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Search Result for Genre CLASSICAL
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2LP
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WRWTFWW 065LP
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$39.50
PREORDER
RELEASE DATE: 7/28/2023
Double LP version. WRWTFWW Records announce the first official worldwide reissue of Satsuki Shibano's Wave Notation 3: Erik Satie 1984, the final album from the sound-defining Wave Notation environmental music series curated by Satoshi Ashikawa. Originally released in 1984 on the Sound Process label, Wave Notation 3 followed Ashikawa's own Still Way (1982) and Hiroshi Yoshimura's Music For Nine Postcards (1982). The highly sought-after album is sourced from the original master tape. Wave Notation 3 is a splendid tribute to seminal French composer and pianist Erik Satie, himself one of the main influences behind kankyō ongaku/environmental music (alongside Brian Eno, John Cage, to name a few). The alphabetically-sequenced album features 26 pieces showcasing Shibano's unique piano interpretation of Satie's works. The artist explains: "For this album, I sequenced the compositions in alphabetical order of each title, irrespective of the period of each composition or style. By doing this, I attempted to effectively create 'Music as an environment' and at the same time, allow the listener to genuinely experience Satie's music." Satsuko Shibano's minimalistic approach to ambient classical is simply perfect and offers a beautiful and tranquil listening experience, furniture music with extra comfort and soothing simplicity, relaxing to the mind and to the soul. This Wave Notation deserves a spot among the pillars of Japanese environmental music, next to Midori Takada's Through The Looking Glass, Hiroshi Yoshimura's Green, and Satoshi Ashikawa's Still Way. For fans of furniture music, environmental music, music as an environment for furniture, ambient, Midori Takada, Satoshi Ashikawa, Hiroshi Yoshimura, Erik Satie, Brian Eno, minimalism. Includes English and Japanese liner notes by the artist, was supervised by Japanese ambient legend Yoshio Ojima.
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WRWTFWW 065CD
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$16.00
PREORDER
RELEASE DATE: 7/28/2023
WRWTFWW Records announce the first official worldwide reissue of Satsuki Shibano's Wave Notation 3: Erik Satie 1984, the final album from the sound-defining Wave Notation environmental music series curated by Satoshi Ashikawa. Originally released in 1984 on the Sound Process label, Wave Notation 3 followed Ashikawa's own Still Way (1982) and Hiroshi Yoshimura's Music For Nine Postcards (1982). The highly sought-after album is sourced from the original master tape. Wave Notation 3 is a splendid tribute to seminal French composer and pianist Erik Satie, himself one of the main influences behind kankyō ongaku/environmental music (alongside Brian Eno, John Cage, to name a few). The alphabetically-sequenced album features 26 pieces showcasing Shibano's unique piano interpretation of Satie's works. The artist explains: "For this album, I sequenced the compositions in alphabetical order of each title, irrespective of the period of each composition or style. By doing this, I attempted to effectively create 'Music as an environment' and at the same time, allow the listener to genuinely experience Satie's music." Satsuko Shibano's minimalistic approach to ambient classical is simply perfect and offers a beautiful and tranquil listening experience, furniture music with extra comfort and soothing simplicity, relaxing to the mind and to the soul. This Wave Notation deserves a spot among the pillars of Japanese environmental music, next to Midori Takada's Through The Looking Glass, Hiroshi Yoshimura's Green, and Satoshi Ashikawa's Still Way. For fans of furniture music, environmental music, music as an environment for furniture, ambient, Midori Takada, Satoshi Ashikawa, Hiroshi Yoshimura, Erik Satie, Brian Eno, minimalism. Includes English and Japanese liner notes by the artist, was supervised by Japanese ambient legend Yoshio Ojima.
