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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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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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NW 80800CD
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"Rory Cowal is a distinctive pianist, one who draws liberally on classical chops, ample experience with improvisation, and a predilection for the new and uncharted. This makes him especially attractive to composers who wish to blur the boundaries between traditional styles and genres. A musical adventurer at heart, Cowal seems drawn to challenging and unusual projects. The eight pieces on this CD reflect this willingness to experiment, to not just play the same old (now canonic) warhorses of the American experimental tradition, but to expand our awareness of what that tradition might include over a large period of time, from Johanna Magdalena Beyer (1888?1944) to Kris Davis (b. 1980), with their adventurous colleagues Muhal Richard Abrams (1930?2017), Daniel Goode (b. 1936), David Mahler (b. 1944), Thomas Peterson (1931?2006), and James Tenney (1934?2006) somewhere in between. The pieces recorded here span from 1931, a time characterized by "ultramodernism" and the theoretical exploration of dissonant counterpoint, to 2018, and the vast influences bombarding young composers in the twenty-first century's oversaturation of digital resources. None of the pieces included here has been previously recorded. Working therefore with no point of reference but the score, Cowal had the special challenge of envisioning them, and bringing them to life based solely on his own understanding of their possibilities."
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NW 80801CD
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"Kyle Gann, voice & electronics, sampling keyboard; Kenneth Patchen, voice; Martha Herr, voice. This recording features three works by Kyle Gann (b. 1955): Custer and Sitting Bull, Scenario, and So Many Little Dyings, from the decade 1994 to 2004. Those familiar with Gann's music will recognize a commitment to just intonation (alternate tunings), paired with a deployment of unexpected meters, often set to frequently shifting tempos. But here we also encounter another side of Gann, a composer preoccupied with texts, the inherent rhythms found within the spoken word, and the dramatic potential of these texts (including poems, interviews, stories, speeches, and even one psychic transmission). A musical reflection on the historic encounter between Lieutenant Colonel George Armstrong Custer and the Lakota leader Sitting Bull, Custer and Sitting Bull (1995-99), presented here in an updated version, is an example of a 'pocket opera,' a kind of one-person opera that blossomed in the unfunded spaces of downtown Manhattan. From 1999 to 2007 Gann performed it live himself, narrating the drama using various historical texts set to a MIDI keyboard accompaniment tuned to just intonation (ranging from 20 to 31-note-to-the-octave scales). While it takes the form of reimagined American history, Custer is perhaps most centrally about the value of sustained, repeated listening. Indeed, Gann's use of just intonation not only rewards but arguably requires many hearings to access certain subtleties. The title of So Many Little Dyings (1994) is taken from the Kenneth Patchen poem 'And What with the Blunders' (from First Will & Testament, 1939). The entire work originates from the pitch and rhythm of Patchen's spoken voice, which Gann sampled and transcribed from a recorded recitation of the poem. Listening to it, however, one might not perceive this borrowing immediately, as the work begins with the sound of a microtonal toy piano imitating the rhythms and contours of Patchen's voice. Very slowly, over the course of the 7-minute work, the piano's melody is taken over by a recording of Patchen's sampled voice. Scenario, for soprano and virtual orchestra, was written between 2003-2004 but wasn't performed live until 2012. The text is taken from a 1932 S. J. Perelman story of the same name, which consists of a non-stop, breathless collage of filmic clichés. On the page, Perelman's text continues for pages without paragraph break and includes dialogue excerpts, Hollywood rumors, and behind-the-scenes film directions. In Gann's setting of it, what he calls 'a surrealist collage opera, the musical analog of an animated cartoon, for theatrical soprano and virtual orchestra,' each collaged portion is set in a corresponding style and character, so the soprano must alternate rapidly between each affect and singing style throughout the 17-minute work."
