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Search Result for Genre CLASSICAL
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LP
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NMN 183LP
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$42.00
PREORDER
RELEASE DATE: 8/7/2026
Alga Marghen present Charlotte Moorman's Oeuvres Sonores LP, the missing chapter from the series of LPs issued in relation to the presentation done between 2008 and 2013 at Centre Pompidou. Side A features a collection of rare recordings by Charlotte Moorman, not included in the original edition of the Cello Anthology Boxset. The program includes John Cage "26' 1.1499 for a String Player"; Charlotte Moorman and Terry Jennings performing "Piece for Cello and Saxophone" recorded at Judson Hall during the 2nd Annual New York Festival of the Avant-Garde in August 30, 1964; three takes of Nam June Paik "TV Cello," the first as an excerpt from Nam June Paik's "Good Morning, Mr. Orwell," WNET TV New York - Centre Pompidou Paris in 1984, while the other two were recorded at the Art Gallery of New South Wales in Sydney in 1976 and at the Chicago, Museum of Contemporary Art in September 1982. The tracks are punctuated by recordings of Charlotte Morman's answering machine, giving listeners an insight of her everyday life and connections to John Cage, Nam June Paik, John Lennon and Yoko Ono, Jean Dupuy, and several other Fluxus artists, gallerists and friends. Side B features the famous TV Cello -- conceived by Paik for Moorman as a "living sculpture. This LP offers an in-situ recording realized on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September 1982. This LP contains the "Concerto for TV Cello and Videotapes," largely improvised, including a tape collage by Ornette Coleman prepared for Charlotte. Final edition issued in a limited run of 150 copies only, also including 16 posters and concert programs (both in color and back-and-white), or the full documentation of Moorman's Avant Garde Festival Of New York. The record comes in a four-color sleeve with the image from the Oeuvres sonores series.
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CD
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SNF 011CD
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$18.00
PREORDER
RELEASE DATE: 7/31/2026
Composed and recorded during tough times in 2025. Using compressed air, percussion instruments, piano and samples, Alessandro Brivio explores varied and extreme approaches to sound processing, diffusion, recording and re-composition, as a tribute to a lost friend.
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CD
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SR 582CD
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$15.50
PREORDER
RELEASE DATE: 7/31/2026
Performed by Stephan Ginsburgh. A European premiere of piano pieces and recordings by American minimalist composer David Toub. Two powerful pieces that propel him among the most adventurous composers of recent years. "'Gendarme de la Libertad' (2020) is a work for speaker and piano (or for just speaking pianist) and utilizes a text that I had wanted to set for many years but was not certain of the best approach until later. The text for the speaker is taken from the original Spanish words, as well as from an English translation, of the speech by Dr. Ernesto Guevara (Che) before the United Nations on 12/11/64 : 'Those who kill their own children and discriminate daily against them because of the color of their skin; those who let the murderers of Blacks remain free, protecting them, and furthermore punishing the Black population because they demand their legitimate rights as free men - how can those who do this consider themselves guardians of freedom?' 'Duophony' for open instrumentation (2020) is one of the few works I've composed in which there are no silences at all (except at the beginning and ending of the piece, as per my custom to start and end on empty measures, which is my own tribute to Quaker culture and practice in which meetings begin with a moment of silence)." David Toub is a unique voice in American minimalism, a genre that has produced quite a few composers over the past 80 years. Stephane Ginsburgh has performed as a soloist and chamber musician at numerous international festivals. A tireless explorer of both repertoire and new combinations integrating voice, percussion, performance, or electronics, he dedicated himself early on to contemporary music while also developing an extensive classical repertoire. He has worked closely with composers such as Frederic Rzewski, Jean-Luc Fafchamps, Stefan Prins, Joanna Bailie, Alec Hall, François Sarhan, and Matthew Shlomowitz, premiering several of their works. Stéphane Ginsburgh has recorded around fifteen albums for Sub Rosa, World Edition, Grand Piano (Naxos), and Kairos.
