Out of stock
CD
Olivia BLOCK
s/t
New work for piano and organ (2017).
“How did you develop the work on your CD? Was it through-composed or improvised, or was it a combination of the two? And is the method you used for this piece fairly typical of your compositional practice?”
OB : “This suite was created over a span of several years. I developed techniques inside piano through rehearsals and performances, sketched the basic ideas out--the motives, physical materials, etc., leaving a lot of room for improvisation between the composed bits. I think of the suite as somewhat modular. I can switch sections around while key features, like patterns on the keys in each section, are composed.
There are certain aspects that are unpredictable by nature. For instance, the resonant notes inside the piano, amplified through the contact mics and mini speaker, lead the note choices I play in the keyed patterns.
So in terms of live performance, each piano and the materials I place inside the piano become key factors. The score sets these processes in motion, but leaves room for my spontaneous reactions to the natural acoustic phenomena within certain boundaries.”
“How did you develop the work on your CD? Was it through-composed or improvised, or was it a combination of the two? And is the method you used for this piece fairly typical of your compositional practice?”
OB : “This suite was created over a span of several years. I developed techniques inside piano through rehearsals and performances, sketched the basic ideas out--the motives, physical materials, etc., leaving a lot of room for improvisation between the composed bits. I think of the suite as somewhat modular. I can switch sections around while key features, like patterns on the keys in each section, are composed.
There are certain aspects that are unpredictable by nature. For instance, the resonant notes inside the piano, amplified through the contact mics and mini speaker, lead the note choices I play in the keyed patterns.
So in terms of live performance, each piano and the materials I place inside the piano become key factors. The score sets these processes in motion, but leaves room for my spontaneous reactions to the natural acoustic phenomena within certain boundaries.”
13,00€
Out of stock
CD
Morton FELDMAN
“Piano, Violin, Viola, Cello”
Feldman’s last work, played by Mark Knoop, piano, Aisha Orazbayeva, violin, Bridget Carey, viola, Anton Lukoszevieze, cello.
“I’ve been slowly working through the late Feldman works over the past 10 years or so, including several performances of For John Cage with Aisha Orazbayeva, and she suggested we do Piano, Violin, Viola, Cello at a Café Oto gig in September last year. The concert turned out to be on one of the hottest days of the year and was an exhaustingly wonderful experience of combined concentration from both audience and performers in a sweltering Café Oto. Shortly afterwards, Simon Reynell mentioned that he would like to record the piece, which we did on one of the coldest days in early January!” Jack Sheen interviews Mark Knoop.
“I’ve been slowly working through the late Feldman works over the past 10 years or so, including several performances of For John Cage with Aisha Orazbayeva, and she suggested we do Piano, Violin, Viola, Cello at a Café Oto gig in September last year. The concert turned out to be on one of the hottest days of the year and was an exhaustingly wonderful experience of combined concentration from both audience and performers in a sweltering Café Oto. Shortly afterwards, Simon Reynell mentioned that he would like to record the piece, which we did on one of the coldest days in early January!” Jack Sheen interviews Mark Knoop.
13,00€
Out of stock
CD
Melaine DALIBERT
“Ressac”
Two modular pieces for solo piano, composed and played by Melaine Dalibert.
