Friday, June 5, 2009
Yannick Barman: trompette
Brice Catherin: violoncelle et électronique
Vincent Daoud: saxophone (1-2-3)
Jean Keraudren: spatialisation et effets (1-2-3)
Christian Magnusson: trompette
Benoît Moreau: clarinette
Luc Müller: percussions
Cyril Regamey: percussions
Jocelyne Rudasigwa: contrebasse
Samira El Ghata: flûte à bec (4)
Yuji Noguchi: clarinette (4)
Sara Oswald: violoncelle (4)
Jean Rochat: percussions (4)
pieces from "Aus den Sieben Tagen" by Karlheinz Stockhausen.
1. Aufwärtz mp3
2. Setz die Segel zur Sonne mp3
3. Es mp3
4. Bonus: Nachtmusik mp3
n°1-2-3 recorded live, by Jean Keraudren, 12.04.2008, at théâtre du Grütli (Genève, Suisse)
n°4 recorded live, 22.06.2007, at Lapin Vert (Lausanne, Suisse)
Download the complete album in .rar: click here - [4 mp3s : 131 mb]
The good thing about Stockhausen is that he did it all. Not only was he further ahead than anyone else, he was also better than anyone else. Aus den Sieben Tagen is a big classic, yet rarely performed. “Classical” musicians despise it because a huge part involves improvisation, and improvisers do not consider it because it is “signed” music. What a regrettable mistake do all these people make. It is precisely during these few days when Stockhausen composed this collection, that he had placed the highest faith into musicians, and, through a metonymic extend, into humanity. At this peak point, the last piece of the book states “Play, you do not need me anymore, everything you will do from now on will be right and good.” Yet, the mistake will not be undone as “classical musicians” are too anxious to be abandoned by the composer, and improvisers cannot bear interference in their musical ideas.
Aus den Sieben Tagen is a collection of pieces to be improvised after the very concise and apparently metaphysical instructions of the Master. But far from delivering us a strange joke or an esoteric manifesto, Stockhausen explores in fifteen pieces the main questions of composition, improvisation, art, its transmission and its origin, the status of the artist, his way of life and thought, the stage, etc.
This CD presents our favourite versions of these pieces, which we have been playing on a regular basis for the past two years. Most of the recording took place during a concert where we performed the whole collection in April 2008 (from 2:30pm to 00:30pm) at the théâtre du Grütli in Geneva. The last track was recorded in the Lapin Vert (Lausanne), a year earlier, in a slightly different casting, during a concert, in which pieces were chosen (intuitively) by the audience.
Le Car de Thon : In August 2006 a new music ensemble was born in Geneva, Switzerland: the Car de Thon. But why should one build up a new ensemble when (too) many of them already exist? First of all because the Car de Thon mixes the qualities of many different ensembles, qualities of which the most significant is precisely the mixing itself. Secondly the Car de Thon has a very specific approach to art in general, and to the people receiving it in particular: the audience. This short article will try to give a quick outline of the Car de Thon’s main interests and ideas, and demonstrate how it has the nerves to call itself an “all audiences ensemble” when we only play so-called contemporary and experimental music and performing arts, which are for some reason believed to be elitist.
AGP150 features two recordings of Schoenberg's String Trio op. 45, which was one of his last works, completed in 1946.
The first recording is presented in both 16-bit and 24-bit files and is performed by the Los Angeles String Trio. It was produced and engineered by the estimable David Hancock, who did so much fine work for CRI Records, and released on Desmar Records (DSM 1020G) in 1978. It is a lovely, spacious recording, and the Los Angeles String Trio's performance is both tight and passionate, with delicous sul ponticello work. The folks at Desmar had the good sense to have Teldec press the record, so there's very little noise or tracking distortion. This is the recording through which I originally fell in love with this work.
The second recording is performed by the Trio à Cordes Francais, and was released as part of a 4LP set featuring chamber works by Schoenberg, Berg, and Webern, on EMI Electrola (1C181 - 28368/71) circa 1970. This LP was also pressed in Germany and has very little noise or tracking distortion. The recording is clean and clear but with the slightly harder sound characteristic of many late 1960s recordings. The performance has nothing to be ashamed of, but is not quite as rich and passionate as the other.
1- Los Angeles String Trio 24-bit [flac : 192 mb]
2- Los Angeles String Trio 16-bit [flac : 88 mb]
3- Trio à Cordes Francais [flac : 78 mb]
Sunday, May 24, 2009
The idea and the concept of the Klangdom and Zirkonium were developed by Ludger Brümmer and implemented by Joachim Gossmann, Chandrasekhar Ramakrishnan and Bernhard Sturm at the ZKM | Institute for Music and Acoustics. The software was coded by Chandrasekhar Ramakrishnan.
Saturday, May 9, 2009
Sunday, April 26, 2009
[AR10]: All Angles Disc 1 - [mp3s : zip : 68 mb]
[AR10]: All Angles Disc 2 - [mp3s : zip : 73 mb]
ALL ANGLES - Lee Noyes and Massimo Magee
1: ‘Round Midnight (Monk) LN + MM 04:39
Part 1: Lo-Fi—
2: Guitar Solo LN 07:40
3: Friction MM 09:18
4: Drums and Sampler Solo LN 11:00
5: Relativity MM 13:59
Part 2: Patchwork—
6: Patchwork Piece LN + MM 30:30
Part 3: Live—
7: Live 2 LN + MM 65:05
8: Live 1 [extract] LN + MM 08:54
9: In A Sentimental Mood (Ellington) LN + MM 05:54
Lee Noyes - Drums, Percussion, Guitar, Sampler, Loops, Tapes, Bells
Massimo Magee - Tenor, Alto and Sopranino Saxophones, Clarinet, Trumpet, Amplifier with Headphones and Preparations, Keyboard, Tapes, Tape Recorder, Laptop, Homemade and Found Drums and Percussion, Cymbals, Radio, Tube, Bell, Jaw
-mix of email and live collaboration with Lee Noyes, recorded late 2007/early 2008(http://arraymusic.wordpress.com/)
Friday, April 24, 2009
Liner notes from LP, from Time 58003:
This piece by Sylvano Bussotti is called FRAMMENTO only on this record and in corresponding performances. It is actually the piece VOIX DE FEMME from the PIECES DE CHAIR II (1958-59), an expanded cycle for piano, baritone and further instruments adjoining sporadically, occasionally gaining the dimension of a chamber orchestra. The original version of FRAMMENTO is for voice and orchestra rather than, as on this recording, voice and piano. The principle of the entire cycle is its non-economy which reaches possibly its extreme, at least in respect to its performance technique, when a female voice and an orchestra are being introduced solely for this single piece. In context it functions as an isolated fragment. When it is isolated from the context, its fragmentary character is no longer perceivable, and it becomes a fragment (FRAMMENTO) all the more. Equally fragmentary is the representation for voice and piano. The piano adaptation was written by the composer himself, who thereby thought to establish the piano arrangement as an autonomous compositional genre. The fragment again consists of fragments, and the totality of the fragmental universe results in its negation, that is, totality. The compositional procedure remains that of a collage as well in respect to the musical material as to the far-fetched texts taken from various languages and books. If in the orchestral version the principle of instrumentation has been replaced, as it were, by the principle of instrumental dramaturgy, i.e. by a disposition of the instruments' entrances and exits, so does this correspond with the principle of correpetition in the piano version which has been developed to a principle of composition.
01 - De Natura Sonorum, side A (25:16) - [flac : 260 mb]
02 - De Natura Sonorum, side B (23:00) - [flac : 251 mb]
Liner notes from LP