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Col Legno

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Sanh - Trio Catch

Sanh - Trio Catch


Bertrand, C:

Sanh

Brahms:

Clarinet Trio in A minor, Op. 114

Lang, Bernhard:

Monadologie XXVII…Brahms-Variationen #1

Monadologie XXVII…Brahms-Variationen


Trio Catch

“Trio Catch are like a fresh new brand for the old lady New Music.” (www.vanmagazin.com) Could there be a catchier way of phrasing it? Arnold Schönberg was not averse to the occasional catchy phrase, either, when he wrote that Brahms had put “new wine into old bottles”. The latter’s Clarinet Trio op. 114, written in 1891, is at the centre of this album. The composer Bernhard Lang refers directly to Brahms in his Monadologie XXVII, as he extrapolates cells from the trio in a kind of mechanical adaptation. And the piece from which the album takes its title, Sanh, written by the late, lamented Alsatian composer Christophe Bertrand, is a world premiere recording. The Chinese word “san” to which the title refers means “three” or, as a verb, “to scatter”.

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Mark Barden: Monoliths

Mark Barden: Monoliths


Barden:

a tearing of vision

Ensemble intercontemporain, Cornelius Meister

Chamber

Mark Barden, Stefan Maier, Max Murray

Alam (Schmerz)

Klangforum Wien, Andreas Eberle

flesh/veil

Klangforum Wien, Andreas Eberle

die Haut Anderer

Nicolas Hodges (piano)

Monoliths I-V

Kammerensemble Neue Musik Berlin


A 2015 Composers’ Prize Winner at the Ernst Siemens Music Foundation. American Mark Barden’s work represents a staging of the failures that occur just before and just beyond the limits of what the body can hear and what it can enact, but where the failure itself is always palpable. The sounds of this music are, by turns, dense, visceral, and febrile; the tangibility of the performer’s loss of precise physical control is mirrored in the listening experience. The listener senses, just barely, a loss of themselves in this moment of shared vulnerability.

Super Audio CD

Format:

Hybrid Multi-channel

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Birke J. Bertelsmeier: Folklich

Birke J. Bertelsmeier: Folklich


Bertelsmeier:

Giromaniaco

Hineidunke

Quartettstück

folklich

WhirliGigue

Amorette I und II

Zinzum


Ivanna Ternay (flute)

Armida Quartett, Bamberger Symphoniker & Ensemble Modern, Christoph Eschenbach, Jonathan Stockhammer

A 2015 Composers’ Prize Winner at the Ernst Siemens Music Foundation. A simple melody, well-formed and self-contained, is to be played „with utter calm and exquisite tone“, and yet something seems to be amiss. An ensemble for new music, that plays standing up, like an early music group. A simple, incessantly repeated rhythmic model, but its regularity always threatens to lose its balance. Confounding moments such as these are ubiquitous in the music of Birke J. Bertelsmeier, indeed, she positively seeks them out: they reveal the composer's fascination with controlled imperfection and calculated approximation. In folklich (2012), a piece that not only alludes to folk music in its title, the musicians are up on their feet, so that they can bring across their soloistic presence and the musical energy of the piece to the listeners. The fact that they also happen to use their feet to bring forth noises specified in the score is a further source of bemusement.

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Christian Mason: Unseen Light

Christian Mason: Unseen Light


Mason, C:

Clear Night

Bamberger Symphoniker, Christoph Eschenbach

Learning Self-Modulation

Carolin Widmann (violin), Simon Lepper (piano)

The Years of Light

Marisol Montalvo (soprano), Anne Clare Hauf (mezzo)

Klangforum Wien, Clark Rundell

Isolarion - Rituals of Resonance

Deutches Symphonie Orchester Berlin, Gergely Madaras

Layers of Love

Klangforum Wien, Clark Rundell


Bamberger Symphoniker, Deutches Symphonie Orchester Berlin, Gergely Madaras & Christoph Eschenbach

A 2015 Composers’ Prize Winner at the Ernst Siemens Music Foundation. Light, of course. Radiance. It comes from – it comes in – British composer, Christian Mason’s music in the same way it comes from and in with reflections of other composers, going back through Gérard Grisey to Guillaume Dufay and the anonymous authors of plainchant (to cite some plausible kinships), by virtue of how the sound is at one with resonance. This is so, even when Mason – like his nearest musical connections, who include Scelsi, Radulescu and Stockhausen as well as Grisey – is dealing with complex, clangorous resonances: the sounds of bells, as it might be, or of wind blowing through a frost-covered tree. Such luminous congruity may derive, in Mason’s case, from an awareness of spectral music, but the stimulus may equally have been a matter more of acoustic fact and personal experience. ‘When you play the violin’, he has remarked, ‘the open E-string seems to ring in the ear’.

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Nachklänge

Nachklänge

“Music for the last journey”


 

Ich hatt einen Kameraden

arr. Hans Kliment

Eismann:

Der letzte Seufzer

Hübner, W:

Trauermarsch

Kliment:

Teure Mutter

Linhart:

Abschiedsklänge

Trauermarsch

Nachklänge

Melusin:

Abschiedsklänge

Oberthür:

Andante Religioso

Ritzberger:

Ruhe sanft

Steidl:

Mein Trost in Tränen – Grablied

Trauermarsch

Wie die Glocken düster dröhnen – Grablied

Ruhe sanft – Trio

Trojan, E:

Trost in Tränen

Ruhe sanft


Musikkapelle Innervillgraten, Hannes Schett

Innervillgraten, a village in East Tyrol / Austria, situated 1,402 meters above sea level, with some 1,000 inhabitants: the funeral music tradition is probably more alive here than anywhere else in the Alpine region. Whenever a member of the village community passes away, and regardless of their official importance, the local music band marches out in full strength to personally and musically accompany the deceased from their family home, where they have been laid out in state, to the church and their final resting-place in the cemetery. Any day of the week, in any weather. — Music for the last journey: over generations a very special repertoire has been accumulated, also including compositions by two local farmers, Josef Steidl the Elder and the Younger, who collectively held the offices of organist, choir master and musical director of the local music band for almost a century. This album is a unique ethnomusicological document of a fascinating Alpine music tradition: music that laughs and weeps at the same time.

