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Dusapin: Quatuor VI Hinterland & Quator VII OpenTime

Dusapin: Quatuor VI Hinterland & Quator VII OpenTime


Dusapin:

String Quartet No. 6 'Hinterland'

String Quartet No. 7 'OpenTime'


With this album coupling his Sixth and Seventh string quartets, the æon label completes its recording of all the quartets of Pascal Dusapin with the Arditti Quartet. This second release follows the earlier recording of his first five works in the genre, released in 2009. Complicity, transmission, comprehension: Pascal Dusapin’s output has been so familiar to and closely associated with these musicians since the 1980s (six of the works were composed for them) that it has become inseparable from them. The present edition reveals a trajectory that has lasted more than thirty years now and has established a coherent corpus over time. It helps the listener to grasp some of the composer’s deep-seated aspirations and the evolution of his style. The Arditti Quartet enjoys a worldwide reputation for their spirited and technically refined interpretations of contemporary and earlier 20th century music. Many hundreds of string quartets and other chamber works have been written for the ensemble since its foundation by first violinist Irvine Arditti in 1974. Many of these works have left a permanent mark on twentieth century repertoire and have given the Arditti Quartet a firm place in music history. Over the past thirty years, the ensemble has received many prizes for its work. They have won the Deutsche Schallplatten Preis several times and the Gramophone Award for the best recording of contemporary music in 1999 and 2002. In 2004 they were awarded the ‘Coup de Coeur’ prize by the Academie Charles Cros in France for their exceptional contribution to the dissemination of contemporary music.

“In both essays, intricate, repetitive figuration predominates, suggesting an aesthetic of textural relentlessness.” Sunday Times, 28th May 2017

“Quatuor VI, subtitled Hinterland, isn’t a string quartet at all, but rather a work for quartet and orchestra...The remarkable Quatuor VII, Open Time, is on a different scale. It’s a huge set of 21 variations, lasting nearly 40 minutes in the Ardittis’ magisterial performance.” The Guardian, 1st June 2017 ****

“Both pieces reaffirm Dusapin’s quartet cycle as among the most significant now emerging.” Gramophone Magazine, August 2017

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Dusapin: Item

Dusapin: Item

Chamber Works


Dusapin:

Incisa

Arne Deforce (cello)

If

Benjamin Dieltjens (clarinet)

Item

Arne Deforce (cello)

Laps

Benjamin Dieltjens (clarinet), Arne Deforce (cello)

Invece

Arne Deforce (cello)

Ipso

Benjamin Dieltjens (clarinet)

Immer

Arne Deforce (cello)

Ohe

Benjamin Dieltjens (clarinet), Arne Deforce (cello)

Iota

Arne Deforce (cello)

Imago

Arne Deforce (cello)


What is fascinating in the music of Pascal Dusapin is the unrestrained energy that radiates from his music, the compact and radical intensity of the sound structures and the clear sense of form of the music in which a singular expressivity is achieved, where the voice of the ‘other’ — the otherness of the cello or clarinet — is expressed. Arne Deforce is renowned for his passionate and exceptional performances of contemporary and experimental music. His inventive programmes explore new musical forms of expression in which the act of an uninhibited creative listening is privileged. In this album, his interpretation is filled with a pure energy, an authentic and personal sound universe that is developed in highly expressive structures of sound and performed with an unbelievable energy that is both ferocious and joyous. Clarinetist Benjamin Dieltjens is mainly active as a chamber music player (on historical instruments as well as in the classical and new repertoire) and is regularly invited as such at many international festivals. In 2008 he was invited to be principal clarinet at the Royal Concertgebouw Orchestra Amsterdam.

“The highlights come with two major works for cello on the second disc. Immer makes inventive play with non-standard tuning in music whose melodic contours evince subtle overtones of folk music. Imago is more overt in its recourse to admittedly ‘false’ popular songs – its three pieces become unexpected and intriguing variations on each other in music that is among this composer’s most engaging and approachable” Gramophone Magazine, August 2017

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Aeon - AECD1756

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Brice Pauset: Der Geograph and other works

Brice Pauset: Der Geograph and other works


Pauset:

Concerto I (Birwa)

Das Dornroschen (The Sleeping Beauty)

Der Geograph

Les Voix humaines


WDR Sinfonieorchester & Chor Köln; Ensemble Recherche; Arditti Quartet, Matthias Pintscher

Marked by the experiments of Luigi Nono or Helmut Lachenmann, and by his practice of 17th- and 18th-century music, the French composer Brice Pauset is pursuing an original path, marked by his rhetorical questioning of earlier forms of music. This is music in tune with our own culture and, at times, would transmit its evidences. The vocal issue remains central, even in Brice Pausets catalogue: The voice as an instrument, he writes, the voice as identity (and it then literally becomes human), and finally, the voice as an instrument of identity. It is only at this moment that the musical and political can carry on a dialogue, and that music can attempt to express its time. An album of great intensity served by first-rate performers!

