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Search Result for Genre CLASSICAL
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LP
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OME 1018LP
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$23.00
PREORDER
RELEASE DATE: 3/15/2019
Alessandro Moreschi (1858-1922) was the last known castrato, and the only one to have ever made recordings. He was born into a Catholic family in one of the so-called Roman castles, where he was castrated either for health reasons, or because of his singing talents, the history is unclear. But either way he was discovered soon after for his talents and by a very young age was known as "l'Angelo Di Roma" and quickly became the first soprano of the Sistine Chapel choir, a position he held for more than 30 years. In Roma at the time members of the Sistine Chapel choir, and castrati in particular, held much esteem, bordering on celebrity, and Moreschi was probably the most famous of them all. His recordings were made in 1902 and 1904 at the Vatican. Most of them are extremely rare and are collected here for the first time. This historic re-issue includes all twelve records which Professor Moreschi is known to have made, as well as five choral records on which his voice is clearly discernable. 425 gram sleeve; hand-numbered sticker.
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2LP
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TRANSVERS 009LP
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$31.00
PREORDER
RELEASE DATE: 2/15/2019
Lost Philip Glass recordings from 1975, from Office de Radiodiffusion Télévision Française (ORTF). The newly discovered and unreleased concert from 1975 recorded by the Philip Glass Sextet at La Maison de la Radio, Paris. The sextet was composed of Philip Glass, Jon Gibson, Dickie Landry, Michael Riesman, Joan La Barbara, and Richard Peck. Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974. This performance in France includes "Part 1", "2", "3", "11", and "12" on a double LP. Also included on side D is a rare Philip Glass interview from 1974 in his New York City loft during the rehearsals of this piece, produced for the French radio by Daniel Caux, musicologist and co-founder of Shandar Records. Released in partnership with the National Audiovisual Institute -- INA. "A new sound and a new chord suddenly break in, with an effect as if one wall of a room has suddenly disappeared, to reveal a completely new view." --Andrew Porter, New Yorker, 1978 Gatefold sleeve.
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LP
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BLUME 015LP
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$23.50
PREORDER
RELEASE DATE: 2/1/2019
Julius Eastman's seminal classics are now reissued on vinyl for the first time ever. Gay Guerrilla and Evil N*gger, both composed in 1979 with a third work Crazy N*gger, make up what Eastman called The N*gger Series. Some of the most challenging and beautiful works composed for piano during their era, they double as a window into the intricate thought process and contentiousness of their creator. When the composer was asked to perform the series at Northwestern University in 1980, due to protests by African American students, their titles were censored in the event's program. His response was a flamboyant foreshadowing of the sentiments toward bigoted language which later arose within hip-hop culture -- to publicly take back these words, assert ownership of them, and deploy their power for positive change. What Eastman was early to recognize, was that there is a fundamental difference in what happens when these words are spoken by white people toward people of color, and when people of color deploy them toward a white audience. The balance of power shifts. Eastman's audience was largely heterosexual and white. He knew exactly what he was doing, and to whom he spoke. The object in your hands contains some of the most striking and important music composed during the later decades of the 20th century -- music which remained lost and unheard for years, not because of what it is, but because of who its composer was. It is music, doubling as the voice of a man, which, because it refused to be oppressed, was suppressed or ignored. Eastman's work is a conscious act of intervention, plowing into a context defined by heterosexual whiteness, attacking its unjust demands from within. It is Christ-like -- metaphor and beauty which is impossible to separate from the evils of the world. It is a music which carries the body of a man. As it speaks to our hearts, as it offers a glimpse of the freedoms implied by the sublime, a shackle is bound -- a consciousness of our complicity with unforgivable sin. Mastering by Giuseppe Ielasi. Includes printed inner sleeve housing a Nagaoka anti-static record sleeve, plus an original insert that functions as obi; Housed in a fold-out outer sleeve. 180 gram, color vinyl; Edition of 300.
