# 21st Century Chamber Music



## SanAntone

*Peter Kramer - Pietà*
performed by Longleash Trio
Pietà, for piano trio, by Peter Kramer (2017)



> Peter Kramer was born in Portland, Oregon (b.1989) where he studied composition, piano and violin with Dr. Marshall Tuttle at Mount Hood Community College. He graduated from the Oberlin Conservatory (2014) with a double major in Composition and Harpsichord Performance, and is currently pursuing his PhD in Composition at the CUNY Graduate Center, studying with Jason Eckardt and Suzanne Farrin. His principal teachers also include Lewis Nielson and Webb William Wiggins. Peter's music focuses on "musical parasites" residual and musical anomalies/artifacts resulting from performance paired with the resonant sound world of 16th and 17th century music, particularly keyboard and choral repertoires, as well as the sound world of American folk and blues traditions.


_Pietà_ was written during the Spring and Summer of 2017 for Pala Garcia, John Popham and Renate Rohlfing for the Loretto Festival 2017.

Our father who art in heaven,
Hallowed be thy name.
Thy kingdom come.
Thy will be done
On earth as it is in heaven.
Give us this day our daily bread,
…

Pour the unhappiness out
From your too bitter heart,
Which grieving will not sweeten.

Poison grows in this dark.
It is in the water of tears
Its black blooms rise.
…

"…I'm tired now.
Sometimes I talk too much. That's happiness."
…

Give us this day our daily bread…

(Fragments from: Lord's Prayer - English vernacular version, Another Weeping Woman - Wallace Stevens, Three Views of a Mother - John Ciardi)


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## Kjetil Heggelund

Played by the fantastic Arditti Quartet!
BITÁCORA CAPILAR by Hilda Paredes. Paredes has written several works for the Ardittis, including three quartets, beginning with Uy u T'an (Listen how they talk, 1998) and Cuerdas del destino (Strings of destiny 2007-8). This new piece follows on from the latter as a single sweep through several kinds of music, a journey that visits different musical territories, their differences provoking crisis and unexpected resolution.


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## Allegro Con Brio

I was delighted by Gyorgy Kurtag’s 6 Moments Musicaux for String Quartet (2005) which was featured in the Weekly Quartet thread a while back.


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## SanAntone

Allegro Con Brio said:


> I was delighted by Gyorgy Kurtag's 6 Moments Musicaux for String Quartet (2005) which was featured in the Weekly Quartet thread a while back.


Nice. If it's not too much to ask, I would like contributors to post YouTube links when available. Thanks for posting.






*György Kurtág - Six Moments Musicaux, Op. 44*

0:00 1. Invocatio (un fragment)
1:28 2. Footfalls
4:17 3. Capriccio
5:39 4. In memoriam György Sebok
9:22 5. Rappel des oiseaux (etude pour les harmoniques)
12:09 6. Les Adieux (in Janáček's manner)

Movses Pogossian, violin
Andrew McIntosh, violin
Che-Yen Chen, viola
Coleman Itzkoff, cello


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## SanAntone

The other issue is where to draw the line for defining chamber music.

I'd like to say any ensemble of 11 or fewer instruments, and also to include solo instrumental works. If y'all have a different idea, I'm open to suggestions.

The good news is there is already a lot of works that have been written and on YouTube.

Here's a very helpful post by *calvinpv* from the *Contemporary Listening* thread.



calvinpv said:


> *Contemporary Music Youtube Channels*
> 
> So I just compiled a list of contemporary music youtube channels for all of you to bookmark. Some of these channels -- especially the first few and most especially the channel "grinblat" -- are literal goldmines that are worth exploring. I didn't include any channels that had just a couple of contemporary pieces, only those where contemporary music made up at least a sizable part of their videos. I also focused on channels dedicated to more recent contemporary music, not music from the post-war period (though there's a lot of that too).
> 
> Enjoy.
> 
> grinblat
> gɹinblat
> 
> belanna000
> belanna111
> belanna999
> 
> Score Follower
> incipitsify
> Mediated Scores
> 
> Live New Music Channel
> 
> Contemporary Classical
> 
> Philip Mckelvey
> 
> Victor Alexander
> 
> hu
> 
> Sebastian Ars Acoustica
> 
> Pour ce que le langage a désertés
> 
> Silicua hibrido
> 
> OMaclac
> 
> Raúl
> 
> pelodelperro
> 
> art&music
> 
> Boris Sitnikoff (just Stockhausen's Klang)
> 
> Wellesz Theatre
> TheWelleszCompany
> Wellesz Modern
> Wellesz Opus
> Wellesz Rhapsody
> 
> George N Gianopoulos


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## Mandryka

This evening I've been listening to Linda Catlin Smith, this.


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## calvinpv

SanAntone said:


> The other issue is where to draw the line for defining chamber music.
> 
> I'd like to say any ensemble of 11 or fewer instruments, and also to include solo instrumental works. If y'all have a different idea, I'm open to suggestions.
> 
> The good news is there is already a lot of works that have been written and on YouTube.
> 
> Here's a very helpful post by *calvinpv* from the *Contemporary Listening* thread.


I kinda just made it on a whim, really to help myself by putting all the links in a central location. But I'm glad some of you are getting some use out of that list.

You forgot the ones by Lisztian. I only looked through them briefly, but they're just as good:

Alinéa Ensemble
Ensemble Contrechamps
Ensemble Linea
ensembleprotonbern
elisionensemble
Thorsten Gubatz

And then a couple more from me:

SWR Classic (see the playlists "SWR Experimentalstudio" and "SWR Donaueschinger Musiktage")
WDR Klassik
Splendid


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## calvinpv

Mark Andre: *... als ... II* for cello, bass clarinet, prepared piano and live electronics (2001)

I wrote this little blurb elsewhere on TC several months back, when we did a game on 21st century music in the games/polls section.

I highly recommend listening with headphones for the best experience.



> _… als … II_, for cello, bass clarinet, prepared piano, and live electronics, takes its cryptic title from a line in the Book of Revelations: "And when [German: als] the lamb had opened the seventh seal, there was silence in heaven about the space of half an hour." The ensuing silence upon the breaking of the seal serves as a metaphor for the guiding principle of the piece. The three instruments are placed in a triangle around the edge of the concert hall. Such a large distance between only three instruments creates too big of an acoustic space for the trio to handle, making resonance - a phenomenon that is necessary to project sound across an auditorium - much less likely. And when resonance fails to occur, the acoustic space breaks down and silence ensues. The failure is not anticipated ahead of time in the score but is rather an ever-present risk that Andre is willing to take on. In any given auditorium, it's quite possible that everything functions smoothly; it's also quite possible that nothing goes smoothly.
> 
> The music itself was composed in the same way as the music in _… auf … III_, a piece we saw earlier. Before the composition process, Andre fiddles around with different sounds and then analyzes their frequency spectra using software technology before arranging them into "scales" based on certain acoustical properties (Andre doesn't say which properties). From there, he runs the scales through algorithms to get the final music. In the case of _… als … II_, the chosen sounds seem to possess a limited range of pitch values but much variation in terms of intensity. Such emphasis on intensity at the expense of pitch gives one the paradoxical sensation of an emotional drama mired in stasis and equilibrium, a sense of uneasiness that something catastrophic is about to happen.


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## calvinpv

Mandryka said:


> This evening I've been listening to Linda Catlin Smith, this.


I second this. She's basically a 2nd-generation Morton Feldman. I wouldn't say she's as good as her teacher because her music isn't nearly as long (I think duration is a core element of late Feldman, so it's a shame she ignores this aspect), but still a fine composer.

There's another album devoted solely to Smith's work that has "Among the Tarnished Stars". One of the other works, "Memory Forms", is very good.


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## SanAntone

calvinpv said:


> Mark Andre: *... als ... II* for cello, bass clarinet, prepared piano and live electronics (2001)
> 
> I wrote this little blurb elsewhere on TC several months back, when we did a game on 21st century music in the games/polls section.
> 
> I highly recommend listening with headphones for the best experience.


Interesting work, wasn't what I was expecting. Minimal sonic activity and then around the 14' mark, a little thing started to happen ... and then went away. I can see why headphones might enhance hearing what is going on. I enjoyed it, though, and it kept my interest.


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## Portamento

calvinpv said:


> I second this. She's basically a 2nd-generation Morton Feldman. I wouldn't say she's as good as her teacher because her music isn't nearly as long (I think duration is a core element of late Feldman, so it's a shame she ignores this aspect), but still a fine composer.


I like Linda Catlin Smith. Cassandra Miller is another Canadian composer who has written some really interesting music. Here's a Soundcloud link to her trippy _Bel canto_ from 2010:

__
https://soundcloud.com/cassandra-miller-composer%2Fbel-canto-kore
.

Here's what Miller says about Feldman (and herself) in an interview:

"I often think in terms of protagonists. In romantic music, where the motives go on various adventures, the music (maybe the melody) is the protagonist. You can even find clear layers where the melody is the protagonist, the resonance is the stage setting and the strings doing their swirly bits are the internal fluttery feelings of the protagonist's mind or body. All there. But if you look at Feldman for example, the protagonist is you, the listener. And you slowly go on an adventure as he systematically erases your memory. You get to find out what it's like to exist in that destabilizing space for a long time (which is very different than a short time)."

[Weeks, James. "Along the Grain: The Music of Cassandra Miller." _Tempo_ 68, no. 269 (2014): 50-63.]

Part of me is glad that most younger composers aren't trying to emulate Feldman's gargantuan proportions. He wrote long pieces in part to disrupt social norms, and (at least in contemporary music circles) those norms are less prevalent today. There are other ways to make the listener the protagonist than trying to wipe their memory... or at least I _think_ there are.


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## Mandryka

There’s a lot of music by Feldman which isn’t especially long.


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## SanAntone

I was disappointed to discover that only excerpts are available on YouTube of Linda Catlin Smith's work. I agree with the comments made about her link to Feldman. I also agree that it would be hard to express an influence of Feldman without lapsing into imitation. 

Feldman is somewhat like Thelonious Monk in that regard: his style is so distinctive it would be difficult, if not impossible, to emulate his priorities and produce something "yours" and new.


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## SanAntone

This work I find very interesting. Well for one thing I am a huge early music fan, so there's that. And G.F. Haas is a composer always want to hear what he's up to. This is not a new work, but one I've never heard before now.






*Georg Friedrich Haas - tria ex uno, Sextet after Josquin Desprez* (2001)

Ensemble neuverBand
Cecilia Castagneto (conductor)


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## SanAntone

performed by Jack Quartet
*Ostiatim by Leah Reid* (2011)

Starts out disjointed and jagged. But around the 7:00' mark the music changes to placid and sensuous music. Very interesting composer to me, so far.


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## Mandryka

This is a new CD for me, I mean, I listened to it for the first time today. It made me think of a remark someone I know made about how tonal, measured, contemplative is the central trend in classical music of the first part of this century.

In the booklet the pianist writes



> Nocturnes & Lullabies reflects a continuing fascination with the piano as an instrument of resonance and an interactive meditative tool. It is a collection of pieces which interested me for the better part of the 2010's, that all seemed tied to themes of nocturnal existence, soporific states, and the liminal states between light and dark, life and death, the conscious and unconscious self. At that time especially, I was focused on cultivating a sort of pianistic "anti-virtuosity" (at least in the conventional sense), performing music that seems simple on the surface but in actuality affords a great many challenges, both in execution and interpretation.
> 
> All but one of the works featured on this album are premiere recordings, and the composers are people to whom I have been connected and by whom I have been inspired for several years. In more than one instance, they are also personal friends and tireless advocates. After several years of recital presentations in various combinations, it is meaningful to present these works on this album: a document and format that is by no means definitive-either collectively or in part, conceptually or practically-but reflects a certain depth of care and understanding that comes from living with and thinking about these special pieces of music as intrinsically related for a prolonged period of time. The listening journey is an inverted arch-form, a descent into a lucid dream-state or waking reverie. These tableaux are excerpts from the continuum of consciousness-evoking profound existential questions, mundane meanderings, and poignant ephemeralities.











some details here

https://www.newfocusrecordings.com/catalogue/richard-valitutto-nocturnes-lullabies/

And a track by Rebecca Saunders here


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## calvinpv

SanAntone said:


> I was disappointed to discover that only excerpts are available on YouTube of Linda Catlin Smith's work.


Through the Low Hills [piano & cello] [1994]
Memory Forms [orchestra] [1995]
With their Shadows Long [piano & violin] [1997]
Among the Tarnished Stars [clarinet, piano, violin & cello] [1998]
Knotted Silk [clarinet, trumpet, 2 percussion, piano, violin & double bass] [1999]
Moi qui tramblais [percussion, piano & violin] [1999]



> I agree with the comments made about her link to Feldman. I also agree that it would be hard to express an influence of Feldman without lapsing into imitation.
> 
> Feldman is somewhat like Thelonious Monk in that regard: his style is so distinctive it would be difficult, if not impossible, to emulate his priorities and produce something "yours" and new.


So I somewhat take back what I said, having re-listened to a couple of the works above. While they emulate Feldman in that a chord slowly modulates a little at a time with no destination in sight, they are different when they occasionally drift into a tonal setting; the modulations themselves also seem, on the one hand, rather restricted and, on the other hand, rather free. There are sections where the chords refuse to change at all except in their presentation, and then there are other sections where new notes come out of left field. In Feldman, the drifting effect seems a bit more steady.

Then again, now that I'm thinking about it, Feldman does all this too. So I don't know. I guess I'm back to my original position. I wonder if the shortness of Linda Catlin Smith's music is forcing me to read something different in her works (different from Feldman's, that is) that isn't really there.

Again, it should be said, though I think she is imitating her teacher, I don't have any problems with it. I do like the music, which is the only thing that matters for me.


