★Edition Wandelweiser
Besando El Tiempo
Besando el Tiempo is a piece that was composed in 1995 in the space of four days. It was written in an automatic script that Maria de Alvear uses for many of her pieces. The work was originally composed for the flautist Caren Levine, who also gave it its first performance in Salzau in 1995. 'besando el tiempo' has now been performed several times worldwide by different interpreters. When Maria de Alvear heard the performance by Antoine Beuger, she asked him to give her a recording for herse…
Ephemeral Constructions
University of South Carolina experimental music workshop, Greg Stuart (director). Kallam Ashmore (objects), Brian Bethea (saxophone), Erik Carlson (violin), Eric Dennis (objects), James Easteppe (guitar), Jürg Frey (clarinet), Michael Halbrook (objects), Timothy Hall (guitar), John Kammerer (horn), Aj Karp (objects), Logan Mclean (voice), Lauren Phillips (objects), Brooke Rosenberg (objects), Chris Ruggiero (objects), Jessica Russell (objects), Nikil Sairam (violin), Bailey Seabury (percussion),…
Spinet, 2016
Christoph Schiller, spinet.
Christoph Schiller was born in 1963 in Stuttgart. He studied fine arts at the Kunstakademie Stuttgart and HfBK Hamburg. He later studied piano with Daniel Cholette and music theory in Basel. He has been playing concerts of improvised music on piano since 1987. In recent years the piano has been abandoned in favour of the lighter spinet, for which he has developed specific playing techniques which are influenced by inside piano techniques. Besides keyboard instruments …
Solo ensemble
Composer : Johan Lindvall. Performers : Vilde Sandve Alnæs (violin), Kristine Tjøgersen (clarinet), Jan Martin Gismervik (percussion), Henrik Munkeby Nørstebø (trombone), Ina Sagstuen (voice), Fredrik Rasten (guitar), Johan Lindvall (piano).
Livres d'heures
Composer : Eva-Maria Houben. Performers : Andreas Feilen (tubular bells), Eva-Maria Houben (piano, violin), Erik Carlson (violin), Bileam Kümper (violin).
EVA-MARIA HOUBEN (born 1955) studied Music Education at Folkwang-Musikhochschule Essen and the organ with Gisbert Schneider. Following her exams she taught both German and Music Education at Secondary School. She received her doctorate and postdoctoral lecturing qualification in musicology and was called for lectures at Gerhard-Mercator-Unive…
Be Nothing
Awsome new CD by the legendary Sergio Merce, a work for microtonal saxophon and analog synth/ electronics. During the last three years, Sergio Merce transformed his alto saxophone in a tremendous and radical way. "I have been working on a "microtonal saxophone", which is an alto saxophone without the original mechanisms and keys that I replaced with water, gas and compressed air taps. I can move the tuning of any note, and play microtones, multiphonics. A sustain pedal allows me to maintain…
On Foot: Brooklyn
From February 21 to May 21, 2012, Craig Shepard walked everywhere he went. Each of the 13 weeks, he composed a new piece, and wrote it down. Each Sunday, he led a silent, cell-phone free walk to a different location in Brooklyn and performed that week’s piece outdoors in a public space. This recording contains five pieces written during the project as well as field recordings from four of the performance locations.1. Sheepshead Bay, May 20, 2013 (10:10)Katie Porter, clarinetDevin Maxwell, snare …
SIMEON
A sinus tone disappears gradually as silences are inserted into it, which grow - over a duration of 20 minutes - in both number and length. In each case, a silence of 10 minutes is added to the end of this process.
