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Garden Party

Garden Party


 

Ge Xie Mei Ling

Ancient Chinese/ Zhang Weiliang

Christiansen, A L:

Garden Party

Grieg:

Lyric Pieces Op. 47: No. 6 - Springtanz (Leaping Dance)

Lyric Pieces Op. 12: No. 4 - Dance of the Fairies

Cattle Call

Bådnlåt (No. 15 from Norwegian Folksongs (19), Op. 66)

Stumping Dance, Op. 17 No. 18

Hannibal:

Dreams

Sunset Dance

Lalo:

Fantaisie Norvégienne

Nielsen:

Humoresque-Bagatelles, Op. 11 (FS22)


Michala Petri (recorder), Lars Hannibal (guitar)

All good musical duos are conversations, and when Lars Hannibal and Michala Petri play together, they create an extraordinary, intimate space.

From their first concert in the Monastery La Cartuja de la Sierra in Andalusia, Spain in the summer 1992, they have toured through out Europe, North and Central America and Asia, giving more than 1.500 co ncerts from a repertoire spanning from the late renaissance and early baroqu e, the classical and romantic periods, to contemporary music written e specially for them.

In celebration of their 25th Anniversary, Michala and Hannibal have selected a very special program of some of the pieces they hav e have played live so many times – to share that intimate “fleeting moment” they have perfected in the live performances. Featuring musical sketche s and character pieces by Carl Nielsen, Edvard Grieg, Edouard Lalo, Asger L und-Christiansen, Lars Hannibal and a new arrangement of an ancient Chine se melody, “Garden Party” perfectly captures the spirit of “Conversation, Com panionship and Communication” that has defined their quarter-century long musical partnership.

“Adaptations and original pieces for this superb recorder-guitar duo-the disc’s jazzy title suite, evoking the calls of three birds, is especially charming.” BBC Music Magazine, October 2017 ****

“pure musical joy; light and breezily melodic. It’s the sort of music you want to listen to over and over again. And I did.” Daily Mail, 19th August 2017 *****

“The gusto, the treble dexterity and versatility of her playing on this disc — in signally satisfying sonic combination with guitar — expels thoughts of the trivial.” Sunday Times, 13th August 2017

Released or re-released in last 6 months

Super Audio CD

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Hybrid Multi-channel

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OUR Recordings - 6220619

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Ephemeral Rivers: Chamber Works

Ephemeral Rivers: Chamber Works


Hope, C:

Miss Fortune X

Cruel and Usual

Broken Approach

Dynamic Architecture I

Sogno 102


Tristen Parr (cello), Aaron Wyatt (viola), Cat Hope (flutes), Lindsay Vickery (bass clarinet), Stuart James (piano, electronics), Louise Devenish (percussion), Zachary Johnston (violin), Lizzy Welsh (violin), Phoebe Grey (viola), Judith Hamman (cello), Samuel Dunscombe (electronics), Vanessa Tomlinson (percussion), Mark Cauvin (double bass)

Like all portraits this CD can be read in different ways: it represents a moment in time, not just the artist’s time but our collective time; it is intimate, but in its intimacy it shows us something of the society in which this music was made. The moment in time covers the years between 2011 and 2015, the period in which Cat Hope made the five works gathered here. Each of them inhabits what the composer herself describes as a ‘nexus of electronic and acoustic instruments, animated notations, drone and noise’ and although all of them might be described as chamber music, none of them is a chamber work in the classical sense of music for an exclusively acoustic instrumental ensemble. Instead, in each case the sonic resources of acoustic instruments are located within a musical frame that includes other elements: sometimes, as in Cruel and Usual, the live electronics extend the sounds of the instruments; sometimes the sounds created by the musicians are augmented by, or juxtaposed with other sound sources, such as the AM radio static in Miss Fortune X.