“En abyme” (2014), “Ressac” (2015). Melaine Dalibert, piano and composition
“En abyme” (2014), “Ressac” (2015). Melaine Dalibert, piano and composition
13,00€
Out of stock
CD
Martine ALTENBURGER-John RUSSELL
“Duet”
“As a teenager in the 1970’s John Russell took guitar lessons with Derek Bailey, and his playing is firmly in Bailey’s tradition: an exemplary instrumentalism which combines unconventional techniques with an unashamed love for the natural sounds and resonances of the instrument. Duet consists of a complete set played at a 2008 festival in France with Martine Altenburger, a much under-rated cellist who has performed in both improvised and contemporary classical settings with musicians such as Le Quan Ninh, Thomas Lehn, Michel Doneda and Frédéric Blondy.” label info
12,00€
In stock
CD
Martin ARNOLD
“The Spit Veleta”
The second CD in the Canadian Composers Series contains three recent works by the Toronto-based composer Martin Arnold, played by Mira Benjamin (violin) and Philip Thomas (piano). Three linked pieces by the maverick Toronto-based composer who says that his music aspires to sound like “slow-motion dance music recorded underwater in a methadone clinic”. Solos for piano and violin, plus a duo for both instruments, played by Mira Benjamin and Philip Thomas. In his introductory essay to the booklet accompanying the Canadian Composers CDs, Nick Storring quotes a comment that Arnold made about one of his earlier works, highlighting a quality which Storring feels applies to a large part of Arnold’s compositional output: “The piece is not intended to be demonstrative but rather placidly elusive; it is not meant to sound recognizably innovative but rather disorientingly (but quietly and good-naturedly) perverse.”
“Points & Walzes” (2012) performed by Philip Thomas, piano. “Slip Minuet” (2014) performed by Mira Benjamin, violin. “The Spit Veleta” (2015) performed by Mira Benjamin, violin and Philip Thomas, piano.
“Points & Walzes” (2012) performed by Philip Thomas, piano. “Slip Minuet” (2014) performed by Mira Benjamin, violin. “The Spit Veleta” (2015) performed by Mira Benjamin, violin and Philip Thomas, piano.
14,00€
Out of stock
CD
Marc SABAT
“Harmony”
The fifth CD in the Canadian Composers Series is also the debut appearance on Another Timbre by the Jack Quartet. It features chamber music for strings by the Berlin-based composer Marc Sabat, whose compositions explore the world of Just Intonation. But, as Nick Storring argues in the booklet accompanying the Canadian Composers Series of CDs, “to fixate upon this aspect of his music conceals at least half of what makes it so beguiling and beautiful. From an aural perspective, what is most salient about his work is not the system itself but his fluency within it. Part of this is attributable to his deep insight and compassion surrounding performance. Prior to his shift from to Toronto to Berlin, Sabat was revered as a violinist, and in his Euler Lattice Spirals Scenery quartet one hears the fruits of his tireless exploration of pitch. But his music never comes across as a dry academic study. Rather his rich treatment of the string quartet as medium brings the listener into close proximity with the palpable joy Sabat experiences in discovering these sonorities. It’s anchored in a reflective, unhurried temporality, but full of radiant blossomings of sound, wild sparkling eruptions in the instruments’ uppermost registers.”
“Euler Lattice Spirals Scenery” (2011). “Claudius Ptolemy” (2008). “Jean Philippe Rameau” (2012). Chamber music for strings using Just Intonation tuning. Played by the Jack Quartet.
“Euler Lattice Spirals Scenery” (2011). “Claudius Ptolemy” (2008). “Jean Philippe Rameau” (2012). Chamber music for strings using Just Intonation tuning. Played by the Jack Quartet.
14,00€
In stock
CD
Lucio CAPECE
“Awareness about”
Four recent pieces by Berlin-based instrumentalist, composer and improviser, Lucio Capece, all focusing on the process of listening. One piece performed by Konzert Minimal, the others all solo performances, including Lucio’s extraordinary piece at the Halle des Expositions in Evreux, France, using speakers hanging from helium balloons and location recordings through cardboard tubes.
13,00€
In stock
CD
Linda Catlin SMITH
“Dirt Road”
An extraordinary journey for violin and percussion, stretching across 15 movements and over 68 minutes. Canadian composer Linda Catlin Smith is one of the best-kept secrets of experimental music, and ‘Dirt Road’ is one of her few concert-length pieces. Brian Olewnick writes “this striking, gorgeous album from Linda Catlin Smith is wonderfully played by Mira Benjamin (violin) and Simon Limbrick (percussion)… definitely check it out.”