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BT 104LP
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$35.00
PREORDER
RELEASE DATE: 6/23/2023
Black Truffle announce Symphony No. 107 - The Bard, a previously unheard archival recording of the legendary improvising ensemble MEV (Musica Elettronica Viva), captured in concert at Bard College, New York in 2012. Formed by a group of American expat composers in Rome in 1966, the MEV ensemble played an important role in the development of free improvisation, bridging the live electronics tradition begun by Cage and Tudor and the high-energy squall of free jazz. Early recordings like Spacecraft (WELLE 104LP) or The Sound Pool unleash volleys of metal and glass amplified with contact microphones, howling winds, primitive synthesizer bleep, and raucous audience participation, the intensity of which puts much later "noise" to shame. In later decades, the ensemble would go through many iterations, often including legendary free players like Steve Lacy and George Lewis. In its final years, MEV settled into the core trio of founding members heard here: Alvin Curran, Frederic Rzewski, and Richard Teitelbaum, using piano, electronics, and small instruments. MEV is the sound of these three personalities coming together, their contributions radically individual yet attaining a state of "fundamental unity" that Rzewski, in a text written in the collective's earliest years, defined as the "final goal of improvisation". Of course, listeners familiar with aspect of the trio's individual works might hazard some guesses about who is doing what: the crisp piano figures are probably Rzewski's, the cut-up hip-hop samples most likely Curran's, the sliding, squelching synth possibly Teitelbaum's. But often these identities are dissolved in a constantly shifting hall of mirrors. The two side-long sets here occupy a similar terrain of constantly shifting texture and instrumentation, unexpected interruptions, and moments of sudden beauty. The first set is sparser, at times almost ominous, as a bell repeatedly sounds across wheezing harmonica, seasick orchestral textures, and creaking wood, making room for episodes of yodeling and delicate prepared piano before exploding into a storm of buzzing synth and piano fragments. The second set is more frenetic, moving rapidly across centuries and continents: cars crash into post-serial piano pointillism, wailing voices collide with chopped and screwed hip-hop samples, Hollywood strings are buried under layers of electronic gurgles. The performance slows in its final moments, making way for a sampled voice repeating the phrase "protest and the good of the world", reminding you that MEV's idea of freedom was always more than musical. Symphony No. 107 - The Bard is a beautifully recorded example of the endlessly multi-layered later MEV sound, accompanied by new liner notes by Alvin Curran and a selection of previously unseen photographs from across the many decades of the group's activity.
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MOVCL 067COL-LP
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"Isao Tomita, also known as Tomita, was a Japanese composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analog synthesizer arrangements. Many of his albums are electronic versions and adaptations of famous classical music pieces. In 1976 Tomita released his fourth studio album, The Planets. On the album, Gustav Holst's The Planets can be heard in an arrangement for electronic musical instruments, in this case the Moog and Roland synthesizers. The Planets is available as a limited edition of 500 individually numbered copies on translucent pink colored vinyl and includes a poster with artwork designed by Stanislaw Fernandes."
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R 098CD
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Recital presents a new double album of rarely heard Robert Ashley compositions performed by baritone singer Thomas Buckner. In the 1960s, Robert Ashley pioneered the American avant-garde with the ONCE Group and festivals, before irrefutably changing the face of American opera later in the 20th century. Buckner, in addition to running the fabulous 1750 Arch record label in the 1970s and '80s, is a noted baritone who has collaborated for decades with the likes of Roscoe Mitchell, Annea Lockwood, and the late Noah Creshevsky, amongst countless others. The title of the album, Spontaneous Musical Invention, refers to Ashley's method of instructing the singer to do what he called "spontaneous musical invention based on the declamation of the text." A vocal practice that Thomas Buckner perfected over the 33 years that he collaborated with Ashley. First performing in Ashley's 1984 opera Atalanta (Acts of God), Buckner continued on as an integral performer in the ensemble until Ashley's death in 2014. The album is composed of two halves, the first is a new rendering of Ashley's second opera Atalanta (Acts of God). Robert Ashley wrote about ten hours of music for the opera Atalanta, divided into three acts: "Max", for the surrealist artist Max Ernst; "Willard", for the composer's uncle, Willard Reynolds, a great story teller; and "Bud", for Bud Powell, the great jazz pianist and composer. One is invited to construct a version using any material from these ten hours. Over the years they worked together, Thomas Buckner commissioned three reworkings of arias from Atalanta that he could perform in concert: the "Odalisque" aria from Max, "The Mystery of the River" from "Willard", and "The Producer Speaks" from "Bud". So, this first section of the album is one of many possible versions of Atalanta, albeit in strikingly different versions from the originals. The second section of the album is dubbed "Occasional Pieces", and holds two unpublished Ashley works. "When Famous Last Words Fail You" and "World War III Just the Highlights" are not from any Ashley opera. However, each is highly dramatic and theatrical. They were written as standalone pieces for Thomas Buckner. Buckner's distinct vocal cadence projects the sharp wit and wry storytelling of Ashley's librettos. A portion of the record was recorded live at Roulette in Brooklyn, NY, at an intimate memorial concert held for Robert Ashley in 2014. Spontaneous Musical Invention, in essence, functions as a tribute to both exceptional artists, and to their decades of collaboration. Includes 24-page booklet of Ashley librettos, scores, and program notes, with an introduction written by Alvin Lucier.