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Wegmann: Le souffle du temps: X (rétro-) perspectives

Wegmann: Le souffle du temps: X (rétro-) perspectives


Judith Wegmann (piano)

As a genre-ranscending pianist, Judith Wegmann deals with classical, jazz and new music as well as improvisation in projects.

“This album of improvisations inhabits a spangly, half-lit world of forlorn voices and jittery winged beasts...For me the most satisfying moments are when the sounds go deepest, clangiest and most consonant, the moments when Wegmann appears the least precious and the most gutsy.” The Guardian, 3rd August 2017 ***

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Hisada: Led By The Yellow Bricks

Hisada: Led By The Yellow Bricks


Ensemble für Neue Musik Zürich, Sebastian Gottschick

Japanese composer Noriko Hisada and the Ensemble for New Music in Zurich combine for this new release. The Ensemble for New Music in Zurich, founded in 1985 as a sextet (flute, clarinet, percussion, pianoforte, violin, cello), is devoted exclusively to contemporary music. The musicians plan and design their own programmes. When necessary, the formation is extended by additional singers and instrumentalists.

“Hisada’s work does not attempt to tell “seven consecutive stories”, she insists, nor to portray the events in Baum’s book. It is more an attempt to suggest the childhood memories that reading the book evoked, which her music does in gestures of increasing power...It is approachable and a bit mysterious.” The Guardian, 31st August 2017 ****

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Extended Piano

Extended Piano


Kreidler:

Klavierstück 5

Lang, Benjamin:

ABDucensparese

Maierkopf:

splitting 16 für Klavier

Saunders, J:

#250904-r

Wenk:

Recordame

1 Benjamin Lang: ABDucensparese

2 Michael Maierkopf: splitting 16 für Klavier

3 James Saunders: #250904-r

4 Thomas Wenk: Recordame

5 Johannes Kreidler: Klavierstück 5


Sebastian Berweck (piano & analogue electronics)

An expansion of the notion of music itself is necessarily linked to an extension of the instrumental boundaries; the piano cannot be spared from this process, lest it permanently becomes a “piece of furniture,” as Helmut Lachenmann had already characterized it in the late 1970′s. Which paths the extension can take is demonstrated by Sebastian Berweck on this album, with compositions which approach the dissolution of ossified pianistic convention from a variety of perspectives.

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Huddersfield Contemporary Records (HCR) - HCR01CD

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Transference

Transference


Bellamy:

Transference

Séverine Ballon (cello)

Cassidy:

momento/memorial

Peter Veale (musette)

And the scream, Bacon's scream, is the operation through which the entire body escapes through the mouth (or, Three Studies for Figures at the Base of a Crucifixion)

Manuel Nawri

memento/memorial

Manuel Nawri

Harrison, B:

surface forms

Manuel Nawri

Lim:

Invisibility

Séverine Ballon (cello)

Songs found in a dream

Peter Veale (oboe)


ELISION Ensemble

ELISION is Australia’s premiere contemporary music ensemble. Its musicians have established a reputation for delivering authoritative and virtuosic interpretations of complex, unusual and challenging aesthetics, often developed in close collaboration with the composer….In recent years Liza Lim has been drawn to the hidden economies of ritual, authority and ownership expressed in Australian Aboriginal art. It is tempting to draw parallels between this secret culture and Lim’s two-decade involvement with the ELISION ensemble, one of the most musically invigorating composer-ensemble relationships in today’s music…..Bryn Harrison’s relationship with ELISION has also informed surface forms (repeating), which contains a density of surface detail rarely found elsewhere in his music.