14,00€
In stock
CD
Lee PATTERSON – Vanessa ROSSETTO
“Temperament as waveform”
Long-awaited duo, assembled over a period of two years as a result of file exchanges between Manchester UK and Austin Texas between 2010 an 2012. Four tracks of powerful electro-acoustic composition from two like-minded musicians who have never met in person. “This fascinating album manifests both the frustration and invention that can emerge from inter-continental collaboration. It is an album of sacrifice - one that subsumes existent tendencies into the creation of a whole beyond individual identity”. Matthew Revert, Surround.
14,00€
Out of stock
CD
Jürg FREY
“Circles and Landscapes”
Works for solo piano played by Philip Thomas.
78 minutes of wonderful piano music by Jürg Frey: five new or recent pieces together with “In Memoriam Cornelius Cardew” from 1993.
“Philip Thomas presses the keys with such resonating deliberation that I felt I was at the piano with him. There is not only vibrant life in this music, but maturity….[Frey] is beyond the need to prove something, or make a point. His music just is.” (Debra Richards, Swissvibes)
14,00€
Out of stock
CD
John CAGE
“Four4”
“Four4 for four percussionists (1991). By Simon Allen, Chris Burn, Lee Patterson, Mark Wastell. A unique realisation of one of Cage’s late “number pieces” by an ensemble of musicians better known for their work as improvisers. The 72-minutes piece uses a system of flexible time brackets which were determined randomly according to a computer programme. Each musician chooses a number of sounds and assigns each of them them a number. Every time that number occurs above one of the time brackets, they play that sound.” label info
12,00€
Out of stock
CD
John TILBURY – John LELY – Dirar KALASH
“Seaside”
John Tilbury recording on clavichord for the first time, playing compositions by Christian Wolff (two of his ‘Tilbury’ pieces) and John Lely, plus improvising with the young Palestinian musician Dirar Kalash on oud, and John Lely on electronics.
14,00€
In stock
CD
John CAGE
“Winter Music”
“Winter Music” (1957). Version for four pianos. With Mark Knoop, Catherine Laws, Philip Thomas & John Tilbury.
Winter Music was written in 1957 at a time when Cage was exploring different ways of using chance procedures in his composing. He was also interested in producing scores that were indeterminate and which required the performer to interpret and work out many aspects of how the music might actually sound in performance. Winter Music consists of 20 unbound pages, which can be played by any number of pianists from 1 to 20. Any number of pages can be used in a performance, and in any order. Each page contains notes, chords and clusters which are positioned in accordance with the imperfections in the paper on which Cage was working.
The pages of Winter Music are less a score in themselves than a means for producing a score. The pianists are required to make some form of realisation, usually in advance, as to pitch selection and points of occurrence.
For this realisation chance procedures were used to assign each of the pianists five of the twenty pages. The pianists agreed an overall duration of 40 minutes and prepared their parts independently. At the recording there was no rehearsal and the piece was played once only.
Winter Music was written in 1957 at a time when Cage was exploring different ways of using chance procedures in his composing. He was also interested in producing scores that were indeterminate and which required the performer to interpret and work out many aspects of how the music might actually sound in performance. Winter Music consists of 20 unbound pages, which can be played by any number of pianists from 1 to 20. Any number of pages can be used in a performance, and in any order. Each page contains notes, chords and clusters which are positioned in accordance with the imperfections in the paper on which Cage was working.
The pages of Winter Music are less a score in themselves than a means for producing a score. The pianists are required to make some form of realisation, usually in advance, as to pitch selection and points of occurrence.
For this realisation chance procedures were used to assign each of the pianists five of the twenty pages. The pianists agreed an overall duration of 40 minutes and prepared their parts independently. At the recording there was no rehearsal and the piece was played once only.
