldly and impetuously combining the most contrasting elements.
'I
know that the arts won't change anything, but art can point towards
what has become ossified and reveal the desolate state of society and
politics. I refuse to be yodelled away.' (Olga Neuwirth)
- and so she
produces continuously changing musical textures, incessantly posing
questions, boldly and impetuously combining the most contrasting
elements. This album is part of Klangforum Wien's 'Solo' 5-CD series of
recordings of pieces for one performer, which is the ensemble's response
to the 2020 Covid-19
Two brand new remote recording works by Alameda-based composer Brian
Baumbusch are featured on this album release by Other Minds.
Commissioned by the University of California Santa Cruz Wind Ensemble,
Isotropes was written in the wake of the COVID-19 pandemic lockdown and
consists of a sequence of varied musical fragments chosen and recorded
by each participating musician from their respective homes during
quarantine. Together, these fragmented recordings combine to create an
ambitious 25-minute work for adaptable orchestra. Also featured on the
album is Tides, a piece commissioned by the Creative Work Fund in
collaboration with video artist Ian Winters and recorded remotely in
lockdown following the cancellation of its March 2020 live premiere. . . .
Out on a brand new Yannis Kyriakides page on Bandcamp:
La Mode is a concert installation work conceived and performed by Tomoko
Mukaiyama with music composed by Yannis Kyriakides. It was first
performed in 2016 at the opening of the National Theatre in Taichung,
Taiwan, and involved a close collaboration with the architect of that
iconic building Toyo Ito. The CD of La Mode recorded four years later,
in June 2020, in the midst of the first Covid-19 lockdown, marks the
first time the music was re-interpreted since the premiere. It was
sparked off by a new version of the music, that was made into a
live-stream concert in the Muziekgebouw, Amsterdam with the
collaboration of cinematographer Reinier van Brummelen.
The concept of the music of La Mode is built on the juxtaposing of an
intimate, almost hermetic musical world against the rhythmic drive and
structures of the dance-driven music heard in the fashion industry. The
two sides of fashion: the exterior one of glamour, consumerism and
desire, and the interior dialogue of insecurity, distorted self-image
and social alienation.
Tomoko Mukaiyama
- is a Dutch-Japanese pianist, performer and visual artist based in Amsterdam. By integrating different disciplines into her art-and-music pieces, Mukaiyama investigates the concept of performance and the limits of the concert hall as we know it. Tomoko pushes the boundaries of the classical music world.
Comments
NONO, Luigi (Venezia, 29.1.1924 – Venezia, 8.5.1990)
Composed for ELECTRA (Michaela Riener, Susana Borsch, Diamanda Dramm, Saskia Lankhoorn) and made in collaboration with visual artists Johannes Schwartz and Maria Barnas.
Face is a multimedia composition for voice, violin, recorders, piano, live electronics and video, based on notions of face, not only as a manifestation of emotion and identity, but as a data set to be collected and used by external powers. The piece navigates between the problematic practice of anthropometry in the early 20th century, specifically the measurement of cranial features to determine character types, to the current use of emotional face recognition software to collect data about the emotional engagement of consumers.
Késia Decoté is a pianist from Vitoria, Brazil. She holds a PhD (CNPq scholarship) and MA (Distinction, Santander scholarship) in Contemporary Arts and Music from Oxford Brookes University (Oxford, UK), Master Degree (CAPES scholarship) and BA (Cum laude, CNPq scholarship) in Piano Performance from Universidade Federal do Rio de Janeiro (Rio de Janeiro, BR). She studied under Mr. Luiz Senise and Dr. Myrian Dauelsberg (piano), and Dr. Ray Lee (Contemporary Arts and Music).
Késia has been developing a rich and diverse career, as piano soloist, chamber music instrumentalist, contemporary music interpreter and as a musician in theatre productions. As a soloist, Késia has performed solo piano recitals to great acclaim in the UK, Brazil, Portugal, Canadá and Norway. She has also been developing an exciting career as an improviser, being member of Oxford Improvisers, and performing and recording in duo with cellist Bruno Guastalla
Voice Recording: Gustavo Matamoros
Orchestra: Synthesized orchestra parts: Sam Ashley
MIDI driven orchestra parts: Robert Ashley and Tom Hamilton
Mixing and Processing: Sam Ashley
Produced by: Sam Ashley
Background Voices: Robert Ashley, Sam Ashley, Thomas Buckner, Marghreta Cordero, Jacqueline Humbert, Joan La Barbara, Amy X Neuburg
Background voice recording: Tom Hamilton
"The original seven-voice version of the opera was recorded in my studio. It was edited by Sam Ashley to match the performance orchestra that had been used in seven-voice performances to that date. Because of the way they are treated, the seven, recorded voices are referred to in this version as the "background voices." Later, Sam and Jacqueline Humbert suggested a "two-voice" version as a performance piece for themselves using the original MIDI generated performance orchestra. Jacqueline and Sam divided the seven-voice original score between them based on decisions about a new way to tell the story. They were recorded live in performance at the Subtropics Festival, Miami, 2002. Then this "two-voice version" CD was produced, to reflect that way of telling the story, using the Subtropics Festival recording along with newly created material and elements from the original performance orchestra and processed versions of the existing, edited "background voices."
Many of the background voices were processed in an extreme fashion to create extra parts in the orchestra. Sometimes they can be heard as ghostly premonitions similar to "EVP" recordings ("Electronic Voice Phenomena"). "EVP" recordings, important in the 1970's (the time situation of Foreign Experiences), frequently feature subtle "voices" that are either buried in or constructed from noise."
— Robert Ashley
- In the project Scelsi Revisited the tape material is for the first time reflected in the medium of art: seven composers (Ragnhild Berstad, Georg Friedrich Haas, Fabien Lévy, Tristan Murail, Michael Pelzel, Michel Roth, Nicola Sani) were commissioned by Klangforum Wien to create new works from Scelsi’s tape music; Uli Fussenegger had prepared data packages consisting of excerpts from two to three tapes each, which Scelsi apparently had not used for the elaboration of de-finitive works, the latter always manifesting themselves in conventional scores. The ensemble line-up of the new compositions had to be based on Scelsi’s work Anahit for violin and 18 instrumentalists (1965), which was also performed in the Scelsi Revisited concerts. All new works presented here are live recordings.
Neuwirth produces changing musical textures, boldly and impetuously combining the most contrasting elements.
'I know that the arts won't change anything, but art can point towards what has become ossified and reveal the desolate state of society and politics. I refuse to be yodelled away.' (Olga Neuwirth)The concept of the music of La Mode is built on the juxtaposing of an intimate, almost hermetic musical world against the rhythmic drive and structures of the dance-driven music heard in the fashion industry. The two sides of fashion: the exterior one of glamour, consumerism and desire, and the interior dialogue of insecurity, distorted self-image and social alienation.
Thanks for the info on this.