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Cage: Works for Percussion Vol. 4

Cage: Works for Percussion Vol. 4


Cage:

Music for Two

The Wonderful Widow of Eighteen Springs

Connecting Egypt to Madison through Columbus Ohio, Cage, and the History of the American Labor Movement

(Incorporating Music for Marcel Duchamp & Variations 2)

A Flower

51'15.657"

(Realization of 45' for a Speaker & 27'10.554" for a Percussionist)


Bonnie Whiting (percussion)

John Cage allowed for some of his works to be combined and performed simultaneously. Percussionist Bonnie Whiting has created uniquely virtuosic solo-simultaneous realizations of some of these works for "speaking percussionist." 51'15.657" for a speaking percussionist is Whiting's solo-simultaneous realization of all of 45' for a speaker and 27'10.554" for a percussionist. Cage wrote 45' for a speaker to perform himself. He wrote on thirty-two subjects and added a series of gestures (gargling, lighting a match, etc.) to be performed during the delivery. Like the percussion piece, each page is one minute long. Between 1984 and 1987 Cage composed 17 pieces called Music for ____. Any of these pieces can be performed alone or together in any combination. Here Whiting combines one of the percussion versions with the version for voice. Her recital is completed by Cage's two beautiful, classic, early pieces for voice and piano: The Wonderful Widow of Eighteen Springs and A Flower. Here the piano is used as a percussion instrument, never played on the keys but rather knocked and slapped on by th epianist. As in the larger works, Whiting gives a tour de force performance of both parts simultaneously. As a bonus, Whiting's mentor Allen Otte performs his work for speaking pianist/percussionist which is created around works of Cage and utlizing Cage's compositional "tools" for both the music and text.

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Xenakis Edition Volume 10 - Complete String Quartets

Xenakis Edition Volume 10 - Complete String Quartets


Xenakis:

Tetras

Tetora

ST-4/1,080262

Ergma


The JACK Quartet

The first complete recording of Xenakis' string quartets, recorded in surround sound with full video.This body of work represents one of the most important contributions to music for strings of the post-World War II era.

The first new recording of Xenakis' first three quartets since 1994.

The only available recording of Xenakis' last quartet, 'Ergma', from 1994.

The first commercial release by the JACK Quartet, a young New York/Boston based group that has been garnering high praise for their performances of complex and challenging new music.The members of the quartet met while attending the Eastman School of Music, New York.The quartet has since studied closely with the Arditti Quartet, Kronos Quartet, Muir String Quartet, and members of the Ensemble Intercontemporain.

Liner notes by James Harley.

Surround Sound: the studio recording process was dynamically captured by a multiple camera shoot. Each quartet is given its own visual treatment. Directed by Tim Chu

“ I would never have expected to see a crowd at a downtown nightclub erupting with whoops after performances of four hypercomplex, cutting-edge string quartets by Iannis Xenakis. But in this setting these dense and kinetic works came across to this open-minded audience as just more hip, wild, out-there contemporary music." The New York Times, Sunday, December 21, 2008

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Xenakis Edition Volume 10 - Complete String Quartets

Xenakis Edition Volume 10 - Complete String Quartets


Xenakis:

Tetras

Tetora

ST-4/1,080262

Ergma


The JACK Quartet

The first complete recording of Xenakis' string quartets, recorded in surround sound with full video.This body of work represents one of the most important contributions to music for strings of the post-World War II era.

The first new recording of Xenakis' first three quartets since 1994.

The only available recording of Xenakis' last quartet, 'Ergma', from 1994.

The first commercial release by the JACK Quartet, a young New York/Boston based group that has been garnering high praise for their performances of complex and challenging new music.The members of the quartet met while attending the Eastman School of Music, New York.The quartet has since studied closely with the Arditti Quartet, Kronos Quartet, Muir String Quartet, and members of the Ensemble Intercontemporain.

Liner notes by James Harley.

