CD/Digital releases

New releases: NEOS box sets – Donaueschinger Musiktage 2014, Darmstadt Aural Documents Box 3: Ensembles

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What with the increase in listeners turning away from physical releases in favour of digital downloads, and in light of yet another (admittedly somewhat spurious) article this week offhandedly proclaiming the imminent death of the album, the efforts of German label NEOS to put out large, lavish box sets are both absurd and marvellous in their optimistic enthusiasm. No other label does contemporary music like NEOS; in terms of quality and quantity, they are leaps and bounds ahead of everyone else, with an immense breadth of scope that’s doggedly committed to some of the most risk-taking, experimental music-making going on anywhere.

It’s NEOS who are responsible for issuing annual accounts of the goings-on at the Donaueschinger Musiktage (this year’s begins in a little over a week). The 2014 festival is represented, as usual, with a box set of four discs, though on this occasion the fourth disc is a DVD. The set features twelve large-scale compositions (many of them world premières), running to nearly seven hours of music, affording one the rare opportunity really to immerse oneself in a festival; for once, the cliché that it’s the next best thing to actually being there is entirely true. It would take a dissertation to discuss them all, but there are several that stand out more than the rest, such as Friedrich Cerha‘s Nacht for orchestra, seemingly split down the middle with its first half occupied with complex textures moving from high to low registers. The second half is sparer and more melodic, and has something of the searching freedom that typified the free atonal period; it’s really very lovely, with a later sense of poised tension released in a last-minute burst. For the first 90 seconds of Hanspeter Kyburz‘s Ibant obscuri, barely anything happens; but then, suddenly, it lurches out of the shadows, and the sheer size of his large orchestra makes itself intimidatingly felt in loud shrieks and thrusting accents (i’m not doing justice to it, it sounds literally massive). A bit like Cerha, its latter half has a melodic urge, seeking expression amidst a chaos of wonderfully unpredictable turbulence (including something akin to a wobble-board duet). The final few minutes are thrilling, ending in dazed repetitions of a single low note. Read more

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New releases: symphonies by Paul von Klenau, Peter Maxwell Davies, Andrzej Panufnik, Xiaogang Ye & Per Nørgård

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It’s high time i got back to appraising some of the more interesting new releases. No fewer than three contemporary pieces bearing the title ‘symphony’ were performed at this year’s Proms, and coincidentally quite a few of the CDs i’ve been sent have also featured 20th and 21st century symphonies. What constitutes a ‘symphony’ these days is a good question, one that these six albums don’t so much answer as offer an assortment of interpretations of what it might mean. Read more

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New digital EP: Studies, vol. 1

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It’s been a while since my last CD release, so i’m especially pleased to announce that, a few days ago, i brought out a new EP, the first in an ongoing series. Those of you familiar with my earlier electronic work will know that there’s been a tendency to embrace extremes. My last two discs, Night Liminal and Dither • Pother • Roil exemplify that pretty strongly. For the last couple of years, my electronic music has turned away from this mode of expression, focusing instead on a more indirect, allusive type of utterance, which has its roots in one of my earliest electronic pieces, Triptych, May/July 2009, as well as the Simulated Music cycle.

This has resulted in a growing collection of Studies, pieces that primarily explore my interest in structuring sound materials from an initially visual perspective, many of which i regard as something that might be called ‘Op Music’, a sonic equivalent of Op Art. Diverse in character, some highly abstract, others moving through clear progressions and processes of evolution and development, these Studies are all entirely synthetic, sculpted from raw electronic sounds without use of existing sound materials. As in much of my earlier work, the juxtaposition of pitch and noise and the reappraisal of what defines each (and their boundaries) continue to be recurring features of these pieces.

i’ll be making a selection of these Studies available in an ongoing series of digital-only EPs, the first of which, vol. 1, is now available, from my Bandcamp site (which includes lossless) as well as iTunes and Google Play. For those of you who like to try before you buy, the EP can be streamed via Spotify (embed below).

The accompanying artwork is by the Polish generative artist Tomasz Sulej, whose work i find inspiring and very beautiful, and which makes a perfect analogue for the soundworld of the Studies.

Further volumes of these pieces will be released during the months ahead.

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Michael Finnissy at 70: A Metier Retrospective – Part 1. Vocal music

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Composers habitually form relationships with performers and ensembles, but less often with record labels. And while various labels have put out one or two releases featuring the music of Michael Finnissy, only one, Metier, part of the multi-faceted Divine Art Recordings Group, has shown substantial long-term commitment to his output. To date, Metier has devoted no fewer than 12 albums to Finnissy, comprising a whopping 18 hours of his music, the earliest, Folklore, released in 1998, the most recent, Singular Voices, earlier this year. So to continue my celebrations of Finnissy’s 70th birthday, over the next few months i’m going to take a look back at this diverse collection of discs, beginning with those featuring his vocal music.