13,00€
Out of stock
CD
James SAUNDERS
“assigned #15”
The leading contemporary music ensemble Apartment House perform a new piece developing out of James Saunders’s long-term modular project “
unassigned”. The new piece, “assigned
15”, was recorded in April this year and creates a mesmeric, dense, jungle-like soundworld across its 45 minutes. Beautifully realised by Anton Lukoszevieze (cello), Bridget Carey (viola), Simon Limbrick (percussion), Nancy Ruffer (flutes), James Saunders (dictaphones & radio), Philip Thomas (piano) and Kerry Yong (chamber organ).
unassigned”. The new piece, “assigned
15”, was recorded in April this year and creates a mesmeric, dense, jungle-like soundworld across its 45 minutes. Beautifully realised by Anton Lukoszevieze (cello), Bridget Carey (viola), Simon Limbrick (percussion), Nancy Ruffer (flutes), James Saunders (dictaphones & radio), Philip Thomas (piano) and Kerry Yong (chamber organ).
15,50€
Out of stock
CD
Giuliano D’ANGIOLINI
“Cantilena”
Six excellent chamber works by the Paris-based composer Giuliano d’Angiolini. An early review in The Guardian describes it as “sublime, poised music, full of open spaces”.
“Aria del flauto eolico” (2015). Manuel Zurria (flutes).
“Finale” (2012). Melaine Dalibert (piano).
“Cantilena” (2014). Quatuor Parisii : Arnaud Vallin & Doriane Gable (violins), Dominique Lobet (viola), Jean-Philippe Martignoni (cello).
“Allegretto 94.6” (2002). Melaine Dalibert (piano).
“(suoni della neve e del gelo)” (2014). Quatuor Parisii.
“Motivetto” (2009) Ensemble Chrysalide : Baptiste Boiron (saxophone), Benjamin Boiron (cello), Melaine Dalibert (piano).
“Aria del flauto eolico” (2015). Manuel Zurria (flutes).
“Finale” (2012). Melaine Dalibert (piano).
“Cantilena” (2014). Quatuor Parisii : Arnaud Vallin & Doriane Gable (violins), Dominique Lobet (viola), Jean-Philippe Martignoni (cello).
“Allegretto 94.6” (2002). Melaine Dalibert (piano).
“(suoni della neve e del gelo)” (2014). Quatuor Parisii.
“Motivetto” (2009) Ensemble Chrysalide : Baptiste Boiron (saxophone), Benjamin Boiron (cello), Melaine Dalibert (piano).
14,00€
Out of stock
CD
Frank DENYER
“Whispers”
“Whispers” (2010) Frank Denyer (voice & ancillary instruments), Elisabeth Smalt (offstage violin). “Woman with Jinashi Shakuhachi” (2008) Kiku Day (shakuhachi, voice, small percussion). “Riverine Delusions” (2007) The Barton Workshop - Jos Zwaanenburg (bass flute), John Anderson (bass clarinet), James Fulkerson (bass trombone), Marieke Keser (muted violin), Anne Magda de Geus (muted cello), Jamie Swale (bass drum), Frank Denyer (percussion). “Two Voices with Axe” (2008) Frank Denyer & Juliet Fraser (voices), Jos Zwaanenburg (flute), Benjamin Gilmore (muted violin), Elisabeth Smalt (muted viola), Dario Calderone (muted double bass), Pepe Garcia Rodriguez (percussion), Bob Gilmore (axe), Jamie Man (conductor). “A Woman Singing” (2009) Juliet Fraser (voice).