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Strange Forces

Strange Forces


Barrett, R:

Aurora

Benjamin Marks (alto trombone), Tristram Williams (quarter-tone flugelhorn)

Cassidy:

Because they mark the zone where the force is in the process of striking (or, Second Study for Figures at the Base of a Crucifixion)

Benjamin Marks (trombone)

What then renders these forces visible is a strange smile (or, First Study for Figures at the Base of a Crucifixion)

Hübler:

Cercar

Benjamin Marks (trombone)

Johnson, Evan:

Apostrophe 2 (pressing down on my sternum)

Benjamin Marks (alto trombone), Tristram Williams (quarter-tone flugelhorn)

Lim:

Wild Winged-One Solo for C cornet with wacky whistle

Tristram Williams (trumpets)

McCormack, T:

Disfix

Richard Haynes bass clarinet), Benjamin Marks (trombone), Tristram Williams (piccolo trumpet)


ELISION Ensemble

Because of their age and their cultural ubiquity, brass instruments, more than most members of the Western orchestra, carry a host of cultural associations: angelic trumpets, royal fanfares, hunting calls, Last Posts and Louis Armstrong. No composer can be insensitive of that back story, yet it need not impose sterility of conservatism… Hübler opened up numerous possibilities in the controlled, structured parametrisation of instrumental practice. This disc records a recent period of attention to virtuoso brass music, to which Cercar is an ancestor.

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In Search of The Miraculous

In Search of The Miraculous


Bernier, Nicolas:

bourrasques électroniques

Bokoweic:

Amera

Dodd, R:

Playing the Bones

Ellison, B:

In Search of the Miraculous

Fawcus:

Stoop

Hellström:

In My Own Words

Sundin:

The Ringing Stone of Håga

Thibault:

Enfant Robot au cœur fondant (or The Incredible Secret of the Caramilk Injected in a Generation)


This album emerges from a group of postgraduate and postdoctoral researchers working in electroacoustic media and computer music at the University of Huddersfield’s Centre for Research in New Music. The works display a great diversity in artistic practice and technical means, yet there are also common threads running through the collection: relations between the natural world and human ritual, the idea of sonic phenomena experienced as an embodied or spatialised presence, worlds of play and memory ‘in search of the miraculous’.

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Exposure: EXAUDI

Exposure: EXAUDI


Bailie:

Harmonizing (Artificial Environment No. 7)

Cassidy:

A painter of figures in rooms

Chase:

Jandl Songs

Glover, R:

Corradiction

Harrison, B:

eight voices

Molitor, C:

Iorem ipsum

Weeks:

Nakedness


EXAUDI Vocal Ensemble

There is no more revealing a medium in music than the human voice. Coming from deep inside the body, carried on the breath, acquiring resonance in the head, shaped and channelled through the same mouth and lips through which we speak and with which we kiss – this sound, not filtered through wood, metal or gut, cannot be separated from the human being that made it. By the time it leaves the body, it is intrinsically, inextricably personal.

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Huddersfield Contemporary Records (HCR) - HCR06CD

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The Knowledge Of Its Own Making

The Knowledge Of Its Own Making


 

Knotted Properties

Simon Fell and Phil Minton

Strange Constrictions

Simon Fell and Phil Minton


Simon H. Fell (double bass) & Phil Minton (voice)

The music Phil and I played during the concert recorded here was not determined in advance (except in respect to when and where we would play, and that in general Phil would mainly sing and I would mainly play the double bass); as this implies, we improvised both the form and content of the performance. But contrary to what some writers often assume, this doesn’t necessarily denote elements of stream-of-consciousness, or moment form, or indeterminacy. Indeed I would suggest this is composed music in many senses of the term, but not composed in advance of performance. It is certainly ‘determined’ in the sense that on the whole we decide what will happen, it doesn’t just happen to us. As experienced improvisers Phil and I know what we are doing (although we don’t always know what we are going to do). Admittedly, every now and then we might also do something we didn’t even know we could do, but in the main we draw on our considerable individual vocabularies and structuring strategies to spontaneously produce unforeseen and unrepeatable constellations of sound with a malleable yet form-aware structure. For me this represents one of the ideal possible states of music-making - a musical voyage of discovery, without a map but with an erudite and companionable fellow-traveller!

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