#trio xenakis

[burlveneer-music]

Moritz von Oswald - Silencio - no trio this time, just Moritz and a 16-voice choir

What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a 16-voice choir to explore this concept. Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and dark & dissonant. The compositions were written in von Oswald’s Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city’s Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long. The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them. Artwork by Cyprien Gaillard.

[himedanshicult]

"The title Epicycles for Cello and Ensemble refers to the geocentric cosmology of the Greek astronomer Ptolemy, in which the sun and all celestial bodies move in epicycles along the surfaces of crystal spheres of varying size. Epicycles are small auxiliary circular orbits, whose centre rotates around the circumference of larger circles. Based on this image, Xenakis permutated (modal) tone rows around centres of tonal gravity, and composed concentric, divergent melodic structures with an ostinato motoric rhythm. Surprising monodies oppose large dynamic sound surfaces, in polyphony as well as in rhythmic unison. Epicycles is typical of Xenakis' late style, which is characterized by the austerity of material. Neither glissandi nor quartertones, neither noises nor special effects, no complex metric or rhythmic structures but pure sounds in clear, limpid, chanted rhythms. Here Xenakis explored sound in its phenomenological purity, 'the tension of sound itself', and imposed flat, vibrato-less sounds of a tension exacerbated by the dynamic fortissimo - absolute, vigorous and stable in timbre and dynamic, hard as granite. The planes between solos, trios and tutti are reminiscent of the old concerto grosso. The music seems not to unfold but rather 'runs' like the complex cogwheels of a musical machine. The art of playing is to become a production machine, making couplings of sound points, sound lines and sound blocks."

[garadinervi]

Xenakis révolution. Le bâtisseur du son, (documentary/biography, 2022, 56', in French w/ French, Italian, English, Spanish, and Polish sub, and German dubbed), Directed by Stéphane Ghez, Arte / Cinétévé, 2022. Feat. Mâkhi Xenakis, Pascal Dusapin, George Aperghis, Jean-Michel Jarre, Trio Xenakis/Collectif Xenakis [Adélaïde Ferrière, Emmanuel Jacquet, Rodolphe Théry, and Jean-Baptiste Bonnard, Othman Louati, Emmanuel Curt]

(image: Xenakis à Persepolis, 1971. Photo: © Mali Letrange / Coll. Famille I. Xenakis)

[dustedmagazine]

Valentina Goncharova — Recordings 1987-1991, Vol. 1 (Shukai)

Recordings 1987-1991, Vol. 1 by Valentina Goncharova

It’s a bit of a miracle the tapes compiled on Recordings 1987-1991, Vol. 1 exist. Surviving a house fire and a collapsed roof, these unheard tapes absorbed little to no damage. Ukraine-based archival label Shukai, founded by Sasha Tsapenko, Dmytro Nikolaienko and Dmytro Prutkinwere restored the tapes and have attempted to give the recordings and their backstory new exposure. To the label heads, this release is a small way to provide justice to Valentina Goncharova’s early recordings which to them represent a lost connection between Ukraine, Estonia, and ex-Soviet music histories.

To that effect, violinist and composer Valentina Goncharova’s experimental forays could have gone unexplored too. Coming from a rich classical music study, Goncharova was trained in concert violin first as a child in Kyiv and later, she studied contemporary music composition for ten years in Leningrad (now St. Petersburg). Engrossed in works by Stockhausen, Xenakis, and Penderecki, Goncharova became enchanted by the free jazz and improv scene developing in Leningrad, specifically Ganelin Trio, and started diving into over experimental music, from komische music to Yoko Ono. She would perform with a few groups in underground clubs, most notably Pop-Mechanik (Popular Mechanics), leading her to explore sound outside of her traditional background. Gonchorava began combining her knowledge of the violin with homemade electronic rigs and a newfound energy for structureless music, a fruitful combination that she would carry with her the rest of musical career through to her teaching position at Tallinn Music College. The collection at hand surfaces those early moments in the turning point of Goncharova’s musical arc.