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## Portamento

calvinpv said:


> Then again, now that I'm thinking about it, Feldman does all this too. So I don't know. I guess I'm back to my original position. I wonder if the shortness of Linda Catlin Smith's music is forcing me to read something different in her works (different from Feldman's, that is) that isn't really there.
> 
> Again, it should be said, though I think she is imitating her teacher, I don't have any problems with it. I do like the music, which is the only thing that matters for me.


I get what you're saying. In many respects the "post-Feldman school" seems like an artistic dead-end. It's been very difficult for composers to emulate Feldman without sounding like a second-rate version of him. Wandelweiser intrigues me, but I don't really think they bring anything new to the table. In my opinion contemporary music is by and large operating on a feedback loop; composers endlessly recycle the same Feldman/Ligeti/Lachenmann cannon without reacting to their own times in an interesting way. I suppose that's what happens when a culture gets to be too insular.


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## SanAntone

Portamento said:


> I get what you're saying. In many respects the "post-Feldman school" seems like an artistic dead-end. It's been very difficult for composers to emulate Feldman without sounding like a second-rate version of him. Wandelweiser intrigues me, but I don't really think they bring anything new to the table. *In my opinion contemporary music is by and large operating on a feedback loop; composers endlessly recycle the same Feldman/Ligeti/Lachenmann cannon without reacting to their own times in an interesting way. *I suppose that's what happens when a culture gets to be too insular.


I feel somewhat differently than you have described in this post.

I don't know if I've posted this before, but this string quartet I think is a good example of what new composers are doing that is distinct from the composers you named.






But as I haven't listened to Ligeti and Lachenmann in a long time, I may be missing something. But it does not sound anything like Feldman.


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## Mandryka

Very excited by this video





discovery


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## SanAntone

And then there a whole group of composers using voice in their works


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## SanAntone

calvinpv said:


> Through the Low Hills [piano & cello] [1994]
> Memory Forms [orchestra] [1995]
> With their Shadows Long [piano & violin] [1997]
> Among the Tarnished Stars [clarinet, piano, violin & cello] [1998]
> Knotted Silk [clarinet, trumpet, 2 percussion, piano, violin & double bass] [1999]
> Moi qui tramblais [percussion, piano & violin] [1999]


Thanks for these. I admit I didn't search long.


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## calvinpv

SanAntone said:


>


Have you heard Soper's _Voices from the Killing Jar_? It's probably one of the most innovative song cycles I've heard in a long time.

Program note here. You can also read the libretto at the beginning of the video if you pause it.

And, yes, _Nadja_ is a pretty good piece.


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## SanAntone

calvinpv said:


> Have you heard Soper's _Voices from the Killing Jar_? It's probably one of the most innovative song cycles I've heard in a long time.
> 
> Program note here. You can also read the libretto at the beginning of the video if you pause it.
> 
> And, yes, _Nadja_ is a pretty good piece.


Yes, I know Killing Jar; you're right it is an impressive piece of work. I interviewed Kate in 2016 and, along with her talent, was impressed with two things about her: one, she has a strong sense of discipline and working routine and, she is a fan of Guillaume de Machaut (one of my own favorite composers).


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## SanAntone

*Hakki Cengiz Eren - O Yer* (2017)
performed by Ensemble Composit

More about the composer *here*.


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## SanAntone

*Samir Amarouch - Lighting, for 9 musicians* (2013)
performed by Edouard Boze (Conductor), Enguerrand Moutonnier (Organ), Alexandrine Monnot (Voice 1), Raphaëlle Soumagnas (Voice 2), Samuel Bricault (Flute 1), Gilles Stoesel (Flute 2), Paul Dujoncquoy (Clarinet), Emma Jane Lloyd (Violin), Ieva Struoggyte (Viola), Lucien Debon (Cello), Aurélien Bourgois, Charles De Cillia, & Paul Lambert de Gersay (sound), Aurélien Bourgois (Edit & Mix)

Composer website *here*.



> Paris-based composer, Samir Amarouch writes music equally inspired by composers such as Grisey, Sciarrino or Romitelli, by the electronic musicians such as Rashad Becker, Oval, or Mark Fell, and by traditional music, such as Gnawa music. Transcribing in the instrumental or vocal domain natural sounds (bird songs, wolves howling sound, or other soundscape) and artificial sounds (as synthetic sounds, vocoder, or others effects from electronic music), he develops a unique aesthetic querying our relationship with environment and technology.
> 
> He worked with the Ensemble InterContemporain, the Lucern Alumni Ensemble, the harpsichord player Orlando Bass, the conductor Simon Proust, InSolitus Ensemble, Vocalists 20.21., the german Mozaik Ensemble, and the symphonic orchestra Orchestre +. Current projects include a new work for quadriphony premiered in march 2019 and a duo saxophone & cello for june 2019.


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## calvinpv

Rihm: *Nachstudie* for piano solo (1992-1994)
Rihm: *Sphäre um Sphäre*, for 11 musicians (1992-2003)

So after having presented Rihm's _Jagden und Formen_ and related pieces in the 1980-2000 listening group, I've been delving into Rihm's oeuvre as a whole. Yesterday, I just finished listening to two pieces from his _Sphären_ cycle of works: _Nachstudie_ and _Sphäre um Sphäre_.

The basic idea behind this cycle, as well as the _Formen_, _fleuve_, _Séraphin_, _Chiffre_, _Über die Linie_ and _Verwandlung_ cycles, is the idea of "overpainting", where Rihm will take music that he's already written and add new layers of music on top. This could mean adding new parts or subtracting/modifying old parts (a sort of vertical layering); it could also mean cutting up an old piece and adding insertions in between sections or taking away sections (a sort of horizontal layering). This may seem like a lazy way to compose, but on the contrary, it opens up new ways of understanding how pieces in general are put together. Case in point: understanding Rihm's music as composed of layers raises the question of whether there is a final version of a work, since layering is a process that has no inherent limits. Thus, many of Rihm's works could be said to be in "moment form" or "open form".

Anyways, _Nachstudie_ and _Sphäre um Sphäre_ is constructed as follows. Rihm wrote a piece called _-et nunc_ for winds, brass and percussion; he later added 81 bars to get _-et nunc II_. He then added a piano part plus 30 new bars to get _Sphere_. Rihm then extracted the piano part to make the solo piano piece _Nachstudie_. A few years later he puts the piano part back into an ensemble setting which includes a second piano to get _Sphäre um Sphäre_ (this ensemble setting is completely different to _Sphere_).

The piano part asks for the player to always hold the sustain pedal so that the resonance from the piano never dies out. And the piano writing itself suggests response and echo: after a gesture gets played, it gets repeated immediately with a louder dynamic, shorter duration and/or stronger attack. Why does knowing all this matter? Because it informs us of how to appreciate the piano part for each of these pieces. Depending on the context, the same piano part will contribute to a different way of listening and appreciating the music and will focus our ears towards different understandings of the "resonance" involved.

When you hear the piano by itself in _Nachstudie_, the lack of other instruments allows you to hear the piano resonance naked without any adornments. This instructs your ears to listen to the music as a meditation on the nature of the piano itself (the aura, or "sphere", of the piano) and to hear all its overtones and to appreciate the sounds in the moment before they decay into oblivion.

But when you hear _Sphäre um Sphäre_, the same piano part is interweaved with other instruments (including a second piano) who all play the same or nearly the same notes as the piano in any given moment. In this piece, the resonance of the piano itself can no longer be heard, but there is a "resonance" of sorts between the instruments, instructing your ear to no longer understand resonance as a physical phenomenon but as an abstract one that is created from formal relations (in this case the relation of identity, since they all play the same notes).

These two works are good enough to be heard on their own. But I also recommend listening to them back-to-back. In fact, though this may sound counterintuitive, I'm coming to the conclusion that in order to really understand what Rihm's doing with his music, you ought to listen to whole cycles of works back-to-back instead of hearing single works at a time.

Score of _Sphäre um Sphäre_ here (to read the score for _Nachstudie_, just read the piano part of _Sphäre nach Studie_ here; this work is another in the _Sphären_ cycle, but there's no recording of it, unfortunately).


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## Mandryka

Do we know why these pieces are spherical?

Am I right to think that in the Sphäre series, Rihm doesn’t take inspiration from existing musics - in the way that he is inspired by Janacek for example, or Schumann, in other chamber pieces?

I have a CD with another Sphäre piece Séraphin-Sphäre, and it includes the “4 male” for solo clarinet, I don’t know if the solo clarinet music is all part of the Sphäre project.


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## calvinpv

Mandryka said:


> Do we know why these pieces are spherical?


I think the word "sphere" is referring to the 'sphere of influence' of the piano, the piano's sound world and its gravitational pull on the surrounding instruments (in _Nachstudie_, it's the only instrument, so its sound world equals the sound world of the entire piece). If you listen closely to _Sphäre um Sphäre_, the pitches used on the piano get reflected into the other instruments as a sort of echo effect (though often they play simultaneously, and occasionally it's the piano that serves as the echo). One could even argue this is a tonal work in the broadest sense of the term, though the tonal center changes from gesture to gesture in the piano.



> Am I right to think that in the Sphäre series, Rihm doesn't take inspiration from existing musics - in the way that he is inspired by Janacek for example, or Schumann, in other chamber pieces?


To my knowledge, no. In fact, from what I can gather, most of Rihm's works that involve direct quotation or stylistic imitations of other composers come early in his career, and one could say his later works involve quotations of *his own* music (_Jagden und Formen_ being a great example of this).



> I have a CD with another Sphäre piece Séraphin-Sphäre, and it includes the "4 male" for solo clarinet, I don't know if the solo clarinet music is all part of the Sphäre project.


It's not.

The _Sphären_ cycle includes (in chronological order): -et nunc I, -et nunc II, Sphere, Nachstudie, Sphäre nach Studie, Sphäre um Sphäre, and Séraphin-Sphäre. The two -et nunc pieces are also the foundation works to the _fleuve_ cycle, and Séraphin-Sphäre is also in the _Séraphin_ cycle.


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## calvinpv

Here's a 2nd recording of _Sphäre um Sphäre_. This is the CD that also contains _Vier Male_ that Mandryka asked about.


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## Merl

Mandryka said:


> This evening I've been listening to Linda Catlin Smith, this.


I really enjoyed that Mandryka. Thanks.


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## SanAntone

*Georg Friedrich Haas: Solstices* (2019)
for 10 instruments in total darkness

*Riot Ensemble*
Aaron Holloway-Nahum, conductor


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## calvinpv

Rihm: *ET LUX* for string quartet and vocal quartet (2009)

Just re-listened to this work (heard it a few times before), and it's fabulous every time I hear it.

Score here.


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## calvinpv

Rihm: *Séraphin-Sphäre* for ensemble (1993-1996, revised 2006? -- not sure if this 2006 date is a revision)

Just finished up listening to what I can find from Rihm _Sphären_ cycle. This piece also belongs to _Séraphin_ cycle and is another case of "overpainting"; here, Rihm is take old material from *two* different cycles and adding new layers, as opposed to one cycle. Since I'm not familiar with the _Séraphin_ cycle as of yet, I don't know where all the material comes from; however, I do know that the section near the beginning for the two pianos by themselves is straight out of _Sphäre um Sphäre_.

Having heard 15 of Rihm's works over the last 2-3 weeks, I'm also beginning to hear some distinctive features in Rihm's style. For example, he really likes to stagger the different lines, especially in the slower sections, so that when one line is playing, another line is sustaining a chord, and vice versa. He also likes to reflect pitch sets across different instruments to give a sense of reverberation and echo. It's most obvious in _Nachstudie_ and _Sphäre um Sphäre_, but I can also hear it in practically every other work I've heard. Finally, he really likes to use sforzando accents in his scores; and yet, despite their overabundance -- which you would think would ruin the surprise factor -- they seem to be really well-placed.

The first recording is significantly better, though it's a little quiet, so you may need to turn up the volume.


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## SanAntone

*calvinpv*, thanks for highlighting these works by *Wolfgang Rihm* . I remember listening to his music a lot in years past but not so much anymore.


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## SanAntone

A recent work, 2012, for prepared piano.






*Michelle Agnes Magalhaes - Mobile*
performed by Michelle Agnes Magalhaes


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## Mandryka

Klaus Huber's L'ombre de notre âge, this is about 10 minutes longer than the performance on a commercial recording - and is not uninteresting IMO. Klaus Huber is a composers who rarely lets me down.

Huber taught Ferneyhough, and though they don't sound the same, I don't think I'm deluding myself when I think I can sense the connection in the music, something to do with the way they use gestures, and the seriousness of it.


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## SanAntone

Was the Huber work written in 1999? Close enough.


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## calvinpv

Rihm: *Vier Male* for solo A clarinet (2000)

Not gonna lie, found this a bit boring. But just realized that Rihm adds additional layers to the solo work to get *Male über Male* and *Male über Male 2*. So I'll check those out tomorrow to see if they put the clarinet in a better light. Because I didn't hear anything interesting by the clarinet, at least compared to some other solo clarinet works I've heard.

Score to *Male über Male* here (just read the clarinet line to get *Vier Male*).


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## SanAntone

*Carola Bauckholt: Cellotrio* (2002)


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## SanAntone

*<<<<< NOTICE >>>>>*

*Initially I said that a chamber ensemble should have 11 or fewer instruments, but I have changed my mind. From now on, any work with up to 15 instruments is acceptable. I recently started a thread for orchestra works, which will cover ensembles with more than 15 instruments, and I wanted to close the gap.*


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## SeptimalTritone

Feldman repeats his cells many times, but the way in reach the repetitions are rhythmically varied and given space between each other creates a breathless energy that I haven't seen anyone else able to capture. There's something so deliberate about every gesture!