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R 098LP
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Double LP version. Edition of 350. Recital presents a new double album of rarely heard Robert Ashley compositions performed by baritone singer Thomas Buckner. In the 1960s, Robert Ashley pioneered the American avant-garde with the ONCE Group and festivals, before irrefutably changing the face of American opera later in the 20th century. Buckner, in addition to running the fabulous 1750 Arch record label in the 1970s and '80s, is a noted baritone who has collaborated for decades with the likes of Roscoe Mitchell, Annea Lockwood, and the late Noah Creshevsky, amongst countless others. The title of the album, Spontaneous Musical Invention, refers to Ashley's method of instructing the singer to do what he called "spontaneous musical invention based on the declamation of the text." A vocal practice that Thomas Buckner perfected over the 33 years that he collaborated with Ashley. First performing in Ashley's 1984 opera Atalanta (Acts of God), Buckner continued on as an integral performer in the ensemble until Ashley's death in 2014. The album is composed of two halves, the first is a new rendering of Ashley's second opera Atalanta (Acts of God). Robert Ashley wrote about ten hours of music for the opera Atalanta, divided into three acts: "Max", for the surrealist artist Max Ernst; "Willard", for the composer's uncle, Willard Reynolds, a great story teller; and "Bud", for Bud Powell, the great jazz pianist and composer. One is invited to construct a version using any material from these ten hours. Over the years they worked together, Thomas Buckner commissioned three reworkings of arias from Atalanta that he could perform in concert: the "Odalisque" aria from Max, "The Mystery of the River" from "Willard", and "The Producer Speaks" from "Bud". So, this first section of the album is one of many possible versions of Atalanta, albeit in strikingly different versions from the originals. The second section of the album is dubbed "Occasional Pieces", and holds two unpublished Ashley works. "When Famous Last Words Fail You" and "World War III Just the Highlights" are not from any Ashley opera. However, each is highly dramatic and theatrical. They were written as standalone pieces for Thomas Buckner. Buckner's distinct vocal cadence projects the sharp wit and wry storytelling of Ashley's librettos. A portion of the record was recorded live at Roulette in Brooklyn, NY, at an intimate memorial concert held for Robert Ashley in 2014. Spontaneous Musical Invention, in essence, functions as a tribute to both exceptional artists, and to their decades of collaboration. Includes 24-page booklet of Ashley librettos, scores, and program notes, with an introduction written by Alvin Lucier.