Goncharova and her husband, electronic engineer Igor Zubkov, relocated to Estonia in 1984. Zubkov built Goncharova her first electric violin, and around 1987, Goncharova began to make home recordings on a modified Olimp reel-to-reel recorder. She attempted to find new colors and rhythmic combinations, creating an orchestra of violin overdubs and electronics. The recordings capture Goncharova at the intersection of her musical explorations: her orchestral proficiency on the violin and fluency in playing styles, the personal discoveries made through electro acoustic experimentation, testing the musicality of piezo pickups, effect chains including a Soviet-made Lel RC Digital Reverb, and overdubbing, and ultimately, the freeing and unchartered dynamics of home recordings. This provided the grounds for ripe, highly attentive moments of experimentation and performance, pooling together seemingly tangible sounds.

Tracks like “Insight” and “Passageway to Eternity” are delightfully hazy with new age-like tones. Goncharova plays the violin softly and incorporates a subtle reverb, altering the natural timbre of the instrument. Other tracks reflect Goncharova’s interest in the compositional freedom and unconventional approaches of contemporary composers and underground musicians. “Metamorphoses” is a sprawling 19-minute recording incorporating many disparate elements, from effected electronics and freely pizzicato violin to echoed vocals and household items fiddled with near piezo pickups. The recordings, overall, are mesmerizing in their ingenuity, as Goncharova elaborately tries to escape the conventions through exploring home taping and electro acoustic devices.

Ian Forsythe

[mikrokosmos]

Hello. I am in the mood for boosting my classical music knowledge and you seem the right person to ask for help :D I am already familiar with most of the famous names but I am searching for some gem that isn't normally played during concerts because is less famous or known. Recently I discovered Moszkowsky piano concerto in E major (shame on me for being so late!) and spurred by this I would like to ask you if you could suggest some piece to listen that fits my previous description. Any number of pieces it's ok and the same goes for the period :)

Sure thing, especially because I’m a fan of romantic piano concertos. Here is a list of some that come to mind:

Medtner - wrote three piano concertos, all are great. The first is super dramatic. The second is fun and melodious with a beautiful ‘slow’ movement and a fun finale, and the third is the most majestic 

Bortkiewicz - Piano Concerto no. 2. Despite being for the left hand alone, it feels like a heavy-handed Rachmaninoff at times

Dohnanyi - Variations on a Nursery Theme. I won’t say the theme because when you listen to it, the dramatic build up before the theme’s intro will make you laugh. Fun and colorful, and playful.

Weber - Konzertstuck. One of the first truly “romantic” concertos, it is a program piece telling the story of a woman waiting for her knight boyfriend to return from the crusades.

Scharwenka - Piano concerto 4 in f minor. Very intense

Reger - Piano Concerto. A late work with gnarled modulations, feeling like if Brahms went to even more remote keys and wrote thicker chords than he already did.

Glazunov - Piano Concerto 2. A very bright work with beautiful orchestration

Hahn - Piano Concerto. Very “French” in that the main focus is on melody and on pretty sounds and colors, like Saint-Saens’ pcs

Lyapunov - Piano Concertos 1 and 2. If you love Russian music, you need to hear Lyapunov

Strauss - Burleske. Kind of a parody of Lisztian writing, but a sincere one, where he plays around with as many possible ways to resolve a diminished seventh as he can find.

Beach - Piano Concerto. Again uses “American”/folkish melodies and orchestration to create a lyrical work. Reminds me of Dvorak, but with more brilliant pianism 

Rheinberger - Piano Concerto in Ab. A very uplifting main theme.