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NW 80796CD
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"This recording is the first ever devoted to the orchestral music of Christian Wolff (b. 1934) and thus documents a little-known aspect of his wide-ranging work. John, David (1998) introduces in its second part a prominent role for solo percussionist, playing a wide range of pitched and non-pitched instruments, including marimba, glockenspiel, a variety of drums, wood and metal instruments and other sources, the exact choice left to the performer. Rhapsody (2009), in contrast, uses instruments of the traditional Western orchestra without percussion, divided into three separate ensembles and reordered into unusual combinations and relationships, both within and between the groups. In his essay On Charles Ives (1990) Wolff remarks that in the mid-1970s he had a sudden sense of his own work as 'an odd sort of mix of Ives and Satie.' He refers to Ives's 'readiness to draw upon whatever sources are useful'; the tendency to include altered versions of popular music and hymn tunes is a feature they have in common. The unlikely conjunction of Ives and Satie may provide a clue to such disparities as are evident in these orchestral pieces: Sections reminiscent of the density and complexity of Ives, of the simplicity and directness of Satie, and of the transparency of Webern, are juxtaposed without any need to mediate or explain how they are connected. The music is continually surprising, exhilarating, and challenging; it resists easy categorisation. Sometimes engagingly direct and transparent, at other times bewilderingly complex and profuse, it invites listeners to be alert to new kinds of musical experience, to suspend judgement based on more familiar models. There is a sense of immediacy that deliberately avoids any suggestion of a general plan or underlying theoretical principle; the controlling idea of a 'grand narrative' such as is associated with composers of the European avant-garde is explicitly rejected in favour of a variety of ad hoc procedures."
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NW 80803CD
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"Asked whether he would describe his music as 'Sound for the sake of sound,' James Tenney (1934-2006) replied, 'It's sound for the sake of perceptual insight -- some kind of perceptual revelation.' This release aptly demonstrates Tenney's deep exploratory fascination with the nature and potentialities of aural perception. His attraction to these topics was simultaneously intellectual and sensuous, and its musical products at once invite both sustained reflection and the most immediate of corporeal responses. A number of his works feature pitch collections that progressively approach or diverge from the structure of the harmonic series, or that gradually move between its 'harmonically complex' or 'dissonant' upper reaches and its 'harmonically simple' or 'consonant' lower regions. A paradigmatic example is provided by Harmonium #1 (1976). For 12 String (rising) (1971) represents an arrangement for strings of Tenney's classic electroacoustic composition For Ann (rising) (1969), which predated his interest in harmony. It nonetheless shares with much of his subsequent music a ruthless simplification of form and structure that eschews narrative drama in order to highlight the subjective processes and perceptions of the listener. The first movement of Two Koans and a Canon (1982) is entitled "First Koan (a gentler Beast)" and constitutes a variation upon Tenney's earlier Beast (1971) for solo double bass. It is a study in acoustical beating, an alluring rhythmic pulsation audible between tones whose pitches are sufficiently close to each other. The "Second Koan" in turn recalls Tenney's Koan (1971) for solo violin. It exhibits another of his radically reduced formal designs: a steady cross-string tremolo that gradually migrates upwards in register across the strings of the instrument. The brief final "Canon" is the most structurally complex of the movements. Alone of the three it employs a live tape-delay system. From 1975-84, Tenney produced a number of other compositions calling for the use of a tape-delay system in live performance, which he once referred to as 'the poor man's orchestra' for its ability to produce lush textures from few instruments. The most texturally sophisticated of these pieces is Voice(s) (1984), which requires the use of four separate tape machines. The final track, Blues for Annie (1975), offers a glimpse into the breadth of Tenney's personal musical interests. His appreciation for the blues is expressed forthrightly in a literal transcription and arrangement of Jaybird Coleman's 1927 recording of 'No More Good Water 'Cause the Pond is Dry.' "
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NW 80794CD
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"The intense individuality of Morton Feldman's (1926?1987) art and its 'painterly' aspect have tended to push his rich output of works into a zone all of their own, surrounded by a moat of stillness. This recording attempts the reverse process -- to bring his choral works (the previously unrecorded Chorus and Instruments, Voices and Instruments 1, Voices and Instruments 2, and The Swallows of Salangan) into a 'gallery' of other choir compositions of his times. Through the interaction with works of other characters and aspirations, mutual illumination might become a new Feldman experience. Two of the five other works confront Feldman's textless choral singing with words. These, however, carry their own special musical intent. Three early twelve-tone gems [Three Statements] of Will Ogdon (1921?2013) move with Walt Whitman 'into the wordless . . . away from books, away from art,' and reluctantly away from human desire, as embodied in the central poem by Thomas Campion. Robert Carl's (b. 1954) The City brings a transcendentalist layered sound to the mystical reflections of the architect Louis Sullivan, contemplating the natural and the built-human in the lake and city of Chicago. The notion of wordless chorus fans out in varied directions in the other three works. As one of Feldman's closest associates in the New York School, Earle Brown (1926?2002) intrigues us as much for the stark differences from Feldman shown by his abstract choral mobiles (Small Pieces for Large Chorus). The Sound Patterns of Pauline Oliveros (1932?2016) are less abstract than their title might imply -- moving in and out of singing itself into extended vocality, and towards newly-suggested verbal exclamations of a non-semantic kind. Warren Burt (b. 1949), a former student of both Oliveros and Ogdon at the University of California, San Diego, contributes with his Elegy the most recent piece, also the closest to Feldman's simple successions of chorale-like chords. His harmonies, however, acquire their elegiac qualities from chromatic memories and their contradictions, moving along unfamiliar paths."
