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Squillante: The Wings of Daedalus

Squillante: The Wings of Daedalus


Emanuela Luchetti (The Fate), Phillip Brown (Apollo), David Haughton (Minos), Pauline Vaillancourt (Daedalus), Alessandro Carmignani (Perdix), Alexia Justine Murray (Daimon), Cara Joan Kavanaugh (Daimon), David Haughton (Cocalus), Fides Krucker (Daughter of Cocalus)

For the first time, a CD of the ZKM electronic series is to be released that uses state-of-the-art technical procedures for sound production as an integral part of the musical staging of an opera.

The Wings of Daedalus similarly uses technology to build the sound substance. Here, not only methods of sound production or editing, but also movements of sound in space are used as a means of dramaturgical articulation. The artful integration of the voice into the quasi-orchestral/concrete musical development is striking. From a mixture of noise and pitched sounds Maurizio Squillante developed a sound libretto which functions as an inner narrator and captures the audience from the very beginning until the final notes fade away.

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Helmut Zapf: String Quartets

Helmut Zapf: String Quartets


Zapf:

String Quartet No. 3

String Quartet No. 2 'Sound'

String Quartet No. 1

String Quartet No. 4

plus:

Verschwommene Ränder - 9 Bagatellen after "Verschwommene Ränder" [Blurred Edges] written by Hendrik Jackson.


sonar quartett

String quartets have for a long time been interpreted as a conversation between four people. For 20th and 21st century composers wanting to leave this idea of a discussion behind, the question has been: in what other ways can one write for this medium. Helmut Zapf’s three string quartets perfectly illustrate the stages of such a confrontation. They have appeared throughout his entire career as a composer, and can be understood as markers for different periods in his compositional output. In Zapfs first string quartet, elements of an individual musical rhetoric survive and are clearly perceived as such. However, the context – the 'rational conversation' – is now present in only a rudimentary fashion. The second string quartet is a logical continuation of the path already established by Zapf: the last remnants of rhetoric and conversational discourse are dispensed with. The four instruments do not act individually, but are treated as a single organism. The third string quartet has been written for the Sonar group. This composition takes up the experiences of the previous pieces and at the same time tries to connect with the tradition: a reconnection from a great and skeptical distance.

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Milica Djordjević

Milica Djordjević


Djordjevic:

the death of the star-knower - petrified echoes of an epitaph in a kicked crystal of time I&II

phosphorescence

...würde man denken: Sterne

how to evade?

do you know how to bark? Non-communication for solo contrabass 2.1.1

manje te u majke groze

fail


Teodoro Anzellotti, Hannah Weirich, Marco Blaauw, Truike van der Poel, Peter Veale, Christine Chapman, Johannes Schöllhorn, Francesco Dillon, Florentin Ginot, Bruce Collings

Arditti Quartet, Ensemble musikFabrik

Milica Djordjevic’s compositions are musical explorations, meticulous observations and dissections. Seven such investigations of sound are presented by the Serbian composer on her portrait album in the series EDITION ZEITGENÖSSISCHE MUSIK. Primarily, Djordjevic focuses on an extreme and exhaustive exploration of the musical material. In the booklet Barbara Eckle points out Djordjevic’s specific approach: "She develops a material component further and further in an increasingly large, loud and dense wave, distorting it, perverting it, multiplying it, squeezing out of it everything it has to give – until it implodes. The rupture is sudden and abrupt, as if the plug of an electronic appliance were ripped from a wall socket." Also essential for Djordjevic’s work is an interdisciplinary perspective, which is based on a diversified aesthetic socialisation, influencing her music in different ways. Each compositional process finally creates musical figures, which, at the same time, affect psyche and ratio. All pieces have been especially recorded at Deutschlandfunk in Cologne by internationally well-known interpreters such as Arditti Quartet, Ensemble Musikfabrik and Teodoro Anzellotti.

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Wergo Edition Zeitgenössische Musik - WER64222

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Keiko Harada: Midstream

Keiko Harada: Midstream


Harada:

Zero Hour

The 5th Season

midstream+

In

Third Ear Deaf II-b’

F.fragments II


Carin Levine (flute), Stefan Hussong (accordion), Naoko Kikuchi (13- & 17-strings koto), Yumiko Meguri (piano), Jürgen Ruck (guitar), Mike Svoboda (trombone)

Keiki Harada’s music does not engage with loudly articulated superficialities, but with a kind of communication achieved without words. This process is at the center of her work, and listeners can directly participate by opening themselves to the resulting sound. The composition midstream+ for trombone and accordion (2004/2008) – like almost all the other works on this CD – is an example of Harada’s attempt to form a sense of musical commonality between two instruments with strikingly different sound qualities. Harada carefully develops situations for the collision of individual musical spaces. Working with Harada’s scores requires from the performers not only enormous technical mastery, but also a completely open, concentrated, and communicative awareness of the performing partner. It also requires a high degree of self-awareness, which relates to the body’s awareness of sound. Because the composer emphasizes that her work demands from the players – and one might add, from the listener as well – love and respect towards music.