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CD
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NW 80806CD
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$15.00
PREORDER
RELEASE DATE: 2/1/2019
"This recording is an excellent introduction to the distinctive sound world of Catherine Lamb (b. 1982), who studied with James Tenney and Michael Pisaro, in that it documents a recent large-scale piece that epitomizes her compositional aesthetic, Prisma Interius IX (2018), and was recorded under the composer's supervision. 'I have been attempting to describe, in more elemental terms, the perceptual roles between musicians who are activating interactions in harmonic space. Overlays Transparent/Opaque (2013) was an initial attempt towards showing forms aside phenomenological clarities in which to enter from relational and therefore parallaxical points, in this case through shifting overlays. As though to place individual crystals, one by one, amongst the musicians, and to have them find their place of vibrancy or shadow due to the angle in which they are seeing the form. Rather than terms like loud/soft or foreground/background, opaque might suggest a tone that is filled, dense, and vibrant, whereas transparent might indicate a tone that is losing its fundamentality, becoming fused into the intensity of opacity; or that one might see through its sound, becoming atmospheric. The seven overlays are in constant flux, but the forms are synoptic, placed on their own and in their own space, as objects. Prisma Interius IX (2018), in contrast, would be one large crystal placed amongst the musicians, rotating with filtered light. So that each unfolding of the tonalities illuminates the form that is always present, allowing for a feeling of constant expansion?. Prisma Interius IX is the culmination of a series of pieces written between late 2016 to summer 2018, examining particular (perhaps archaic) musical roles, and how they situate within the phenomenological/perceptual space my work has been growing into for the past 14 years. Elemental questions have been important in the series, like how is one tone a pivot between activating a total harmonic space as well as expanding a contour in time? There were many threads in the series, such as how to create structural changes through various conceptual shifts of a prism, the role of the voice, but the most obvious was the development of the secondary rainbow synthesizer, in collaboration with Bryan Eubanks since 2014, named after the faint shadow to the more brilliant primary visual. The instrument filters the adjacent environment to the listening space by literally fusing harmonically with chaotic atmospheric elements being picked up by the microphones outside. The role becomes a kind of highlighting continuo or tanpura to the more clearly articulating musical activity played by the ensemble, while also attempting a bridge for the listener towards an infinite, expanding space (in ideal terms).' --Catherine Lamb"
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2LP
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BLUME 014-15LP
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$52.00
PREORDER
RELEASE DATE: 2/1/2019
Very limited double-LP bundled version of the two individual LPs, 180 gram color vinyl. Includes printed inner, Nagaoka anti-static record sleeve, plus and Obi-style insert in a fold-out outer sleeve. Only a handful of years ago, the name Julius Eastman would have been met by a unanimous blank look. The legacy of this once-darling of the New York post-minimal avant-garde had, since his untimely death at the age of 49, in 1990, been almost entirely lost. Eastman's story is as fascinating as they come: black, angry, and queer in an all too polite, straight white musical world. A prodigy and genius whose music took him to astounding heights, whose unwillingness to conform and play by the rules took him down the path of drug abuse and homelessness, as well as the loss of his scores. Even before his death, he was already a forgotten name. Eastman belongs to a generation of composers who inherited the mantel left by minimalism, but despite being highly respected by his peers, he was given few chances to record his work, relegating most of his talent as a singer and pianist to the realization of others' work. It was Eastman who conducted the iconic recording of Arthur Russell's Tower of Meaning, and whose piano cuts its way across the 1976 recording of Morton Feldman's For Frank O'Hara. It's likely that Eastman's work would have been entirely lost, had it not been for rigorous efforts of a few close friends, the most persistent of whom was the composer, Mary Jane Leach, who spent years tracking down his lost scores. These efforts eventually led to the comprehensive CD collection, Unjust Malaise (2005). It was the beginning of a turning tide, and over the 13 years since, Eastman's singular voice has slowly returned to the audience he always deserved. It also represented the recorded debut of some his most thrilling and controversial work, three compositions for piano from what he called the N*gger Series: Gay Guerrilla, Evil N*gger, and Crazy N*gger. The three pieces are now issued across two LPs in their first-ever vinyl release with extensive liner notes by Leach and Bradford Bailey. These three seminal works by one of the most important, but neglected, American composers of the 1970s and '80s, return to the light once more. Not only are they an entire rethinking of musical minimalism, but they ferociously blow the doors off of what classical music can be. Mastered by Giuseppe Ielasi.