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## calvinpv

Rihm: *Male über Male* for A clarinet, 2 violas, cello & 2 double basses (2000-2003)
Rihm: *Male über Male 2* for A clarinet, 2 harps, percussion, piano, 2 violas, cello, 2 double basses (2000-2008)


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## Lisztian




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## SanAntone

*Carola Bauckholt - Sog*

About half way through a Sonicare electric toothbrush is turned on inside the piano on the sound board, creating a drone. The other instruments play along at the same or near the same pitch for a few minutes until they overtake the sound of the toothbrush.



> Carola Bauckholt: Ich muß mit Dir reden
> 
> "For me, Carola's music is all about communication and the interplay between different sounds and musical events. Perhaps this explains the title of this album: Ich muß mit Dir reden (We must talk). When you play her music you almost feel you are participating in a conversation, or some kind of social encounter. Music, in my view, is to a large extent grounded on sounds and their timbres, but these only acquire a truly musical function when they speak to one another and develop a relationship with one another. This strikes me as being what is really important in music." - Kenneth Karlsson
> 
> "Cikada had been playing my pieces for a couple of years before I finally had the chance to meet them in 2007 at a concert in Cologne. There they played Keil, a piece that everyone, including me, had largely forgotten after its premiere. They breathed new life into the piece, and I was even surprised myself. It's one of the best experiences when a piece takes on a life of its own and I meet up with it again after it has so to say "grown up". In 2009, I received a major commission from Cikada for the pieces Laufwerk and Sog, which shaped my work up to 2013. This commission was the beginning of my intensive involvement in the exciting new music scene in Norway, which continues until today." - Carola Bauckholt (*source*)


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## tortkis

Martin Arnold: Slew & Hop (2001) for viola and cello, Quatuor Bozzini





The composer's comments are interesting. He cares about melody but he is not concerned with themes, subjects, motifs or narrative. He cares about continuation but not progression. He is influenced by folk musics, ars subtilior, and consort music. The music on this album (Aberrare) reminded me of John Cage (around 1948~1950) and Walter Zimmermann.


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## SanAntone

*David Albulescu - Howl for Violin, Cello and Piano* (2020)