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NW 80833CD
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"Chemistry for Gamelan and String Quartet is the culmination of a long-term collaboration between the JACK Quartet and composer and instrument builder Brian Baumbusch (b. 1987). Over the past ten years, Baumbusch has designed and built two separate sets of 'American gamelan' instruments. Based on various instruments from the Balinese gamelan tradition, these instruments depart in innovative ways from Indonesian traditions based on their unique tuning, inspired in part by the tuning theories published by musicologist William Sethares, as well as their design and performance techniques, which draw inspiration from instruments built by Lou Harrison and Harry Partch. Hydrogen(2)Oxygen (2015) uses a unique compositional technique called 'polytempo,' pioneered by composer Conlon Nancarrow and further developed by Baumbusch in his works for large ensemble. Hydrogen(2)Oxygen explores the unique tuning landscape that is created by combining Baumbusch's Lightbulb instruments with string quartet. This work in particular uses performance practices native to Bali and advanced instrumental techniques that are derived from the virtuosic tradition cultivated by the artistry of Balinese musicians. Therefore, to produce the recordings on this album, Baumbusch returned to Bali with his instruments to work with Nata Swara. This is the first instance of Balinese musicians performing on 'American gamelan' instruments within Indonesia. Three Elements for String Quartet (2016) is one of Baumbusch's earliest endeavors in composing with polytempo structures. The format of the three movements requires that the performers use individual click tracks in the first and third movements in order to execute the polytempo relationships in the music, and in the middle movement the ensemble is free from 'clock time' and can interpret the rhythms communally. Prisms for Gene Davis (2018-2021) involves a separate set of gamelan instruments from those used in Hydrogen(2)Oxygen. It is an exploration of Balinese compositional heterophony, though structured to contain irregular and compound meters that are less common in Balinese music. Prisms can be thought of as a refraction of Baumbusch's relationship to both American Minimalism and Balinese music. This album is the work of a diligent composer who has travelled deep down many rabbit holes (instrument building, tuning, spectral analysis, tempo technology, Balinese compositional techniques, and even microphone building) to learn the technical information needed to engage with these complex compositional worlds. He has resurfaced from these explorations with a sensitive and refined fusion that can be heard here."
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2LP
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FR 006LP
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Double-LP version, black vinyl in gatefold sleeve -- on vinyl for the first time, in a revelatory new remaster by Jim O'Rourke. In 2016, Finnish label frozen reeds published the première release of Julius Eastman's Femenine, for chamber ensemble. Laying unheard for decades prior, the release documented a 1974 performance by the S.E.M. Ensemble with the composer himself on piano. Lauded in Pitchfork (awarded "Best New Music"), The New Yorker, and The New York Times, the first release of Femenine served as the catalyst that propelled Eastman's music into the mainstream. Articles on Eastman's music and its immediate disruptive impact on the classical canon began to appear in every major news organ in the English-speaking world and beyond. His music began to be programmed in major concerts and festivals, several of these entirely themed around his life and work. New recordings sprang up from a fresh generation of musicians engaging with his ideas and interpreting them for a modern audience hungry to hear more. But the raw, emotionally cascading spirit of the original performance continues to inspire listeners. Joyous, insistent, and immersive, Femenine bathes the listener in surges of tonal color from intertwining winds, piano, violin, pitched percussion, synthesizer, and -- uniquely -- the composer's own invention of mechanized sleigh bells, which provide the 72-minute piece with its characteristic pulse. Femenine was recorded live by Steve Cellum -- co-producer of Arthur Russell's World of Echo -- and the new vinyl reissue has been remastered from the original high-definition tape transfer by Jim O'Rourke at his Steamroom studio in the Japanese mountains. Illuminating sleeve notes are provided by composer and author Mary Jane Leach, key figure of the Eastman revival and co-editor of the Gay Guerrilla collection of essays on his life and music. Gatefold. "Eastman's stated aim with Femenine was to please listeners, saying of the piece that 'the end sounds like the angels opening up heaven . . . should we say euphoria?" --Mary Jane Leach
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2LP
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MOVCL 059LP
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"Hear the music of Philip Glass as you've never heard it before, as Donald Joyce performs Glass's haunting works on one of America's best tracker pipe organs. The intricate nuance and rich texture of Glass's music are given sonic splendor by this handcrafted instrument with 4861 pipes, four keyboards, and 70 stops. Glass Organ Works is available as a 2LP and includes an insert with liner notes."
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NW 80839CD
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"James Moore (b. 1979) is a composer with an eye toward the world of games and experimental theater. He's an electric guitarist who's willing and eager to treat his instrument as a playground, not a reverent, static tradition. He's a tinkerer, a charmer, and a fella who's always up for another round at the bar of wacky ideas and intellectual questioning. He's excited for new and unexpected opportunities for collaboration, but always maintains a voice that seems to stay recognizably his own throughout the myriad projects he takes on as his life's work. The beautiful pieces on this album -- Lowlands (2017) for accordion and voices; Clair-Obscur (2018) for triple harp; Desolation Pops (2016-18) for piano and string quartet -- reflect those playful and curious penchants of this music-maker extraordinaire. You'll hear comforting clarity, choreographed awkwardness, sudden synchronies, and inexplicable noises on this record. Put on your coziest vintage sweater, grab a classy cocktail in a quirky heirloom glass and get ready to give your ears a treat as you tour the stringed and unstringed sounds of Desolation Pops." --Lainie Fefferman (from the liner notes)
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SLWCD 001CD
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To take something classical -- a mass for the dead -- a requiem, something most are familiar with as old church music and reinvent this as something new -- a requiem with synths, could just be a stroke of genius. Schlindwein has done exactly that Ein elektronisches Requiem, quite literally translates to "An Electronic Requiem", is the first and only one of its kind.