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LP
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BLUME 014LP
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$23.50
PREORDER
RELEASE DATE: 2/1/2019
It's little wonder that Julius Eastman (who died in 1990 under unexplained circumstances), remained the supreme underground composer. He was Afro-American and gay, a composer who rocked the cerebral world of process music with his explosions of free improvisation. Crazy N*gger is the first time any of Eastman's music has been available on vinyl, and is one of three extended pieces for four pianos, along with Gay Guerrilla and Evil N*gger, written and performed around 1980. All three works generate their epic soundscapes through adamantly restated patterns and interlocking canons, not fragmenting, but preaching urgent truths. To quote the brilliant Mary Jane Leach liners: "He wrote what can be categorized as minimal music, but also wrote 'post-minimal' music -- before minimal music was fully established." His pieces straddle both styles of minimal music; rhythmic/pulse-driven music (Steve Reich and Philip Glass) and spectral drone music (La Monte Young and Phill Niblock). There is a flexibility that lends an organic feel to his music, a muscularity missing in a lot of other music from that time; with the re-emergence of this powerful music, a missing gap in the history of contemporary music has been filled. Not released commercially upon their recording, they were instead shared on cassettes, copied and passed from one admirer to another. Unlike today's instant access to music, at that time each new copy represented a time commitment, since it took as long to copy as its playing time, while also removing itself further from the original recording with a resultant deterioration in sound quality. The three pieces occupy a high point in Eastman's oeuvre, the culmination of his mature style. Crazy N*gger is a sprawling sonic study, the last section exploring canonic form both harmonically and rhythmically, using the same process as James Tenney's Spectral Canon, but notated in a more intuitive way. Offering extensive liner notes by Leach and Bradford Bailey, this is a seminal work by one of the most important, but neglected, American composers of the 1970s and '80s, returning to the light once more. Not only is Crazy N*gger an entire rethinking of minimalism, but it ferociously blows the doors of what classical music can be seen to be. Mastering by Giuseppe Ielasi. Includes printed inner sleeve housing a Nagaoka anti-static record sleeve, plus obi-style original insert in a fold-out outer sleeve. 180 gram, color vinyl; Edition of 300
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LP
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CNMM 004LP
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The five-volume project by the guitarist/founder of Calibro 35 continues. Massimo Martellotta, after having dedicated himself to the synths, the prepared piano (CNMM 002LP, 2018), and the symphonic orchestrations (CNMM 003LP, 2018), address the fourth chapter of the One Man Sessions series to the guitar with minimal drum grooves and analog brushstrokes. The title Underwater immediately clarifies the dreamy atmosphere and surfacing the passion for soundtracks and library music with experimentation, accompanying the listener on an amniotic journey amid the feeling of abandonment and vigilance that it is when you dive.
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2CD/SACD
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NEOS 11826-27CD
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The Donaueschingen Festival has been documented regularly by NEOS for many years. In the 2017 edition, the premiere of "Un calendrier révolu for 14 instruments" by Emmanuel Nunes is a particular highlight. Nunes, who composed the extensive work in 1968/69, only authorized its performance shortly before his death in 2012. Of course, the winner of the 2017 orchestral prize is also included: "Ez-tér (Es-Raum)" by Márton Illés.
Compositions featured: Emmanuel Nunes - "Un calendrier révolu" (1968/1969); Eivind Buene - "Lessons in Darkness" (2017); Andreas Dohmen - "a doppio movimento" (2016/2017); Márton Illés - "Ez-tér (Es-Raum)" (2014/2017); Chaya Czernowin - Guardian (2017).