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NW 80798CD
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"The immersive sonic textures that characterize Michael Winter's (b. 1980) music are crafted from comprehensive lists of data, with each composition encompassing a musical question that is addressed algorithmically. A performance lasts for as long as it takes to 'answer' the question, expressing all results as efficiently as possible. Winter leaves room for unanticipated results by keeping things open, notably in the instrumentation, which, rather than specifying instruments, tends to designate certain properties such as 'plucked strings," or 'sustaining instruments.' In this way, each performance offers a different manifestation of the same underlying structure. For Winter, beauty is the experience of something new, and to experience something new is to evolve. Even though he allows for a great many possibilities, the recordings here evince a highly tuned aesthetic filter. All of the five works included in this collection use plucked string instruments (guitar, virginal, and harp) and pure tones (ebowed guitar and pure tones). Together, they form a metacomposition, bound together by two versions of necklaces. The titles describe the processes that form each work: necklaces represents picking patterns with aperiodic necklaces (strings of data with specific constraints of rotational and symbolic permutation), and in mass and band a constraint akin to a band pass filter is applied to an Ockeghem mass. Likewise, in chorale and finely tuned resonators, instruments resonate the harmonics of a chorale, and quieting rooms makes use of phase cancellation to quiet a room. The title of the piece lower limit refers to Winter's intention to use the smallest amount of code possible -- in other words, to find the lower limit for programming a composition. This idea, in fact, applies to all of the pieces here, since all are concerned with how to express ideas in a maximally efficient way."
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NW 80797CD
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"'The composer is therefore enjoined to accomplish the following: she must establish himself as a major instrumentalist, he must not wait upon a descending being, and she must become an interpreter, not only of her own music and career, but also the music of her contemporaries, and give a fresh new view of the known and unknown classics.' --Julius Eastman Just when you think you are grasping the breadth and quality of the music of Julius Eastman (1940?1990), a recording such as Julius Eastman: The Zürich Concert shows up, and you have to go back and reassess his work and wonder what will show up next. This recording is from a 1980 solo seventy-minute improvisatory concert in Zürich, a cherished cassette made by a friend of Eastman's, who recently realized its uniqueness and decided that he should share it. The Zürich Concert was performed on October 25, 1980 in the Aula Rämibühl gallery. Eastman was in Europe participating in The Kitchen tour, and a Swiss friend, Dieter Hall, a painter who had been living in the East Village, arranged the concert. Hall recorded it on a cassette machine, so there is the inevitable gap when the tape had to be turned over, as Eastman played non-stop for seventy minutes. Simply put, The Zürich Concert is a revelation. Listening to this recording, one is overwhelmed by the cascades of sound, the power of the playing. It almost seems as if the piano will start bouncing across the floor like an out-of-control washing machine. But there is also space and delicacy in the playing. As a whole, the music never flags, and your attention doesn't wane, as you are drawn in by the intensity of the playing and the coherence and wonder of the music being made."