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LP
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NMN 187LP
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$26.00
PREORDER
RELEASE DATE: 7/31/2026
Alga Marghen presents the historical Intervalli by Giuseppe Chiari, a world premiere of the compete cycle of 12 Intervalli. Elegantly performed and recorded by Reinier Van Houdt, this timeless composition from 1950-56 anticipates Minimalist by a decade as well as Concetual and Sytems-Based-Composition while intersecting the perspectives that would soon be developed by Fluxus, the group Chiari would join in 1962. Giuseppe Chiari's Intervalli for piano still retain the charm of a discovery, even when considered in the context of their historical perspective. Composed within a time frame that extends throughout the entire first half of the 1950s, they are striking for the precocity of their compositional conception based on a radical reduction of musical parameters on mathematical and rational grounds. One might also be surprised to discover that Chiari's early compositions follow such a rigorous logical approach in the organization of musical material, particularly in light of the subsequent direction his work took, which established him, within the Neo-Avant-Garde, as the most resolute and determined exponent of gestural music -- a genre thus free from any dogma or structural constraints. In Intervalli Chiari focuses on the idea of a rational "arrangement" of the sequence of sounds and/or their simultaneity through a more or less controlled system of repetitions of variants or invariants, defined by their interval features and duration. The systematic processes of limiting and repeating musical parameters are elements that, by analogy, later came to the fore with the birth of musical minimalism. It would, however, be a stretch to regard Chiari's Intervalli as a driving force that will have a direct impact on the emergence and establishment of this current. Whilst minimal music employs the systematic reduction of parameters and their repetition to guide unidirectional development as a gradual process, Chiari's Intervalli move towards an opposing concept that "explores the relationships between sounds without any temporal hierarchy" in order to achieve "music that strips succession of its discursive power." A clear indication of an objective, almost atomistic conception of sound, aimed at deconstructing its syntactic homologation. Hence its conceptual relevance, which cannot be equated with the canonical currents of minimalism: a nuance that would subsequently predispose Chiari to an informal openness towards the performative gesture. The Intervalli cycle thus marked Chiari's first point of arrival, but also a point of no return -- save for the final decade of his creative career, when a still surprising new recourse to musical writing was mediated precisely by a gestural instinctiveness. This first edition of complete Intervalli also includes liner notes by Gabriele Bonomo as well as the reproduction of some of the pages from the original score.
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CD/BOOK
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9ED 032BK
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$26.00
PREORDER
RELEASE DATE: 7/31/2026
Diastima, released by 901 Editions, finds Luigi Turra working at the point where notation, sound and perception almost fall apart from delicacy. The project begins with a series of essential, open graphic scores by French composer Sylvain Chauveau: sheets of subtle marks that refuse to explain themselves. These drawings do not describe in any conventional sense; they suggest, orient and gently mislead. They abandon the security of notation as instruction and move into a more fragile, poetic register, where the musical gesture is only ever evoked, never pinned down. Turra's response is to treat each score as a field of possibilities rather than a plan to be executed. Within this space of indeterminacy, sound does not "realize" the notation so much as traverse it, brushing against its edges and dwelling in its gaps. Using a reduced electroacoustic language -- isolated tones, close mic'd textures, filtered noise, tiny percussive events -- he brings every element to the threshold of its own possibility. A single sound might be stretched until it frays; a faint rustle might be amplified until it becomes a landscape. Internal tensions in the drawings are translated into dynamics of proximity and distance, presence and withdrawal. The scores become devices that activate listening and response, not blueprints to be followed. Across the album, Turra continues the trajectory that has marked his work for years: a commitment to precision, subtraction and a pared back elegance. Diastima defines a space in which music and listening effectively coincide; what you hear is as much the act of attention as it is any "composition" in the traditional sense. The title -- Diastima as interval, distance, suspension -- is central. These pieces inhabit the space between two presences: between mark and sound, intention and reception, event and memory. Rather than building through accumulation, the music proceeds by articulating voids, waits and minimal signs. It is in those intermediate spaces that the work takes shape, asking the listener to lean into the almost nothing where, unexpectedly, a great deal is happening.