“The experience of listening to Frank Denyer’s music is extraordinary, quite distinct from other aspects of our contemporary musical lives. His music manifests an exquisite sensitivity to sound, often unusual or fragile sounds; his compositions are more concerned with what can be heard than with an interest in systems, or drama, or “ideas”. And while these sounds sometimes seem to embody a covert narrative of sorts, as though a story is hiding, waiting to be told, any such narratives are never made explicit. This leaves the listener free to concentrate on the highly original melodic lines, the harmonies and the unique tone colours of Denyer’s work, while speculating, if desired, about possible scenarios that may lie behind. This disc, the eighth devoted entirely to his music, collects three solo and two ensemble pieces, and forms a portrait of his recent work, from the years 2007-10.” Bob Gilmore
“The experience of listening to Frank Denyer’s music is extraordinary, quite distinct from other aspects of our contemporary musical lives. His music manifests an exquisite sensitivity to sound, often unusual or fragile sounds; his compositions are more concerned with what can be heard than with an interest in systems, or drama, or “ideas”. And while these sounds sometimes seem to embody a covert narrative of sorts, as though a story is hiding, waiting to be told, any such narratives are never made explicit. This leaves the listener free to concentrate on the highly original melodic lines, the harmonies and the unique tone colours of Denyer’s work, while speculating, if desired, about possible scenarios that may lie behind. This disc, the eighth devoted entirely to his music, collects three solo and two ensemble pieces, and forms a portrait of his recent work, from the years 2007-10.” Bob Gilmore
13,00€
Out of stock
CD
Chiyoko SZLAVNICS
“During a Lifetime”
The fourth disc in the Canadian Composers Series features the music of Chiyoko Szlavnics. The CD contains three works, two of which use sinewaves in conjuncton with acoustic instruments. The title track ‘During a Lifetime’ is written for sinewaves and saxophone quartet, an instrument on which Szlavnics herself used to perform. The final piece, ‘Reservoir’, is composed for sinewaves and an unusual instrumental octet, including two accordions, two flutes and two percussionists. The middle piece ‘Freehand Poitras’ is for string trio, but like the other works on the disc it is typified by the use of long sustained tones and slow glissandi.
Three exquisite pieces by the Berlin-based composer who uses drawings as the basis for her compositions. Played by the Konus Quartett and Apartment House.
“During a Lifetime” (2015)
Konus Quartett: Fabio Oehrli (soprano & alto saxophones), Jonas Tschanz (alto saxophone), Christian Kobi (tenor saxophone), Stefan Rolli (baritone saxophone). Plus sinewaves.
“Freehand Poitras” (2008)
Gordon Mackay & Mira Benjamin (violins), Anton Lukoszevieze (cello).
“Reservoir’” (2006)
Apartment House: Nancy Ruffer & Gavin Morrison (flutes), Jonas Kocher & Hannes Lingens (accordions), Simon Limbrick & Richard Benjafield (percussion), Mira Benjamin (violin), Anton Lukoszevieze (cello), John Lely (technical assistance). Plus sinewaves.
Three exquisite pieces by the Berlin-based composer who uses drawings as the basis for her compositions. Played by the Konus Quartett and Apartment House.
“During a Lifetime” (2015)
Konus Quartett: Fabio Oehrli (soprano & alto saxophones), Jonas Tschanz (alto saxophone), Christian Kobi (tenor saxophone), Stefan Rolli (baritone saxophone). Plus sinewaves.
“Freehand Poitras” (2008)
Gordon Mackay & Mira Benjamin (violins), Anton Lukoszevieze (cello).
“Reservoir’” (2006)
Apartment House: Nancy Ruffer & Gavin Morrison (flutes), Jonas Kocher & Hannes Lingens (accordions), Simon Limbrick & Richard Benjafield (percussion), Mira Benjamin (violin), Anton Lukoszevieze (cello), John Lely (technical assistance). Plus sinewaves.