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2CD
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NEOS 11821-22CD
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The "mimicri" cycle is a central piece by the composer Charles Uzor, in many respects the quintessence of his work since the mid-2010s. Uzor, who was born in Nigeria and moved to Switzerland (where he now lives) at the age of 57, has engaged since 1995 with the music of Machaut and methods of defamiliarization using fixed media. "The phenomenon of concealment strikes me as a survival strategy", says Uzor, transferring the principles of disguise and mimicry as found in nature to his music. He not only takes nature as a formal model, but also borrows sounds from it and changes them, for example birdsong, which he electronically pitch shifts down eight octaves. The main part of the cycle, "Nri/ mimicri", is scored for Ondes Martenot, percussion quartet, and fixed media, with additional parts for piano and fixed media or only the latter. The world premiere recordings on this CD also include vocal music and chamber music in a variety of instrumentations. All in all, this double-CD offers a multi-faceted overview of Charles Uzor's work from the 2000s on. Performers: Caroline Ehret - Ondes Martenot; Ute Gareis - piano; Isabel Pfefferkorn - soprano; Elena Zhunke - violin; Illya Buyalskyy - piano; Percussion Art Ensemble Bern; Ensemble La Notte; SWR Vokalensemble, Rupert Huber - conductor.
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CD
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NEOS 21802CD
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The music of Guillaume de Machaut and Philippe de Vitry was radically new over 650 years ago; Vitry himself coined the term "ars nova" for it. Now, Helge Slaatto (violin) and Frank Reinecke (double bass) show how closely the power of this music was connected to the common intonation system of the time, based on pure perfect fifths, which lead to highly tense thirds. Wolfgang Schweinitz examined this system for a long time and became one of the pioneers of just intonation. "Plain Sound Study I" can be considered the quintessential result of this work. Using the tiniest microtonal distinctions, for which he even developed his own notation system, he creates a music consisting purely of intervals derived from the harmonic series. The Slaatto-Reinecke duo, who have been specialists in just intonation for many years, draw a fascinating line from the Ars Nova of the 14th century to the new music of our time. Personnel: Helge Slaatto - violin; Frank Reinecke - double bass.
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CD
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NEOS 11809CD
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Intensity and precision of expression alongside brevity of form are particular sources of fascination for the soprano Katrin Frauchiger and the pianist Katharina Weber when it comes to the composition and interpretation of songs. Here they come together with Jürg Wyttenbach. With their rather simple character, his eight duettini are not entirely typical of his work, but in these pieces, all of which last between 34 and 71 seconds, he reveals himself once again as a master of concentrated theatrical effect. His cycle "Drei kurze Gebete an die japanische Göttin der Barmherzigkeit Kannon Bosatsu" ("Three Short Prayers to the Japanese Goddess of Compassion Kannon Bosatsu") is tailor-made for the Frauchiger-Weber duo and dedicated to them. Aside from Wyttenbach's songs, the CD also includes works by the two performers, as well as rarely-performed longs by Hanns Eisler and Alban Berg's "Seven Early Songs", rounding off the selection with musical contrasts. Songs by Jürg Wyttenbach, Katrin Frauchiger, Katharina Weber, Hanns Eisler, and Alban Berg. Personnel: Katrin Frauchiger - soprano; Katharina Weber - piano.
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CD
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NEOS 11801CD
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"I build a house of time proportions and sounds, and hope that the music moves into it" says Erhard Grosskopf, "not like substance into a form, but rather like the spirit into the soul." The approach to time and proportions is such a central theme in Grosskopf's music because he usually eschews traditional formal structures. This CD features two large, roughly half-hour orchestral works laid out in very different ways, played by renowned performers: the Deutsches Symphonie-Orchester conducted by Johannes Kalitzke, and the Rundfunk-Sinfonieorchester Berlin conducted by Vykintas Baltakas. Also features Ursula Oppens on piano.