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Tom Sora: Wechselspiele

Tom Sora: Wechselspiele

Music for Voice and Instruments


Sora:

Gruppenzwänge for string trio

Zweites Streichtrio

Wechselspiel

Wer sich nicht …, wird nicht …

frei sein

Heavy metal

Stahlbauten


Sarah Maria Sun (soprano), Tom Sora (baritone, crank arm music box), Andreas Skouras (piano), Thomas Hastreiter (percussion)

TrioCoriolis, Gitarrenduo Steuber-Öllinger

Clarity and structure. These are the terms that first come to mind with Tom Sora’s music. The compositions of this Romanian composer from Bucharest are extremely vivid, the music radiating a kind of physical materiality. As an uncompromising free thinker he pursues his artistic goals with diligence and concentration. Sora’s compositions are based on simple, specific musical or extra-musical ideas. Intuition remains an important principle for his method of composing and is also a significant factor in his personal musical style. This applies to his composition Heavy Metal for electric guitar and percussion. Beyond that, the title reveals nothing about the composition. As is usual with Sora, the piece follows a consistent musical dramaturgy and has nothing to do with Heavy Metal at all. On the contrary, the instrumentation, borrowed from another genre, serves to reveal Sora’s artistic individuality. Gruppenzwänge ['Peer Pressures'] is about conformity, with absolute acquiescence. Violin, viola, and cello are tightly synchronized with the same rhythms and closely bound together melodically. This is unusual for string trio writing and conveys a rather constricted impression. His Second String Trio makes clear, that an allusive title is not essential. The listener is given no clue for orientation and is entirely dependent on the unfolding musical processes. But the music does not need the crutch of a story or title: the musical events are so clearly structured that on hearing the piece one has the feeling that a story is being told

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Reimann, Henze & Rihm: Unanswered Love

Reimann, Henze & Rihm: Unanswered Love


Henze, H:

Nachtstücke und Arien

Reimann, A:

Drei Gedichte der Sappho

Rihm:

Aria/Ariadne


Juliane Banse (soprano)

Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, Christoph Poppen

There is no doubt that the present CD has an especially personal meaning for Juliane Banse, because it celebrates her many years of association with all three composers, Wolfgang Rihm, Aribert Reimann and Hans Werner Henze.

Juliane Banse met these composers at the beginning of her career and still enjoys a close friendship with them. A close collaboration has led over the years to the premiere of many of their works. It is not surprising that Reimann’s Drei Gedichte der Sappho ('Three Poems by Sappho') and Rihm’s Aria/Ariadne (a 'Scenaria' for soprano and small orchestra) are dedicated to her and the Munich Chamber Orchestra. Although Juliane Banse did not have regular contact with the composers during the period when these works were written, she says she had complete confidence that the pieces would be composed with her in mind and appropriate for her voice. The finished works justified this confidence.

The third piece on this CD was written before Juliane Banse was born, but she does have a connection to Hans-Werner Henze: in the opera L'Upupa und der Triumph der Sohnesliebe ('The Hoopoe and the Triumph of Filial Love'), from 2003, Henze wrote a role especially for her voice, and she was intensely involved in the compositional process.

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Ying Wang: Tun Tu

Ying Wang: Tun Tu

Chamber Music Renewed


Ying Wang:

Tun Tu

Wave in D

Glissadulation

Focus Exchange

Tip to Top

Coffee & Tea


Nikola Lutz (saxophone), Teodoro Anzellotti (accordion), Nina

Janßen-Deinzer (clarinet), Isao Nakamura (drums), Ying Wang (electronics)

Ensemble Phoenix Basel, MAM.manufaktur für aktuelle musik

Shaped equally by her roots in China as well as European influences, Ying Wang, with her struggle for an individual musical language, embodies in an exemplary way the challenges of finding a point of balance between two cultures. Wang mediates between the two cultures.

She has achieved quite personal solutions in her works, integrating dramatic impulses and meditative sensual sonorities. She regards as especially fruitful the transferring of techniques for the creation of electronic sounds to acoustic instruments.

Restriction and freedom are important criteria in Wave in D, where Wang, out of extremely limited tonal material, draws a rich assemblage of differentiated sound colors from the possibilities of the traditional instrument and the electronics.