14,00€
Out of stock
6 CD
COMPILATION
WANDELWEISER UND SO WEITER
“Wandelweiser und so weiter” is a 6-CD box set with 8 hours of music by a wide range of composers in or around the Wandelweiser collective. The box brings together previously unissued works by the most well-known composers in the Wandelweiser collective (Michael Pisaro, Antoine Beuger, Radu Malfatti and Manfred Werder), pieces by other Wandelweiser composers (Johnny Chang, Sam Sfirri, Eva-Maria Houben, Stefan Thut, Taylan Susam), as well as music by other composers whose work relates to Wandelweiser in some way, such as James Saunders, Dominic Lash, Anett Németh and John Cage. A central focus of the collection is the way in which Wandelweiser music has in recent years come together with the ’post-reductionist’ strand within improvisation. Many of the pieces on the box set are realisations of Wandelweiser scores by musicians who are better known as improvisers, but who have recently been drawn to the soundworld of Wandelweiser. All the tracks on the box set are new recordings played by different groupings of over 50 musicians including Angharad Davies, Radu Malfatti, Lee Patterson, Jurg Frey, Philip Thomas, Patrick Farmer, Rhodri Davies, Phil Durrant, Sarah Hughes, Dominic Lash, Anton Lukoszevieze, Tim Parkinson and many more.”
CD1, Confluences. Sam Sfirri, “natural at last” (2010) with Neil Davidson, guitar & objects, Rhodri Davies, harp, Jane Dickson, piano, Patrick Farmer, amplified objects / open CD players, Dimitra Lazaridou-Chatzigoga, zither. Antoine Beuger, “Lieux de Passage” (2008) with Jürg Frey, clarinet + Angharad Davies, violin, Phil Durrant, electronics, Anton Lukoszevieze, cello, Radu Malfatti, trombone, Lee Patterson, amplified objects, Philip Thomas, piano. Manfred Werder”2011(4)” with Anett Németh, recording, instruments, objects. Sam Sfirri “natural at last” (2010) with Angharad Davies, violin, Phil Durrant, electronics, Jürg Frey, clarinet, Anton Lukoszevieze, cello, Radu Malfatti, trombone, Lee Patterson, amplified objects, Philip Thomas, piano. James Saunders, “various distinct spatial or temporal locations” (2011) with Simon Reynell, coffee carton. Radu Malfatti, “Heikou” (2010) with Angharad Davies, violin, Phil Durrant, electronics, Jürg Frey, clarinet, Joseph Kudirka, double bass, Anton Lukoszevieze, cello, Radu Malfatti, trombone, Lee Patterson, amplified objects, Philip Thomas, piano.
CD2, Crosscurrents. Sam Sfirri, “the undulating land” (2010) with NMC Chamber Ensemble: Jason Brogan, electric guitar, Bill Carson, acoustic guitar, Jared Sinclair, flute, Kim Larson, clarinet, Ron Wiltrout, percussion, Sam Sfirri, melodica. John Cage, “Three2” (1991) with Simon Allen, Chris Burn & Lee Patterson, percussion. Pierre Borel / Johnny Chang / Derek Shirley, “Etchings” (2012) with Pierre Borel, alto saxophone, Johnny Chang, viola, Derek Shirley, double bass. Phil Durrant, “Sowari for Ensemble” (1997) with Phil Durrant, electronics, Lee Patterson, amplified objects & processes, Philip Thomas, piano. Michael Pisaro, “fields have ears (3b)” (2010) with Set Ensemble:
55,00€
Out of stock
2 CD
Morton FELDMAN
“Two pianos and other pieces, 1953-1969”
A 2 CD of music for multiple pianos from what is arguably the most experimental and interesting period of Morton Feldman’s development as a composer. Some of the pieces have been very rarely performed or recorded, and have probably never been in better hands.
John Tilbury, Philip Thomas, Catherine Laws & Mark Knoop, pianos. Anton Lukoszevieze & Seth Woods, cellos. Mira Benjamin & Linda Jankowska, violins. Rodrigo Constanzo & Taneli Clarke, percussion. Barrie Webb, trombone. Naomi Atherton, horn.
“Two Pianos (1957). “Four Instruments” (1965). “Vertical Thoughts 1” (1963), “Between Categories” (1969), “Piece for Four Pianos” (1957). “Piano Four Hands” (1958). “Intermission 6” (1953), “De Kooning” (1963), “Two Pieces for Three Pianos” (1966), “Piano Three Hands” (1957), “False Relationships and the Extended Ending” (1968), “Two Pianos second version” (1957).