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CD
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NEOS 11815CD
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The compositions gathered on Winternachtmusik feature piano and violoncello as solo instruments as well as in combination; they all were written during the last 25 years. They are all related and can be performed next to each other or, in some cases, even simultaneously. All these pieces are character pieces, they develop an individual, very precise atmosphere, and all of them describe a development: sometimes linearly, sometimes with interruptions; at times, with vehemence and like an explosion, at other times, tentatively and barely noticeable. The duo composition "Stücke über den Tod" (Pieces about Death) dates from a period where Martin Herchenröder's music openly commented on political and social issues. Personnel: Friedrich Gauwerky - violoncello; Severin von Eckardstein - piano.
Martin Herchenröder, composer, organist, and musicologist, is a professor at the University of Siegen. His compositions have been performed in Europe, Asia, and America by renowned artists. Besides concert tours as an organist his teaching activities brought him to almost all continents.
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LP
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OMM 8003LP
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"The Grammy-nominated string orchestra A Far Cry and pianist Simone Dinnerstein have teamed up on a new recording of keyboard concertos by Philip Glass. The album will be released on Glass' Orange Mountain Music label. The album features the world premiere recording of Glass's Piano Concerto No. 3, a new concerto for piano and strings co-commissioned by A Far Cry and composed by Glass specifically for Dinnerstein, whom the New York Times calls 'an utterly distinctive voice in the forest of Bach interpretation.' Dinnerstein and A Far Cry toured the new Glass concerto in the fall of 2017, and recorded the album in the stellar acoustics of Mechanics Hall in Worcester, MA. Of their world premiere performance at the New England Conservatory's Jordan Hall, the Boston Globe wrote, '[Dinnerstein and A Far Cry] caught and held the music's patient grandeur, giving each phrase, each chord judicious gravity.' The Wall Street Journal called it 'an inspired pairing,' adding 'Mr. Glass could not have hoped for a more graceful, fluid reading.' The idea first germinated in 2014, when Dinnerstein and Glass met for breakfast in his garden and found that they shared a strong interest in the music of Bach and its impact on the world today. Glass, having come to know her work over the years, offered to write a piece for her, and Dinnerstein proposed that it be a concerto for piano and strings, to be paired with one of Bach's own. She explains, 'There are almost no concertos written for piano and strings since Bach's time. The pairing of the Bach concerto with Philip's own composition creates myriad strands of connectivity, enabling the listener to create bridges between the old and the new.' Glass finished Piano Concerto No.3 in 2017 as a response to hearing Dinnerstein play at the Glenn Gould Prize concert in Ottawa the previous year. He explains in the album's liner notes, 'I can say that Bach's music was not consciously in my mind as I composed this new concerto, but in a way it's unavoidable. My basic musical formation was influenced by the study of Bach for years during my studies with Nadia Boulanger. Inasmuch, while this piece itself is not directly influenced by Bach, his music is by definition a part of mine.' To fund the work, Dinnerstein reached out to a number of orchestras from across the U.S. and Canada, eventually enlisting a total of 12, from various parts of the country, to co-commission the work. It was clear from the beginning that the premiere and recording should fall to Boston's A Far Cry, with whom Dinnerstein had formed a musical connection after filling in for pianist Leon Fleisher at a concert in 2016. Jason Fisher (viola) of A Far Cry says, 'A Far Cry has always been a proponent of new music, and it has been a dream of ours since day one to commission a major work from an iconic American composer such as Philip Glass. We're delighted to be partnering on this project with Simone Dinnerstein, a collaborator beloved by our group and one of America's finest pianists.'"