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2LP
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TBIL 002LP
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Tbilisi Records presents the first volume in the series: Giya Kancheli: Music for Stage and Screen. Giya Kancheli (1935-2019) was one of the most acclaimed and beloved Georgian composers of the 20th century. He created celebrated symphonic and chamber works, but also brought depth and beauty to theater and cinema through his original scores. Working in tandem with directors, screenwriters, playwrights, and conductors, Kancheli helped to define multiple eras of Georgia's diverse, multidisciplinary artistic identity. In collaboration with the composer's family, Tbilisi Records has compiled a series of recordings of Kancheli's music composed for film and theater. This first double LP presents some of his earliest creations: music for two theater productions, Khanuma (1968) and The Straw Hat (1966), and one of the composer's earliest soundtracks, music for the film Extraordinary Exhibition (1968). This album includes archival recordings, unreleased tracks, and alternate takes from sessions made available here for the very first time. These collected examples from the composer's early career illustrate his already established style, while serving as a foundation from which to compare his later works and artistic evolution. Giya Kancheli: Music for Stage and Screen also highlights Kancheli's incredible propensity for collaboration, emphasizing his role as a critical figure in the constellation of artists that defined Georgia's creative milieu. The label extends its deepest gratitude to the family of Giya Kancheli, whose trust and kindness made this release possible. Cover painting by Revaz Gabriadze. Design by Sandro Tavartkiladze. Liner notes by Ben Wheeler, with materials adapted from Natalia Zeifas' book Pesnopenie (1991). Photographs from the private family archives.
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4CD
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HT 007-010CD
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Yo-In (1980). Sound theater for an imaginary ritual, in four acts. For electronic and concrete sounds, fixed on multi-tracks. For a "percussionist-character" (solo percussionist). With about two hundred varied percussion instruments. Performed by Michael W. Ranta (solo percussionist) and Jean-Claude Eloy (electroacoustic projection, synchronization, mixings). Recorded during a public concert given at the Warsaw Autumn festival Polish-Radio, Warsaw, September, 1994. Electro-acoustic production : Instituut voor Sonologie, Rijkuniversiteit, Utrecht. Institute of Sonology, State University, Utrecht. With the collaboration of NHK, Denshi Ongagu Studio, Tokyo. First world publication. Digipack 4CDs with a booklet of 20 pages.
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LP
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SQM 037LP
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$33.00
PREORDER
RELEASE DATE: 7/10/2026
Pianist Elias Stemeseder and bass player Thomas Morgan debut on Squama with Io Pur Respiro. Recorded live at Sala Vanni in Florence, the album shows a duo at the height of their craft with an unmistakable instinct for melody and balance. Io Pur Respiro ("Yet I breathe") is the title of an early 17th century madrigal by Italian renaissance composer Carlo Gesualdo that's also the harmonic basis for the album's opening track "Madrigal, Variation, Courante." With two standards from the 1930s ("Love Came/I Have The Room Above Her") and two original compositions by Stemeseder there's 400 years of melodic evolution enshrined in this record. Yet, the music sounds neither new, nor old giving the album a profound sense of timelessness that's owed to the eternal force of melody and harmony.
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LP
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BT 142LP
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Australian composer-performers Judith Hamann and James Rushford have worked together in countless projects for two decades, perhaps most notably in Golden Fur, their trio with Sam Dunscombe. Black Truffle presents Midmeste, their first work as a duo. Its title is Middle English for "the middlemost point," alluding to how the piece builds on the points of overlap between the highly personalized musical languages Hamann and Rushford have developed in recent years. Performed on cello and a variety of pipe organs, Midmeste is a spacious, sometimes unsettling exploration of their shared interest in alternative tunings, psychoacoustic phenomena, the physical properties of their instruments, and the usually peripheral sounds generated by the performing body. Beginning with a sequence of austerely vibrato-less harmonics from Hamann's cello, trailed by Rushford's whistling portative organ tones, the music soon expands into a slow-moving melodic wander, pausing at times to linger over an uncomfortable harmony or particularly resonant cello tone. Hamann and Rushford have long histories of engagement with pre-Classical European musical traditions, having in past projects performed and radically extended the work of Solage, Louis Couperin, Johann Conrad Beissell and other composers. Here they use a 15th century song by John Dunstaple, "O rosa bella," which returns throughout the piece, distorted, aerated and splayed into new forms. Developed while the two shared residencies at Akademie Schloss Solitude, Stuttgart in 2020 and La Becque on Lake Geneva in 2023, Midmeste integrates recordings made (at the invitation of the Biennale Son) on the organ of the Basilica St Valere in Sion, Switzerland. Played by both Rushford and Hamann, the instrument's idiosyncratic features, including bellows pumped manually using massive wooden beams, are integrated into the music through amplification. Moving through a series of distinct episodes across its forty-minute span, Midmeste makes space for near-silent duets of high harmonics and hissing air, moments where twittering high tones and rumbling sub-bass could be electronic, and static fields that unexpectedly blossom into almost Romantic harmonies. Listeners familiar with Hamann and Rushford's work will find many familiar features here: the stunningly rich cello tones, their patient sustain allowing heightened awareness of the inner life of sound and its interactions with the environment; the care with which acoustic space is activated, becoming at times a third instrumental voice; the attention to fragile, unstable sonorities that sometimes have a comic edge. A major work from two key figures in contemporary experimental music, Midmeste synthesizes rigorous exploration of fundamental questions of sound and performance with an unapologetic embrace of beauty.