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NW 90002LP
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Restocked. Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks + free download card. "'In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built -- new and old -- eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma (1963-64, rev. 1966) was born of his exploration and assembled with that 'minimum of players' over a three-year period. In spite of rough conditions and meager resources Partch's dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original 'Statement' Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a 'test take' by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track -- never before released -- brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petals ever came to be, like much of Partch's story, stands somewhere between determination and miracle.' --Jon Szanto, The Harry Partch Foundation"
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NW 80793CD
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"'I am doing what a woman can hardly ever do . . . ,' wrote British world traveler Isabella Bird in an 1872 letter from Hawaii. 'And I can fall, I can fall into anything.' San Francisco Bay Area composer, acoustic bassist, and bandleader, Lisa Mezzacappa used those lines -- and more from the writings of Bird and other women adventurers of the 19th and early 20th centuries -- to fashion lyrics for her ten-part 'panoramic song cycle for improvisers.' Sung by the extraordinary vocalist Fay Victor, those two lines might also be taken to reflect Mezzacappa's place in the world of progressive and avant-garde jazz. With Victor's voice at the core, and musical ideas percolating up from the texts, Mezzacappa tailored the open-ended structure of Glorious Ravage to the gifts, sensibilities, and personalities of the individual musicians. That required her to develop a bigger compositional framework than she had ever built before, and one that could both reflect and refract the multifaceted stories and personas of the women she met in her research and meet the challenge of keeping the composition, in her words, 'open to the kind of collective wisdom that emerges from any given musical community.' Mezzacappa has written that initial inspiration for her work 'comes from a messy, unfocused, overwhelming, brilliant, seductive, and terrifying pool of sensations, ideas, gut reactions, intellectual concerns, moral ambiguities.' From that pool has bubbled up something that retains many of those qualities, but that also manifests focus, chemistry, communication, and an emergent sense of both order and transcendence. Glorious Ravage is a musical exploration of what is possible. Soaring with it can trigger an experience of the sublime, similar to the altitude sickness that Isabella Bird, Ida Pfeiffer, and Annie Smith Peck fell into during their lofty adventures, an ecstatic mind state South Americans called veta or soroche. When Bird wrote in her letter from Hawaii, 'This is the height of the last and most glorious ravage,' she could not have foreseen that Lisa Mezzacappa would bring us another of equal magnificence."
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NW 80792CD
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"George Lewis (b. 1952) combines an astonishing level of creativity with trenchant critiques of many traditional conceptions about experimental music. The four compositions on this album reference a wide range of ideas, from rhetoric in Ancient Rome to actor network theory, and the album's eponymous composition finds its grounding in the concept of the 'assemblage,' (or agencement in French) a pragmatic, material, non-teleological approach to composition. Among the album's compositions, 'Mnemosis' (2012) and 'Hexis' (2013) foreground repetition, and feature hypnotic patterns with striking sonic surfaces. 'Mnemosis', scored for flute, clarinet, violin, viola, cello, piano, and a percussionist, features repeated cells of dissonant interlocking lines that take shape as elaborate, even baroque loops. The overall impression is one of a clock with several hands turning unpredictably in different directions, triggering an oddball circus of sounds, recurring asynchronously, sometimes raucously. 'Hexis' (2013) appears as something of a slightly smaller and shorter sequel to Mnemosis, and is scored for the same band of instruments, but without viola. By comparison with 'Hexis' and 'Mnemosis', 'Assemblage' (2013) is more energetic, even chaotic. Written for a 9-piece version of Ensemble Dal Niente, Lewis describes Assemblage as having a feeling of pushing ahead all the time, 'or turning a wheel.' It can give the impression of an urban crowd bustling in every direction. Or a rising and falling activity of bouncing against the interior of a box that nonetheless manages to contain a certain sense of entropy. The unpredictable interplay between human and material agencies is an explicit theme of the piano and violin duo, 'The Mangle of Practice' (2014). It explores how practical relationships, decisions, and mediations structurally disfigure the elements in a given situation. Over the course of minutes, one hears episodes of internally consistent materials that are set in motion like windup toys, until a cut occurs, and a new sonic palette unfolds. It gives the impression of a single sonic object with over a dozen sides, being gradually flipped from one side to the next."