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2LP
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BNSD 029LP
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"This work, a masterpiece of restraint, reflects the musical imagination of someone who has spent long periods in the quiet recesses of the mind." --Terry Riley
Beacon Sound present a reissue of Hans Otte's The Book Of Sounds (Das Buch Der Klänge) originally released in 1984. Hans Otte (1926-2007) was a multifaceted artist, poet, pianist, composer, and promoter who synthesized the strands of minimalism, Eastern spirituality, and radical art into his own unique and protean vision. In his younger years he studied under the composer Paul Hindemith and the pianist Walter Gieseking. From 1959 to 1984 he was the director of Radio Bremen and was instrumental in introducing artists such as John Cage, Terry Riley, and Steve Reich to European audiences. Although the compositions and recordings that Otte made over the course of his long career are wideranging, The Book Of Sounds is considered to be his masterwork. A solo piano piece, it was written between 1979 and 1982 after a major survey of his previous artistic output and should be viewed through the prism of his own self-development: both as a return to his roots and as a new beginning. It is a cyclical collection of 12 "chapters" that are inspired partly by John Cage's desire to get to the root of sound itself, to liberate it from the weight of expectation and tradition and to view all sound as a manifestation of nature. In a 1979 interview, Otte answered a question about whether his work had a "common core" by saying, "I would say that behind my artistic work, as an aim or hope, is the need to find myself. In other words: despite all the separating structures, the division of all the work, the ideologies, fixed ideas, systems, despite the state and everything that ceaselessly tries to separate and divide us, I fundamentally want to be complete." It might be tempting to assign The Book Of Sounds to the aesthetic of minimalism; however, it is a deceptively sophisticated collection of pieces that unfolds slowly over repeated listens with shifting harmonics and unusual structural touches that keep it firmly on the side of "avant-garde". Includes booklet with contemporary liner note contributions by Terry Riley, Inga Ahmels, and Dustin O'Halloran as well as a reprint of a 1982 Village Voice live review by Tom Johnson and photos taken by his daughter Silvia. First edition of 500.
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2CD
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NW 80804CD
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"'Endangered Species states, restates, correlates, instigates, inflates and deflates, elevates, formulates, disintegrates, interrogates, percolates, granulates, germinates, Kiss Me Kates, Tom Waits, Norman Bates and W.B. Yeats, horripilates, adumbrates, prestidigitates, sophisticates, enumerates, integrates and contraindicates songs from the standard repertoire, Standards they were called. Old French, Frankish, estendard 'place of formation.' If you asked a jazz musician what he played, he'd probably say Standards and Originals. Standards being popular songs from Broadway or Hollywood, Originals being compositions written by the jazz players themselves. They became the catalysts for infinite extended play. . . . Alvin's standards rise from an uncodified potential of all the sounds in the world. Recognizable but reformed by what had been worked through the nameless sound fields into a strange new life, now audible here.' --Clark Coolidge (from the liner notes) '... The Yamaha Disklavier was the instrument I was waiting for . . . a grand piano which allowed me the luxury of playing not just its own hammers and strings but my entire archive of sound-files: a magic act where the whole world becomes audible directly from my fingertips -- an 80-proof blend of analogue and digital. The selection of songs on this recording is mostly ballads, slow and easy, leaving me time to think, exit into unverified neighborhoods, begin a piece from the end, enter a spontaneous museum of dysfunctional harmonies, sneak out the back door into the cocktail mists looking for traces of MEV street music in a heap of Pistoletto's rags.' --Alvin Curran"
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WLV 82091LP
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Wax Love presents a reissue of Moondog's Snaketime Series, one of the earliest and rarest of Moondog's recordings, originally released in 1956. "Snaketime" is what Moondog himself referred to as his unique sense of time in music, what he called "a slithery rhythm". And indeed, almost nobody else was making music as unique as this in the 1950s. Drawing influence from city sounds, and working on many of his own instrumental inventions, Snaketime Series is truly cutting edge American avant-garde.