Trio Mosa 
Alexandra Van Beveren, violin
Paul Stavridis, 'cello 
Bram de Vree, piano

~~~~~~~~~~~~~~~~~~~~~~~~~

I am not convinced this piece is successful, but I do think the composer had an interesting concept (which is why I posted it). Maybe some revision might improve this work - or I'm off the mark entirely.


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## SanAntone

tortkis said:


> Martin Arnold: Slew & Hop (2001) for viola and cello, Quatuor Bozzini
> 
> 
> 
> 
> 
> The composer's comments are interesting. He cares about melody but he is not concerned with themes, subjects, motifs or narrative. He cares about continuation but not progression. He is influenced by folk musics, ars subtilior, and consort music. The music on this album (Aberrare) reminded me of John Cage (around 1948~1950) and Walter Zimmermann.


I really liked this - will look for more of Martin Arnold's work.


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## tortkis

Hunter Coblentz: Quiet Music, Music for Piano (2016)





The composer talks about the piece, and the music starts at 0:50.

_"... musical expression that is devoid of superfluous gesture, narrative, and virtuosity, something calmed in its dramatic impulse, something reticent, and introspective, something quiet ..."_

https://huntercoblentz.bandcamp.com/music


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## gregorx

Picked this up recently. A two disc set of 21st C. percussion works...









...including this one: Aura by Anna Thorvaldsdottir performed by the Los Angeles Percussion Quartet


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## Merl

If no ones mentioned this from Nadarejshvili it's a really enjoyable quartet (1987) .


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## mikeh375

calvinpv said:


> Rihm: *ET LUX* for string quartet and vocal quartet (2009)
> 
> Just re-listened to this work (heard it a few times before), and it's fabulous every time I hear it.
> 
> Score here.


loved that Calvin.


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## gregorx

Gordon Fitzell: Violence. For instrumental sextet (flute/piccolo, clarinet/bass clarinet, violin, cello, piano, percussion)









www.youtube.com/watch?v=867Qky4G5ZY&list=TLPQMTIxMjIwMjDnhrnjnu-pqw&index=5


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## Akram

Marco Beasley and Constantinople (Kiya Tabassian) - Fronni d'alia / Ey Sareban (Italian and Persian classical music)

[video]https://fb.watch/2kWSDYH22q/[/video]


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## SanAntone

Akram said:


> Marco Beasley and Constantinople (Kiya Tabassian) - Fronni d'alia / Ey Sareban (Italian and Persian classical music)
> 
> [video]https://fb.watch/2kWSDYH22q/[/video]


Facebook videos are not really wanted here. I am not accusing you of anything but FB is rife with scams associated with links. And this is your first post.

Just sayin'


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## gregorx

Olga Neuwirth: String Quartet "In the Realms of the Unreal"


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## SanAntone

*Angus Lee - cendré* [Frontispiece I]
op.36a, for solo alto flute with harp and cello (2019)






performed by Ensemble Multilatérale, Léo Warynski (cond.)
cendré [Frontispiece I] by Angus Lee (2019)
https://multilaterale.fr/
https://www.anguslee-music.space/

this work was selected in the Fall 2020 #FollowMyScore call for works

__________________________________________________ ________

I found this work to be very interesting.


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## GucciManeIsTheNewWebern

SanAntone said:


> *Angus Lee - cendré* [Frontispiece I]
> op.36a, for solo alto flute with harp and cello (2019)
> 
> 
> 
> 
> 
> 
> performed by Ensemble Multilatérale, Léo Warynski (cond.)
> cendré [Frontispiece I] by Angus Lee (2019)
> https://multilaterale.fr/
> https://www.anguslee-music.space/
> 
> this work was selected in the Fall 2020 #FollowMyScore call for works
> 
> __________________________________________________ ________
> 
> I found this work to be very interesting.


That was pretty interesting, love it! I like that instrumentation choice and timbral combination, as well as the extended techniques like the creaks, overblowing, overall exotic timbres. Some of the harp flourishes seemed a bit out of place to me though.

It's primal atmosphere reminds me a lot of Crumb's _Voices for Ancient Children_, especially with the grunts and vocal utterances. Crumb was fascinated by the idea of pre-historic music and envisioning what it may have sounded like, like you hear in _Ancient Voices_ or the "Sound of Bones and Flutes" movement from _Black Angels_.

Overall it sounds like a blend of that primal feeling with harsh industrial noise to create a really interesting effect.


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## SanAntone

*Joshua Clausen - Broken loops*






...for piano and electronics - this work resides somewhere between minimalism, jazz, and classical. I found it very interesting and enjoyable.



> Described by Public Radio International as "powerful" and "poignant," Joshua Clausen's works frequently fuse strong rhythmic textures and intricate patterning with narratives from history, mass culture and current events.
> 
> Clausen is a 2018-2019 McKnight Composer Fellow, currently collaborating with chamber ensembles 10th Wave (Minneapolis), and HUB New Music (Boston), presenting at Ensemble Mise-En (New York City), and developing a new work for soprano Carrie Henneman Shaw (Chicago/Twin Cities). Other recent projects include a large ceramics/sound installation with the artist Anna Metcalfe, and an immersive 50-channel modular sound installation. (*composer website*)


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## Mandryka

Richard Barrett's close up

https://livestream.com/uol/events/8038731/videos/171315780

Barrett said he was influenced here by Andy Goldsworthy's film _Rivers and Tides_, in particular from the idea of passing through a forest or garden, or some other richly biodiverse environment, and in doing so viewing it from many perspectives, from the smallest details to the whole.


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## SanAntone

I already put this in the contemporary string quartet thread, but wanted it here as well since I think it is pretty cool.

*The Lick Quartet - David Bruce*






Mvt. 1: Tigran's Lick 0:00 
Mvt. 2: Antonin's Lick 5:54 
Mvt. 3: Jacob's Lick 10:41 
Mvt. 4: Leoš's Lick 15:09

__________________________________________________ ___________

I really like this one.


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## SanAntone

*Rodrigo Bussad* - _Kundalini II_
for soprano saxophone






performed by Allison Balcetis

https://www.rodrigobussad.com/

this work was selected in the Fall 2020 #FollowMyScore call for works



> Rodrigo Bussad (Sao Paulo, Brazil. b.1985) awarded with the 3rd place at the 2019 American Prize in Composition in the Professional Chamber Music Division with the work Nimbi and the winner of in the same competition (Student's division) in its 2014's edition with the work Loin. He was also awarded in the same competition on two other occasions.
> 
> Bussad is the winning composer of the 2017 Ukho Ensemble Workshop and the 2015 Valencia International Performance Academy (VIPA).
> 
> He has his works premiered on three continents and selected for music festivals and conferences such as the Composers Conference, IRCAM'S Manifeste, Ukho Ensemble Workshop, Mise-en Festival, Composit, SoundSCAPE Festival among others worldwide. His music has traveled the Americas, Europe and Asia.


Evocative work, some nice effects - almost sounds electronic in places.


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## SanAntone

*Daijana Wallace* - _Shades_
performed by Kivie Cahn-Lipman (cello)








> My name is Daijana Wallace (day-on-a, like "spending a day on a beach") and I'm a composer. My writing is inspired by my own thoughts and feelings, getting to write for friends and colleagues, or a combination of the two. I like to think of some of my compositions as a journal-with "entries" ranging from playful thoughts about my upstairs neighbor to thoughts on grief concerning the death of my father-allowing the audience to step into my shoes for a period of time. An aspect of the compositional process that I thoroughly enjoy (and feel gives that extra umph, nuance, personality, or pizzazz to my music) is getting the opportunity to work with and receive feedback from performers. A performer's expertise, knowledge, and presence is a way my work can live, breathe, and have the ability to tell stories. I've always valued the idea of community and even though composition can be thought of as a solitary activity (and I treat it as such sometimes), working with and learning from musicians satisfies that need to be a part of something bigger than myself.
> 
> I'll be starting the second year of my Masters in Music Composition at Michigan State University this fall (Go Green!) under Dr. David Biedenbender. After my time in Michigan I look forward to settling back into and being based in Wichita, KS.
> 
> https://www.daijanawallace.com/about-me


A lot to enjoy in this solo cello work: the gestures mix mild dissonance with some beautiful consonance, and harmonic movement that gradually expands the sound spectrum.


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## SanAntone

*Cassandra Miller* : _Warblework_ (2011-17) 
Quatuor Bozzini






A new composer for me - and a fascinating string quartet posted on YT by the Bozzini Quartet. Worth a listen.


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## SanAntone

*Angelo Ursini* - _João de Ferro_ (Iron John)
performed by Angelo Ursini (C flutes) and Favio Ferreira (G flutes and bass flutes)






Interesting work featuring an ensemble of flutes, utilizing extended performance techniques and a variety of articulations and effects.


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## GucciManeIsTheNewWebern




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## GucciManeIsTheNewWebern

SanAntone said:


> *Angelo Ursini* - _João de Ferro_ (Iron John)
> performed by Angelo Ursini (C flutes) and Favio Ferreira (G flutes and bass flutes)
> 
> 
> 
> 
> 
> 
> Interesting work featuring an ensemble of flutes, utilizing extended performance techniques and a variety of articulations and effects.


Absolute brilliance. What an amazing atmosphere of a mysterious, misty rainforest he conjures up. At moments I even heard some actual rainforest ambience coming from those flutes! I particularly love those shimmery, ethereal parts too.


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## SanAntone

*Carter Pann* - _Sonata for Alto Saxophone and Piano _(2016)
Joseph Lulloff, Alto Saxophone 
Yu-Lien The, Piano






I. This Black Cat
II. Three Songs Without Words [I: Reverie; II: Soaring; III: Consolation]
III. Cuppa Joe
IV. Epilogue - Lacrimosa. In memo

__________________________________________________ ____________

Some new music which incorporates an expanded tonality with slight jazz influences.


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## Mandryka




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## SanAntone

Mandryka said:


>


Here's some info on its origin:

"Music performed for the Merce Cunningham Dance Company on January 29, 1998, at the Flynn Theatre for the perforning Arts in Burlington, Vermont.:

Just missed the 21st century by two years - but that's okay. It's interesting enough to avoid disqualification on a technicality.


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## SanAntone

*Jeanne Artemis Strieder *- _obscured light_








> performed by XelmYa: Sylvia Hinz (bass recorder), Alexa Renger (violin), Ulrike Ruf (violoncello)
> obscured light by Jeanne Artemis Strieder (2014)
> https://www.sylviahinz.com/projects/x...
> https://jeannestrieder.com/
> 
> this work was selected in the Fall 2020 #FollowMyScore call for works


The composer has just agreed to being interviewed for my blog. I will post the link when it goes public.


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## SanAntone

*Dimitris Economou* - _Vox Oblique_






performed by Trio IAMA (Iannis Anissegos, Antonis Anissegos, Maria Anissegou)

__________________________________________________ ______________

Glissandi among all of the instruments, punctuated with tone clusters and solo held notes. Later a more rhetorical stye develops with the instruments freely dialoging.


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## SanAntone

*Lilijana Matičevska* - _Abolish the Police_ (2019)
performance, improvisations, & recording by Ryan Williams (garklein recorder)






The garklein recorder in C, also known as the sopranissimo recorder or piccolo recorder, is the smallest size of the recorder family. Its range is C6-A7 (C8). The name garklein is German for "quite small", and is also sometimes used to describe the sopranino in G.

Virtuosic performance of this amazing solo piece. I am not a fan of political compositions but listening to this was ennobling, not because of the "message" but because of the musicianship and creativity demonstrated.


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## SanAntone

*Alan Theisen* - _La Distanza Della Luna_ for Flute and Alto Saxophone (2018)






Misty Theisen, flute 
Marc Ballard, saxophone

Program Note: La Distanza Della Luna (2018) for flute and alto saxophone is based on the short story of the same name by Italo Calvino. Throughout the course of the piece the two instrumentalists gradually physically separate on stage, mirroring the central premise of Calvino's fable. The world premiere was given by the commissioning duo - Colshire Winds (Steve Carmichael and Karen Judkins) - at the 2018 North American Saxophone Alliance Biennial Conference at University of Cincinnati College Conservatory of Music on March 11, 2018.


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## mmsbls

I have not participated in this thread until now mostly due to lack of time. Partly there are way too many works to sample (and that's a good thing). 

I appreciate SanAntone starting the thread and continuing to post selections here. I also thank others who have contributed. The music here is widely varied. Some I like quite a bit and some I don't find interesting or enjoyable. 

On this page I loved The Lick Quartet. I think it's an great example of fun, interesting music that many here on TC could easily enjoy even though composed only a couple of years ago. I also enjoyed Daijana Wallace's Shades. I love the cello, and there were some lovely passages coupled with interesting harmonies. I adored Beeftink's "Birds". Gorgeous music, and I'm usually not much of a fan of flute music. 

When I started to listen to Strieder's "obscured light", I was unmoved by the music. As I continued, I found the sounds more interesting as they seemed to morph from one blend to another. The links in the post don't seem to work (page not found).


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## fluteman

I've mentioned the Sirius Quartet before here at TC (apparently to the interest of absolutely no one). Its members compose the music, which while largely grounded in the classical string quartet tradition in form and function, borrows elements from various contemporary popular genres, with energetic and eclectic results.


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## SanAntone

fluteman said:


> View attachment 151338
> 
> I've mentioned the Sirius Quartet before here at TC (apparently to the interest of absolutely no one). Its members compose the music, which while largely grounded in the classical string quartet tradition in form and function, borrows elements from various contemporary popular genres, with energetic and eclectic results.


I don't know the recording you posted but have enjoyed their work on others.


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## fluteman

SanAntone said:


> I don't know the recording you posted but have enjoyed their work on others.


Yes, they've done other things, and have a more recent album of their own music, called "New World" (and yes, the title track, composed by violinist Gregor Huebner, makes extensive references to a certain Dvorak symphony).


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## SanAntone

*Benjamin Scheuer* :: _Acht Arten zu atmen _(2020)






performed by Kilian Herold, Teodoro Anzellotti


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## SanAntone

*Laurence Crane* :: _John White in Berlin_ (2003)








> Laurence Crane - 'John White in Berlin' (2003), played by Apartment House (Anton Lukoszevieze - cello, Simon Limbrick - percussion, Philip Thomas - piano, Alan Thomas - guitar). From the double CD 'Laurence Crane - Chamber Works 1992-2009'. www.anothertimbre.com


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## SanAntone

*Holly Winter* :: _nothing to do with explosions_ (2020)






performed by Continuum's HATCH 2020 Ensemble: Florence Laurain (flute), Madison Freed (bass clarinet), Nikki Joshi (percussion), Jackie Leung (piano), Roxanne Sicard (violin), Allison Rich (cello) (Text in electronics read by: Julianne Meaney)

_________________________________________

Fascinating work. The notation is very creative as is the writing for the instruments and voice.


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## SanAntone

*James Dillon*: _The Freiburg Diptych_ (2019)






James Dillon (*1950)
The Freiburg Diptych, for solo violin, tape and live-electronics (2019)

I. ... drone ...
II. ... ghost stations ...

Irvine Arditti, violin
SWR Experimentalstudio
Thomas Hummel, sound direction
Lukas Nowok, sound direction

World Première, 07 February 2020, ECLAT Festival Neue Musik Stuttgart '20


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## BrahmsWasAGreatMelodist

Taylor Brook - *Five Weather Reports (2014)*






I've just recently discovered this composer, and this is the second work of his I've heard (after Virtutes Occultae (2017)). I love it.

From the composer's webiste:



> Five Weather Reports was written for the TAK ensemble in the Winter of 2014 and was developed from an earlier composition for solo soprano and electronics of the same name. The text set in this piece comes from excerpts of David Ohle's 1974 science-fiction novel Motorman. Five Weather Reports consists of five songs that set bizarre and absurd weather reports that are heard over the radio by the Ohle's protagonist, Moldenke. Although the book was published many decades ago, these excerpts take on an intensified contemporary environmental and societal meaning.