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NW 80791CD
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"Keeril Makan (b. 1972) composed his longest instrumental work to date, Letting Time Circle Through Us (2013), on commission for the New York City-based ensemble Either/Or, with whose musicians Makan has worked intimately over the course of many years and on several projects. The larger trajectory of Makan's musical explorations has not been a linear one, so this close collaboration was invaluable in arriving at the final recorded realization of the project. A near-constant in Makan's work is his use of the power of expectation and disruption via the establishment, continuation, variation, and interruption of musical cycles, whatever their content. Repetition and recurrence, periodicity -- whether of rhythm or of complete musical fragments -- change things, are capable of completely upending the listener's expectation of the syntax and flow of an idea, and thus of its expressive significance within a piece. Related to this are parallels between musical periodicity and the cycles we experience in life -- sunrise/sunset, the phases of the moon, the seasons, and other, including perhaps more personal patterns -- that are reflected explicitly in Indian and Indonesian musical traditions. These patterns or recurrence are acknowledged, at least obliquely, in Letting Time Circle Through Us, Makan's most direct and extended engagement with cyclic structures and periodicity. To quote his brief description of the piece, 'The friction between two contrasting types of music creates the emotional journey of Letting Time Circle Through Us. From the foundation of a single note, stable music emerges that repeats throughout the piece. Between these repetitions, singular, novel musical events occur which contrast with the initial stability. Over time, these singular events darken, while the repetitions of the opening music strain to move past the stressful interruptions. Eventually the desire for a return to stability merges with the reality of continual change, and the tension of the piece dissipates.' "
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NW 80788CD
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"On first hearing, the piano music of Peter Garland (b. 1952) creates a feeling of dislocation, then astonishment: It is so very different from the contemporary concert music we are familiar with. The composer's intent, his emotional directness is immediate -- despite the unusual sound world and different sense of time that these pieces exhibit. The three pieces on this CD, 'The Birthday Party' (2014), 'Blessingway' (2011-12) and 'Amulet' (After Roberto Bolaño) for 4 pianos (2010), are quite different in nature from much of Garland's previous writing for piano, more lyrical than dramatic in feeling. The Birthday Party in particular is the work of an artist looking back -- pensive, even nostalgic, open to musical associations. The Birthday Party is explicitly a study in both memory and loss; in Garland's own words it is not just a 'toast' to Aki Takahashi, the dedicatee, on her birthday, but also to '. . . those who are still with us [and to] our friends and loved ones who are no longer alive.' Blessingway takes its title from a Navajo ceremony, but its use here must be seen as reflecting a purely personal association of some kind for Garland rather than any literary or musical connection to the ceremony in the piece. . . . 'Amulet' was written for Aki Takahashi. She herself consecutively recorded all four parts before they were mixed down. Garland's original concept, explained in his introduction to the piece, was '. . . that these are not four separate pianos; but rather they form one big piano, the sum of their parts.' "
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NW 80786CD
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"Even before you've heard a single note of Free Palestine by the composer and instrumentalist John King (b. 1953), the work may well have made an impact for its title alone: a seeming reference to one of the more daunting, divisive sociopolitical conditions in modern global history. For King -- who became politically active during his late teenage years in Minneapolis during the Vietnam War era, participating in labor actions and protests, and later wrote music inspired by the anti-apartheid movement in South Africa -- the question of Palestine has been an issue of particular interest. It follows, then, that Free Palestine, a unified sequence of relatively brief string quartet pieces composed from May 2013 to August 2014, is to some extent politically motivated. Crucially, though, the work -- wholly instrumental and essentially abstract in nature -- does not convey a specific agenda. It is neither overt protest, nor a rallying cry. Instead, what Free Palestine ultimately represents is a kind of personal idealism, expressed in the action of a North American composer in the twenty-first century negotiating a new personal relationship with traditional Arabic music: experimenting with melodic modes (maqam'at) and rhythmic cycles (iqa'at), and transforming those elements for conventional Western instruments -- personalizing the music, in a very real sense, in order to embed it within his own cultural milieu. The work's lesson is not a blunt statement urging some particular form of action, but rather a simple acknowledgement of the invisible strands binding us in common humanity and intrinsic dignity, couched in a musical idiom invented not just to accommodate that commonality but to celebrate it."
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NW 80785CD
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"Brian Baumbusch (b. 1987) is a composer/performer based in Northern California working at the nexus between contemporary American and contemporary Indonesian music. Wayne Vitale (b. 1956) is a composer and educator who has long been inspired by the music of Bali, Indonesia. He has studied and collaborated with many of Bali's finest musicians and ensembles. Mikrokosma (2014-15) is an exploration in sound and light of the 'microcosms' of Bali-Hindu cosmology, where the universe is reflected and re-created in all its parts. The underlying concepts of the piece, revealed in form, proportions, meters (every movement is partially or entirely in 11), colors, sequence, and symmetry, are a direct interpretation of the pengider buana, the 'turning of the universe.' This graphic, spatial conception appears in a 19th-century Balinese treatise on cosmology called the Prakempa. It may appear esoteric to outsiders, but the graphic is known to most gamelan musicians, every priest, and a good number of others in Bali. It informs not only religious practice, but day-to-day practical matters such as the layout of a home. The pengider buana associates the 11 directions (N, E, S, W; the points in between, plus up, down, and center) with colors, gods, Sanskrit letters -- and tones of the gamelan. Music, by Balinese reckoning, is part of the basic structure of the universe. In this way, the piece is divided into 11 movements, which are reflective of one another; the first six movements were written alternately between Baumbusch and Vitale, and the later five movements are reinterpretations by Baumbusch and Vitale of each other's pieces composed in the first half. The work is a cross-cultural endeavor. Mikrokosma utilizes musical techniques and concepts that fuse or juxtapose Balinese and Western new-music traditions, particularly American minimalist music and its many offshoots. One of these fusions takes place in the realm of timbre and tuning. The instruments were conceived, constructed, and tuned by Baumbusch. Although he started from a Balinese conception in shaping the basic scale, recent research on the inharmonic partials (overtones) of metal keys and gong chimes informed the fine tuning process, yielding a unique scale and sonic world."