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3CD
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ACME 339CD
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"No composer had a greater appetite for revolution than Stockhausen, who was embarking on a quest that would occupy him for more than half a century, and which would take in a whole gamut of constantly re-defined objectives - among them 'point music', 'spatial music' and 'multi-formula composition'. His early electronic compositions such as the Studies were painstakingly and meticulously constructed using magnetic tape, to be followed over the ensuing decade by the works which ranked among the masterpieces of electronic music, Gesang der Jünglinge (Song of the Youths) and Kontakte (Contacts). All of these unprecedented early electronic works are included in this three CD box set presentation which also incorporates such visionary creations of intellect and sensitivity as Pierre Boulez' orientally flavored Le Marteux Sans Maitre, recorded under the baton of Robert Craft, Xenakis' brilliant explorations of the dramatic and coloristic properties of Concrète sound, Poème électronique, Edgard Varèse's extraordinary response to a commission from Le Corbusier for music for the pavilion of the 1958 Brussels World Fair, and Ligeti's 'conversation without words', Artikulation, alongside the audacious Cartridge Music, for 'amplified small sounds' constructed by John Cage, using phonograph cartridges inserted with feathers, lengths of wire, toothpicks, pipe cleaners, small twigs, wire coils and nails to make audible otherwise indiscernible sounds."
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NEOS 11707CD
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Between 1989 and 2013, Swiss composer Andreas Pflüger composed a series of works for violin and piano that are highly divergent in style. These works are brought together in this recording and range from a virtuoso piece "... Steine ... (Stones)", which exhausts virtually all possibilities of violin playing, to the "Sonata 1993", in which the composer applies the sonata form in direct and pure tonal language, and also includes his most recent work, "Fünf Stücke (Five Pieces)" for two violins and piano. In each of them, complex musical sequences develop from motivic cells, or "nuclei" in a certain sense. Several of the works on this CD are dedicated to violinist Katharina Schamböck, who recorded them here.
Born in Basel in 1941, Andreas Pflüger made a name for himself internationally not least as a composer for the stage (with seven operas and two ballets), although he has also composed numerous works for orchestra and chamber music ensembles, as well as about 120 film scores. He has been invited as a composer and guest lecturer to many European countries, Japan, South America, and the US.
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3CD/SACD
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NEOS 11805-07CD
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On the tenth anniversary of Horațiu Rădulescu's death on September 25th 2018, NEOS present a comprehensive document of a wonderful artistic friendship will be released: the complete recording of Rădulescu's piano music, featuring the pianist Ortwin Stürmer. Horațiu Rădulescu, born in Bucharest on January 7th, lived in French exile from 1969 and became one of the leading exponents of spectralism; nonetheless, his music also has unmistakable roots in his home country of Romania. He was considered a sonic magician, a "philosopher of sound". One of his decisive encounters, in 1990, was with Ortwin Stürmer; it was for him that Rădulescu composed the second, third, and fourth of the Zen-inspired Lao tzu Sonatas, as well as the large-scale piano concerto "The Quest". It would have been wrong not to include the latter in this SACD box set -- with the same musicians as the premiere, the Frankfurt Radio Symphony Orchestra under the direction of Lother Zagrosek.
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R 049LP
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The Still Life is Karla Borecky's long-awaited second album following 2011's Still In Your Pocket. In between her work with Idea Fire Company, Karla has been slowly building a new repertoire of solo pieces. She threads together simple, whirling piano numbers. Lines of blue sadness, red memories, and green dreams, stitched with charm and care, The Still Life is an approachable album in the best way possible. Whatever your hobby may be, The Still Life will set the mood. This album also features two solo-piano versions of Idea Fire Company bangers: "The Life of the Party" from Music From The Impossible Salon (KYE 010LP, 2011) and "The Island of Taste," from The Island of Taste (2008). Borecky's music carries such a layered emotional identity while balancing a lack of pretension. A fine tightrope to dance on, but she does it gracefully. Please do enjoy. Edition of 300, comes with color bookmark with illustrations by Borecky.
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CD/SACD
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NEOS 11803CD
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Clemens von Reusner creates acousmatic worlds in which natural and synthetic objects exist side by side. He uses different programs that make free work possible in the realm of sounds, where samples, synthesis and resynthesis work together, develop accelerate and slow each other down, always with great determination. He works with sounds that he disjects, puts back together and places in rooms out of which they flow or into which they grow. "Anamorphosis", "Definierte Lastbedingung", "KRIT"m and "Topos Concrete" are genuine eight-channel productions. Attention to compositional sense and sonic transparency is always maintained in the stereo versions, even though the ambiance of the sound movements achieved by the ambisonic procedure only opens up completely in the five-channel versions of the SACD, and especially in the eight-channel concert version. "HO", "Dry Friction", and "Sphären der Untätigkeit" are originally mixed in two channel stereo. The SACD multichannel layer therefore also features these mixes in two channel stereo.