And for fun, I’ll throw in an ABCs of lesser known works:

Arensky - Piano Quintet

Bridge - Piano Trio no. 2

Chabrier - Gwendoline Overture

Durufle - Requiem

Enescu - Chamber Symphony

Field - Piano Concerto no. 5 "L’Incendie par l’Orage"

Gombert - In Te Domine Speravi

Henze - Serenade for solo cello

d’Indy - Symphony no. 3 “Sinfonia Brevis de Bello Gallico”

Jongen - Symphonie concertante

Kabalevsky - Piano Concerto 3

Langaard - Music of the Spheres

Martinu - Three Madrigals for Violin and Viola

Norgard - Symphony no. 4

Ornstein - Piano Quintet

Price - Symphony no. 1

Ropartz - Prelude, Marine, et Chansons

Seeger -  String Quartet (1931)

Tailleferre - Harp Sonata

Ustvolskaya - Composition 2, “Dies Irae”

Varese - Octandre

Wranitzky - Symphony in c minor, op.11

Xenakis - Pleiades

Yoshimatsu - Symphony no. 4

Zemlinsky - Die Seejungrau

It would be really cool to see what other music people would want to add to the list!

[sinceileftyoublog]

Wobbly Interview: Going for Happy

BY JORDAN MAINZER

Thurston Moore Ensemble/Negativland band member Jon Leidecker has been releasing electronic music under the moniker Wobbly for over two decades now. In Chicago experimental label Hausu Mountain, he seems to have found kindred spirits, matching his far out idiosyncrasies. 2019′s Monitress and its follow-up, Popular Monitress, which came out earlier this month, are albums about and by machines, as Leidecker ran his music into pitch trackers and synth apps on his phones and tablets, embracing the errors and randomness that were produced along the way. While the source material on Monitress was mostly improvised, the songs on Popular Monitress are more structured and composed, resulting in songs like “Authenticated Krell”, which follows a comparatively clean synth arpeggio before being enveloped by texture, or “Lent Foot”, where the various instruments trail each other. It’s remarkable just how familiar certain sounds are even if not traditionally instrumental ones, like the typewriter clacks of “Illiac Ergodos 7!” or the zooming notes of the thumping title track. Blurring the lines between what’s instrument and what’s not, and even further, what’s composed music and what’s not, Popular Monitress is a defining statement for both Leidecker and Hausu.

I was able to ask Leidecker about various songs on the album and their inspirations. Read his answers below!

Since I Left You: You chose to write more structured songs this time around before running them through the pitch tracker. Do those nuggets of recognizable structures make the final product all the more disorienting?

Jon Leidecker: Hopefully! On both albums, the main thing is keeping the focus on just how live those pitch trackers are. It’s Monitress as long as you can hear how they’re listening. For years, it was strictly a piece for live performance--I needed to be improvising myself, and able to respond instantly, to really underline just how spontaneous the machine responses are. So the first record tried to keep more of that sense of flow. Large stretches of it are simply baked down from stereo recordings of concerts & radio performances of it. Overdubbing more layers of trackers seemed legal, as long all the voices were following that one original sound.

Of course, when you play a tune, something composed or even quantized, it definitely becomes easier to hear what they’re doing. The exact same code running on each phone will respond in very different ways to the same source audio, and you get a chorus of individual voices. They play a lot of wrong notes, but oddly, if you feed the trackers lots of consonant, major chords, it stops being dissonance, and you can tell they’re going for happy. You hear these weird things, trying to sing in unison, and..the result is just pure delight. Weirdly emotional! What’s a mistake? What’s music?

SILY: How did you come up with the song titles? For instance, is there anything particularly Appalachian about "Appalachian Gendy"?

JL: They’re mostly mashed up references to landmark works in the field of generative & algorithmic composition, from the 50’s up to the early 90’s. The recent push of stories on AI musical tools seems to be about automation and labor-saving, but the field of how to develop tools for more creative ends goes back all the way to Bebe and Louis Barron going to the Macy Conferences on Cybernetics and designing their first self-oscillating feedback circuit.

So while my tracks aren’t really in the musical style of the works they reference--something like  “Appalachian Gendy”, which sprung up a fantasy Spiegel/Xenakis tribute, got paired to that stompdown track, and once it did, I added a solo on iGendyn.

SILY: To what extent is your music here inspired by the inner workings of the brain?