Notes on Morton Feldman’s “Two Pianos and other pieces” by Philip Thomas. The music featured on these two discs testifies to the intensity of Feldman’s experimentation with notation and sound during the 1950s and 60s. Considering the works chronologically one senses the composer trying out, teasing and developing means of notation to get close to his desired elasticity of time and duration. His experiments with indeterminacy of pitch - whereby Feldman specified only the register (high, middle, low) of sound rather than the exact notes themselves - do not feature here; after trying this method in a series of works in the early 1950s he abandoned the technique, with a few notable exceptions straying into the 1960s, because he was too ‘attached’ to the pitches he wanted.
All notes are specified exactly in the pieces on these discs - the experiments are instead with duration and time. Durations of sounds are variously free, dependent upon the decay of the sound, worked out in coordination with other players, as well as at times exactly and complexly notated within a specific tempo. Sometimes the freedoms of notating time are worked through in combination with listening closely to the sounds of other players, allowing patterns to emerge without forcing the situation, whilst at other times different ways of notating time are combined, creating false alignments in the score and thus placing greater emphasis upon the individual performer’s journey.
The piano is an inherently indeterminate instrument - any given note will have a very different afterlife dependent upon the touch of the performer, the register of the note, the type and size of the piano, the acoustic of the space in which the piano is situated, and so forth. Put six or seven of these notes together as a chord and the situation becomes complex. In all these pieces Feldman specifies the dynamics to be quiet, or as quiet as possible, or very quiet. However the notion that Feldman’s music is ‘about’ quiet-ness is a misconception: the subject is sound, and in order for that subject to be properly attended to those sounds are quiet. The range of pieces presented here depict very many different types of quietness - from the delicate sounds of Piano Three Hands and Piano Four Hands to the massed complexities of Two Pieces for Three Pianos. Quietness in Feldman’s piano music is a performance instruction which is everything to do with touch and the desire to really hear the instrument. As such these recordings are a celebration of the piano (its tone and its decay) and piano playing, for all its frustrations and challenges - an instrument which is at the heart of Feldman’s music.
23,00€
Out of stock
2 CD
Linda CATLIN SMITH
“Drifter”
The first in the Canadian Composers Series of CDs is a double album of chamber works by Linda Catlin Smith, who was born in New York, but studied in Canada and has lived in Toronto for over 25 years. The album ‘Drifter’ contains ten pieces dating from 1995 to 2015 played by Quatuor Bozzini and Apartment House. In his introductory essay to the booklet accompanying the Canadian Composers CDs, Nick Storring says that “One of the primary tensions in Linda Catlin Smith’s music is between its equal and simultaneous drive toward abstraction and lyricism… Those who gravitate to the alluring melodic contours of Smith’s music and expect it to unfold along familiar lines will struggle when confronted with its lack of dramatic arc or formalised development. Conversely, those who are initially repelled by this same appearance are apt to be won over by its singular lucid-dream atmospherics.”
“Cantilena” (2013) by Emma Richards (viola), Simon Limbrick (vibraphone). “Piano Quintet” (2014) by Quatuor Bozzini with PhilipThomas (piano). “Drifter” (2009) by Philip Thomas (piano), Diego Castro Magas (guitar). “Gondola” (2007) by Quatuor Bozzini. “Moi Qui Tremblais” (1999) by Philip Thomas (piano), Mira Benjamin (violin), Simon Limbrick (percussion). “Ricercar” (2015) by Anton Lukoszevieze (cello). “Far From Shore” (2010) by Philip Thomas (piano), Anton Lukoszevieze (cello), Mira Benjamin (violin). “Galanthus” (2011) by Mira Benjamin (violin). “Poire” (1995) by Philip Thomas (piano). “Folkestone” (1999) by Quatuor Bozzini.