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3CD
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HT 011-013CD
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Anâhata (1984-86). Primordial vibration. Sound ceremonial with a contemplative character for two voices of Japanese Buddhist monks (traditional Shômyô techniques -- traditional temple chanting -- in a larger, modern and creative form), three Japanese Gagaku instrumentalists (traditional court music in a modern and creative form), one percussionist (with a percussion instrument orchestra) and electro-acoustic (fixed interactive sounds). Electronic studio of the Sweelinck Conservatorium, Amsterdam (1984-86). With Ebihara Kôshin (Tendai sect): solo voice; Arai Kôjun (Shingon sect): solo voice; Yaotani Satoru: Ô-Hichiriki solo; Shiba Sukeyasu: solo Ryûteki; Miyata Mayumi: Shô solo, Ô-Shô, Alto-Sheng; Michael W. Ranta: solo percussions; Jean-Claude Eloy, electro-acoustic (sound projection, general coordination, mixing). Studio recording made during the Donaueschingen festival 1990 (Donaueschinger Musiktage) by the SWF (Südwestfunk), Baden-Baden. First World publication. Presented in a small box of 3CDs with 60 pages booklet.
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4CD
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HT 001-004CD
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Gaku-no-michi, "Tao of music" or "Ways of music." Film without images for electronic and concrete sounds. Produced at the electronic music studio of NHK Radio, Tokyo 1977-78. Digitalized and revised version from 2006. Jean-Claude Eloy is a French composer, born in 1938. He studied at the Paris National Superior Conservatory of Music, where he won First Prizes in Piano, Chamber Music, Counterpoint, Ondes Martenot, and studied composition with Darius Milhaud. He attended summer courses at Darmstadt (Pousseur, Scherchen, Messiaen, Boulez, Stockhausen) and was a student in composition in Pierre Boulez' master class at the Music Academy in Basel (1961-1963). Works by Jean-Claude Eloy have been performed all over the world. "Pachinko" introduces "Tokyo" in a deliberately stiff, regular, almost mechanical and untranscended way while the big spiral of long successive waves, which further develops through Tokyo, becomes more and more varied in its material ending in the surpassing and searched-for transubstantiation taking place throughout the final part. The second disc, "Fushiki-e", takes listeners through varied, complex, contrasted and sometimes violent sound episodes towards the four "stages of contemplation" including the last one, "Mokuso", which represents the ultimate stage of the contemplative. It is the longest part of the whole piece, lasting almost 80 minutes. "Banbutsu no Ryûdô" is a boundless continuous "weft" travelling so to say through all sorts of daily or exceptional "sound scenes" continually metamorphosing, going from political speeches to a Shishi Odoshi, transformed for a long time well before its pure, direct appearance. "Kaiso" is a moment of gravity innervated and built around the annual commemorative ceremony of Hiroshima, which however leads listeners beyond the evoked drama to a place of surpassing with peace through the "Han" sound, extending the work to infinity.
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2CD
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HT 005-006CD
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Shânti (1972-73) for electronic and concrete sounds. Electronic music studio, WDR, Cologne, Germany, 1972-73. Digitalized and revised version from 2001. "The term 'meditation music' triggered many conflicting comments including positive ones. Others, wondering at the strong sound presence of the piece, consider such aspect as hardly helpful to their own meditation. What meditates here is the composer. He is the one who takes you on his journey and guides you through his work like in a classic or romantic symphony. As a listener you are invited to follow 'his' meditation. The composition is the meditation."