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Zwanzig - Neue Wiener Concert Schrammeln

Zwanzig - Neue Wiener Concert Schrammeln


Banlaky:

Tarantella

Katzenberger:

Kürmayer Marsch

Badener Tänze

Weinberln und Cibeben

Strauss, J, II:

Ritter Pázmán: Csárdás

Strauss, Josef:

Sphärenklänge, Op. 235


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Arvo Pärt: Babel

Arvo Pärt: Babel


Pärt:

Magnificat, Beatitudines

World Premiere recording

Nunc dimittis

Drei Hirtenkinderaus Fátima

World Premiere recording

The Deer's Cry

Da pacem Domine

An den Wassern

Littlemore Tractus

Vater Unser


Johannes Stecher (organ, piano & conductor)

Wiltener Sängerknaben

This is the first ever recording of Arvo Pärt’s wonderful vocal music performed by a boys’ choir.The year of release of this album is also the year when the Estonian composer celebrates his eightieth birthday. More than four decades ago, the musician Arvo Pärt fell silent, and went into retreat for eight years. His silence gave rise to a new kind of music, which has gained him international fame. “I have discovered that it is enough if a single note is beautifully played,” Pärt once said. The Innsbruck-based Wilten Boys’ Choir is one of the oldest and most highly regarded boys’ choirs in Europe. Its beginnings date back to the 13th century. Today the choir has some 180 members, who are trained in six groups (including junior choirs, concert choirs, and young male voices).

“[This disc] captures Pärt's profoundly gentle musical sensibility and his remarkable capacity to build restrained yet beguiling harmonies from the simplest of materials, all handled with skill and confidence by the Wilten Boys' Choir” BBC Music Magazine, September 2015

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Samy Moussa: Cyclus


Moussa:

Études (4) for large orchestra

ORF Vienna Radio Symphony Orchestra, Samy Moussa

L’autre frère: Prélude for large orchestra

ORF Vienna Radio Symphony Orchestra, Samy Moussa

À l’assaut des jardins

Emanuele Torquati (piano)

Cyclus Cyclus

Deutsches Symphonie-Orchester Berlin, Kent Nagano

Kammerkonzert

ORF Vienna Radio Symphony Orchestra, Samy Moussa

String Quartet

Armida Quartet


Upon first listening there can already be no doubt: music is for Samy Moussa a matter of personal expression and direct, bodily experience. The physical dimension of his compositions presents itself undistorted, in its overwhelming power and sonic quality. Something else also becomes immediately clear: that someone is reaching into the sound forcefully and emphatically, that he aims to overwhelm, to overpower, even to assault. Samy Moussa values the energetic, virile gesture, he would rather his listener be riveted than merely touched. This preference is also reflected in how Samy Moussa’s compositional attention is directed primarily toward larger formations such as the orchestra or larger chamber ensembles. Only with such a greatly differentiated instrument can he realize his musical intentions, which he also obtains through his experience as a conductor.

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It May All Be An Illusion


Muntendorf:

Sweetheart, Goodbye!

Nicola Gründel

Ensemble Modern, Mariano Chiacchiarini

shivers on speed

Ensemble Musikfabrik

reinhören

Ensemble Garage

durchhören

Calefax Reed Quintet

Missing T

IEMA-Ensemble, Vimbayi Kaziboni


A conductor becoming blurry, an actor removing make-up, passages from James Joyce's Ulysses, or lay musicians in YouTube videos: in Brigitta Muntendorf's compositions, material is by no means limited to the purely musical. In each of her works she poses the question anew: what is the aesthetic foundation of a sonic artwork, and what can it achieve?

She thereby doesn't rely on conventions and accustomed rituals; from her perspective, the demands of an artistic engagement with the present cannot be met within the limitations of familiar systems and models.

Therefore she seeks to revise the supposedly pre-defined metier. The central question is always as follows: under what circumstances and by what means can music be presented as a valid contemporary art form?

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Multiplicidad


Puzo:

aproximación a lo indivisible

Sarah Maria Sun (voice)

Ensemble Modern, Clemens Heil

kaolinite

Mariano Chiacchiarini

multiplicidad y relación

piano ensemble recherche

oscillation ou interstice

Javier Hagen (voice), Ulrike Mayer-Spohn (bass recorder)

Pi

CrossingLines, Luis Codera Puzo


Multiplicidad is not intended to be a disc that offers unity of listening but, rather, conceptual unity. The disc contains five different pieces written over a period of four years – in which time my music has changed considerably – that reflect diverse visions about the concept which gives the disc its title. I therefore recommend listening to these works in isolation from one another.

The idea of the multiple, that something can contain more than a single characteristic, seems to me to be intimately linked to the idea of richness and knowledge. To know all sides of a concept is to go into it more deeply. An aesthetic model directed towards finding and manifesting the multi- faceted in what is real strikes me as the best possible antidote to a society characterised by the need for categorical single-minded affirmations, ready to be digested and repeated.

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