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NW 80787CD
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"Michael Byron (b. 1953) has long been committed to writing virtuosic instrumental music of contrapuntal complexity and perpetual variation, but with The Celebration (2013), a song cycle for baritone and piano quintet, he ventured into unfamiliar territory: He had not previously composed for voice, the primary vehicle for articulating the wonder of the human condition. Consisting of four songs (words by Anne Tardos) and two instrumental interludes, The Celebration explores the ambiguity, the disorientation, and ultimately the joyful paradox of formulating an identity in a world of constant change. Like most of Byron's work, the composition is built on a carefully designed structure that ensures the constant and measured transformation of musical elements. Just as Byron creates a new context for Tardos's poetry, so does the presence of the poetic voice transform Byron's music. The instrumental lines, for example, assume an intensely lyrical guise as they anticipate, echo, mirror, and contrast the vocal line. Also, the contrapuntal and rhythmic complexity -- a hallmark of Byron's style -- seems here to have emerged from a fragmented chorale of simple melodies that have been enriched by increasingly rhapsodic ornamentation, all of which has been meticulously notated. The unexpected divergence and convergence of the vocal and instrumental lines produce what Byron calls 'inevitable synchronicities,' that mysterious circumstance of individual voices immersed in eternal dialogue. With The Celebration, Byron and Tardos provide a rich opportunity for us to acknowledge and celebrate the divine counterpoint between voice and instruments, poetry and music, individual and humanity."
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NW 80789CD
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"'Can you imagine a piece that combines the athleticism of an uphill marathon run on a continuously steepening course with an ethereal, otherworldly sound that takes you out of body? The athleticism in this piece is a non-stop circular breathing run for close to an hour! And what is being circular breathed? A highly evolved, gorgeous multiphonic world shimmering though a continuous breath tremolo! This incredible duality between the physical and ethereal makes for a musical and emotional experience unlike any other. Before I coalesced my identity as a composer-performer, there was a period in the 1970s when I asked a number of composers to write works for me. Of the solo flute pieces from that time, Three Weeks in Cincinnati in December is by far the most unique and indeed the very best' --Robert Dick. 'Three Weeks in Cincinnati in December is the last of four compositions I wrote in the late 70s for solo instruments. They all feature a focus on a specific instrumental technique that was both unusual and difficult. Three Weeks... was exceptional in that it featured three such techniques taking place simultaneously: circular breathing for close to one hour, a continuous diaphragm tremolo, and a succession of beautiful yet very challenging multiphonics. The piece was conceived of and written in close collaboration with the extraordinary flute virtuoso, Robert Dick. Without his involvement I would never have dared to write such a piece and without him it never could have been performed. The intent of all the pieces in the group of four was to explore the special tension attained through the intense physical and mental focus demanded of the performer. This results in sounds I feel have a very complex, not entirely predictable, beauty.' --Bill Hellermann"
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NW 80784CD
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"The result of a rich confluence of many different cultural threads, a vivid and open imagination, and a rigorous intellect, Lei Liang's (b. 1972) music has a dimensionality to it that's quite remarkable. Of course acoustic, often luxuriantly so, it somehow also evokes tactility, it sounds like something that could be touched; it evokes shape and color, it sounds like something that could be seen. There are still other layers of significance, especially language and the drama of narrative action, its great sonic variety possibly conjuring character and scene, emotions and ideas different for each performer and listener. Through myriad avenues of potential perception, Liang's music reaches out and embraces its audience, its intricacies and complexities part and parcel of its naturalness and its direct but highly nuanced communicative voice. These five compositions represent further explorations of his long-standing research into traditional Asian arts and music and their incorporation into a contemporary music aesthetic. Verge Quartet (2013) is the latest example of Liang's extensive study of Mongolian music. Trans (2013), written for virtuoso percussionist Steven Schick, incorporates audience participation by having them play more than a hundred pairs of rocks, creating a sonic 'cloud' that can be interpreted as rain or other natural sounds. The moon is following us (2015) (for solo piano) represents the composer's effort to search for a new harmonic language, based on spectral analysis of a Chinese folk song. Liang imagines the composition as a journey through the spectral landscapes hidden within a voice. Inkscape (2014) (for percussion quartet and piano), one of several works in which Liang engages with the idea of Chinese traditional mark-making, either that of calligraphy or painting, is an exploration of the relationship between sound and Chinese ink paintings. In this piece, the piano functions as the 'brush,' and the percussion quartet as the 'ink.' Luminous (2014) is a concerto written specifically for the innovative bass improviser Mark Dresser. The composer writes, 'The instrument's rich spectra embody 'voices' that encompass extreme opposites -- lightness and darkness, angels and ghosts, paradise and inferno -- unified by a singular vibrating body."
