L’Exil Intérieur, op.98 for cello & piano (Ian Pace, piano); Das Andere, op.49 (version for cello); Pre-Existing Soul of Then, op.76 for 2 cellos; Lux Animae, op.97 for cello — Catherine Marie Tunnell, cello
Works for Organ & for Cello: Christe eleison, op.69; You-tree kalotrope III; Amen, op.88 (Christoph Maria Moosmann, organ); Intimate Rituals III, op.63 for string instrument & sound icons (Catherine Marie Tunnell, cello. Horatiu Radulescu & Petra Junken, sound icons); Immersed in the Wonder II, op.96 (Stanley Clark, trombone. Catherine Marie Tunnell, cello).
“String quartet No 4, opus 33 (1976-87)”. Arditti String Quartet: Irvine Arditti, Graeme Jennings, Garth Knox, Rohan de Saram.
"infinite to be cannot be infinite, infinite anti-be could be infinite" for nine string quartets or one string quartet surrounded by an imaginary Viola da Gamba with 128 strings.
Stephen Clarke, piano. The JACK Quartet.
“String Quartet No.5 “before the universe was born”, op. 89” (1990-95).
“’Piano Sonata No.5 “settle your dust, this is the primal identity”, op. 106” (2003)
“Piano Sonata No.2 “being and non-being create each other”, op.82” (1991)
The first volume in a projected series combining Radulescu’s complete Piano Sonatas and String Quartets — there are six of each — on Mode performed by the superb JACK Quartet and Stephen Clarke (piano).
In the 1970s, Horatiu Radulescu (1942 - 2008) began exploring and composing begun composing what he called “plasmatic music,” in which sound was conceived as an “endless ocean of vibrations,” as opposed to the traditional way in which music treats sound as a fabric of discrete scale steps. His music is linked to the “spectral music” school.
Radulescu’s Fifth String Quartet is one of the key works in his output. It is in some ways the richest manifestation of the body of string techniques he had developed for his music. It consists of 29 sections/pages which richly evocative titles, each lasting about 1 minute.
The Second Piano Sonata is inspired by the Tao of Chinese philosopher Lao tzu (6-5 BC). The first movement, “Immanence,” opens with a powerful sonority built from spectral functions which gives a sense of immensity and strength.
The Fifth Piano Sonata makes abundant use — more so than any of the other sonatas — of Romanian folk material, which is absorbed and integrated into Radulescu’s spectral language.
Liner notes by Bob Gilmore.