JL: Once you get a grip on just how simply neurons and synapses interact, how reassuringly physical thinking is, the electronic music I’ve always found most inspiring often involve feedback systems, self-playing devices, generative music, things that learn rather than settle. Music that helps you model thought. The whole East Coast/West Coast 60’s divide in synth design boiled down to Moog reducing your options until you could easily dial in what you already know you want, and Buchla designing uncertainty machines to be networked together until they approach the complexity of an unknown brain.

SILY: "Synaptic Padberg" and "Every Piano" have moments of recognizable instruments as opposed to alien instruments (strings and piano, respectively). Was that just a product of the errors/randomness of the music-making, or purposeful?

JL: It's supposed to sound orchestral, so I hit my Mellotron and Chamberlin apps pretty hard with this piece. Not like anything remains plausibly real once they're getting hammered by the trackers. That is a real grand piano, however: me playing the tune at SnowGhost Music in Montana. Brett Allen deserves an engineering credit, but I also wanted the first listen to make you wonder.

SILY: There's almost a funky rhythm to "Motown Electronium". Do you envision folks dancing to this record?

JL: Would have been plain wrong to put that title on an unworthy beat. What would a room full of people dancing to this even be like? Maybe in Baltimore.

SILY: Do you think "Training Lullaby" is what a computer trying to write a lullaby would sound like?

JL: Not that relaxing, is it? That’s ten seconds pulled from a five minute live improvisation, just a little burst of fury in the middle. Which I’ve heard enough now that I can sing along to it; so now, for me, it is calming.

I finally had to admit to myself that I’m a fan of the OpenAI Jukebox stuff. It’s right at that stage where their results are still primitive enough to remain a little mysterious. All the context and relationships intrinsic to what humans call music is irrelevant to those GANs. They don’t need culture to make music, they just need waveforms. What does it tell us that simple pattern analysis and brute number crunching on a large enough data set can produce those sounds? They’re training us. I have twelve hours of their Soundcloud dump ripped to my phone, and I play it a lot, though I wouldn’t play it for anyone under four. Can definitely sing along to some of the weirder ones by now.

SILY: How did you approach the order of tracks on the record? I'm struck by, for instance, the chaos of "Grossi Polyphony" following the comparative lull of "Every Piano".

JL: Just trying to show the range, and keep the surprises coming. Perpetual variety becomes monotony so quickly, so there is a very careful balancing act to play between shorter and longer tracks. I like a record where on first listen, any new section that begins, you feel like there are no guarantees how long it’ll last, eight seconds or eight minutes. Even things that sound like they should be songs: no guarantees. I still remember the first time I heard The Faust Tapes as a teenager.

SILY: Did you actually use musical dice to write "Wurfelspiel"?

JL: “Wurfelspiel” is just name-dropping Mozart’s generative piece--again, a real piano, but no musical dice involved.

SILY: The beats towards the end of the album--the pseudo hip-hop of "Cope By Design", techno of "Dusthorn Sawpipe", krautrock of "Help Desk"--seem to me to be far more propulsive than anything else here. Do you see a connection between those tracks?

JL: The album hits you with all these miniatures in the middle to keep things moving, and those three are the last little barrage of them before the shift into the final stretch with the longer, more hypnotic pieces. Can be tough to sequence an album when you’ve got so many short tracks, but it’s also total freedom.

SILY: How did you like getting the Hausu Mountain album art treatment?

JL: Totally family. All the Monitress packaging has always been iPhone panorama mode artifacts, visual glitches not entirely unlike what my phone’s trackers do to what they hear. I gave one of those images to [Hausu Mountain co-founder Max Allison] to work with the cover of the first Monitress, and he sent back this image, saying, “Here’s the initial stage: Your photo reduced to color blocks I’ll carefully render out later.” So when the second hyper-detailed one came back in a more proper Hausu style, they already seemed like a sequence, and this second one was already in place, so it all clicked. Any version of Monitress, the music is different, but it’s always the same piece. I’m really happy they asked me for something. [Label co-founder Doug Kaplan] and Max are just coming from the good place.

SILY: Are you doing any live streams or socially distant shows any time soon?