In “Tun Tu” baritone saxophone and electronic sounds interact and come together in an imaginary sound landscape. The distorted sounds of the instrument, embedded in a cosmos of mysterious electronic colorations, seem at first almost improvisatory, but “Tun Tu” is rigorously organized.

In Coffee & Tea Ying Wang reflects on contrasts between the cultures of Asia and Europe and uses coffee and tea as metaphors.

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Enjott Schneider: Fatal Harmonies

Enjott Schneider: Fatal Harmonies

Works for cello and orchestra


Schneider, Enjott:

Dugud - Cello Concerto No. 1

Sulamith - Danses sacrées for cello and orchestra

Fatal Harmonies of Black Sweetness - Variations on Carlo Gesualdo’s 'Moro, lasso, al mio duolo'

Lilith - Symphonic Poem for orchestra


László Fenyö (cello)

Deutsches Symphonie-Orchester Berlin, Ariel Zuckermann

"Fatal Harmonies“ is the seventh of 10 CDs in WERGO’s continuing "Edition Enjott Schneider“ and contains five compositions for cello and orchestra.

The cello has fascinated audiences, players and composers ever since and did inspire Enjott Schneider to create compositions of magic and virtuoso wizardry. In the hands of a soloist with the mastery of László Fenyö, an explosion of expressive power is guaranteed.

The cello concerto “Dugud” takes up some of the legendary images about the ancient oriental bird god in archaic scenes like the dark and erotic battle of impregnation or the vision of a life of freedom.

"Sulamith" is about the Song of Solomon which is one of the Bible's most mysterious texts. “Fatal Harmonies of Black Sweetness” refers to Carlo Gesualdo (1560–1613), one of the most daring and enigmatic composers in history. The present composition takes up the dark sweetness that dominates Gesualdo’s madrigals.

László Fenyö, for whom many of the pieces were tailormade, convinces with his ability to imbue hellishly difficult passages with musicality and beauty of sound. Fortunately, the Deutsches Symphonie-Orchester Berlin (DSO) and their conductor, Ariel Zuckermann, let themselves be inspired by László’s ncompromising enthusiasm and worked together with him to create a performance of the highest quality.

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Funambules

Funambules


Aperghis:

Trio Funambule

Prins:

Mirror Box (Flesh+Prosthesis #3)

Riehm:

Basar Aleppo oder Die Strasse nach Tyros

Schöllhorn:

Sinaia 1916


Trio Accanto

The music on this CD demonstrates clearly the variety this instrumental combination can offer. It is possible that the unusual constellation itself is what has particularly excited (or exasperated) so many composers: What do these instruments have in common? What contrasts are possible? What combinations can come into play?

The CD at hand shows not only the broad range of musical ideas that can unfold, but also the innovative forms of ensemble playing the performers have developed. The pieces that have already been written show that this combination of instruments has a future. Perhaps someday this trio “sound body” will define a new genre, which in the absence of some other name might very well be called “Trio Accanto” ...

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Schlamm ('Sludge')

Schlamm ('Sludge')


Bauckholt:

Schlammflocke

Ferneyhough:

Finis Terrae

Lang, K:

The Ocean of Yes and No

López, J:

Gonzales the Earth Eater


Christine Chapman (horn)

Ensemble musikFabrik, EXAUDI, Emilio Pomàrico, Jean Deroyer, Enno Poppe, Marcus Creed

All life originated out of primeval mud. And all life dissolves back into it again. This CD in the Edition Musikfabrik series leans its ear towards sludge as well as 'the ocean of yes and no'. It cringes at the end of the world before the sublimity of nature, seeking to surpass her with composed conglomerates, it allows itself to be buried alive, only to eat itself free from the earth three times. Four fascinating attempts to understand nature and to explore humanity’s position within it.

For the composer Brian Ferneyhough, Cornwalls inhospitable landscape of moraine became the starting point of a composition for six voices and an 18 member ensemble.

Klaus Lang's The ocean of yes and no is a story with no beginning or end, no climax and no apotheosis. While Carola Bauckholt has often used the 'fauna philharmonic', working with a whole bestiary in Schlammflocke . In Jorge E. Lopez’s Gonzales the Earth Eater the composer quotes William S. Burroughs’s psychedelic sceneries with creatures such as 'Gonzales', who defies his own funeral.

This recording contains four fascinating attempts to understand Nature and to explore man’s place within it. The demanding artwork of the CD series is created with pictures by the painter Gerhard Richter, commenting on the thematic concentration of the programs in an artistic manner. Richter, one of the most important living German artists, has been a member of the board

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