“Cantilena” (2013) by Emma Richards (viola), Simon Limbrick (vibraphone). “Piano Quintet” (2014) by Quatuor Bozzini with PhilipThomas (piano). “Drifter” (2009) by Philip Thomas (piano), Diego Castro Magas (guitar). “Gondola” (2007) by Quatuor Bozzini. “Moi Qui Tremblais” (1999) by Philip Thomas (piano), Mira Benjamin (violin), Simon Limbrick (percussion). “Ricercar” (2015) by Anton Lukoszevieze (cello). “Far From Shore” (2010) by Philip Thomas (piano), Anton Lukoszevieze (cello), Mira Benjamin (violin). “Galanthus” (2011) by Mira Benjamin (violin). “Poire” (1995) by Philip Thomas (piano). “Folkestone” (1999) by Quatuor Bozzini.
23,00€
In stock
2 CD
Laurence CRANE
“Chamber Works 1992-2009”
2 CD of composer-supervised recordings of 14 chamber pieces by a truly unique and individual voice in contemporary composition. Performed by the UK’s leading experimental music ensemble Apartment House, who have championed Crane’s music since the mid-90’s.
“This is not minimalism. It does not take justification in “less is more” or “only what is necessary”. It takes us beyond those points: it is less than necessary. It says, basically, nothing is necessary. And perhaps, also, “let’s be happy with this.” Michael Pisaro
23,00€
In stock
2 CD
Jurg FREY
“Collection Gustave Roud”
2 CD of pieces engaging with the work of the French-Swiss poet Gustave Roud.
“Paysage pour Gustave Roud” (2007 / 2008), Jürg Frey clarinet, Stefan Thut cello, Dante Boon piano. “Haut-Jorat” (2009), Andrew McIntosh violin, Jürg Frey clarinet, Dante Boon piano. “La présence, les silences” (2013-2016), Dante Boon piano. “Farblose Wolken, Glück, Wind” (2009-2011). Regula Konrad soprano, Stephen Altoft trumpet, Stefan Thut cello, Lee Ferguson percussion. “Ombre si fragile” (2007 / 2008 / 2010). Andrew McIntosh violin, Stefan Thut cello, Dante Boon piano.
“Paysage pour Gustave Roud” (2007 / 2008), Jürg Frey clarinet, Stefan Thut cello, Dante Boon piano. “Haut-Jorat” (2009), Andrew McIntosh violin, Jürg Frey clarinet, Dante Boon piano. “La présence, les silences” (2013-2016), Dante Boon piano. “Farblose Wolken, Glück, Wind” (2009-2011). Regula Konrad soprano, Stephen Altoft trumpet, Stefan Thut cello, Lee Ferguson percussion. “Ombre si fragile” (2007 / 2008 / 2010). Andrew McIntosh violin, Stefan Thut cello, Dante Boon piano.
23,00€
Out of stock
2 CD
Jurg FREY
“Grizzana and other pieces 2009-2014”
A 2 CD of beautiful chamber pieces by the wonderful Swiss composer and clarinetist Jurg Frey, who will be composer in residence at this year’s Huddersfield Contemporary Music Festival. Played by Ensemble Grizzana: Jurg Frey (clarinet), Ryoko Akama (organ & electronics), Mira Benjamin (violin), Richard Craig (flute), Emma Richards (viola), Philip Thomas (piano) and Seth Woods (cello).
The CD cover features a watercolour by Giorgio Morandi, whose work is one of the inspirations for the music.
The CD cover features a watercolour by Giorgio Morandi, whose work is one of the inspirations for the music.
23,00€
In stock
2 CD
Antoine BEUGER
“Cantor quartets”
Played by Jurg Frey (clarinet), Sarah Hughes (e-bow zither), Dominic Lash (contrabass) and Radu Malfatti (trombone). A 2 CD presenting 4 pages from Antoine Beuger 2003 composition which ingeniously adapts the musical form of the round to Wandelweiser music. Beautiful recording in a church in Oxfordshire, UK from June 2012.
23,00€