Schlindwein is a pianist, composer and music producer from Berlin. His music has been used on multiple major TV series like Grey's Anatomy or How To Get Away With Murder and his songs have been occupying some of the biggest editorial playlists. His debut LP Piano and Electronic Ensemble Op.1 has received much critical acclaim. Classically inspired compositions and electronic sounds merge into his own world of dreamy, lush atmospheres while creating seamless transitions between neoclassic, electronica, and deep house. After now multiple albums and EPs, Schlindwein is going into more brave and ambitious musical directions while cementing his vision of contemporary electronic music beyond fixed genres.
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NW 80827CD
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"Unsettled in more senses than one, these fourteen choral works, reaching across the central third of the 20th century, represent some special moments in the story of music for voices, and within the creative musings of their composers. Generations later, they remain as outliers, but also as bearers of central truths about musical materials of their times, evading common categorizations -- radical or moderate, experimental or formalist, Stravinsky or Schoenberg. The eight composers are eminent figures -- each represented in other productions of New World Records. Their pieces here, however, have found no settled place in the choral culture, let alone in recordings -- excepting Pauline Oliveros's Tuning Meditation and Ernst Toch's Geographical Fugue. Yet there could be something special about these choral cases. In their individuality and diversity -- a small cauldron of mid-20th-century energies -- they might raise questions still not settled in our 21st century. At the least, they seem to offer fresh experiences among the more conventional tonalities of recent choral creation, and the more uniform notions of what constitutes good choral sound. Since the earliest chant, choral singing has been poised between two poles of expression, both of great interest to modern composers: a meditative state of pure sonority -- humming, melismas on vowels, drones -- and a discursive state of phonetic movement -- words projected through collective utterance. Through our fourteen choruses, emanations from the poles of humming and phonetics lead to a sense of musical 'language' itself in a state of re-thinking, not by notions of post-tonal styles replacing 19th-century harmonic grammar, but more by combinations of different sonic materials available on the terrain -- chromatic, 12-tone, modal, neo-classic, noise, drone, sound poetry. This is choral music 'unsettled' by its own times and embracing the situation with creative enthusiasm." --John McCaughey (from liner notes)
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KRIMKRAM 006CD
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Recording of the premiere performance of the Weihnachtsoratorium (Christmas Oratorio), an organ concert composed and played by the four hands of Daniel Löwenbrück and Fabian Löwenbrück. Performed December 26th, 2006 at the Hugo Meyer organ of the Evangelische Kirche in Lebach, Germany. Published by Krim Kram, Cork (Ireland). Full color six-panel digipak; edition of 300.
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MOVCL 007LP
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"With Solo Piano, Glass presents himself 'unplugged' -- no electronic keyboards or synthesizers, and no overdubs, either -- just solo piano. 'Metamorphosis' was written in 1988 and takes its name from a play based on Kafka's short story. Its second track, 'Metamorphosis Two', formed the basis of one of the main musical themes in the film The Hours. It is also the song that the American rock band Pearl Jam uses as their introduction music to concerts. 'Mad Rush' was written for the occasion of the Dalai Lama's first visit in New York City. 'Wichita Vortex Sutra' is the result of a chance meeting between two long-time friends, Glass and poet Allen Ginsberg, in a bookstore in the East Village. 'We decided on the spot to do something together, reached for one of Allen's books, and chose the poem 'Wichita Vortex Sutra'.'"