JL: Multi-location live streams are a blast. The time modulation inherent in all streaming is deeply psychedelic. The kind of listening you have to do when you know that the relationship of sounds together in time is different for each musician involved? I’m learning utterly new tricks, and it’s astonishing just how live the result is. I sat in on a live stream with Thurston Moore Group a few months ago, the four of them in London, and me hooked up to an amp not far from where I normally am when I play with them. And everyone agreed: It felt like I was there, right up until the instant I quit the app.

I’ve been pre-recording some home live sets for Hausu, Curious Music and High Zero Foundation. Negativland is putting together an hour long performance with Sue-C for the Ann Arbor Film Festival in late March. I finished an album mostly recorded outdoors with my old friend Cheryl E. Leonard for Gilgongo, and we’re going to try to a few outdoor concerts, too.

SILY: What else are you currently working on/what's next?

JL: The second album with Sagan, with Blevin Blectum & J Lesser, is coming out in late April. That one took 14 years to finish. There’s a trio record with Thomas Dimuzio and Anla Courtis coming out on Oscarson. Doing a revision of the last episode of my podcast on sampling music, Variations, to incorporate that OpenAI music. Some Negativland releases tying together the last two albums. There are about four of five other albums that might be done, though it takes time to be sure.

SILY: Anything you've been listening to, reading, or watching lately?

JL: This month has been Maryanne Amacher’s collected writings, Keeping Together in Time by William H. McNeill, Ministry For The Future by Kim Stanley Robinson, important even with happy ending. Interview with Karl Friston - Of Woodlice And Men.  Listening to a lot of “Blue” Gene Tyranny, Xenakis & Lang Elliott, and last week every Ghédalia Tazartès album in reverse chronological order. I don’t care what anybody says: That guy’s immortal.

SILY: Anything I didn't ask about you want to say?

JL: Thank you for your questions!

Popular Monitress by Wobbly

[hotguysfugue]

top 100 pieces of western art music (2020 edition)

it’s been approximately a year since i posted my 2019 list, so here goes nothing!