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Jerome Combier: Gone

Jerome Combier: Gone


Combier:

Dawnlight

Dog eat dog

Gone

Noir gris

Terra d'ombra


Ensemble Cain

There are certain types of music that affirm and triumph. Others suggest a distance, a gentle journey towards far-off lands. Jérôme Combier is of this race of vagabonds. His music plunges the listener into a deep, rarefied atmosphere, dense with multiple, ghostly apparitions that set the imagination free. Here and there, a line of shadows interferes between the real voices, as if coming out of nowhere. Straight away, Combier’s music does away with the references of pitches, the distinction between sounds, breaths and friction, gone into more deeply with the electronics and closely connected to rainfalls of sand, murmurs of the wind... The electronics have this function, eroding the sonority borne by the instruments, diluting harmonies and scales in gentle saturations, sounds loaded with grain. The works brought together in this album, performed by the nec plus ultra of the music of our time, immerse us in a diaphanous glow.

A rare disc, of the highest quality!

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Aeon - AECD1651

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Richard Barrett: Music for Cello and Electronics

Richard Barrett: Music for Cello and Electronics


Barrett, R:

Blattwerk

life-form

nacht und traume


Arne Deforce (cello) & Yutaka Oya

The works presented here belong among the most inventive repertoire for cello and electronics of our time. They invite us to become wondering listeners, to discover new realms of exceptional musical originality, connecting and intertwining the triangle of mind, body and soul; heart, intellect and pleasure; respiration, sensuality and thought.

“This combination of non-idiomatic cello writing and electronics makes for a wildly complex, coruscating blaze of flashes and glitches, though the monumental work is not without lulls or the odd classical gesture…[Deforce] puts in energetic, exhilirating performances.” Gramophone Magazine, Awards Issue 2016

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Aeon - AECD1648

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Thierry Pécou: Les Liaisons Magnétiques

Thierry Pécou: Les Liaisons Magnétiques


Pécou:

Les liaisons magnétiques

Les Machines désirantes


Ensemble Variances & Ensemble Resonanz, Jonathan Stockhammer

To those who want to listen to him, Thierry Pécou relates the world, its expanse, beauty, and chaos, too, with the suffering of men and their mutilated memories. The trance of the Bahian candomblé, the Mozartian melodic sweetness, the virtuosic orchestration, the pre-Columbian musical archaeology: all these differences intermingle without getting lost in the Tout-monde that Thierry Pécou shares with us.

With the virtuosos of his Ensemble Variances, he takes us off into his Tout-monde (to borrow the lovely expression by the Martiniquais writer Edouard Glissant), cultivating his relations with the Other or the Elsewhere without diluting himself. This is the full meaning of the homage he pays to Henri Dutilleux in Les liaisons magnétiques, to pre-Columbian Mexico with Soleil-Feu, or to the vitalist philosophy of Gilles Deleuze, which is the background of Les Machines désirantes. He visits Indonesian gamelans in his Sextet, without overlooking a festive, sensual detour by way of the islands of the Caribbean with Salsa d’Elissa and Dominica Reggae.

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Séverine Ballon: Solitude

Séverine Ballon: Solitude


Blondeau, T:

Black Bird

Dillon, J:

Parjanya Vata

Lanza, M:

La Bataille de Caresme et de Charnage

Lim:

Invisibility

Saunders, R:

Solitude


Séverine Ballon (cello), Mark Knoop (piano), Thierry Blondeau (tape)

The supernatural drifts of the compositions brought together in this recording, served by the

power and playing technique of Séverine Ballon, reveal unexpected facets of expressiveness in the contemporary cello.

Fully engaged in the renewal of its repertoire, Séverine Ballon especially favours conversing and working with the composers, in the intimacy of the ‘sound factory’. Having initiated numerous creations to which this recital admirably bears witness, here she offers us a tailor-made programme in the heart of the compositional procès. Once again, what could have been likened to risk-taking allows Séverine Ballon to affirm, forcefully and with conviction, her artistic identity, her commitment and her very particular place in the world of the contemporary cello.