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NW 80783CD
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"Jon Gibson (b. 1940) is one of the less frequently mentioned pioneering composers of minimal music and is probably best known as a founding member of the Philip Glass Ensemble. Gibson also holds the unique distinction of having performed with Steve Reich, Terry Riley, and La Monte Young (as a member of the Theatre of Eternal Music), in addition to Glass, the four composers widely regarded as the founding fathers of minimal music. Gibson also has a track record of composing for modern and post-modern dance and Relative Calm (1981) is the fruit of one of his numerous collaborations with well-known choreographers, in this case Lucinda Childs, who commissioned the work. The rediscovery of Relative Calm, one of Gibson's major works, is cause for rejoicing among aficionados of minimalist music."
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NW 80782CD
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"No Favorites pays homage to one of the most original creators in improvised music, Lawrence 'Butch' Morris (1947-2013), inventor of Conduction, a method for organizing large-ensemble improvisation that he took to the world. The program represents a working relationship that Rova began with Morris in 1988 and also reflects parallel working processes reaching back to the mid-1970s. Rova do more than simply pay tribute. The quartet's members build on their own work in structured improvisation, incorporate other methods of organization -- from graphic scores to conventional notation -- and expand their palette from the saxophone quartet to include a string quartet and an electric power trio. Extending the possibilities of large-ensemble improvisation, the combined groups create music of both depth and an ever changing surface, the fruit of both intense commitment and a highly creative, heterodox methodology. Like previous Rova expansions, it achieves complex music that both requires and rewards active listening. Each of the three extended pieces here includes a high degree of improvisation while embodying different compositional principles, the first and third (Nothing Stopped / But a Future and Contours of the Glass Head) employing conduction, the second graphic notation and simultaneity."
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NW 80779CD
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"Barney Childs (1926-2000) is perhaps best known for his innovative scores that weave indeterminacy and improvisation with traditional musical structures and notations. Eclectic in nature, Childs's compositions freely explored diverse avenues of musical thought and drew inspiration from many sources, including traditional western concert music (especially that of such composers as Hindemith, Ives, Ruggles, and Copland), the open form works of John Cage, and jazz of all periods and styles. Childs's compositions usually have wonderfully idiosyncratic aspects to them, rather than following the dictates of either a system or an established style. He said that 'to make music I make choices, as we all do, but I'm unable to presume that music must prove a doctrine, and I cannot accept music merely as process made audible. I choose what will happen simply because it seems to be the right thing to have happen, and in no other way.' Thus, the pieces cannot be easily analyzed, and in fact, he dismisses the idea that the value of a work can be or should be determined by whether or not the resulting work is capable of a brilliant analysis. His pieces consciously play with the listener's expectations, constantly balancing the familiar with the unexpected, so that the listener is 'anticipating what is about to happen: the future is defined and qualified, as far as we can define it, by expectation and anticipation, and this is continually being fulfilled or surprised.' This is exactly what makes a Childs piece work: the interplay between what is expected and what is not. This recording is a tribute to Childs by some of his close friends, performed and produced as a labor of love."