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## SanAntone

BrahmsWasAGreatMelodist said:


> Taylor Brook - *Five Weather Reports (2014)*
> 
> 
> 
> 
> 
> 
> I've just recently discovered this composer, and this is the second work of his I've heard (after Virtutes Occultae (2017)). I love it.


Really nice! .........................


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## SanAntone

*Isabel Mundry* - _Dufay Bearbeitungen_ (2003/4)








> Isabel Mundry was a student with Zender at the same time he was composing Winterreise. While Zender's interests lie in the great composers of the German Classical-Romantic era, Mundry is more interested in the composers of the fifteenth and sixteenth centuries. Inspirations from these periods may be found in her work as early as Spiegel Bilder (1996), for clarinet and accordion. However, Dufay-Bearbeitungen (Dufay Arrangements, 2003-4) marks the first time she worked directly on music by an older composer. This was followed by two sets of pieces based on harpsichord music by Louis Couperin, Non mésuré-mit Louis Couperin I/ II (2008-9) and the large-scale cycle Schwankende Zeit (Fluctuating time, 2007-9); and Scandello-Verwehungen (Scandello drifts, 2010), based on a mass by the mid-sixteenth-century Italian composer Antonio Scandello. Dufay-Bearbeitungen is based on seven chansons by the leading fifteenth-century Franco-Flemish composer Guillaume Du Fay. Originally composed for three voices, Mundry arranged Du Fay's songs for an ensemble of violin, viola, cello, flute, oboe, clarinet, piano, and percussion. The seven pieces are divided into three sets-the first set includes chansons 1-3, the second contains 4-6, and the third is made up of only chanson 7-which may be interpolated with other works. The staging suggests a discontinuous presentation, and each set requires a slightly different arrangement. In the first, all eight instruments are on stage. Piano and percussion are at the back, and the three winds and three strings sit on either side. For the second set, the piano and percussion stay where they are, but the viola moves to center stage, and the other instruments encircle the audience. For the last chanson, the piano and percussion again stay in place, but all six melody instruments move into the hall. They are still arranged in two groups of three, but this time they flank the audience on either side. The overall movement is from the stage into the auditorium, from a unified sound-space to a divided one."
> 
> - Music after the Fall: Modern Composition and Culture since 1989 by Tim Rutherford-Johnson


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## Mandryka

SanAntone said:


> *Laurence Crane* :: _John White in Berlin_ (2003)


That's quite an unusually long work for Crane.


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## Mandryka

This becomes very interesting half way through I think


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## SanAntone

Mandryka said:


> This becomes very interesting half way through I think


Nice. ..................


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## Mandryka

SanAntone said:


> Nice. ..................


Yes, he's quite a character - listen to this and tell me what you think, you will either love it or hate it


__
https://soundcloud.com/martinarnold%2Ftam-lin


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## SanAntone

Mandryka said:


> Yes, he's quite a character - listen to this and tell me what you think, you will either love it or hate it
> 
> 
> __
> https://soundcloud.com/martinarnold%2Ftam-lin


Interesting, but I felt it was too long. I liked the colors and textures, reminded me a little of '70s Miles Davis.


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## Mandryka

SanAntone said:


> Interesting, but I felt it was too long. I liked the colors and textures, reminded me a little of '70s Miles Davis.


Make me a Miles Davies listening list.


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## SanAntone

Mandryka said:


> Make me a Miles Davies listening list.


I was mainly thinking of "He Loved Him Madly" from the _Get Up With It_ album.






It's a 32 minute work, and about 18 minutes in I think the similarity becomes more clear; or not.


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## Mandryka

Thanks, nice.

Here's something by Cassandra Miller. It's a strange sound world, new and for me quite exciting.


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## SanAntone

*Evan Johnson* - _L'art de toucher le clavecin_, 3






L'art de toucher le clavecin is the title of a famous instructional pamphlet by François Couperin, the master claveciniste of the French Baroque, which gives a concise but invaluable guide to interpretation, performance, and ornamentation of the singular keyboard music of that time and place.

The present series of works (a forthcoming piccolo solo, L'art de toucher le clavecin, 2 for piccolo with violin [2009], and this trio) forms, I suppose, some sort of oblique homage to Couperin's aesthetic of ornamented surface, of a simple ground-gesture that is forced to proliferate if it wants to inhabit a space. Most obviously, there is "melodic" ornamentation everywhere, not only where one expects to see it-in the form of trills, mordents, and other related figures adorning fundamentally simple gestures of pitch, bow, and breath-but also in the structure of the piece, which takes the form of a fitful and gap-filled flowering of a small stable of "stock figures."

L'art de toucher le clavecin, 3 is based on the previously composed duo for piccolo with violin. The insinuating presence of the percussion is an excuse to disarm the forces that shape the duo into a singular whole. Instead, here is a collection of fragments, sorted into three separately programmed "sequences" and, within each sequence, separated by pauses or frozen events that disperse accumulated energies and enforce an uneasy calm. The spikes and eddies of the duo are smoothed out, replaced by a uniformly stifled dynamic level and a reduced sound palette, wiped over by sandblocks or gently articulated by muffled crotales and small wooden percussion, the regular pulses that were buried by figuration in the duet brought gently if vaguely to the fore. (composer program note)


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## SanAntone

*Sarah Hennies* - _Spectral Malsconcities_ (2018)






performed by Bearthoven: Karl Larson (piano), Pat Swoboda (bass), Matt Evans (percussion)


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## Portamento

Mandryka said:


> Thanks, nice.
> 
> Here's something by Cassandra Miller. It's a strange sound world, new and for me quite exciting.


Cassandra Miller is great!


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## Mandryka

Portamento said:


> Cassandra Miller is great!


Yesterday I treated myself to this


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## GucciManeIsTheNewWebern

*Saariaho - Cloud Trio*


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## SanAntone

*Charmaine Lee* - _Smoke, Airs_






Fascinating work, exploring sound and texture in what I consider a unique manner, successfully captured in her non-traditional notation.


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## ArtMusic

*Lidia Zielinska* (born 1953)

_Threesome C_
The music begins immediately and quietly, before a climatic crescendo at about [1:15].


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## fluteman

The Imani Winds are a woodwind quintet that specializes in contemporary music, including music composed by some of its own members, as here. A lot to choose from.


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## SanAntone

*Hèctor Parra* - _Early Life_ (2010)
performed by Ensemble Recherche






Program Note by the Composer



> EARLY LIFE (2010)
> 
> We know that all life on Earth, including ourselves, descends from a common ancestor cellular organism, product of a long development. Now the crucial question is: what happened before? According to biologists, life is primarily about "particular systems" more than "specific substances" or concrete materials. Accordingly, we can conceive organisms as machines and life as natural engineering. But the first organisms had to start without any pre-existing technology: something began to evolve, building a technology and transforming matter into survival machines. Once originated, the same process could easily have been transformed by its own effects -like the sound materials in a musical piece...
> 
> In Early Life, for oboe, piano and string trio, I attempt to create a musical structure inspired by this large scale biological process by which life could have been originated on our planet. The especially appealing theory called "Genetic Takeover", by the Scottish biochemist Graham Cairns-Smith, presents a model of life origins based on mineral replication. According to it, life may have begun in the form of replicating inorganic crystals in constant evolution and adapted to the environment. The first genes may have consisted in the replication of "defects" in crystal lattices. There are three types of defective structures in some clay crystals: missing atoms, substitution of some atoms by others and molecular dislocations. These defects could be faithfully replicated, and the defective structures may have grown along planes containing the "defective" information across the direction of crystal growth. The "relevant defects", instead of being eliminated, would have been replicated.
> 
> So, Early Life begins without oboe, and with the strings and prepared piano (more percussive than usual) playing relatively symmetrical and short patterns inspired by crystal lattices. The rhythmic complexity and timbrical richness associated to such patterns will grow progressively and reach their peak at the central part of the piece. These patterns -musical genes, contain small errors in the form of changes in the way of playing, unexpected pauses, interspersed exchanges in the order that the instruments perform certain rhythms, accents that create a sense of disruption of these symmetrical elements... And, as in the biological evolutionary processes, there is no way back.
> 
> Hence, in the beginning, different types of texture, corresponding to different types of clay crystals susceptibles to evolve, are presented. But only one of these "acoustic phenotypes" will quickly evolve and become the "matrix for the ancestor".
> Turning to the fascinating Takeover theory, Cairns-Smith tells that over time, some clay crystals developed the ability to synthesize organic molecules through photosynthesis. These early pre-cellular organisms began to build membranes, microtubules, interconnected compartments that helped such synthesis. This led to organisms that contained inorganic genes but also organic genes. The control of their own synthesis and replication -originally piloted by the inorganic (mineral) "genes", was progressively transmitted to the organic genes (nucleic acids), which from then operated by the protein synthesis. And there is no doubt that molecular organic life was finally the most effective option.
> 
> This genetic takeover inspired me the inner core of the musical structure of Early Life. In this way, once the phrases or "musical genes" performed by the string trio and the piano have become more rich, varied, and the interrelations of materials and sound textures have turned more complex, the oboe (the organic world) enters and a new musical architecture emerges. What was percussive, without resonance, discordant, coarse, inert and discrete becomes multiforme, polyphonic, harmonic, continuous and organic.
> 
> The emergence of a continuous flow in which the melodic discourse and its global harmonic interaction associated to a variety of timbres that appear under the presence of the oboe, are intended to create a timbral-temporal continuum tissue made of multiple voices and possessing the life dramatic character. Hence, the second part of Early life becomes a "microdrama" with the oboe as a soloist.
> 
> In Early Life, I have mantained a symbiotic relationship with the outstanding Chilean oboist Jaime Gonzalez. The immensely rich sound palette and his expressive and emotional ductility, coupled with his microscopic articulation precision have made possible the crystallization of this work. Moreover, I have had the privilege to develop the instrumental and pianistic language of Early Life with the whole of the Ensemble Recherche, that gave an outstanding premiere.
> 
> The piece, commissioned by the Ernst von Siemens Music Foundation for its ceremony awards 2011 in Munich, is dedicated to Jaime Gonzalez and Ensemble Recherche, with friendship, gratitude and admiration.
> Hèctor Parra, 2010-11


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## SanAntone

*TED HEARNE*

*notes*: _Furtive movements_ is a piece for cello and percussion, performed in four consecutive sections with no breaks. It lasts about 14 minutes, and was commissioned by the St. Paul Chamber Orchestra, for Ashley Bathgate and Ian Ding.

Furtive movements is a phrase found in many reports from the New York City Police Department: it is the most commonly cited reason individuals were detained under the Stop and Frisk policy. This phrase is striking to me, because it claims to describe a person's movements but really speaks more to the expectations of the officer observing them. The phrase conveys the assumption of guilt -- furtiveness -- based on appearance or demeanor in a given moment.

Writing this piece, I was inspired by the idea of freeing an individual from the role(s) they may be expected to fulfill. The cello and the drum set (timbrally and acoustically very different forces) may be more easily defined by their differences than their similarities. So my challenge in writing Furtive movements was to call their assumed identities into question and to try and blur the lines between their musical roles. Rhythmic and melodic responsibilities are shifted fluidly between players, and there are long passages where the instruments play in unison.

I also chose to "prepare" the cello by wedging a wine cork between the two middle strings. This enables the cello to make startling unique sounds (harsh and distorted at sometimes, gong-like at others), and also very much obstructs the instrument's ability to project sound in the way it was intended.


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## SanAntone

*Richard Barrett* - _Politeia_ from Construction






Politeia is a component of Richard Barrett's massive work, Construction, which is the is the eighth and final composition of his series entitled 'resistance & vision'
http://richardbarrettmusic.com/

Performed by Elision Ensemble
Genevieve Lacey (recorder ), Carl Rosman (tenor saxophone), Richard Haynes (baritone saxophone), Timothy O'Dwyer (bass saxophone), Dafne Vincente-Sandoval (bassoon), Tristram Williams (flugelhorn), Benjamin Marks (trombone), Marshall McGuire (baroque double harp), Daryl Buckley (electric guitar), Domenico Melchiorre (percussion), Graeme Jennings (violin), Erkki Veltheim (viola), Séverine Ballon (cello), ELISION Ensemble conducted by Eugene Ughetti
Daryl Buckley (artistic director)
http://www.elision.org.au/

This work is divided into two ensembles: a quintet & an octet (designated by different 'fonts'). These ensembles are often juxtaposed while playing starkly disparate textures and meters. The contrast is so substantial that the two ensembles cannot be represented in a vertical format in a traditional score; indeed, Barrett wrote them out sequentially, providing instructions for when the ensembles should play simultaneously. I hope that this Score Follower helps to demonstrate the 'counterpoint of forces' in a somewhat linear fashion.


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## SanAntone

*Christopher Cerrone* - _Memory Palace_ (2012)
performed by Ian Rosenbaum


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## SanAntone

*Catherine Lamb* - _Parallaxis Forma_






Beautiful.


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## SanAntone

*Bernhard Lang* (*1957) - _GAME 2-4-5_: "The Mirror Stage" (2020)
music theater for 4 singers, electric guitar, ambisonics and lights






HYOID:
Els Mondelaers, soprano
Fabienne Seveillac, mezzo-soprano
Andreas Halling, tenor
Tiemo Wang, baritone

Kobe Van Cauwenberghe, electric guitar

IRCAM:
Robin Meier, computer music design
Sylvain Cadars, sound engineer

Lucas Van Haesbroeck, lights/scenography

World Première, 24 October 2020, Festival 20·21



> *Program Note by the Composer*:
> 
> In Autumn 2016, I started a new series of pieces called "Series Six: Theory of Games", the first being GAME ONE: S.O.S (self-organizing systems); this series is based on the ideas of Game theory, as outlined in Neumann/Morgenstern's "Theory of Games and Economic Behavior". Since then I wrote 3 pieces: GAME ONE, GAME 3-4-3 and GAME 4-4-4.
> 
> Now HYOID and I are working on a continuation of this research in the context of music theater, involving the line-up of 4 Voices and one Electric Guitar with live electronics: The Mirror Stage.
> 
> The piece shall explore the notion of self-organization in both a musical and choreographic context: the musicians have to make decisions during the piece/game, creating open structures of narration. The texts are presently thought to be self-referential, using original quotations from game theory, from Wittgenstein's late writings on Sprachspiel, and psychoanalytical interpretations of Sprachspiel by Lorenzen.
> 
> Since the music of The Mirror Stage is referencing to polyphonic music of the 15th and 16th centuries, there arose the idea to create virtual cathedrals by composed lighting, and furthermore by a sophisticated spatialization (ambisonics), integrated thanks to our partnership with Robin Meier and IRCAM.
> 
> Since most games include structures of repetition, this may be also be considered as a continuation of our research into the essence of repetition, which we already had joined in within our work Difference/Repetition 26 "The Exhausted", based on Deleuze's "L'Épuisé" (piece Fabienne Seveillac premiered with soundinitiative in Australia in September 2015).


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## SanAntone

*Annika Socolofsky* - _One wish, your honey lips_
performed by Emissary Quartet (flute quartet)






*Composer's note*:



> As a vocalist, I have long been obsessed with the nuanced resonance of the human voice, and in particular the timbral variation and inflection inherent to many folk vocal traditions. These highly expressive micro-variations deliver intense pangs of emotion that can be sung in the subtlest of ways. They are distilled, fleeting moments of suffering and joy that fall between the cracks of melody and harmony. This piece is about the music that exists between the notes.


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## SanAntone

*Dimitri Papageorgiou* - _In the Vestige of the Present_ (2009)






Trio IAMA:
Jiannis Anissegos - flute 
Maria Anissegou - cello
Antonis Anissegos - piano


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## Art Rock

SanAntone said:


> *TED HEARNE*
> 
> *notes*: _Furtive movements_ is a piece for cello and percussion, performed in four consecutive sections with no breaks.


I found this a fascinating piece by a composer I had never listened to. Thanks for sharing!


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## SanAntone

Patricia Martínez - Voces Otras






2017, interdisciplinary work for 2 sopranos, mezzo, contralto, 2 tenors, 2 baritones, and lights on stage.

Commissioned by the Contemporary Music Concert Series
THEATER COMPLEX OF BUENOS AIRES
Director: Diego Fischerman
Nahuel Carfi, general production coordination; Lourdes Maro, production coordination

Nonsense Vocal Ensemble of Soloists

Virginia Majorel and Lucia Lalanne, sopranos
Evangelina Bidart, mezzo soprano
Valeria Martinelli, contralto and musical direction
Martín Díaz and Marco Cuozzo, tenors
Alejandro Spies and Jonatan Favilla, baritones
María Bonaz and Ricardo Toro, production of Nonsense EVS

Work based on poems Life seriously (1967) by Juana Bignozzi and
The vision (1953) by Silvina Ocampo.


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## SanAntone

*Ying Wang* - _TunTu_



> „Tun" and „Tu" are two chinese characters. The former can be interpreted as the vastness of space in the universe and the latter refers to the motion of inhalation and exhalation. The selection of these 2 characters as a title is to express the construction of a large and differing timbral space using different combinations and contrasting timbres of the baritone saxophone and electronics.
> 
> The structure of the work is based on specific numbers of individual sound objects with unequal and differing length. The organisation of which is based on the principle of contrast and confrontation. Each sound object (and resultant timbre) is regarded as a composite of various and indefinite smaller individual composants. Every element of these smaller composants are linked by alternating, overlapping or inverting. And silence is used to link each tone.
> 
> I used various softwares to help me in the composition of the piece. For example:
> 
> I used C-sound like a plugin in OM to change the timbre and spectrum in order to obtainthe electronic sounds.
> In Audio Sculpt, I use the Partial tracking analysis and put the result in synthesise FromPartials make the second time analyse, its results to obtain a clear frequence.
> I also used Spectraldelay in MAX to obtain a moving band frequence in the electronic
> sound etc.The work consist of 3 groups, the Electronics and Real-time processes and the virtuosic Baritone Saxophone part. The 3 groups are part of an indivisible whole that cannot be seperated. Any partial lost of its total sum would result in the other not being able to stand on its own.


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## ArtMusic

*John Adams* (born 1947), String Quartet no.2 (2014)


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## pianozach

SanAntone said:


> *Christopher Cerrone* - _Memory Palace_ (2012)
> performed by Ian Rosenbaum


I don't know.

I don't seem to be able to wrap my head around a 3/5 or 2/5 time signature.

3/5 - so three counts per measure, with each 1/5th note getting a count. What the hell does a "fifth" note even LOOK like. How do you notate one of those? I mean, it's something between a quarter note and an eighth note, right? So does the note just have a minimal flag on it?


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## SanAntone

pianozach said:


> I don't know.
> 
> I don't seem to be able to wrap my head around a 3/5 or 2/5 time signature.
> 
> 3/5 - so three counts per measure, with each 1/5th note getting a count. What the hell does a "fifth" note even LOOK like. How do you notate one of those? I mean, it's something between a quarter note and an eighth note, right? So does the note just have a minimal flag on it?


You divide the pulse of the measure into fifths, marked in the score with a bracket above the staff with a five over it. This is no different than a triplet, but instead of three notes played in the time of two, this is five notes played in the time of four. What the time signature of 3/5 means is that the measure is truncated, i.e instead of all five notes, you only allow for the first three.


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## pianozach

SanAntone said:


> You divide the pulse of the measure into fifths, marked in the score with a bracket above the staff with a five over it. This is no different than a triplet, but instead of three notes played in the time of two, this is five notes *played in the time of four*. What the time signature of 3/5 means is that the measure is truncated, i.e instead of all five notes, you only allow for the first three.


So, it's basically in 4/4 but with a whole note divided into 5 counts.

So, it's basically in 4/4 .

So, it's in 4/4.

This sounds like fifth notes are the same as quarter notes, but they don't have as long a value. How about you put it in 3/4 and up the tempo a little for that one measure?


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## SanAntone

pianozach said:


> So, it's basically in 4/4 but with a whole note divided into 5 counts.
> 
> So, it's basically in 4/4 .
> 
> So, it's in 4/4.
> 
> This sounds like fifth notes are the same as quarter notes, but they don't have as long a value. How about you put it in 3/4 and up the tempo a little for that one measure?


This is more precise and controlled, you keep the tempo the same but it gives the impression of speeding up. This is really a very common procedure, tuplets have been used in this manner for decades. Now, nested tuplets, then it gets a little complicated.


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## pianozach

SanAntone said:


> This is more precise and controlled, you keep the tempo the same but it gives the impression of speeding up. This is really a very common procedure, tuplets have been used in this manner for decades. Now, nested tuplets, then it gets a little complicated.


"Dammit, Jim! I'm a musician, not a mathematician!"


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## SanAntone

*Anastassis Philippakopoulos* - _Piano Piece_ (2018)






Minimal materials but Philippakopoulos offers an evocative and expressive solo piano miniature.


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## SanAntone

*Achim Bornhoeft* - _Aceton_ (2009)






performed by Ensemble Go Guitars: Gunnar Geisse, Harald Lillmeyer, Johannes Öllinger, Adrian Pereyra
Aceton, for 4 electric guitars & live electronics


----------



## fluteman

SanAntone said:


> *Annika Socolofsky* - _One wish, your honey lips_
> performed by Emissary Quartet (flute quartet)
> 
> 
> 
> 
> 
> 
> *Composer's note*:


I like the traditional American folk song vibe of this. The flute has always been a stand in for the human voice, but the "standard" western classical technique is still designed to produce the late 19th century European bel canto opera aria sound. In general I like experimentation with different sonorities (also the Papageorgiu below with its Eric Dolphy / prog jazz flute sound), even though it takes a completely different technique to play, alas.


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## SanAntone

*Andrea Tarrodi* : _Empireo_ (2011)
Orchestration: String Quintet, Hp, Perc






Patrik Swedrup, Johannes Lörstad, violins
Riikka Repo, viola
Mikael Sjögren, cello
Valur Pálsson, contrabass
Laura Stephenson, harp
Daniel Kåse, percussion (Live)

*Note from composer's website*:



> Empíreo was commissioned by the Stockholm Concert Hall. The piece was premiered in October 2011 by Laura Stephenson, harp, Daniel Kåse, percussion, Patrik Swedrup, violin, Johannes Lörstad, violin, Riikka Repo, viola, and Mikael Sjögren, cello. In 2012 Tarrodi received the Swedish MPA:s Classical Music Award of the Year - chamber music for Empíreo.
> 
> Comment: "Empíreo - for strings harp & percussion was inspired by Isaac Grünewald´s ceiling painting in the Grünewald hall in the Stockholm Concert Hall. "Empíreo" is Spanish for "empyrean". Empyrean, from the Medieval Latin empyreus is the place in the highest heaven, which in ancient cosmologies was supposed to be occupied by the element of fire. The piece was based on musical material from two och my earlier works (also them inspired by Grünewalds paintings in the hall); Chárites for harp and percussion and Miroirs for string quartet. Throughout 'Empíreo'you may recognize developed themes and phrases from those two pieces."


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## calvinpv

Philippe Manoury: *Le Temps, mode d'emploi* (Time, A User's Manual), for two pianos and live electronics (2014)

Performers: GrauSchumacher Piano Duo, Experimentalstudio des SWR

I believe this video is the world premier performance at the 2014 Wittener Tage für neue Kammermusik.

From the liner notes of a later commercial recording:



> Le Temps, mode d'emploi is a large musical fresco on various ways to express time. Contemplative or active time, delayed or real time, continuous, or discontinuous, smooth or pulsed, suspended, revisited, circular, diffracted ... the physical or musical time but also the psychic time. Time is not just a repository containing our lives, actions and perceptions, it could have its own structure, a sort of envelop which put a mark on us. Music was always the best way to express that, much better than any other medium. Before having written a single note, I decided to work based on these modes of temporal organization. The two pianos are surrounded by four virtual pianos and a very complex system of sound synthesis, signal processing and spatialization. Composed in eight sections, which are linked, and responding to each other, the work covers 58 minutes. --Philippe Manoury


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## calvinpv

Philippe Manoury: *B-Partita (à la memoire de Pierre Boulez)*, for violin, ensemble and live electronics (2016)



> "In 'B-Partita', an instrumental ensemble is added to the initial nucleus consisting of just the solo instrument and the electronics. The work is actually an extension of Partita II for violin and electronics, following the example of Sequenze and Chemins by Luciano Berio. The violin part and the electronics of Partita II remain practically unchanged, while the instrumental ensemble shines its commentary and counterpoints through the cracks that open up between the different sequences of the original.
> 
> This game of to-and-fro, between rigor and liberty, is facilitated by the use of computer music, thanks in particular to the software Antescofo, which allows the generated music to follow the musician in real time (...). These are algorithms - often a superposition of fairly complex loops that are designed so as not to fall into any arbitrary cyclicity, connected to each other and interacting with each other - which are defined only to the extent of how they begin and how they evolve the sound ... but which then run in a quasi-self-generating, autonomous mode.
> 
> The relationship between the soloist and the electronics is highly interactive. It is always the soloist who determines and changes the tempi of the different superimposed layers of electronic music on which the ensemble will then synchronize. These processes are not seen as loops, but as forms that are constantly changing and which give a sense of flexibility and uncertainty. This process relies on coincidence ... albeit a controlled coincidence (...). These layers evolve independently from each other, as if suspended in air. The solo violin, for instance, modifies the trajectory of one of those layers so that each interpretation of 'B-Partita' will never reproduce the same superimpositions. In 'B-Partita', for example, the instrumentalists of the ensemble sometimes play outside the control of the conductor. In some sequences, the strings choose what they play, quite freely. These are what I call 'musical backgrounds:' polyrhythmic loops distributed between several instruments. Together with the sound of the ensemble, we obtain rich textures from rather simple material. The same technique is used for the electronic part. These backgrounds are metamorphosed imperceptibly, a little like a cloud undergoes transformations so slowly that the eye cannot perceive the change. It is therefore up to perception to draw on memory to observe the transformation."


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## calvinpv

Philippe Manoury: *Tensio* (Tension), for string quartet and live electronics (2010)

There's no need to read the links below (its beauty ought to be apparent, especially if you liked the two Manoury works I posted above), but since there's a wealth of documentation on Tensio written by Manoury himself, I'm just going to post it here for convenience. I haven't gone through it all myself, but this work seems to be a sort of mini milestone in the development of real-time digital signal processing, in the way certain complicated bow movements are tracked by the computer. Apologies if a lot of it is in French; just run it through google translate, and the English version will be pretty decent.

Both videos below are played by Quatuor Diotima, both very good performances. The first has more seamless integration of instrumental and electronic sounds, but the audio quality is a little poor. The second link below has audio samples from this performance that are clearer in quality.

score

Les procédés de composition utilisés dans "Tensio" (in French, has several sound samples)
Compositional Procedures in "Tensio" (English version of above link, no sound samples)
Entretien avec Eric Denut (à propos de "Tensio") (in French, two interviews)
Tensio de Philippe Manoury (video interview, English subtitles)
Conférence sur "Tensio" (lecture, no English subtitles)

Some related material to Tensio, but not about Tensio per se:
Les partitions virtuelles (in French, no samples)
Les Grammaires Musicales Génératives (in French, many sound samples from other Manoury works)
Les chaînes de Markov… à l'infini (in French, many sound samples from other works)
Keeping Real-Time Electronic Music Alive (English)

Program note:



> When I compose, one of the great difficulties lies in the choice of the title. With me, the choice of notes, rhythms and sounds is nothing compared to that of the title. The title must summarise, signify and identify even though it can evoke and suggest. How to summarise a piece of music when it is so difficult (but not impossible) to speak about it? But one day, you have to choose. So I chose Tensio. It is an Italian word which means 'tension'. My first quartet is called Stringendo and the following ones - the ones I plan to write - will all have Italian names, not German ones (a way to deterritorialise history). The tension in question here is physical: it is that of the strings, which are stretched over the instruments that will play, and which I have exacerbated in the electronic music part. It seemed to me to be beneficial to return to the primordial image of a rope stretched between two points and to make it play in extreme regimes that only technology can glimpse. But other variations of tension, more psychological and more musical, will be able to arise, I hope, from listening to this quartet.
> 
> Tensio is probably the most experimental work I have composed to date. Its gestation and composition spanned nearly two years; the quartet implements a large number of new musical practices that technology has developed in recent years, and which had to be experimented and perfected; such as, the synthesis by physical model, the interactive synthesis of inharmonic sounds, the harmonic sound tops and the tempo tracking of the instruments. Another line of research has also been undertaken on acoustic descriptors which should ultimately make it possible to obtain a fine and stable analysis of instrumental sounds in real-time.
> 
> The first part of Tensio presents a music of extreme mobility which involves the real quartet as well as a virtual quartet, entirely composed of synthetic sounds (the [computer] programme Synful by Eric Lindemann). The sound materials travel from one to the other in a form built on what I call 'generative musical grammars'. It is a question of building a piece of music starting from rules of chains between figures, a little like the construction of language. It seems to me to be more and more important in music not to focus exclusively on what we have to say, but also on the moment when we are going to say it.
> 
> The second part uses a new synthesis model, recently developed by Matthias Demoucron at IRCAM, which is based on a physical modelling of a string stretched over a violin resonance box. This is where the 'tensio' is most audible. This model simulates the pressures, speeds and positions of a virtual bow on this imaginary string. I discovered here quite surprising sound categories when one pushes to certain extremes of traditional ways of playing in areas that are hardly accessible to human physiology. The combination of exaggerated pressure from a bow on a string, with almost zero speed, produces 'shapes' of small high pitched sound droplets which a priori do not seem to come from a violin. And the most curious - but also the most interesting - aspect of this phenomenon lies in the fact that, despite this difference in sound, we still hear a string stretched under the pressure of friction. In this section, I used a very innovative aspect of score tracking developed by Arshia Cont: continuous tempo tracking. Electronic events are recorded on a score which automatically adapts its tempo to that of the fluctuating instruments. Until now, instruments have triggered electronic sound events in a discontinuous time: a note triggers an event, then another, etc. From now on, the two discourses are united and merged in a single continuous time over which the instrumentalists have control.
> 
> The third part is a kind of interlude based on harmonic glissandi and, therefore, eliminates the 'tensio' from the previous section. You just have to barely touch the strings to produce these harmonics.
