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World music CD DVD shop and Classic distribution
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ID: KAI0013162
CDs: 1
Type: CD
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Collection:
Contemporary music
Subcollection: Voices and Chamber EnsembleIn the three-part ensemble cycle sonic eclipse (2009-10), another theme of the compositional process is auditory masking as a step-by-step process of concealment. The solo instrument featured in the work’s first part, is the trumpet, with the horn taking up this role in the secont Part. Part three interlinks the two solo instruments, which in turn proceed to integrate themselves fully with the rest of the ensemble. In search of a metaphor for this process, Pintscher hit upon the phenomenon of the eclipse-in which celestial bodies overlap and cast their shadows upon one another at the moment of complete coverage.
From twilight to twilight and from morning to evening is the range spanned by a twilight’s song and the E.E.Cummings poem upon which it is based. Pintscher composes the “in-between”, a
penetration of the poem’s inflection and structure; the pictorial language is re-sketched via the creation of an “integral of the simulated spatiality”. An instrumental ensemble placed at a considerable distance to one another begins with nearly inaudible whispering and proceeds to conjure up an incipient sonic space consisting of heterogeneous events: rasping, floating; pulsations, plosives, breathing. At its centre, the bass flute’s melodious opening gesture of a prepares the register of the soprano.
For Matthias Pintscher, the shir ha shirim (song of songs) is “a supremely condensed compendium of nearly boundless emotional states. All its sections give the impression of having neither beginning, nor end, nor middle, simply being modes of expression that circle one another.” It is from the fifth song that the Pintscher took the text for his a cappella piece. The words “she-cholat ahavah ani” translate as “how lovesick am I”, and for the composer this is a core sentence which sums up the topic of the love song. Not only in terms of content, but also structurally, the famous Hebrew text opens up very special perspectives. “In Hebrew, words are like islands or sources of energy, since everything in the language is derived from short root words. For a musician or a composer, this represents the opportunity to delve deep into the words’ connotations, since one can oneself shape the flow, the route between the individual words, each one of which is like an object.”
(Marie Luise Maintz)
Includes booklet with text by Marie Luise Maintz |
| 21.00 eur Buy |
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ID: KAI0013302
CDs: 1
Type: CD
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Subcollection: GuitarInternational Contemporary Ensemble: Daniel Lippel, solo guitar
Jayce Ogren . Matthew Ward
Includes booklet with texts by Daniel Lippel and Jacob Greenberg
This CD presents music for various ensemble configurations and electronics by British-Japanese composer Dai Fujikura, one of the most strikingly original composers of our day, masterfully performed by the New York-based International Contemporary Ensemble featuring guitarist Daniel Lippel.
"I think of Dai as a model of an “international” composer - someone who transcends regional styles and aesthetic schools in favor of his or her individual voice. He is able to deftly allude to and absorb music of different styles without being in the least bit derivative." Daniel Lippel, guitarist, International Contemporary Ensemble (ICE) |
| 21.00 eur Temporarily out of stock |
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ID: NMCD024M
CDs: 1
Type: CD
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Subcollection: SaxophoneFour imaginative and evocative works by this now well-known contemporary figure: On All Fours and Release are exciting instrumental displays demanding a characteristic battery of percussion, while Lament for a Hanging Man sets texts by Sylvia Plath. |
| 22.00 eur Buy |
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ID: KAI0012512
CDs: 2
Type: CD
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Collection:
Vocal Collection
Luigi Nono No hay caminos, hay que caminar … Andrej Tarkowskij (1987) “Wayfarer, there is no path. Yet you must walk”, in Spanish: “Caminante, no hay caminos. Hay que caminar.” These words are the contents of an inscription, which Luigi Nono read on the wall of a monastery in Toledo in the middle of the 1980s. They must have affected him most deeply, since in the last three years of his life he made them the basis of the titles of a trio of works. In “Hay que caminar” he surely recognized his own lifelong principle of continual creative restlessness, of perpetually being en route, which guided him from the outset. For a long time this was perhaps unconscious, but during the several years’ incubation of Prometeo it took conscious shape in the presentation of a route-less wayfaring that directs everything. An observation from 1981 is characteristic of this consciousness. For him it was primarily to do with the attempt “to find something, but not something certain.” The central piece of the trilogy mentioned above is No hay caminos, hay que caminar … Andrej Tarkowskij.
Nono dedicated the piece to the Russian film director Andrej Tarkowskij, outlawed from his own country, perhaps in view of the film Nostalghia, which has as its theme the search “for something, which perhaps doesn’t exist”... (Josef Häusler)
Includes booklet with text by Josef Häusler |
| 28.00 eur Buy |
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ID: MELCD1001056
CDs: 2
Type: CD
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Collection:
Contemporary music
Subcollection: ChoralCD1
(1 - 7) - Ensemble PRO ARTE Institute
(2) - Matvey Lapin, violin
(4) - Angelina Dashkovskaya, soprano
(5) - Sergey Chirkov, accordion
(6) - Andrei Vikharev, flute
(7) - Aleksei Bogorad, viola
CD 2
(1 - 5) - Ensemble PRO ARTE Institute
(1) - Youth Chamber Choir of St.Petersburg
(1) - Dmitry Skazhenik, tenor
(4, 5) - Boris Filanovsky, voice |
| 29.00 eur Buy |
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