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LP
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NNF 437LP
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$24.00
PREORDER
RELEASE DATE: 7/3/2026
"Finnish multi-instrumentalist Simo Hakalisto makes mosaic music of strings, bowls, bells, reeds, wind, water, and obscure electronics, threaded in subtle currents of color and texture. The title of his latest, Toinen Luonto (Finnish for "second nature"), alludes equally to Shakali's earthen, tactile soundworld and Hakalisto's deepening comfort with his craft. The album's eight songs feel coaxed as much as composed, a web of resonances set in motion and allowed to simmer, build, or billow. Vibrations and silences unspool and intertwine, alternately pointillist and diffuse, attuned to some hidden harmony of the spheres. In addition to his own repertoire of rare instruments (including a 36-string kantele, built by Hakalisto's grand-uncle), several notable collaborators contributed to Toinen Luonto: saxophonist Julian Overall; Hakalisto's partner in the duo Lunar Horns, Timo Juntunen, playing udu and percussion; American experimentalist Roy Werner; and Belgian ambient flute samplist Les Halles."
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LP
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SW 014X-LP
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Spiritual World presents Ashleigh Ball's Center of the Universe, a transcendental flute journey from the singer and flutist of T3al. Center of the Universe is a 32-minute improvisational odyssey recorded inside the Dominion Astrophysical Observatory (DAO), a National Historic Site on Vancouver Island, in British Columbia Canada. Inspired by the pioneering work of Paul Horn and his Inside series, the recording channels a similar spirit of reverent exploration within a space rich in history and resonance. Completed in 1918, the observatory is home to the Plaskett Telescope -- once among the largest and most powerful in the world -- playing a key role in mapping the Milky Way. Following months of coordination, three hours of private access were granted on the morning of August 25, 2025. Beneath the observatory's towering telescope, Ball performed a wordless meditation, moving between alto flute and soprano concert flute, allowing each note to merge with the chamber's vast natural reverb. Tones bloom, linger, and return, carried along the massive curved steel walls. Captured using a minimalist recording approach, Center of the Universe preserves the purity of the moment -- its warmth, stillness, and the architecture's subtle mechanical resonance. Here, the observatory itself becomes an instrument, shaping the sound into something elemental, timeless, and deeply human. RIYL: Paul Horn, Pauline Oliveros, James Newton, Kali Malone.
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LP
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MOVCL 025LP
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$49.00
PREORDER
RELEASE DATE: 7/3/2026
"American cellist prodigy Yo-Yo Ma recorded Sing Me Home with the Silk Road Ensemble, a musical collective with performers and composers from all over the world. The album features guest appearances by Grammy Award winning artists Toumani Diabaté, Gregory Porter, Lisa Fischer, Bill Frisell, and many more. Released in 2016, Sing Me Home was meant to open hearts, ears, and minds during a time of tragedy and political turmoil. Bringing together the cultural backgrounds of the musicians, Sing Me Home is a culturally conscious album, reflecting on modern globalization and collaboration. From Macedonian folk to traditional music from Mali, and from Irish fiddle to Indian sitar: it all comes together. Critics agreed, and the album went on to win the Grammy Award for Best World Music Album in 2017. Sing Me Home is available as a limited edition of 500 copies on translucent blue colored vinyl, housed in a gatefold sleeve."
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KRANK 253CD
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"Los Angeles musician Cate Kennan's self-produced second full length unfolds with the poetry and immateriality of its title: Shadows. Ten vignettes of keys, strings, reverb, and voice, the songs sway and lope between dream and lullaby, rose-colored but remote. The album was inspired by the dislocation Kennan felt upon returning, after several years away, to the rustic neighborhood northwest of L.A. where she'd grown up: 'Wandering through a place where my life once existed but where everything had quietly shifted with time.' The music conjures a mood of distance, dust, and dazed emotion, alternately lulling and unraveling. From shuffling tumbleweed vignettes ('The Lone West,' 'Romantic Strings') to sepia-tone torch songs ('Shadows,' 'Reverie') to oblique keyboard meditations ('Moonlight,' 'Rain'), Kennan's soundworld moves with a muted, murky beauty, like alluring shapes seen through smudged glass. In her hands, haze is a transformative property, liberating melody and memory into landscapes still untraveled: 'What began as a period of nostalgia for me turned into a longing, not for the past, for a place that might exist somewhere beyond the horizon.'"