“ I would never have expected to see a crowd at a downtown nightclub erupting with whoops after performances of four hypercomplex, cutting-edge string quartets by Iannis Xenakis. But in this setting these dense and kinetic works came across to this open-minded audience as just more hip, wild, out-there contemporary music." The New York Times, Sunday, December 21, 2008

“…discs which feature this kind of contemporary repertory are so rare that the enterprise of Mode Records must still be highly commended. Xenakis's music for string quartet provides an enthralling demonstration of a radical thinker in sound engaging with a medium whose traditions and conventions he takes great delight in subverting... the performances of Tetora and Ergma are the most effective, the mixing in of shots of the musical score in the former adding to the rather mannered artificiality of the experience. The sound in itself is admirably vivid, the performances immensely confident.” Gramophone Magazine, Awards Issue 2009

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Cage & Feldman: Radio Happenings 1966-1967

Cage & Feldman: Radio Happenings 1966-1967


These Radio Happenings are legend to fans of these composers, as well as a unique moment in the history of radio. This 224-page hardcover book comes with a DVD of the complete 5-hours of audio from the radio broadcasts, mastered from the source closest to the original tapes. This is the first time the audio has been officially released and contains missing material not heard in the poor quality versions circulating on the web. Mode went back to the audio materials closest to the original tapes for the remastered sound, presented here as CD-quality 16-bit PCM audio.

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Chan, M: My Wounded Head 3

Chan, M: My Wounded Head 3


Rob Haskins (piano)

Marc Chan’s My Wounded Head 3 is loosely based on the Passion Chorales from Bach’s St. Matthew’s Passion — a sequence of five chorales often collected under the title “O Haupt voll Blut und Wunden” (“O Sacred Head Now Wounded”). Every measure in My Wounded Head 3 is also repeated and the number of repetitions is left up to the performer. Pianist Rob Haskins says: “…the performer is invited to become a co-creator in many respects. … it’s the kind of piece that invites and rewards an intimate, ongoing relationship. I want to change and be changed by the music I play, and My Wounded Head 3 is one of a handful of pieces that I can say I would be willing to live with for the rest of my life.”

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Senales - Homenaje a Jonathan Harvey & Other Works

Senales - Homenaje a Jonathan Harvey & Other Works


Paredes, H:

Señales - 'Homenaje a Jonathan Harvey'

Irvine Arditti (violin)

Ensemble Signal, Brad Lubman

Páramo de voces

Alberto Rosado (piano)

Intermezzo malinconcio

ensemble recherche

Recuerdos del Porvenir

Adrián Sandi (bass clarinet)


Established as one of the leading Mexican composers of her generation, Hilda Paredes has made her home in London since 1979 and her music is now performed widely around the world.

Paredes’ third release on Mode Records features 3 chamber works separated by 2 solo works, written between 1995–2013 and performed by world class musicians.

Señales (Signals) was commissioned by The Miller Theater in New York for Irvine Arditti and Ensemble Signal, who recorded it here. Señales’ melodies and exuberant flourishes may involve quarter-tones and noise effects, especially on the wind instruments, are also part of the ceaseless flow of gestures, of señales. Steve Smith wrote of the premier in The New York Times: “From a lapping, splashing introduction, the music — played by a 10-member ensemble that included an ear-tickling mix of cimbalom, harp and marimba — rippled, surged and jolted ceaselessly around Mr. Arditti’s flashing exertions. Time stood still repeatedly during haunting interludes that paid homage to another composer, Jonathan Harvey.”

Páramo de voces (Voices of a wasteland), is a dialogue between piano and recorded sound, the latter extending the piano’s sonorities or providing invitations in the form of auras or images.

Intermezzo malinconico, for bass-clarinet, begins with percussive attacks in a low register, created by jamming the tongue between the lips while playing, and higher sustained notes that slip in intonation through quarter-tones. The percussive sounds become normal tones, their bouncing now expressed as rapid irregular repetition, then the poignant melancholic sounds open into melody and the piece ends at a whisper.

ensemble recherche perform 2 chamber works: Homenaje a Remedios Varo, scored for the instrumentation of Schoenberg’s Pierrot Lunaire, and Recuerdos del Porvenir.

Liner notes by Paul Griffiths. Cover photos by the celebrated Mexican photographer Graciela Iturbide.

All are first recordings.