> 
> In the fourth section comes a new system of sound synthesis. I have wanted for a long time to compose electronic music whose sounds would no longer be planned in advance, but deduced from the analysis of instrumental sounds during performance. (I had worked out situations approaching this idea in Pluto.) Miller Puckette finally offered me the solution. Each instrumental sound that is played is analysed in its pitch and is used to construct complex, inharmonic sounds, the density of which varies according to the ratio of the instrumental sounds. Thus, when all the instruments are in unison, the synthetic music agrees with them, and when they play different sounds, we perceive a piece of very dense music, made of sound blocks sometimes very compact, which however marries the evolutions of the instrumental parts. We therefore always hear implicitly what instruments play in the discourse. The great variability of this music, inharmonic and untempered, includes that of 'tempered' instruments like a trace in a sound material in deflagrations.
> 
> This process runs throughout the fifth part which reintroduces the generative sound grammars from the beginning. This section ends with a small passacaille followed by ten variations whose motif comes from one of my compositions Passacaille for Tokyo for piano and ensemble.
> 
> The sixth section ends this great development by introducing an additional voice. A cloud of pizzicati in perpetual motion (based on the probabilistic principle of Markovian paths) will deploy on the heights which constitute the inharmonic sounds derived from what the instruments play. Thus a whole series of musical strata arises from the string quartet by successive deductions. It is a distant avatar of Rameau's old theory from which the harmony was deduced - and from there, the melodic movements which obeyed it - from the principle of natural resonance. Here, it is the instruments that generate 'inharmonies' which, in turn, generate melodic movements.
> 
> For the seventh section, I used the principle of 'spinning tops' that I had used in my opera K... and, more recently, in Partita I for viola solo and electronics. However, I refined it considerably. The instruments project sounds that rotate at a speed corresponding to the intensity of the instrumental sounds. But when they stabilise, the rotations of these tops will be in harmonic relationship with each other. Thus two sounds of the same height will rotate at the same speed and merge into one another, while two sounds of different heights will rotate at 'harmonic' speeds corresponding to their interval relationship.
> 
> The eighth and last section is devoted to the first violin. It behaves like a magician who juggles with different elements that we have heard throughout the work and will spin a spinning top, very high in space, very far from him. The stretched rope has become an invisible thread which, through this distance, will connect the musician on earth to a sound being who will communicate with him. A 'tensio' will always be at work.
> 
> First of all, I would like to thank Gilbert Nouno, who assisted me in the composition of this quartet and who developed all the programmes that bring these diverse experiments to life. My thanks also go to Arshia Cont, whose research has made it possible to take a big step in the meeting of acoustic and electronic music, to Matthias Demoucron for his program of synthesis by physical model, to Nicola Montecchio for his participation in the research phase from sheet music monitoring, to Miller Puckette for the invention of the 3F synthesis system, as well as to members of Quatuor Diotima who lent their support to all these experiments.
> 
> Tensio is dedicated to my friends Francoise and Jean-Philippe Billarant in tribute to their obstinacy in remaining among the rare private patrons helping musical creation.
> 
> P. M.







This second video also has a performance of Harvey's 4th SQ. From the comments:

"Recorded in B-format Ambisonics with a Soundfield ST-450 microphone. This video is rendered with Binaural audio. To hear best the 3D-spatialisation of the sound, we recommend that you listen with closed-back headphones."


----------



## SanAntone

*Carola Bauckholt* - _Zugvögel_ (2011-2012)






for Oboe, Clarinet, Alto Sax, Bass Clarinet, and Bassoon

Performed by Calefax Reed Quintet


----------



## SanAntone

*Andrew Norman* - _The Companion Guide to Rome_ (I-VIII)






... for violin, viola and cello


----------



## SanAntone

Hefang Ma - Nishang


----------



## SanAntone

Georg Friedrich Haas: Solstices (2019)


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## SanAntone

*James Wilding* | _Melencolia _for horn, tuba, and piano (2013)






*Note from composer website*:



> I saw a reproduction of Dürer's etching Melencolia I (1514) in the Scottish National Gallery, and was fascinated by the magic square, adding up to thirty-four in any direction. The more I thought about this allegorical work, the more aspects of it I felt would suit a musical composition. At that time my wife, the pianist Caroline Oltmanns, together with colleagues Stacie Mickens (horn) and Brian Kiser (tuba), were requesting a piece, and I felt that my piano style would combine well with the mid to low brass instruments to bring out the depth and mystery of the art-work. So I wrote the trio Melencolia (2013), scored for horn, tuba, piano, and cowbell (played by the tubist).
> 
> My composition opens with a long, brooding melody that depicts our modern-day understanding of the title as "depression." But for Dürer, the word had a much broader meaning, perhaps more like "creativity" and so the mood changes into something more restless at (1:45), and grows in triumph (2:23), before returning to the opening atmosphere (2:48). The ringing of a bell (3:16) draws our attention to the etching itself, as if an invisible hand had pulled the rope of Dürer's bell. A musical realization of the magic square begins (3:20) with groups of chords in the piano, where the number of chords in each group corresponds to the numbers in the square, read left to right, top to bottom. The chord groups are separated by short interjections, and longer duets take place at the end of each row of Dürer's numbers, satisfying the rule that each row should add up to thirty-four. The opening returns (6:42) and our thoughts return to the complexity of the concept of melancholy. A change of pace (8:14) depicts another detail in the etching: the winged child dreams of flying and using his useless wheel. Once this ecstatic dream has died away, the opening brooding melody returns (10:37). It leads again to the restless section (12:14), and then the most triumph of outbursts (13:28), Dürer's comet perhaps, in full glory. A mood of resignation takes over (13:48), and we are left to contemplate the play of light on the polyhedron (14:31), with the bell tolling from time to time, and the hourglass gradually running out.


----------



## SanAntone

Creations by Juilliard composition students - Ensemble intercontemporain






0:00 Début de la vidéo
0:12 Présentation du concert par Matthias Pintscher 
3:15 Ivan Enrique Rodriguez : "The Broken Contract", pour harpe et enregistrement 
9:45 Cem Güven : "Whispers to Scream", pour violon, clarinette, cor et clarinette basse
17:05 Katie Jenkins : "Monologue", pour clarinette solo
23:25 Corey Chang : "Solitude", pour clarinette, violon et harpe
28:42 Hannah Ishizaki : "Distant Bells", pour harpe et cor 
33:50 Marc Migó : "The Hum", pour deux clarinettes et deux trompettes
41:40 Matthew Schultheis : "An Open Room in Fenway Court", pour cor

Martin Adámek, Jérôme Comte, clarinettes / Jens McManama, cor / Lucas Lipari-Mayer, Clément Saunier, trompettes / Valeria Kafelnikov, harpe / Jeanne-Marie Conquer, violon


----------



## SanAntone

Andreas Dohmen: Tmesis/Protokoll (2014)


----------



## SanAntone

*Liza Lim*: _Ronda - The Spinning World _ 
for 9 musicians (2016)






Ensemble Modern
Vimbayi Kaziboni, conductor


----------



## Kjetil Heggelund

Max! From 2014.


----------



## SanAntone

Shifting Ground by Elijah Daniel Smith (2020)
erformed by Sandbox Percussion






https://sandboxpercussion.com/
https://www.elijahdanielsmith.com/


----------



## SanAntone

*Jason Thorpe Buchanan* - _all-forgetting-is-retrieval_ (2019)






performed by TACETi Ensemble: Pisol Manatchinapisit (alto saxophone), Christhatai Paksamai (bass clarinet), Siravith Kongbandalsuk (trombone), Noppakorn Auesirinucroch (guitar), Pipe Kantapong (percussion), Tapanat Kiatpaibulkit (violin), Kantika Comenaphatt (cello), Piyawat Louilarpprasert (augmented conductor), Jason Thorpe Buchanan (electronics)


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## starthrower




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## starthrower

An ambitious and impressive work!


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## SanAntone

*Michael Berkeley* : _Oboe Quintet_ 'Into the Ravine' (2012)






Carducci String Quartet - Nicholas Daniel, oboe


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## SanAntone

*Idin Samimi Mofakham*: ... _of struggle and hope _ (Contrabass quartet & Electronics)






performed by Nikolai Matthews, Inga Margrete Aas, Håkon Thelin, Jon Åsnes


----------



## SanAntone

*Augusta Read Thomas* : _Two Thoughts About The Piano_ (2017)






performed by Daniel Pesca


----------



## SanAntone

*Sarah Nemtsov* - _Seven Colours_


----------



## composingmusic

*Julian Anderson* - _Maisema_


----------



## SanAntone

*Mark Andre* - _durch_ (2004/5)
(for saxophone, percussion and piano)






Trio Accanto


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## SanAntone

*Rebecca Saunders*: _Blue and Gray_ (2005)






*Corin Long* & *Michael Tiepold*

The title is taken from a *Mark Rothko* painting entitled _Blue and Gray_ from 1962.

The following quotations serve to illustrate these shades:

"Grey is void of resonance, an inconsolable immobility .... As it deepens towards black .... (blue) becomes like an infinite self-absorption which has no end." -- *Kandinsky,* _On the Spiritual in Art_, 1911-12.

"The achromatic grey scale shunts from black to white, the greys measured in the light they reflect .... Shadow, said Augustine, is the Queen of colour. Colour sings in the grey .... Blue is darkness made visible .... The darkness comes in with the tide." -- *Derek Jarman*, from _Into the Blue in Chroma - A book of Colour,_ Vintage, 1995

"We love to contemplate blue, not because it advances to us, but because it draws us after it." -- *Goethe*, _Farbenlehre_ (Theory of Colors)

Photo by Astrid Ackermann

*Official Composer Website*


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## SanAntone

*Zhiye Peng* - _Das Blau Dach No. 2_






performed by Tessitura Ensemble: Li Chen, Zeyong Mi, Yongchun Mi, Zhiye Peng


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## SanAntone

*Morgan Hayes* - _The Unrest Cure for Mixed Ensemble _(2014)






Ensemble Reconsil 
Julia Purgina, solo viola
Roland Freisitzer, conductor

*Morgan Hayes Website*


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## SanAntone

*Rebecca Saunders*: _That Time_ (2019)






for baritone saxophone, percussion and piano (2019)

Trio Accanto
SWR Experimentalstudio


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## SanAntone

*Caroline Shaw* & *Sō Percussion* - _To the Sky_


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## SanAntone

*Enno Poppe*: _Quintett_ (2016/20)






Marc Coppey, cello
Quatuor Diotima:
Yun-Peng Zhao, violin
Constance Ronzatti, violin
Franck Chevalier, viola
Pierre Morlet, cello

World Première, 06 February 2021, Festival Présences 21


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## SanAntone

*Chih-Yun Wang* - _Cantilena of Shivering Bow_


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## SanAntone

*Bekah Simms *- _from Void_ (2020)






performed by Ensemble contemporain de Montréal plus (ECM+): 
Véronique Lacroix, conductor and artistic director; Jeff Stonehouse, Flutes; Geneviève Deraspe, flute; Martin Gauvreau, clarinets; Mary Chalk, bassoon; Laurence Latreille-Gagné, french horn; Hubert Brizard, violin; Caroline Laurent, violin; Marie-Lise Ouellet, viola; Julie Trudeau, cello; Pamela Reimer, piano; Olivier Maranda, percussion.


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## SanAntone

*Kevin Kay* - _dx/dt_ (2020)






for 4 violins or 4 violas or 4 cellos or 4 double basses


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## SanAntone

*Vasiliki Kourti-Papamoustou* - _Interlude_ (2019)






performed by Duo Contour: Stephen Altoft (Trumpet), Lee Ferguson (Percussion)


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## SanAntone

*Cecilia Pereyra* - _Grida_ (2014)






performed by Griselda Giannini (Bass Clarinet), Darío Barozzi (Guitar)


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## SanAntone

*Yustiawan Paradigma Umar* - _Two Ning_ (2019)






performed by Penjalin Ensemble: 
Isnan Nahari F., Ahmadin Sheva Y. (slenthem), Adam Ade P., Bima Aris P. (demung), Rizky Muhammad Y., Agus Prasetyo P. (saron), Karnadi Handoko, Robi A. (peking), Andi Putra F. (gong ageng), Surya Putra A. (gong suwukan), Intan Laras G. (rebab), Yustiawan Paradigma U. (ketuk)


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## Highwayman

*Füsun Köksal* - Shiftings (2013)


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## SanAntone

*Jasmine Thomasian* - _Sounding Objects_ (2021)






SATB Saxophone quartet
Techniques developed in collaboration with Joseph Connor and David Schreck


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## SanAntone

*Thomas Albert *| _Thirteen Ways_ (1997)

_Thirteen Ways_ is a set of thirteen musical miniatures inspired by Wallace Stevens' poem, "Thirteen Ways of Looking at a Blackbird." The piece is not a song cycle, for the poems are not actually set to music; the music is more like underscoring, or accompaniment, for a textless film of the poem's images.






Eighth Blackbird

Flute (Piccolo, Alto Flute)
Clarinet (Bass Clarinet)
Violin (Viola)
Cello
Percussion
Piano

Thomas Albert as been an active composer for over five decades; his music has been performed throughout the United States as well as in Europe, Brazil, Japan, and Korea. He was born in Lebanon, Pennsylvania, and was educated at Barton College and the University of Illinois. His principal composition teachers were William Duckworth, Paul Martin Zonn and Ben Johnston. He is a member of the American Society of Composers, Authors and Publishers. His music is published by Media Press, Inc.


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## SanAntone

*Peter Kramer* - _*Circle Circle*_ was written over the course of 2018/19.

Movements:

1. Fragments 1-3
2. Fragments 4-5
3. Fragment 6
4. Fragment 7

Losing is also ours; and even forgetting
Has its shape in the permanent realm of change.
Things we've let go of circle; and though
We're rarely at the center
Of these circles: they trace around us the unbroken figure.
…
So, while my soul yet fled, did I contrive
To turn and gaze on that dread pass once more
Whence no man yet came ever out alive.
Fragments from: Rilke, For Hans Carossa (trans. Edward Snow) and Dante, Inferno Canto I (trans. Dorothy Sayers)






performed by *Issei Herr*


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## SanAntone

*Alan Theisen* - _Passing Tones_ (An Elegy for Walter Hartley) for Saxophone (2016)






Proclamation; 
Variation W; 
Variation S; 
Variation H

Jacob Swanson, saxophone


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## SanAntone

*Ng Yu Hng* | _The Canonical Hours for Mixed Chamber Ensemble_ (2020-21)






for Flute, Clarinet, Piano, Percussion, Harp and 'Cello (2020-21)

the CHROMA ensemble and students of the Royal Academy of Music

Lucy Driver, flute (RAM)
Stuart King, clarinet (CHROMA)
Kat Tinker, piano (CHROMA)
Jonathan Phillips, vibraphone (RAM)
Esther Beyer, harp (RAM)
Max Ruisi, 'cello (CHROMA)


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## SanAntone

*Allain Gaussin*: _Par delà_… (2021)






for bass clarinet, percussion and piano (2021)

Alain Billard, bass clarinet
Aurélien Gignoux, percussion
Hidéki Nagano, piano

World Première, 09 February 2022, Festival Présences '22


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## SanAntone

Liza Lim - Invisibility (2009) for cello solo
performed by Séverine Ballon


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## SanAntone

*Geli Li *- Pure Water Without Fragrance
for Pipa, flute, clarinet, violin, viola, cello 
performed by Zafraanensemble, Shengying Gu (pipa), Manuel Nauri (conductor)






Geli LI (b.1992) is an America-based composer whose music straddles both Eastern cultures and Western cultures based upon her original musical vocabulary. Geli is a current doctoral student in Music Composition at the University of Texas at Austin where she studies with Donald Grantham, Januibe Tejera and Yevgeniy Sharlat. She holds a bachelor's and master's degree from the Central Conservatory of Music in China. She also studied Music Composition at the Hochschule für Musik und Theater Hamburg, Germany with Elmar Lampson from 2014 to 2015.


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## Enthusiast

Oops, sorry. That one was from 1980 (so now deleted).


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## SanAntone

*Amy Williams* is a composer of music that is "simultaneously demanding, rewarding and fascinating" (Buffalo News), "fresh, daring and incisive" (Fanfare). Her works have been presented at renowned international contemporary music venues, including the Thailand International Composition Festival, Ars Musica (Belgium), Gaudeamus Music Week (Netherlands), Luzerne Festival (Switzerland), Dresden New Music Days, Festival Aspekte (Austria), Festival Musica Nova (Brazil), Whitney Museum, Roulette, Bargemusic (New York), LA County Museum of Art, Piano Spheres (Los Angeles) and Tanglewood Festival of Contemporary Music. They have been performed by leading contemporary music soloists and ensembles, including the Pittsburgh Symphony Orchestra, Buffalo Philharmonic Orchestra, JACK Quartet, Ensemble Surplus, Ensemble Musikfabrik, Dal Niente, Talujon, Bent Frequency, International Contemporary Ensemble (ICE), H2 Saxophone Quartet, pianist Ursula Oppens, soprano Tony Arnold and bassist Robert Black. Her pieces appear on the Parma, VDM (Italy), Blue Griffin, Centaur and New Ariel labels and there are two portrait CDs of her solo and chamber works on the Albany label.

*Here* is a short interview she agreed to do with me, and the two short works for cello and piano