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NW 80780CD
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"Imagine, if you will, a busy, furiously humming beehive, and, within it, a calm, meditative bee. The image comes from only one work on this disc, and yet it seems curiously apropos to so much of Robert Carl's (b. 1954) music. There is a still center in his music, even at its modernist rowdiest. In his music dissonance and rhythmic complexity do not connote anxiety, fear, violence, but rather the overflow of the exuberant noise that springs up from the ground of life. His music embraces extremes of simplicity and complexity, which in his vision interpenetrate each other. Symphony No. 4 (2008), one of his best and most ambitious works, is a score often dense with polyrhythms and dissonant counterpoint. Its subtitle is The Ladder, and the ladder in this case is the harmonic series, the series of overtones that arises naturally as you move your finger along a piano or guitar string while playing it. Two pieces on this disc were born from the sense of loss following the deaths of both of Carl's parents, in quick succession. The less obvious one is the Chamber Concerto for Guitar, subtitled The Calm Bee in the Busy Hive (2009?10). The ten-member ensemble includes a second guitar, and both guitars are tuned to a scordatura that facilitates a harmonic series on E: E-G#-D-F#-Bb-F. The other is The Geography of Loss (2010), whose form is an alternation of choral and instrumental movements with the chorus and instruments together in two movements and a baritone solo and soprano solo, respectively, in each of those movements. Written considerably earlier than the other works on this disc, The World Turned Upside Down (2000) is somewhat in a different idiom, but Carl considers it a turning point in his output, and its coda the initiation of the harmonic-series practice. Overall, this group of pieces leads us through an enormous diversity of idioms, and Carl has never been one to cultivate a single well-defined style and stick to it. Yet if one listens with an ear for his procedure of shifting from one harmonic series to another, the underlying unity is perceptible, and the disc as a whole gives us a striking picture of one of the most remarkable of early 21st-century composers."
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NW 80781CD
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"Chris Brown (b. 1953) composes music for traditional instruments, acoustic instruments with interactive electronics, improvisers, and computer networks. With Six Primes (2014), for retuned piano in 13-limit just intonation -- drawing on the Rhythmicana ideas of Henry Cowell, the pure keyboard focus of Conlon Nancarrow, the affection for just intonation of Lou Harrison, and the unadulterated clarity of mathematical process of James Tenney -- Brown is staunchly positioned, aesthetically, as a West Coast American experimentalist. 'Six Primes is composed using the first six prime numbers 2, 3, 5, 7, 11, and 13 to govern both its tuning and temporal structure, including harmony, rhythmic subdivisions, and form. I wrote this music to explore the limits of using the same integer ratios to simultaneously provide melodic, harmonic, and rhythmic materials. The piano must be retuned in just intonation using the tuning system factor of 2, three ratios with highest prime of 3, and two ratios each with highest primes of 5, 7, 11, and 13. This creates a great diversity of interval relationships: whereas 12-tone equal temperament has just twelve distinct intervals, this tuning has 75. I employed this algorithmic control over form in part to evoke the egalitarianism of twelve-tone music, and to divert from monocentric tendencies of modal musics. Within that form, however, I allowed myself to compose freely, using a diversity of melodic, harmonic, and polyphonic ideas. Lou Harrison's endlessly branching melodies, Cowell's polyrhythms and tone clusters, Cage's equanimity and Stockhausen's deterministic force, the complex minimalism of Morton Feldman, and the harmonious buzz of Ellen Fullman . . . all provided influence and inspiration. I discovered that playing asymmetrical rhythms in odd numbered subdivisions of a strong pulse can evoke a bebop-like swing. And although I never thought about it during the composing process, I think I hear in its mixture of styles an influence of Ives.' -- Chris Brown. "
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NW 80776CD
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"Mari Kimura's career is a measure of how violin virtuosity has changed over the last few centuries, and particularly in the last fifty years. By the middle of the 20th century, violinists and composers began to feel that the violin's traditional technical arsenal required updating, lest the instrument continue to sound like the 16th-century technology it is, trapped in a quickly changing, increasingly high-tech modern world. One approach, mirrored closely in the world of woodwind instruments, has been to find the violin's 'extreme' technique, which would yield ways to twist the violin's familiar timbre into something new. Expanding on a technique intended to bring an extra measure of presence to high notes that are not naturally resonant, she began experimenting with notes on the G string, and found that she was able to wrest sounds as much as an octave lower than violin's lowest natural note, the G string's open G. She spent several years perfecting the technique, which she calls subharmonics. Kimura has taken an active role in the development of the repertoire of works that combine traditional instruments with electronic sounds, working with electronic scores of all kinds, including recorded tracks within which the violin line is tightly nestled, as well as interactive works, in which the live performance triggers events in the electronic score. For Harmonic Constellations, Kimura has collected half a dozen works for violin and electronics, by a group of American composers each of whom has a distinctive compositional style, and who take different approaches to the challenge of composing for the violin and electronics. Of particular note is the premiere recording of the title track, a major new composition from Michael Harrison, which is scored for violin with 13 pre-recorded tracks and computer generated sine tones. The work is comprised of nine constellations of complex just intonation harmonies that gradually shift and evolve over time."
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