Andrew Byrne: White Bone Country

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Release Date: 21st Mar 2011
Catalogue No: NW80696
Label: New World
Length: 54 minutes

Usually despatched in 3 - 4 working days

Byrne: White Bone Country Part I

Work length14:04

$3.00

$4.20

Steven Gosling, David Shively

Desert Terrain - for processed piano and percussion

Track length5:29

$1.00

$1.40

Desert Terrain - for solo piano

Track length3:56

$1.00

$1.40

Desert Terrain - for solo crotales

Track length4:39

$1.00

$1.40

Byrne: White Bone Country Part II

Work length6:24

$3.00

$4.20

Steven Gosling, David Shively

Desert Life - for piano and gongs

Track length2:38

$1.00

$1.40

Desert Life - for piano and bells

Track length1:08

$1.00

$1.40

Desert Life - for piano and knocking

Track length2:38

$1.00

$1.40

Byrne: White Bone Country Part III

Work length7:50

$3.00

$4.20

Steven Gosling, David Shively

Desert Weather - for solo piano

Track length1:32

$1.00

$1.40

Desert Weather - for piano inside and out

Track length3:02

$1.00

$1.40

Desert Weather - for piano and crotales and glockenspiel

Track length3:16

$1.00

$1.40

Byrne: Tracks

Work length8:57

$1.50

$2.10

Steven Gosling

Byrne: Fata Morgana

Work length17:42

$4.00

$5.60

Steven Gosling

Mirages on the Horizon – First Mirage

Track length3:36

$1.00

$1.40

Mirages on the Horizon – Second Mirage

Track length4:00

$1.00

$1.40

Mirages on the Horizon – Third Mirage

Track length5:27

$1.00

$1.40

Mirages on the Horizon – Fourth Mirage

Track length4:39

$1.00

$1.40

About
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About

Andrew Byrne (b. 1966) has lived and worked mostly in New York since the early 1990s. This tripartite CD has a mobile-like character, working entirely with a fabric of piano and metal percussion in changing manners and images, all of them remote from the duo relationship of conventional chamber music. The central work Tracks is also the earliest one (composed 1998, revised 2006), and presents the solo piano in its most â€˜normal' sound and interaction with the player-a kind of journey, as the title suggests, within a dense and accumulating polyrhythmic expression. The two surrounding groups of pieces extend from this in two different directions-the opening White Bone Country (2006) towards reduced sound-reveries in processed piano and small metal percussion, the succeeding Mirages (2007) into pure sonic fantasies made from sampled sounds of prepared piano. Byrne relates these pieces to "the other American experimental tradition of Cowell, Harrison, Peter Garland, John Luther Adams, rather than the New York minimalists/post-minimalists-to their concerns with polyrhythms in a reduced meditative sound world, suggestions of strange folk musics, depiction of landscapeâ€¦" Fundamental to the language of all Byrne's pieces are pulsations, from which varied melodic motives and overlaid rhythmic meters can be drawn. In this respect his approach differs from other landscape-orientated music based on drones and evolving fields of sound, along with their opposite, flurries of irregular disjunct rhythms

Andrew Byrne: White Bone Country

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