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KRANK 253LP
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LP version. "Los Angeles musician Cate Kennan's self-produced second full length unfolds with the poetry and immateriality of its title: Shadows. Ten vignettes of keys, strings, reverb, and voice, the songs sway and lope between dream and lullaby, rose-colored but remote. The album was inspired by the dislocation Kennan felt upon returning, after several years away, to the rustic neighborhood northwest of L.A. where she'd grown up: 'Wandering through a place where my life once existed but where everything had quietly shifted with time.' The music conjures a mood of distance, dust, and dazed emotion, alternately lulling and unraveling. From shuffling tumbleweed vignettes ('The Lone West,' 'Romantic Strings') to sepia-tone torch songs ('Shadows,' 'Reverie') to oblique keyboard meditations ('Moonlight,' 'Rain'), Kennan's soundworld moves with a muted, murky beauty, like alluring shapes seen through smudged glass. In her hands, haze is a transformative property, liberating melody and memory into landscapes still untraveled: 'What began as a period of nostalgia for me turned into a longing, not for the past, for a place that might exist somewhere beyond the horizon.'"
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HT 014CD
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Etude IV: points-lines-landscapes (1979). This work is designed as an all-electronic piece without considering any configuration with soloist parts for later use (unlike the two following pieces featured on this CD). It was realized by Jean-Claude Eloy in 1979 on the CEMAMu's UPIC upon Iannis Xenakis's invitation to whom this work is dedicated as a friend. The UPIC (Unité Polyagogique Informatique du CEMAMu) is an electronic tool invented by Iannis Xenakis in the 1970s. It is a graphic interface designed to create sound and compose music, whose first version featured a big drawing board (a sort of architect desk) equipped with a ballpoint electromagnetic pencil, surrounded by a computer (mini-computer solar 16/55 ESMS -- memory of 32 K) and a monitor. All kinds of forms could thus be drawn with the electronic pencil based on time parameters (moving from left to right) and frequency spaces (from bottom to top, from the lowest to the highest register). Before each drawing (or for every line or "arch" -- from an architectural point of view) the appropriate banks would be successively selected with the electromagnetic pencil: a waveform bank, an envelope bank, which could also be drawn and stored in advance. Piling up such arches you could obtained more or less complex drawings filling a "page" that could be calculated by the computer upon completion. Today, such operations are widely used by every computer (including consumer computer) whiz. However, in 1979 (when this work was produced) such opportunities were unique. Of a Forgotten Star (1986), electro-acoustic part alone from Sappho hiketis. Originally, this work was part of Anâhata but did not end up in its final production. It was later used as a supporting structure for the Sappho hiketis piece with the solo vocal parts especially written for Fatima Miranda and Yumi Nara. During the electro-acoustic production of Anâhata this mixing was entitled Indian-Plates. The basic material is exclusively made of prerecorded sounds from metal percussion instruments. The Great Wave (1991) (a tribute to Hokusai), electro-acoustic part alone from "She" (from the Gaia-Songs cycle). This work was originally realized to fit into Erkos but was not used in the final production. It was later integrated into the Gaia-Songs cycle for the fourth piece. This work was completed in 1990-91 at the WDR (Westdeutscher Rundfunk) Electronic Studio of Cologne.
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HT 016CD
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Butsumyôe (1989). For voices, percussions and electroacoustic. With Yumi Nara and Fatima Miranda, voice and percussions. In Butsumyôe ("The ceremony of Repentance") the singer Yumi Nara (soprano) occupies the function of a first solo voice, whereas Fatima Miranda (vocalist) assures the function of the second accompanying voice. In Sappho hiketis, it is the opposite: Fatima Miranda occupies the function of the first solo voice, and Yumi Nara assures the function of the second accompanying voice. But in practice, the vocal activities are mixed, creating an actual creative vocal duet. These two works are freely conceived and of pure imagination, which lean on not any pre-existent "model". Butsumyôe is a long monologue for voice that sings, speaks, shouts, and is modulated with a host of techniques, punctuated by the exclamations of the accompanying voice and by various percussion instruments played by the two female singers. Sappho hiketis (1989). For voice, percussions and electroacoustic. With Yumi Nara and Fatima Miranda, voice. A vocal duet articulated from an electro-acoustic piece (realized during the production of Anâhata at the Electronic Studio of the Sweelinck Conservatory in Amsterdam). The basic material is composed of pre-recorded metallic percussion instruments (samplings realized in 1984 by Michael W. Ranta). Prosody and vocal technique: unlike the previous piece, the text is used in a very broken up mode, with somewhat scattered phonemes, also integrating a listing of the names of Sappho's most famous female lovers. The adaptation of the text (in modern Greek) is totally free and makes no reference to the metrics or musical modes allegedly used by Sappho.
