|
|
|
|
|
|
|
|
|
|
|
CD
|
|
SR 523CD
|
Released in Sub Rosa's Unclassical series. "This album is the result of years of work and friendship with the composer. It started with 'De Profundis', a piece which has had a deep impact on me as a musician and a person, and ended with it. Frederic attended many of my performances of the piece, the last one during our last public concert together in early 2020 in Brussels. In the meantime, he wrote 'Dear Diary' (2014) and 'America: A Poem' (2020) for me which were both premiered at Ars Musica festival. I am very happy to present these pieces to you on this new and special album coming out on Sub Rosa." --Stephane Ginsburgh
Frederic Rzewski (1938-2021): Frederic Rzewski was born in Westfield, Massachusetts in 1938. He initially studied piano with Charles Mackey in Springfield and went on to study composition with Walter Piston (orchestration) and Randall Thompson at Harvard University and with Roger Sessions and Milton Babbitt at Princeton University, where he also took courses in philosophy and Greek. A Fulbright-Scholarship enabled him to study with Luigi Dallapiccola in Florence in 1960-61. His musical collaboration with Dallapiccola marked the beginning of his career as a pianist for contemporary piano music. His friendship with Christian Wolff and David Behrman and his acquaintance with John Cage and David Tudor influenced his development, both as a composer and as a pianist. During the 1960s, Rzewski taught and took part in the first performances of Karlheinz Stockhausen's "Klavierstück X" (1962) and "Plus Minus" (1964). From 1977 to 2003, he was a professor for composition at the Conservatoire Royal in Liège, Belgium. He also taught at various other universities, among them Yale University, the California Institute of the Arts and the Berlin University of the Arts. Rzewski founded the live electronics ensemble Musica Elettronica Viva with Alvin Curran and Richard Teitelbaum in Rome in 1966. After his return to New York in the early 1970s, his politically outspoken compositions probably made it difficult for him to obtain a long-term teaching position in the US. Frederic Rzewski lived and worked in Brussels. He left us on June 24, 2021 in his Italian home in Montiano.
Stephane Ginsburgh (1969): A tireless surveyor of the repertoire but also explorer of new combinations including voice, percussion, performance or electronics, Stephane Ginsburgh performs as a soloist in many international festivals such as Ars Musica (Brussels), Quincena Musical (San Sebastian), ZKM Imatronic (Karksruhe), Agora (Paris), Bach Academie Brugge, Ultima Oslo, Darmstadt Internationale Ferienkurse, Gaida (Vilnius), Warsaw Autumn, Klara Festival (Brussels), Festival Forum (Moscow), and Musica Strasbourg. He has collaborated with many contemporary composers such as Frederic Rzewski, James Tenney, Philippe Boesmans, Jean-Luc Fafchamps, Stefan Prins or Matthew Shlomowitz as well as with choreographers such as Anne Teresa de Keersmaeker (Rosas) and visual artists such as Peter Downsbrough and Kurt Ralske.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BS 044LP
|
Black Sweat presents a reissue of Frederic Rzewski's Coming Together / Attica / Les Moutons De Panurge, originally issued in 1974. This milestone of avant-garde music, first published by Max Schubel's historic Opus One label, was a very significant political statement. With "Coming Together" and "Attica", Rzewski celebrates in music the famous revolt in the American prison in 1971. The texts of Sam Melville and Richard X. Clark make the invocations of the prisoners pulsating and alive. Full of pathos, these fragments of life oscillate between a confessional tone and a hymn to freedom, in a touching emblem of compassion. The fixity of the sound images is incisive, unnerving and melancholic, embroidering a solid minimalist repetition. The different combination of the verses produces a psychosis or obsession towards a cathartic experience, at the same time emotional, physical and mental. Together with great guests such as Alvin Curran, Jon Gibson, Garrett List, Steve Ben Israel and Karl Berger, Rzewski seems to merge his radical vocation with the most meditative and suffered plots of the spiritual jazz; sealing the package with "Les Moutons Des Panurge," an amazing suite for percussion, a timeless masterpiece of polyrhythmic expertise.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NW 80740CD
|
"The evolution of the string quartet repertory has accelerated during the last half of the twentieth-century and beyond as composers from both the mainstream and the avant-garde have mined its seemingly inexhaustible creative resources. This CD features the virtually unprecedented combination of string quartet and percussion. It contains three works by prominent American experimentalist composers from several generations exploring the ensemble's unique sonic resources in diverse stylistic settings, each with its own original approach to musical form. A 'whim-wham' is a 'fanciful or fantastic notion or object.' In Frederic Rzewski's 'Whimwhams' (1993) the 'fanciful' occurs within a pre-conceived formal design. The formal structure in 'Whimwhams' provides time units, 'empty containers' for the free play of the composer's imagination, which yield striking successions of musical moments, each with its own distinctive identity. In James Tenney's Cognate Canons (1993) the canons occur between the percussion and the string quartet. The durations of the two canonic 'voices' are related by a series of proportions, creating the effect of simultaneous tempi, which Nancarrow used in his player piano music. Zeena Parkins describes 's:c:a:t:t:e:r:i:n:g' (2012) thusly: 'Flickering sound and shifting colors subvert the linear. 's:c:a:t:t:e:r:i:n:g' is composed of ten movements, evolving things, and objets sonores that acquire a modulated presence through accumulation. Resonance piles up and is dispersed by the 'scatterers' as they journey within conditions of motion and stasis."
|