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CD
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NEOS 11817CD
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"In my ears, there is a potential musicality in any sound appearing in our everyday reality, and my method is to develop them into resilient actions performed by instruments and acoustic objects", says Malin Bång, Swedish composer and a founding member of the Curious Chamber Players (that can be heard on this CD). Her close connection with the musicians allows intense experimentation. She creates a spectrum of unpredictable and contrasting actions, ranging from the intimate and barely audible to the harsh and obstinate. In her work, she often incorporates acoustic objects to expand the sound world and to suggest that a musical content can be shaped by anything valuable to the artistic purpose. Malin Bång resides in Stockholm. Her work includes music for instrumental ensembles, orchestra, electronic music based on field recordings, and instrumental performance pieces. Lately she has specifically explored the mixed, amplified instrumental ensemble extended with acoustic objects in collaboration with the members of Curious Chamber Players. Her works are performed worldwide. She is regular visiting professor and lecturer at the composition faculty of the Göteborg University. "structures of molten light" features alto flute, bass clarinet, percussion/radio, piano/radio, guitar, violin, cello as performed by Curious Chamber Players; "arching" features amplified cello and amplified tools (wooden plank, rasp, saw, file, marker), as well as electronics, as performed by UmeDuo; "palinode" features amplified ensemble of bass flute, bass clarinet, cello and three objects: metal sculpture, vase and swing, as performed by Curious Chamber Players; "purfling" features amplified violin and electronics, performed by: Karin Hellqvist - violin; "jasmonate" features amplified ensemble of piccolo flute, bass clarinet, percussion/writing pad, inside piano/typewriter, tabletop guitar, violin, cello, and two hour glasses, as performed by Curious Chamber Players.
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NEOS 11808CD
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Peter Ruzicka has made a tremendous impact on the world of music for decades, not only as a general director (among others, at the Salzburg Festival, Hamburg State Opera and the Munich Biennale) but also as a high demand internationally as a conductor and composer. On July 3, 2018 Peter Ruzicka celebrated his 70th birthday. This CD, the seventh featuring his music in the NEO catalog, is being released to honor this occasion. The Minguet Quartet won the 2010 ECHO Klassik Award for its complete recording of string quartets by Ruzicka (Nos. 1-6 at the time). This CD is a logical and perhaps necessary continuation of the series: In addition to String Quartet No. 7 -- which, at over 40 minutes in length is far more extensive than its predecessors -- it includes "CLOUDS 2" for string quartet and orchestra conducted by the composer. Ruzicka says that in this work he was guided by the image of music that is searching for a sound which he has never himself heard before, and which has never previously occurred in all his works.
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CD
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R 051CD
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Poetry & Music is a tremendous collection of recordings from famed Fluxus poet and artist Jackson Mac Low (1922-2004). Originally published on New Wilderness Audiographics as a cassette in 1977, these recordings have been cleaned up and remastered by Sean McCann in 2018. Jackson's beautiful text formulas are supplemented by stereo multi-tracking, creating a spatial jungle of wordplay. One gem of this CD is the live foray into tape manipulation from 1966 featuring the assistance of James Tenney and Max Neuhaus. It is fabled that they took Jackson's voice and slowed it down to a guttural thunderstorm during playback, resulting in a manic blend of words darting through a black cloud of reverberation. Only a small amount of Jackson's sound poetry is currently available, making this collection a delight to swallow and digest. Co-produced with Charlie Morrow, Recital re-presents this history to the ears of both young and old. Edition of 250 with 8-page insert with scores and introduction by Charlie Morrow.
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