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HT 015CD
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CD with 60-page booklet with photos and texts in French and English. Kâmakalâ. The Energy Triangle (1971). For three orchestra ensembles, five chorus ensembles, with three conductors. Orchestra and chorus of the WDR, Schola Cantorum, Stuttgart. Conductors: Michel Tabachnik, Bernhard Kontarsky, Jacques Mercier. "Kâmakalâ" -- a Sankrit term meaning energy triangle -- refers to India's philosophy (Tantric Shivaïsm) and is expresses here as the appearance of energy, which is the erotic and cosmic energy (Kama), that which helps Shiva uniting with his Shakti (feminine energy), create every self-subdivision (Kalâ), hence gradually generating the whole complexity of the universe. It is that idea of a vast and slow crescendo of the various parameters of a musical score, of an infinite division and infinite multiplication of the material contained in it that appealed to Eloy. As a result, music pieces were almost inevitably bound to be brief, unable to sustain time as it would distribute the entire sound energy from the very first minutes. Étude III (1962) for orchestra, with piano and five percussionists. Orchestra of the SWF, Baden-Baden. Conductor: Ernest Bour. Etude III, which was composed in May and June of 1962 in Zurich and Paris, uses the configuration of a traditional orchestra (wood and brass instruments by pair) opposite to an ensemble of five percussionists, piano, harp and celesta. A dialectic stands out of this opposition as it is emphasized through the writing and conducting (measured for the orchestral mass, a-measured and cued for the entire ensemble on the foreground). The instruments, which form cohesive timber families, come in according to an irregular pattern as the piece develops, with the entire configuration not coming into play until the last developments. Fluctuante -- Immuable (1977) for full orchestra. New Philharmonic Orchestra from Radio-France. Conductor: Gilbert Amy. Fluctuante-Immuable, which was composed in 1977 as Gaku-no-Michi was produced in the Nippon Hoso Kyokai (NHK) electronic studio in Tokyo, is the result of a commission by the Secretariat of Cultural Affairs made for the Orchestre de Paris, which premiered it in May 1977. This work clearly shows the influence and the alterations that electro-acoustic practices infer on orchestral writing practices. Besides Eloy's long electro-acoustic productions, Fluctuante-Immuable suggested a new (theoretical and practical) way of addressing issues related to "composing with notes".
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2CD
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HT 017-018CD
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Songs for the other half of the sky. With Erkos (1990-91) and Galaxies (1986-1996). Performed by Junko Ueda (satsuma biwa and voice) and Jean-Claude Eloy (sound projection). "Erkos" is a word from the Indo-European language and means song, praise. It is close to the Sanskrit word Arkas (hymn, chant, radiance) and to the Tokharien term Yarke (reverence, homage). The texts consist of extracts from the Devî-Upanishad and Devî-Mâhâtmya writings, in Sanskrit. In those texts, an homage is paid to the Goddess who, in Indian philosophy, is considered as the mother of all energies. Erkos was commissioned by the Cologne Westdeutscher Rundfunk (WDR), at the invitation of Karlheinz Stockhausen, in collaboration with the Institut Français de Cologne and was produced in its entirety in 1990-91 at the WDR Electronic Studio. The electroacoustic materials are essentially concrete in nature and have been drawn from three sources Junko Ueda's voice, Satsuma Biwa (plucked string instrument with plectrum), Unban (metallic plate with complex resonance). Consequently, the recording studio is not used here as a generator but as a "multiplier-transformer" to the soloist, who is the real origin of all sounds. Galaxies is an electroacoustic work composed of two large groups of elements, contrasting with each other in function, construction, etc. but still unified as they are born from the same sources of timbre and treatment: the Japanese Shô (traditionnal mouth organ) from which all of the work's sound material is taken, to which are added an ensemble of five Bonshô's (temple bells from Japan and Korea).