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Malcolm Goldstein: Soweto Stomp

Malcolm Goldstein: Soweto Stomp


Goldstein, M:

Configurations in Darkness

Scuttling a space of time

In search of Tone Roads #2 (For Charles Ives)

Broken Canons

Two Silences

Soweto Stomp


Malcolm Goldstein (violin, direction)

The Ratchet Orchestra

Composer/performer Malcolm Goldstein (b.1936) has been active in the presentation of new music and dance since the early 1960s. He received an M.A. in music composition from Columbia University in 1960, having studied with Otto Luening. In the 1960s in New York City, he was a co-founder with James Tenney and Philip Corner of the Tone Roads Ensemble. His “Soundings” improvisations have received international acclaim for having ‘reinvented violin playing,’ extending the range of tonal/sound-texture possibilities of the instrument and revealing new dimensions of expressivity. The pieces on this recording are structured improvisation compositions; none are through-composed, linear pieces with exactly notated tones and rhythms. The sound of the composed improvisations range from jazzy to dense microtonal sounds. The works on “Soweto Stomp” features Goldstein not only as composer, but also as a soloist and ensemble performer. Established in 1992, the eclectic Ratchet Orchestra serves as a meeting place for Montreal musicians interested in creating new and vibrant music. Many of the city’s most active and creative composers, instrumentalists and improvisers play in the ensemble. Collectively, the Ratchet owe an enormous debt to Goldstein who has mentored and worked with many of the band members in the past. Their close connection is evident in the musical performances here.

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Harmonies of Form and Time

Harmonies of Form and Time


Pape, G:

Harmonies of Form and Time

Ensemble 'U', Risto Joost

Harmonies of Time and Timbre

Erik Drescher (flute)

C.L.S.I. String Ensemble


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Horatiu Radulescu: Piano Sonatas & String Quartets 1

Horatiu Radulescu: Piano Sonatas & String Quartets 1


Radulescu, H:

String Quartet No. 5 'before the universe was born', Op. 89

The JACK Quartet

Piano Sonata No. 5 'settle your dust, this is the primal identity', Op. 106

Stephen Clarke (piano)

Piano Sonata No. 2 'being and non-being create each other', Op. 82

Stephen Clarke (piano)


The first volume in a series combining Radulescu’s complete Piano Sonatas and String Quartets, there are six of each, on Mode performed by the superb JACK Quartet and Stephen Clarke (piano). In the 1970s, Horatio Radulescu (1942-2008) began exploring and composing begun composing what he called “plasmatic music,” in which sound was conceived as an “endless ocean of vibrations,” as opposed to the traditional way in which music treats sound as a fabric of discrete scale steps. His music is linked to the “spectral music” school. Radulescu’s Fifth String Quartet is one of the key works in his output. It is in some ways the richest manifestation of the body of string techniques he had developed for his music. The Second Piano Sonata is inspired by the Tao of Chinese philosopher Lao tzu (6-5 BC). The first movement, “Immanence,” opens with a powerful sonority built from spectral functions which gives a sense of immensity and strength. The Fifth Piano Sonata makes abundant use — more so than any of the other sonatas — of Romanian folk material, which is absorbed and integrated into Radulescu’s spectral language.

“It’s all fascinating music, superbly played by both pianist Stephen Clarke and the Jack Quartet; Rădulescu’s work undoubtedly attracts devoted advocates.” The Guardian

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Gerald Eckert: On The Edges

Gerald Eckert: On The Edges


Eckert, G:

An den Rändern des Maßes

Bruchstücke…erstarrtes Lot

Sopra di noi… (niente)


ensemble reflexion K, Gerald Eckert

Three works for large chamber ensemble by Hamburg based composer Gerald Eckert are collected here. His music places demands on the interpreter to produce the greatest possible array of timbral values and dynamic range, ones that encroach on the border of what is performable in terms of technical ability. Eckert’s music operates on the edges of sound, between extremes, ranging from stillness, almost silence, to explosion. In his music, nothingness and abundance are two sides of the same coin. Gerald Eckert, (b. 1960), studied composition with Nicolaus A. Huber and electronic composition with Dirk Reith. He conducts his own music here with ensemble reflexion K of Hamburg.

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