Thanks very much for posting this. This was one of the first pieces by Richard Barrett that I heard and it immediately grabbed me as something special. Despite the bleakness, I found it both beautiful and powerful and I would now count RB amongst my favourite composers.
Great to be able to listen to this piece again – “a tough listen” according to the review in The Wire!
Thanks Simon for posting this, and the link to “Landschaft mit Urnenwesen.” Readers may be interested to know that the low sounds of that piece (which are the only elements of it that return at the end of “Opening…”) are derived from a recording of Carl Rosman playing the second half of the solo bass clarinet piece “CHARON” (which is also part of “Opening…” of course), with each of its seven sections transposed downwards (and thus also slowed down) to differing degrees, and overlapped with one another instead of separated as in the solo version.
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Thanks very much for posting this. This was one of the first pieces by Richard Barrett that I heard and it immediately grabbed me as something special. Despite the bleakness, I found it both beautiful and powerful and I would now count RB amongst my favourite composers.
Great to be able to listen to this piece again – “a tough listen” according to the review in The Wire!
Thanks Simon for posting this, and the link to “Landschaft mit Urnenwesen.” Readers may be interested to know that the low sounds of that piece (which are the only elements of it that return at the end of “Opening…”) are derived from a recording of Carl Rosman playing the second half of the solo bass clarinet piece “CHARON” (which is also part of “Opening…” of course), with each of its seven sections transposed downwards (and thus also slowed down) to differing degrees, and overlapped with one another instead of separated as in the solo version.