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2CD
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SR 595CD
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Many Many Women by Petr Kotík is a large-scale composition for voices and instruments from 1975-78 on the text of Gertrude Stein's novella of the same name. It was published in Paris in 1910 as part of the book G.M.P. -- Gertrude, Matisse, Picasso. Voices and instruments performed by members of S.E.M. Ensemble and Ostravská banda. In 1972, the book was published again by Dick Higgins in his publishing venture Something Else Press. Kotík used the complete text, which determined the length of the piece. Inspired by his close collaboration with the composer and singer Julius Eastman, Kotík began composing for voice in 1971. Gertrude Stein was the first author Kotík used in a series of compositions on her texts. Many Many Women is the culmination of this series. A performance of the entire composition lasts almost six hours and features three pairs of singers and three pairs of instrumentalists performing in parallel perfect intervals: fifths, fourths, and octaves. It can also be performed in a shorter version with a smaller instrumentation. Starting in the mid-1970s, Many Many Women was performed incrementally, as Kotík continued to compose the piece. The completed composition was premiered in its entirety in 1979, in a series of three consecutive six-hour performances: at the Albright-Knox Art Gallery in Buffalo, New York, and in New York City, at Paula Cooper Gallery and at the Whitney Museum of American Art. The current recording of Many Many Women features two sopranos; countertenor; tenor; bass-baritone; bass; two flutes; two trumpets; and two trombones. The poetic nature of the text evokes imagery that can lead to staging. In June 2022, the festival New Opera Days Ostrava (NODO) presented the complete (one movement, six-hour in duration) performance of Many Many Women. Subsequently, the piece was recorded and edited down to a length of a double CD -- 142 minutes of music. The liner notes were written by the Viennese composer Bernhard Lang, who has been associated with Kotík for almost twenty years.
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CD
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HT 023CD
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Borderlines or Petra's Shouts. Songs for the other half of the sky N°VII" (2013). After some reissue or first editions of old compositions, here's a brand-new composition from Jean-Claude Eloy. Made mostly with voice, bells and synthetic sounds this piece works like an electroacoustic lightning.
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CD
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HT 021CD
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Galaxies (Warsaw version), electro-acoustic alone. Fully electro-acoustic version of "Anâhata/Galaxies" realized on the composer's personal computer from the original electro-acoustic recordings of this work. Jean-Claude Eloy: "In 1994 I had (for purely practical reasons) to remove these big electro-acoustic parts making up the two 'Galaxies' works from the piece they were connected with until then: Part III of my Anâhata cycle, entitled Nimîlana-Unmîlana ('that which awakens -- that which slumbers'). An electro-acoustic work integrating instrumental acoustic parts that required the performance of a Shô player from Japan. Those electro-acoustic parts were substantial enough to warrant a new configuration ensuring their stand-alone nature, independent of whether a performer was available or not. Therefore I used (apart from the two 'Galaxies') a set of particular sounds that I had generated during that production (all of them resulting from Shô sampled sound processing and modulations) entitled 'sons d'infinitude' ('sounds of indefiniteness'). These sustained sounds were very fixed, quite contemplative, almost motionless or maintained through short fluctuations that were more or less regular. They were five of them altogether. Four of them were grouped together into a consistent set and occurred after the first Galaxy, before the Shô solo. I had used them to compose a sequence called 'Awakening,' which formed the first Shô appearance in the version realized for the Donaueschingen Festival in 1990. The fifth one took place at the end of the second 'Galaxy' and was used to support the conclusion played on the Ô-Shô. In this purely electro-acoustic version the first four 'sons d'infinitude' came quite naturally as a 'bridge' between both Galaxies. The fifth sound kept its conclusive place, making it bigger and using it as a genuine 'extension sound' that could be infinite, with no limit!"
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2CD
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HT 019-20CD
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Electro-Anâhata (1986-1994). Fully electro-acoustic version of "Anâhata" realized on Jean-Claude Eloy's personal computer from the original electro-acoustic recordings of this work. Electro-acoustic works of a contemplative nature. Electro-acoustic parts alone of Âhata-Anâhata (struck sound -- unstruck sound) including a new unreleased part. Electronic music studios where the original "Anâhata" was produced (1984-86): Studio of the Sweelinck Conservatory of Music, Amsterdam (1984 and 1986), the entire production (pre-recorded material processing, new material generation, premixing) and all final mixing processes; Tokyo-Gakuso studio, Tokyo (1983): for the Shô and Ô-Shô (traditional mouth organs from Japan) sampling with Mayumi Miyata. Conny's Studio, Neuenkirchen, near Cologne (1984) with Asian Sound and Michael W. Ranta: metal percussion instrument sampling, including Bonshôs (Buddhist temple bells from Japan) sampling.
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