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MOVCL 072LP
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"Lavinia Meijer is a pioneering and exciting musician and composer, and one of the most important harpists of her generation. Known for her passion in broadening the possibilities of the harp -- both in terms of sound and appeal -- she's garnered worldwide critical acclaim for her intelligent, inventive interpretations of both orchestral repertoire and more contemporary music, playing alongside the likes of Philip Glass and Ólafur Arnalds, and performing works by Radiohead in classical venues. Four years in the making, Are You Still Somewhere? sees Meijer combine original compositions with her long-stated dream of interpreting modern composers and musicians for harp. Works by Ryuichi Sakamoto, Ólafur Arnalds, and Alexandra Streliski all feature, as do collaborations with Dutch pianist Pieter de Graaf and punk legend Iggy Pop. Are You Still Somewhere? concerns self-reflection and inner growth, topics that have come to the fore over the last couple of years. Family too; looking back, longing, and living with one's regrets are raked over in 'Mom & Dad', a track that features spoken word poetry from Iggy Pop. The 2022 Edison Award-winning album Are You Still Somewhere? includes a 4-page booklet."
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IF 1077CD
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French pianist Vanessa Wagner collects solo piano studies of graceful minimalism and rare finesse for new album Mirrored. Quickly following March 2022's Study of the Invisible album (IF 1070CD/LP), Vanessa Wagner returns with a new collection of work that paints in many colors. The application of shadow in Mirrored evokes haunting poignancy; the care and delicateness of its negative space leaves room for undulating melodic motifs to ebb and flow; its bold splashes of luminescence are striking and rich. And while the album collates re-interpretations of works by composers as varied as Philip Glass, Nico Muhly, Moondog, Leo Ferré, and Camille Pepin, the potency and effect of the collection as a whole reflects only Vanessa Wagner and the extraordinary breadth of her abilities. Performing solo, exposed to timbre, tempo and clarity, many of the pieces here -- such as "Sea Horses" by (Vanessa's one-time mentor) Moondog or Philip Glass's "Etude 4" -- demand virtuosic abilities as a performer and interpreter. But in Vanessa Wagner's hands, they are not only made her own, but made mesmeric and magical by the sensitivity of her touch. Also features works composed by Ryuichi Sakamoto, Melaine Dalibert, and Sylvain Chauveau.
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IF 1077LP
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LP version. French pianist Vanessa Wagner collects solo piano studies of graceful minimalism and rare finesse for new album Mirrored. Quickly following March 2022's Study of the Invisible album (IF 1070CD/LP), Vanessa Wagner returns with a new collection of work that paints in many colors. The application of shadow in Mirrored evokes haunting poignancy; the care and delicateness of its negative space leaves room for undulating melodic motifs to ebb and flow; its bold splashes of luminescence are striking and rich. And while the album collates re-interpretations of works by composers as varied as Philip Glass, Nico Muhly, Moondog, Leo Ferré, and Camille Pepin, the potency and effect of the collection as a whole reflects only Vanessa Wagner and the extraordinary breadth of her abilities. Performing solo, exposed to timbre, tempo and clarity, many of the pieces here -- such as "Sea Horses" by (Vanessa's one-time mentor) Moondog or Philip Glass's "Etude 4" -- demand virtuosic abilities as a performer and interpreter. But in Vanessa Wagner's hands, they are not only made her own, but made mesmeric and magical by the sensitivity of her touch. Also features works composed by Ryuichi Sakamoto, Melaine Dalibert, and Sylvain Chauveau.
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MOVCL 008COL-LP
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Clear vinyl. "Philip Glass is an American composer. His music is considered to be minimal music, although he himself uses the term theater music. Glassworks was originally released in 1982. The album is a six-part chamber music work by Philip Glass. After his larger-scale concert and stage works, Glassworks was Philip Glass's successful attempt to create a more pop-oriented 'Walkman-appropriate' work, with significantly shorter and more accessible pieces written for the recording studio. In fact, the cover of the cassette release stated that it was 'mixed especially for your personal cassette player'."