“the album's title-work by Rebecca Saunders is an interior monologue which, thanks to Ballon's advocacy, seems to bypass the executant and travel deep within the mind and body of the instrument: animated yet left to its own devices, this is surely what a lonely cello would sound like, late at night with a whisky to hand” Gramophone Magazine, February 2016

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Tristan Murail: Le partage des eaux, Contes cruels & Sillages

Tristan Murail: Le partage des eaux, Contes cruels & Sillages


Murail:

Le Partage des eaux

Contes cruels

Sillages


Wiek Hijmans (electric guitar), Seth Josel (electric guitar)

BBC Symphony Orchestra, Netherlands Radio Philharmonic, Pierre-André Valade

With this second monograph in the catalogue, æon confirms its attachment to one of the principal representatives of spectral music in France and abroad. Tristan Murail, a major composer and former student of Messiaen’s who early on freed himself from serialism,

explores the whole sound spectrum, which he recomposes using the new technologies.

Blending both Nature as a source of inspiration and the tools of computer analysis as compositional means, the composer lies within the great French tradition of naturalist music going back to the 18th century. A way of returning to the natural model.

The works for large orchestra brought together in this recording present an extensive panorama of the composer’s output between 1985 and 2007, haunted by his futuristic visions and dreamlike elsewheres.

“Three orchestral works composed in successive decades, all of them recorded for the very first time in wonderfully diligent performances under Pierre-André Valade, provide a good introduction to Tristan Murail’s sound world.” The Guardian, 28th May 2015 ***

“It is no exaggeration to say that [Le partage des eaux] does for oceans what Strauss's Alpine Symphony does for mountains…[it is a] compelling reason for acquiring this disc” Gramophone Magazine, August 2015

“These three works superbly realised under the nuanced direction of Pierre-Andre Valade, provide…a fine introduction for those unfamiliar with Murail's music…the closest [Le partage des eaux] comes to being melodic is with what sounds like a diffuse memory of a Messiaen chorale, yet it is continually mesmerising.” BBC Music Magazine, September 2015

GGramophone Awards 2016

Shortlisted - Contemporary

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Aeon - AECD1222

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William Blank: Reflecting Black

William Blank: Reflecting Black


Blank, W:

Ebbe(n)

David Lively (piano)

Reflecting Black

Exodes


Here, the Orchestre de la Suisse Romande and Pascal Rophé, with whom the æon label has collaborated since 2003, give us a very fine William Blank monograph, the fruit of the orchestra’s sustained work with this essential representative of Swiss creation, alongside his elder Heinz Holliger and his contemporary Michael Jarrell. Born in 1957 in Montreux,

William Blank, composer and conductor, is performed the world over.

With him, there are no (or few) evanescent layers, aleatoric or improvised passages. Rather, there is a sort of pointillism with a human face, a maniacal love of small detail behind which emotion is flushed out by harsh, searing intensity or dense outpourings. The works on this programme are representative of the recent evolution in his work, especially the piano concerto, Reflecting Black, written in homage to the painter Pierre Soulages and magnificently served in this recording by pianist David Lively.

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Aeon - AECD1542

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Hilda Paredes: Cuerdas del Destino

Hilda Paredes: Cuerdas del Destino


Paredes, H:

Cuerdas del Destino

Canciones lunáticas

Papalote

In Memoriam Thomas Kakuska


Jake Arditti (counter-tenor)

Arditti Quartet

“Paredes is a composer with a fresh aural imagination, while her Carter-like use of instrumentalists as dramatic protagonists gives her music an extra dimension.” Andrew Clements, The Guardian

The Arditti Quartet’s latest release is devoted to the Mexican-born composer Hilda Paredes. Now living in England, she does not, for all that, disown her roots. Born in Tehuacán, in Puebla State, she engages critical reflection, vis-à-vis the multiple Mexican, indigenous and folk cultures, that closely combines the imaginary and political, all in writing of remarkable precision and refinement.

Convinced that the language spoken by a composer shapes his or her music, she likes to work the voice in all its expressive singularities, here that of countertenor Jake Arditti, Irvine Arditti’s son.

There is no ‘Mexican-ness’ with Hilda Paredes, in the sense of that stereotyped colourful

sensuality, but rather a close relation to the poetic speech of Mexico and the European avantgarde.

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