|
|
|
|
|
|
|
|
|
|
|
CD
|
|
HAT 146
|
"Faktura is consciously to select material and use it expediently without halting the movement of the construction or limiting its tectonic." -- Alexei Gan, 1922. Recorded in Chicago, 2000, with: Gregorio (clarinet, conductor), Fred Lonberg-holm (cello), Jeff Parker (guitar), Francoise Houle (clarinet), Kyle Bruckman (oboe), Jeb Bishop (trombone), Lou Mallozzi (concrete sound), etc.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
HAT 127
|
World Premiere Recordings by musikFabrik. Total time 113.52. Works by: Tenney, Edgar Varese, John Cage, Stefan Wolpe, Morton Feldman. "What James Tenney does have in common with the composers to whom he has dedicated his FORMS, however, is not a specific approach to dynamics, but to sound. And precisely this inquiring interest in sound, both as a physical phenomenon and as regards its perception, was a constant leitmotif that pervaded the whole American avant-garde from its European counterparts, which was more structurally and historically oriented." -- Raoul Mörchen.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HAT 139
|
"It is only fitting that the coda to this recital of most demanding 20th century piano music should only be a quiet epilogue, a sparse and subtle probing of single piano sonorities, but also a creation of the brilliant young pianist who manages to do justice to music as different as those of Wolpe, Feldman and Zimmermann. For Daniel N. Seel is not only a of renown, but a prodigious composer, whose oeuvre includes, apart from numerous piano pieces, orchestral music, an opera, scores of various instrumental groupings and performance-oriented pieces. And since Seel is a former student of Walter Zimmermann, this pianissimo finale is also another link in the many aesthetic and biographical strands joining Stefan Wolpe, Morton Feldman, Walter Zimmermann and Daniel N. Seel, in spite of all obvious differences between those representatives of four musical generations." --Peter Niklas Wilson
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HAT 148
|
Performed by: Ensemble für Neue Musik Zürich. "Liza Lim belongs to a new class of composers whose artistic approach is destined to undermine centuries-old Eurocentrism once and for all: though adapting 'Western' techniques to a degree, they seek spiritual orientation in other cultures. It is an organic paradigm shift with totally new artistic results. Liza Lim, too, is well-acquainted with the key European traditions and techniques. She studied with Ton de Leeuw in Amsterdam, is familiar with the scores of a Brian Ferneyhough and attended Summer Courses in Darmstadt, even going on to teach there. But her sources of inspiration and the roots of her musical language are largely Asian. This already becomes clear from the sonorities of her works." -- Max Nyffeler.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HAT 136
|
Compositions by John Carisi, Eddie Sauter, Christian Wolff and Stefan Wolpe. Performed by Ensemble Accanto & XASAX. Carisi wrote "Israel" for Miles Davis and Sauter is the arranger of some Stan Getz recordings for Verve. Both are students of Stefan Wolpe and they have written contemporary works too. Features: Wolpe: "Wuartet For Trumpet, Tenor Saxophone, Percussion, and Piano" (1950/4); Carisi: "Saxophone Quartet No. 1" (1965); Carisi: "Counterpoise No. 1 For Trumpet, Baritone Saxophone, Percussion and Piano" (1948); Sauter: "Saxophone Quartet No. 1" (1977); Wolff: "Exercise 26 & 27 (Snare Drum Peace March 1 & 2) (1968); Wolpe: "Stimmen aus dem Massengrab" (for speaker, two saxophones, trumpet, two pianos & percussion) (1928). "It's interesting to note that the title chosen for this carefully plotted program of works, Counterpoise, refers to equivalent powers set in opposition creating a state of balance, and appears in the dictionary in between the words 'counterpoint' and 'counterpose'. There is certainly a measured balance in the interrelated and contrasting material presented here, as well as in the personalities of the composers represented. Moreover, there is a palpable sense of poise (that is, equilibrium, assurance, and tact) in the music itself, which accounts for the equal degrees of spontaneity and inevitability-highlighting the counter-effect of creative tension-that result. - Art Lange.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HAT 132
|
"The throbbing standstill as changing tinge of light, as a slow change (of light and therefore of space and time), fifty minutes long. 'Grisailles 1-100' for three pianos consists of various levels of overlapping sound-layers. Repeated octaves and small, barely audible sounds made by fingers darting across the keys seem to be two of these levels. Peter Ablinger composed twenty-four layers to start with -- each one following its own time and structure --before these were being combined in a preliminary score." -- Christian Scheib. First recording of this work, by Hildegard Kleeb (piano), recorded 12/98.
|