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KR 044LP
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Individual LP from the Electroacoustic Works boxset. After La Légende d'Eer in 2016 (KR 024LP), the Perihel series presents one of the milestones of electroacoustic music: Iannis Xenakis's mind-blowing, 54-minutes oeuvre Persepolis. Persepolis is the longest electroacoustic composition by Iannis Xenakis (1922-2001) who ranks among the most influential 20th century avant-garde composers. Commissioned by the Persian Shah, the piece was part of a multimedia performance -- Xenakis's so-called "polytopes" -- which premiered in 1971 in Shiraz-Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches, and 59 loudspeakers to project the music in an open-air situation. Xenakis had realized Persepolis on 8-track analog tape in the Studio Acusti in Paris and released a stereo reduction on vinyl in the famous Philips series "Prospective 21e Siècle" in 1972, adding the new subtitle "We bear the light of the earth", his most hymnal title ever. Out of print for decades now, the LP became -- especially the Japanese edition from 1974 -- one of the most expensive collector's item of electroacoustic music. There were some later CD versions with different durations -- too long due to a wrong sample rate, others shortened by three minutes due to other reasons. The Perihel series now presents a new version: mixed from the original master 8-track tapes by longtime zeitkratzer sound engineer Martin Wurmnest and mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin -- the same experts who had already taken care of the 2016 Karlrecords release of La Légende d'Eer, another milestone composition among the works of the Greek-French avant-garde composer. Previous releases in the Perihel series, curated by Reinhold Friedl: Guy Reibel's Douze Inventions en Six Modes de Jeu (KR 028LP, 2015); Iannis Xenakis's La Légende d'Eer (KR 024LP, 2016), John Cage's Complete Song Books (KR 029LP, 2016). 180 gram vinyl; Includes insert and download code.
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NW 80838CD
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"The inspiration and theme for these six new compositions is 'Artistry and Motherhood.' The perennial question of whether a woman can be both an artist and a mother has been on my mind for a few years, having started a family myself in 2016. Important as it is, this topic is not often discussed in modern society, especially not in the frenetic environment of New York City. How did this life-changing experience influence our artistic vision and creativity? How do we fit into a society that still believes women must choose between family and art? The women collaborating with me on this project have committed to be dedicated mothers while still pursuing their goals and dreams in music and art. The music stands alone on its own merits but invites listeners to examine the practical realities and societal position of the artist-mother. This project highlights the rich and diverse talent of each artist while giving us a platform to discuss how the challenges and benefits of motherhood shape our artistic endeavors." --Olivia De Prato
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KR 024LP
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Individual LP from the Electroacoustic Works boxset. The second release in the Perihel series is one of the most famous electroacoustic compositions by Iannis Xenakis. When Iannis Xenakis (1922-2001), who had fought against the occupation as part of the communist resistance, moved to Paris in 1947 it was the start of a highly creative and impressive career. Xenakis not only studied composition with Olivier Messiaen and became one of the most innovative composers of the 20th century, he also worked as assistant to Le Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels, 1958. His compositions often are based on mathematical principles (in 1966 he founded the CEMAMu - Centre d'Etudes de Mathématique et Automatique Musicales), which give his music an unprecedented aesthetic and as The Guardian would say, a "shocking otherness". The most famous works of Xenakis, who won the Polar Music Prize (considered the unofficial Nobel Prize for music) in 1999, are his compositions for orchestra Metastasis, Pithoprakta and Terretektorh (where the 88 musicians are spread within the audience) and the electroacoustic compositions Persepolis, Concret PH, Bohor and La Légende d'Eer where Xenakis integrated his stochastic synthesis sounds for the first time. As legendary as this piece is, there is an impenetrable thicket of versions and stories around La Légende d'Eer, it exists in different releases, with wrong sample rates or digitized backwards. This version uses the 8-track-version that Xenakis himself presented at Darmstädter Ferienkurse in August of 1978. As the automatic spatialization is lost, this became the only original version of this composition and is presented here (mixed down to stereo by Martin Wurmnest who tried to preserve the spatial movements as perceptible as possible. La Légende d'Eer not only became a milestone of electroacoustic music but is also an important reference for noise and industrial musicians up to the present day. Mixed by Martin Wurmnest, mastered & cut by Rashad Becker. Includes insert with liner notes by Reinhold Friedl.
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HR 029CD
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The Jutlandia Quartets offers immersive subversions of the classical music genre. The new album from the Copenhagen-based instrumental ensemble Boli Group, presented by Haunter Records, is a collection of monochromatic uneasy pieces that manifests the negative emotions of a bad homecoming. A non-forced power play with the institutions of "classical music".