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New releases: Stefan Fraunberger, Michael Moser, Morton Feldman, John Wall

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Easily the most sonically remarkable new release to have passed through the jukebox in the last month or so is Quellgeister #2 ‘Wurmloch’ by the Austrian sound artist Stefan Fraunberger. This ongoing series of works (#1 came out two years ago, #3 is in progress) focuses on what Fraunberger summarises as “semi-ruined organs discovered in deserted Saxon churches in Transylvania”. Precisely what he does with these dilapidated organs isn’t entirely clear, but the result is that of a Frankenstein-like in extremis battle to resurrect the instrument and enable it, for one final time, to speak. Aural narratives really don’t come more stunningly heroic than this. Having wheezed into life, the organ’s reanimated corpse unleashes barrages of chords that constantly sound unnaturally forced, only sustaining as long as its innards are being ‘squeezed’ (try singing a note for far too long and you’ll get the idea). Weird tangential pitches and upper harmonics regularly bleach these chords, even occasionally suggesting there’s a melody trying to escape from beyond the grave; elsewhere the struggle (for both man and machine) becomes so intense that vast dissonant slabs of compressed noise erupt. On the one hand, it’s shambolic and desperate, but there’s an uncanny beauty both to Fraunberger’s seemingly absurd actions and to the, frankly, amazing results. Read more

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New releases: Helmut Lachenmann – Ausklang; »… Zwei Gefühle …«, Musik mit Leonardo; Schreiben

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i’ve been catching up lately with some of the more recent releases from NEOS, who for a long time have distinguished themselves as not just one of the most forward-looking labels, but easily one of the most fecund, putting out at least one major release every month, often in the form of absurdly impressive box sets. Among this acute embarrassment of riches are a pair of discs featuring music by Helmut Lachenmann, recorded at the 2014 Musiva Viva weekend. Both of them are refreshing, challenging and mesmerising in roughly equal measure, and are highly recommended.

The first is devoted to Lachenmann’s 1985 work Ausklang, the subtitle of which – “music for piano and orchestra” – indicates it to be not exactly adhering to conventional notions of the concerto. It’s nothing of the kind, in fact, exploring instead the idea of sustaining sounds from the piano beyond their natural resonance, or as Lachenmann puts it, a “variety of attempts to prevent the material set in vibration by an impulse … from dying away”. That makes Ausklang sound pretty straightforward, but it really isn’t. The relationship between piano and orchestra is not inherently hierarchical, actions from the former being responded to by the latter. The orchestra (which includes a piano of its own) often can be heard to anticipate, foreshadow or even inspire ideas that then transpire in modified form on the solo instrument. And while there are of course a multitude of instances where pitch, rhythm and other aspects of musical behaviour are resonated, echoed, imitated and otherwise extended by the orchestra, to say that these instances are always obvious, clear or even apparent would be wrong. Indeed, there are several occasions when the music appears to occupy two simultaneous layers, undertaking more of a duet than a back-and-forth. So the emergent complexities of Lachenmann’s rather simply stated intentions are considerable. Read more

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New releases: Monty Adkins & Terri Hron, Åke Parmerud, Francis Dhomont

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The latest crop of releases from Canadian label Empreintes DIGITALes has proved as thought-provoking as ever, offering extremely diverse approaches to electronic music, with similarly varied results. Léptidoptères, a new 40-minute cycle of music by composer Monty Adkins in collaboration with recorder player Terri Hron, takes its inspiration, as the name implies, from families of butterflies and moths. The relationship between the various recorders used and the electronic sounds is deliberately flexible, allowing Hron scope for improvisation both materially and structurally. Selections from a distinct palette of sounds are triggered randomly, creating a ‘habitat’ for Hron, which are subsequently shaped by envelopes that, in Adkins’ words, “focus on specific families or combinations of families of sounds”. The first thing to say is that Léptidoptères is generally at some remove from the ambient aesthetic that’s characterised the majority of Adkins’ work in recent years. That in itself is a welcome and interesting development. In its place is a soundworld more spontaneous and unpredictable, where one’s listening focus is drawn primarily to the shifting, moment-by-moment articulations and textural shadings. The relationship between acoustic and electronic is well-balanced, neither predominating overall, taking turns to assume predominance in the foreground. Read more

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