dialogues with environments
All works on this CD were performed and recorded in live concert situations.The recordings have been left unchanged for this CD project, as i wanted to focus on the way these pieces interacted with the particular environments they were played in. Whether it was the instrument's turn to speak, during the rests when the environment spoke or when both spoke: there always was a beautiful, spontaneous and unforeseeable interaction between music and space, which wouldn’t have been there in a studio s…
Vokal / Instrumental
Six songs (1976) for voice, violin, clarinet, piano, cello, harp, and guitar; based on poems by Jean Gebser (1905-1976). The philosopher conveys his core ideas in lyrical language, where form, linguistic rhythm, inflections of speech and mea- ning become an essential part of the musical design. Floating relationships of pitches continue to change from one mode to the next, firmly anchored in their sound universe. The passing of time is crafted only through the pulsating sounds, con- nected throu…
11 Microexercises
Microexercises were started when the Miniaturist Ensemble asked for a piece with no more than 100 notes in it. Having enjoyed making one such piece, I went on to make 21 more (and then a second collection, Grete, with an additional 14). Instrumentation and number of players are mostly open, as are selection of pieces, playing order, clef and transposition readings, and dynamics.I like the notion of quite long pieces, and, more recently, also quite short ones (these have a history too: Beethove…
drei, 1-21
Three separate recordings where each musician follows hiw own very minimal score. Sound and silence. With Johnny Chang (violin), Sam Sfirri (melodica), Jürg Frey (clarinet).
das wetter in offenbach
Thomas Stiegler and Hannes Seidl, 'das wetter in offenbach'(2010), a radiophonic work mixing field recordings in the city of Offenbach with sine waves.
Urs Peter Schneider . Klavier
"I have played my friend Peter Streiff’s music for decades, and it has always moved and inspired me with its mindfulness, its spiritual force and daring novelty, where unusual demands and joyfulness are in balance." (Urs Peter Schneider, December 2013)
Von Magischem/Of magic nrs 5 & 6 Écriture automatique. Absence of intentionality and dissolution of referential thin- king. Written down after long preparation in pace with the actual duration of the piece.
Three piano studiesMovements and duratio…
Kompositionen 1973-1986
Schneider studied under tutors as diverse as Walter Lang, Frederic Rzewski, Henri Pousseur and Karlheinz Stockhausen, and his compositions range from drone pieces for solo church organ to chamber music, early electronic assemblages and operatic works.
120112
(…) the three pieces presented by Borg (piano) and Norstebo (trombone) are spellbinding explorations of the low tone. Three pieces but they segue into one another effortlessly and, with the possible exception of slight variation in pitch (and I’m not even sure of that) are pretty much indistinguishable from each other unless I missing some subtle pattern shift. The sounds are all low and sustained–bottom of the keyboard piano and extremely low trombone (the disc says, simply, “trombone”, though …
songs and piano pieces
song 2 (2008) (bass flute)four piano pieces (2005-2008) I II III IV song 6 (2010) (flute)a phrase a silencea phrase a silence…..more and more anastassis philippakopoulos' monodies reveal their deeply dialogical character:each phrase a call, an address, a reaching outeach silence an intense listening, an opening up to be addressed in turneach phrase: call and response in oneeach silence: response and call in onein this music the deepest and most…
24 petits preludes pour la guitare
Composer : Antoine Beuger. Performer: Cristian Alvear Montecino (guitar). It takes waiting. Then another string, another finger. A pass in the middle of an arpeggio: an alvearium must be built, a conduit, an in-between- arpeggios --- (very) slow, very free, molto legato
Hildegard von Bingen : John Cage
Two ways of hearing these two sets of 9 pieces:first separate, then alternating. And all of a sudden 800 years of temporal distance seem to dissolve and the pieces communicate with each other. Isn’t one even tempted to think, that John Cage wrote his pieces to be combined this way with Hildegard von Bingens songs, as an attempt to overcome the “nasty ditch” (Lessing) between two completely different historical situations?
On Foot
This compact disc contains recordings of pieces from the 2005 project On Foot, onwhich Craig Shepard walked 250 miles in 31 days across Switzerland. Every day, he composed a new piece, wrote it down, and performed it outdoors in a public space such as a bridge, public square, intersection, or mountain-top. The pieces are intended to frame the everyday sounds of the place in which they are heard. The performances on this CD were recorded in the work spaces of the performers.Careful listening will…