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## cougarjuno

Ewazen is such a master of blending brass or wind sonorities with strings and/or piano


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## SanAntone

*Paul Pinto* | _I pass'd a church_ (String Quartet No. 4)






A fascinating work that incorporates vocalizing by the string quartet members.



> aul Pinto is glad to be making sounds and imagery for people. He's a composer, writer and multi-disciplinary performer who founded the music collectives thingNY, Varispeed and LoveLoveLove, with whom he creates immersive, durational and dramatic chamber and electronic music. His last few releases include Just Love, Patriots with Jeffrey Young, Empty Words with Varispeed, and Robert Ashley's Improvement. As a vocalist, Paul works on a diverse array of new projects, including performing Peter Maxwell Davies' Eight Songs for a Mad King, originating the role of Balaga in Dave Malloy's Broadway musical Natasha, Pierre and the Great Comet of 1812, and in his own work, including the opera Thomas Paine in Violence with Joan La Barbara, and the Resonant Bodies Festival commission of 15 Photos. During COVID times, Paul has written music for Antigone (Colgate University), Mad Forest (Fisher Center at Bard), and Tartuffe (Moliere in the Park), and co-created the online shows SubtracTTTTTTTTT, A Series of Landscapes, and Motivators with thingNY. Now he's creating a multimedia installation about Whiteness with Kameron Neal, a string quartet for the Rhythm Method, a song cycle for Quince Ensemble, and a multitude of other gifts for a multitude of performers at a multitude (composer's website)


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## SanAntone

*Brian Ferneyhough* - _Liber Scintillarum _(2012)
for flute, oboe, clarinet, violin, viola, cello


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## SanAntone

*Marta Haladzhun — Erosion *(2020)






Kwartludium ensemble


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## SanAntone

*William Harvey : Sonata for cello* *in 7 movements* (2005-2006)






Peter Myers, cello
Sarah Gibson piano

1. [00.05] : Die Mütter (The Mothers)
2. [01.58] : Die Eltern (The Parents)
3. [04.10] : Die Witwe II (The Widow II)
4. [07.58] : Das Volk (The People)
5. [12.04] : Die Freiwilligen (The Volunteers)
6. [13.54] : Das Opfer (The Sacrifice)
7. [17.06] : Die Witwe I (The Widow I)

Käthe Kollwitz (1867-1945) : War (Seven Woodcuts, 1923) - MoMA, New York


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## SanAntone

*Agata Zubel** — Cascando *(2007)
*for voice, flute, clarinet, violin and cello *






Performed by Agata Zubel and the Seattle Chamber Players
Text by Samuel Beckett
Commissioned by Seattle Chamber Players

Agata Zubel composer and vocalist. Known for her unique vocal range and the use of techniques that challenge stereotypes, Zubel gives concerts throughout the world and has premiered numerous new works.

Modern music takes pride of place in her repertoire. She has worked together with the world’s leading ensembles – Klangforum Wien, Ensemble InterContemporain, musikFabrik, London Sinfonietta, Ictus, Eighth Blackbird, San Francisco Contemporary Music Players, Seattle Chamber Players, Münchener Kammerorchester, Neue Vocalsolisten, Remix Ensemble, 2e2m Ensemble, as well as The ORF Vienna Radio Symphony Orchestra, Staatsoper Hannover, Sinfonia Varsovia, Warsaw Philharmonic Orchestra, Polish National Radio Symphony Orchestra in Katowice and others.


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## SanAntone

*Marti Epstein: Nebraska Impromptu *(2001-2017)
Rane Moore, clarinet
Donald Berman, piano
Billy Jewell, engineer






_Nebraska Impromptu_, Marti’s latest album released in April 2022 on New Focus Recordings, is a portrait of her relationships to locations, specific instruments, and performers. As much as _Nebraska Impromptu_ is about the midwest, it’s also about the community of music makers in Boston that Marti has built up around herself. Most of the performers are local, and the album was produced by conductor Jeffrey Means, founder of Boston’s Sound Icon.

The centerpiece of _Nebraska Impromptu_ is Marti’s professional relationship with clarinetist *Rane Moore*, the Co-Artistic Director of Winsor Music. “Rane sort of made all these pieces her own, even the ones that weren’t written for her, because she brings a deep understanding of my music to her performances.” That sentiment speaks to Marti’s commitment to working with musicians who can bring a personal touch to their performances. “I think that this is the thing that every composer needs, should want, should try to cultivate, et cetera, because we are nothing without not only committed performers, but without good performances of our music.” (I Care If You Listen)


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## Andrew Kenneth

*Catherine Lamb *- String Quartet (two blooms) - 2009
Jack Quartet


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## SanAntone

Inspired by Jewish and Buddhist traditions, _Shiv’a_ reflects on the process of mourning. This instrumental composition by *Ayelet Rose Gottlieb*, is performed by a stellar group of musicians: the renowned string quartet known as ETHEL and percussionist Satoshi Takeishi.


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## SanAntone

*Jane Antonia Cornish : Duende* (2015)






Jane Antonia Cornish is an English composer. She is based in New York City, and focuses on contemporary classical music. Delos released Cornish's first chamber music album, _Duende_, in April 2014. Artists featured on the album include Miranda Cuckson, Blair McMillen and The Lee Trio. (Wikipedia)


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## SanAntone

*John Luther Adams | Sila: The Breath of the World*

“Songs are thoughts which are sung out with the breath when
people let themselves be moved by a great force…
— Orpingalik, a Netsilik elder​









In Inuit tradition the spirit that animates all things is Sila, the breath of the world. Sila is the wind and the weather, the forces of nature. But it’s also something more. Sila is intelligence. It’s consciousness. It’s our awareness of the world around us, and
the world’s awareness of us. In this time when we humans are so dramatically changing the earth, _Sila: The Breath of the World_ is an invitation to stop and listen more deeply.

Sila is scored for five ensembles of 16 musicians —woodwinds, brass, percussion, strings, and voices— who may perform the music in any combination, successively or simultaneously, outdoors, or in a large indoor space. The musicians are dispersed
widely, surrounding the listeners, who are free to move around and discover their own individual listening points.

Sila comes out of the earth and rises to the sky, floating upward through sixteen harmonic clouds, grounded on the first sixteen harmonics of a low B-flat. All the other tones in the music fall “between the cracks” of the piano keyboard—off the grid of
twelve-tone equal temperament.

Like the harmonies, the flow of musical time in Sila is also off the grid. There is no conductor. Each musician is a soloist, who plays or sings a unique part at her or his own pace. The sequence of musical events is composed, but the length of each event is
flexible. The music breathes.

A performance of Sila lasts about an hour. There is no clearly demarcated ending, as the music gradually dissolves back into the breath of the world. —John Luther Adams (Naxos Recording Booklet)


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## justekaia

__
https://soundcloud.com/marina-khorkova%2Fstring-quartet-ii
Marina Khorkova 's SQ no 2 (2017) performed by the Kairos Quartet.


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## SanAntone

*Zhiye Peng — Slackness and Disappointment In an April Afternoon *(2020)






performed by *Maoyu Wang* (violoncello), *George He *(contrabass), *Zhiye Peng* (electric guitar), *Yongchun Mi *(percussion)


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## SanAntone

New Haven violinist *Austin Larkin* describes his _Violin Liquid Phases_, a long album of eight pieces for solo violin, as a treatise on his performance practice. And there is something of an etude-like quality to these contemporary sonatas for unaccompanied violin. Larkin’s approach is to establish a gestural or harmonic template based on bowing rhythms, string relationships, or drone-centered harmonies, and then to develop it through the introduction of gradual changes of generally increasing complexity. Larkin’s exercises are firmly rooted in pitch relationships that work through vertical stacking and shifts of single voices against constant foundations; the effects are often hypnotic but are endowed with enough harmonic movement to create dynamic moments of tension-and-release. (avant music news)


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## SanAntone

*Edmund Finnis*: _The Centre is Everywhere _(2019)
Manchester Collective (Bedroom Community)

Commissioned by the ensemble and scored for 12 string players, the piece has an ageless, ancient-yet-modern quality: like a shimmering ghost of Lawes’s viol consorts, a fine latticework of line and colour is viewed through a kaleidoscope of grainy harmonies and whistling white noise. (*bbc magazine*)


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## SanAntone

This work for small percussion ensemble I find fascinating. At first, I thought there was an electronic component but quickly realized that it is entirely created with the acoustic properties of the mallet percussion. I then thought that while it fits in the chamber group genre, I wondered if maybe we might need a thread for percussion music ...

*Mendel Lee *— _The Spaces Between_






Mendel Lee (b. 1975) is a New Orleans-based composer.


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## Andrew Kenneth

*Ming Wang* - Schwebende Fragmente (_for alto flute, viola and celllo_)

Sylvie Lacroix (alto flute)
Petra Ackermann (viola)
Andreas Lindenbaum (cello)






info on Ming Wang =>
Ming Wang


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## SanAntone

*Alexander Lee *- _To Evoke the Sense of Machinery for Saxophone Octet _(2014) 






Patrick Olmos, multi-track saxophonist


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## SanAntone

*Kronos Quartet and Soo Yeon Lyuh perform Lyuh's "Yessori (Sound from the Past)"*






Composer *Soo Yeon Lyuh*, who performs on the haegeum, a two-stringed Korean instrument, says her _Yessori (Sound from the Past)_, “explores aspects of Korean traditional music,” using the string quartet as “an extension of the haegeum.” In four sections, wailing incantation alternates with folkloric dances, and the cello’s gong-striking adding to the piece’s ritual-like exoticism.


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## SanAntone

Another work by *Julia Wolfe*, one of the most exciting composers I've focused on this year.

*Julia Wolfe*: _Oxygen_






Julia Wolfe’s residency as the 2021–2022 Debs Composer’s Chair kicks off online with the film premiere of Oxygen, a rapid-fire composition for 12 flutes. Written during the pandemic and filmed in October 2021, Oxygen features an all-star cast of flutists coming together to collaborate after more than a year of artistic isolation.

Molly Barth, C-Flute and Piccolo
Amir Farsi, C-Flute and Piccolo
Tim Munro, C-Flute and Piccolo
Brian Dunbar, C-flute and Piccolo
Jennifer Grim, C-Flute and Piccolo
Dalia Chin, C-Flute and Piccolo
Alex Sopp, C-Flute
Marco Granados, C-Flute
Leo Sussman, C-Flute
Kelli Kathman, C-Flute
Ethan Lin, C-Flute and Alto flute
Lisa Bost-Sandberg, C-Flute and Bass Flute
Georgia Mills, Conductor




> Julia Wolfe (born December 18, 1958) is an American composer and professor of music at New York University. According to The Wall Street Journal, Wolfe's music has "long inhabited a terrain of its own, a place where classical forms are recharged by the repetitive patterns of minimalism and the driving energy of rock".
> 
> Her work _Anthracite Fields_, an oratorio for chorus and instruments, was awarded the 2015 Pulitzer Prize for Music. She has also received the Herb Alpert Award (2015) and was named a MacArthur Fellow (2016).


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## SanAntone

*ENSEMBLE LINEA - REBECCA SAUNDERS - FURY II*
for double bass and ensemble






Paris, Centre Pompidou, June 16th 2016 - FESTIVAL MANIFESTE IRCAM 

Florentin Ginot, double bass 
Andrea Nagy, bass clarinet 
Johannes Burghoff, cello 
Lise Baudoin, piano 
Benoît Maurin, percussion 
Marie-Andrée Joerger, accordeon Régie

Jean-Philippe Wurtz, conductor


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## SanAntone

*Hymns for Private Use by Akropolis Reed Quintet

Nico Muhly* - _Virga Rosa Virginum_






_Hymns for Private Use_ is the 5th album released by the Detroit-based *Akropolis Reed Quintet *and features original works by composers *Annika Socolofsky* and *Nico Muhly*. On Socolofsky’s so much more, Akropolis is joined by 7 small business owners from 4 states whose personal stories of community and sacrifice are woven together on a spoken word track, sourced from over 7 hours of interviews conducted in 2020. Soprano Shara Nova joins Akropolis on Muhly’s Hymns for Private Use, which draws upon 5 spiritual texts from early English sources from the 12th to 18th centuries. These two large-scale works are connected by intimate stories of ambition and devotion made available for each listener’s own “private use.” (continue)


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## SanAntone

*Laura Cocks - Field Anatomies*






As a founding member of TAK Ensemble, flutist *Laura Cocks* is no stranger to the demands of experimental music. Cocks has an extensive discography as an ensemble member, but _Field Anatomies_ (Carrier Records) is their explosive solo debut. 

Featuring “blisteringly physical” works for flute and piccolo by *David Bird*, *Bethany Younge*, *Jessie Cox*, *DM R*, and J*oan Arnau Pàmies*, the album pushes the limitations of the human body and largely eschews standard sound production methods on the flute and piccolo. In fact, if you went into this album cold, you might not be able to guess the instrumentation until several minutes into the first track, when a tiny wisp of recognizable piccolo tone emerges from labored breathing, percussive bursts, and key clicks.


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## SanAntone

*Sungji Hong - Estavrosan for Flute, Bass Clarinet, Violin, Cello and Piano* (2020-22)






SonoMania Ensemble 
Mihai Vaida, flute
Flaviu Ludusan, bass clarinet
Olga Berar, violin
Eugen Bogdan Popa, cello
Mihai Murariu, piano
Simona Strungaru, conductor

Program Note: Estavrosan is characterized by recurring elements that function as the structural material for the development of the work. It consists of four ideas: the tone cluster staccati on piano, the descending legato scales on bass clarinet, the descending tongue ram on flute, and the ghostly fleeting harmonics on violin and violoncello. The whole piece develops around or between these gestures turning on themselves or going through transformations. It is in two sections: the first focuses on the sound of a hammer hitting a nail, and the second section is a lamentation as the piece takes its inspiration from Christ Nailed to the Cross, painted by Gerard David, about 1481 (The National Gallery in London).


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## SanAntone

*Said Azh | Pasyryk-Fragmente*






Flute: Sylvia Rozas Ramallal
Oboe: Max Vogler
Piano: Viktor Soos
Viola: Clara Schmied
Percussion: Sebastian Wielandt
Sound/mixing: Piotr Furmanzcyk


----------



## Andrew Kenneth

*Ellen Arkbro* - For percussion, strings and winds
ictus ensemble


----------



## justekaia

Twin Echoes II (2020) from the Bucharest born composer Roman Vlad (1982) played by the Gaudeamus Quartet. This is his second SQ.


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## justekaia

Vibratii (Vibrations) from 2018 by Rumanian composer Roman Vlad (1982). This is his first SQ played by the Gaudeamus quartet.The rest of his chamber music is outstanding as well.


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## SanAntone

*Ethan Resnik - Compulsions for Mixed Ensemble (2022) *






American Modern Ensemble 

Program Note: Compulsions is a work that represents the challenges of living with anxiety and OCD. To a certain extent, dealing with these issues and recognizing the extent of how they interfere with daily activities is difficult. As a result, this leads to frustration, obsessive thoughts, and repetitive tendencies, causing additional apprehension and dwindling time. This piece aims to evoke a sense of serenity while expressing the challenges of anxiety.


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## SanAntone

delete


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## SanAntone

*Wolfert Brederode : Ruins and Remains*
Matangi Quartet, & Joost Lijbaart






A suite for piano, percussion, and string quartet, _Ruins and Remains_ occupies some musical no man’s land between the trenches of classical minimalism and improvised jazz. A work that began life as a way of commemorating the hundredth anniversary of the end of World War I quickly morphed into something else reflective of the shared emotions of worlds gripped by pandemics spread a century apart.

The music makes sagacious use of texture and space, for which Manfred Eicher was the perfect producer. The pieces are full of sorrow and wistfulness but with a glimmer of hope and optimism that keeps shining through.


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## SanAntone

*ROSCOE MITCHELL / Not Yet*
William Winant (percussion): Jacob Zimmerman (alto saxophone); Dan VanHassel (piano); Eclipse Quartet; James Fei Alto Quartet; Thomas Buckner (baritone); Petr Kotik (conductor)







A monumental recording of recent concert works by Roscoe Mitchell, for solo percussion, alto saxophone & piano, string quartet, alto saxophone quartet, baritone & chamber orchestra. Recorded live at Jeannik Méquet Littlefield Concert Hall, Mills College, Oakland, CA, March 31, 2012. Live recording and mixing by Robert Shumaker assisted by James Frazier.

Since the early 1960's composer Roscoe Mitchell has been a vital force in American music. An acclaimed saxophonist, Mitchell tours regularly throughout the United States and overseas. He is a member of the Association for the Advancement of Creative Musicians and a founder of the Art Ensemble of Chicago.


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