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30M 004CD
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Aftab Darvishi: a distinctive voice that combines her classical music training with the diverse influences of her native Iran. A Thousand Butterflies is a portrait album that looks back on Darvishi's eleven-year journey as a composer and tells of a life -- hers -- that has crossed continents. "Each piece on this album tells a part of my life that has taken place in every corner of the world," shares Aftab Darvishi, whose music draws on a wide variety of styles. She presents works for a variety of instruments and electronics on her debut album. "When I compose, I don't think about style," Darvishi says. "It's not that logical, it's not very calculated. It's more by instinct. My music is not just Persian music -- it's much more than that: it's an approach to being." "Sahar" (Dawn) opens Darvishi's album; it is the most recent composition on the recording. Based on a traditional melody from the Kermanshah region, traditionally played at dawn as a morning wake-up call, Aftab Darvishi has written "Sahar", a work for cello that uses traditional Persian playing techniques. Originally, this melody was heard on the sorna -- later it was also played on the tanbur and mixed with vocals. A live recording of a performance by the Stockholm Saxophone Quartet in Stockholm during the Corona period follows: "Hidden Dream" is vivid, telling of journeys, hopes, dreams. The following work "A Thousand Butterflies", namesake of the album ties in with dreams and hopes: The piece for clarinet and piano is inspired by the experience of immigration, recalling those people who daily leave their homes forever: "In my imagination, thousands of men and women fly toward a better future," Aftab Darvishi says. In each of the three movements, she looks at immigration from a different perspective, conveying to listeners the diversity of experiences and feelings of immigrants. The earliest composition, "Forgetfulness", was recorded in Tehran, as was "Sahar", but before she went to the Netherlands to study composition. It has accompanied Aftab Darvishi on her travels ever since and is always a reminder of her origins. The album closes with the atmospheric "Plutone".
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NEOS 12103CD
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$15.50
PREORDER
RELEASE DATE: 7/29/2022
Scientific thinking is part of Michael Quell's essence. When he talks about theoretical physics, it becomes clear that he really wants to get to the bottom of things. But he is a musician, and in the end his engagement with string theory or with dark energy is an artistic one through and through. The highly complex structure of his music discharges, in a way, into sensual sound. String I for oboe solo was recorded by Benjamin Fischer, who also premiered in 2013. The chamber music works are interpreted by the Munich ensemble der/gelbe/klang, which is presenting a brilliant debut album with this recording.
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NMN 019CD
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2022 repress. On tape from the Judson days. Remember? When you made these things at home, on the best equipment you or your other poor friends could find? Electronic music from the 1960s. And you had that Japanese tape recorder with built-in mike; indeed, that was the only piece of furniture on your tatami floor on the Lower East Side that summer of 1961. This compact disc presents tape music recorded between 1962 and 1963 for the friends meeting once a week in a loft in NYC. The first track, "Lucinda Pastime", was the soundtrack for a dance piece by Lucinda Childs: "the tape was made in the kitchen sink, with primitive equipment and all the different kinds of plates and bowls in the house. The enjoyment of listening to this musique liquid at night, in bed, and always finding it too short." "Memories: Performances": "Ah yes... yes! The principle of this tape is the recombining of recorded performances from the past, my past, this time. Because the idea, and practice, of collage was really around in that time." "From Thais", was made on request of Yvorine Rainer, "collaging mostly extracts from Massenet opera, mix after mix to get thrown around fragments of the opening until the thin, otherworldly quality of the ending." "Oracle, a Canata on Images of War", was commissioned by the Living Theatre: "All sounds in violent counterpoint, made by me at home... playing with real noises, with a deliberately pulverized reality made of over-recorded close-miked crashes which even blew the machine's circuitry. Mixed into the 'Darkest White Noise' ever made." "Flares" used dancers and musicians and slides and lights in a total-space multimedia; this is the only piece on this compact disc which uses purely generated tape sounds. "Circus Tape" was for "a whole evening of inspired crazy-fun, from burlesque to creaking doors." All previously unreleased works presented in a digipack CD with 16-page booklet.
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