100. Antonin Dvorak - Symphony No. 8

99. Bohuslav Martinu - String Trio No. 1

98. György Ligeti - String Quartet No. 1

97. G.F. Haas - String Quartet No. 2

96. Arnold Schoenberg - Verklärte Nacht

95. William Walton - Violin Concerto

94. Samuel Barber - Violin Concerto

93. Maurice Ravel - Trois Poèmes de Stéphane Mallarmé

92. Bela Bartok - Concerto for Orchestra

91. Krysztof Penderecki - Threnody

90. G.F. Handel/Johan Halverson - Passacaglia

89. Max Grafe - Moon Cycles

88. John Cage - 59 ½ for a string player

87. J.S. Bach - Harpsichord Concerto No. 1

86. Gustav Mahler - Symphony No. 1

85. Jennifer Higdon - blue cathedral

84. Sergei Prokofiev - Violin Concerto No. 1

83. George Crumb - Makrokosmos III (Music for a Summer Evening)

82. Paul Hindemith - String Quartet No. 4

81. Alban Berg - Violin Concerto

80. Dmitri Shostakovich - String Quartet No. 10

79. Luciano Berio - Sequenza XIVb

78. Steve Reich - Music for 18 Musicians

77. Charles Ives - The Unanswered Question

76. Eugene Ysaye - Solo Sonata No. 2

75. Tomás Luis de Victoria - O magnum mysterium

74. Sergei Prokofiev - Sinfonia concertante

73. Maurice Ravel - String Quartet

72. György Ligeti - String Quartet No. 2

71. Witold Lutosławski - Partita (for Violin & Orchestra)

70. Pierre Boulez - Anthemes

69. Augusta Read Thomas - Incantation

68. Erwin Schulhoff - Five Pieces

67. Gustav Mahler - Symphony No. 6

66. Krysztof Penderecki - Cadenza

65. Steve Reich - Music for Pieces of Wood

64. John Luther Adams - Dream of the Canyon Wren

63. Caroline Shaw - Valencia

62. Brian Ferneyhough - String Quartet No. 6

61. G.F. Haas - Solo (for viola d’amore)

60. Paul Hindemith - Viola Sonata

59. Iannis Xenakis - Metastasis

58. Andy Akhio - to wALk Or ruN in wEst harlem

57. Dmitri Shostakovich - Violin Sonata

56. Jessie Montgomery - Starburst

55. John Corigliano - Symphony No. 1

54. Kate Soper - Ipsa Dixit

53. Grazyna Bacewicz - Concerto for Strings

52. Alfred Schnittke - Concerto for Piano and Strings

51. Ben Johnston - String Quartet No. 4

50. Igor Stravinsky - Petrouchka

49. Dmitri Shostakovich - Symphony No. 10

48. Arnold Schoenberg - Pierrot Lunaire

47. Folke Rabe - Basta

46. Bela Bartok - String Quartet No. 4

45. Jennifer Higdon - Viola Concerto

44. Elizabeth Maconchy - String Quartet No. 11

43. György Ligeti - Lux aeterna

42. Herbert Howells - Elegy

41. Olivier Messiaen - Quatuor pour la fin du temps

40. J.S. Bach - Violin Sonata No. 2

39. Arvo Pärt - Fratres

38. Alberto Ginastera - Piano Concerto No. 1

37. Igor Stravinsky - L’oiseau de feu

36. John Luther Adams - The Wind in High Places

35. Alberto Ginastera - Harp Concerto

34. Silvestre Revueltas - La noche de los Mayas

33. William Grant Still - Afro-American Symphony

32. George Rochberg - String Quartet No. 3

31. Jessie Montgomery - Source Code

30. Ben Johnston - String Quartet No. 7

29. Bedrïch Smetana - String Quartet No. 1

28. Caroline Shaw - Entr’acte

27. Igor Stravinsky - Le sacre du printemps

26. Alberto Ginastera - Violin Concerto

25. Kaija Saariaho - Nocturne

24. Grazyna Bacewicz - Quartet for Four Violins

23. György Ligeti - Sechs Bagatellen/Musica Ricercata

22. Salvatore Sciarrino - Capricci per violino solo

21. Dai Fujikura - Fluid Calligraphy

20. Sky Macklay - Many, Many Cadences

19. Alberto Ginastera - String Quartet No. 1

18. György Ligeti - Violin Concerto

17. Luciano Berio - Sequenza III

16. Jessie Montgomery - Strum

15. George Crumb - Black Angels

14. Dmitri Shostakovich - String Quartet No. 8

13. Iannis Xenakis - Naama

12. Luciano Berio - Sequenza VIII

11. Toru Takemitsu - Rain Spell

10. Andy Akhio - NO one to kNOW one

9. Alberto Ginastera - String Quartet No. 2

8. Alfred Schnittke - Concerto Grosso No. 1

7. Caroline Shaw - Partita for Eight Voices

6. John Luther Adams - Canticles of the Sky

5. György Ligeti - Mysteries of the Macabre

4. Maurice Ravel - Introduction & Allegro

3. Jennifer Higdon - Violin Concerto

2. György Ligeti - Requiem

1. Kate Soper - Voices from the Killing Jar

[berlysbandcamp]

The Lebanese-French musician Bachar Mar-Khalife creates soundscapes that resonate between orient and avant-garde. I came across this album when I heard his “Ya Nas” song on an Ido Portal movement training video. Addicted to the grooves, I checked out the album and came across a musical spectrum that spans the divide between ironic reggae, electronic rhythms, Arab poetry and chansonesque lullaby.

Born in Beirut, Lebanon, Bachar Mar-Khalifé is a singer, composer and multi-instrumentalist and as described by EXCLAIM (Canada) Who’s Gonna Get the Ball..  is "a heady mixture of Arabic and French, stompers and Ballads, It´s a superb and uniquely musically schizophrenic album." 

At the age of six, Bachar and his parents were forced to flee the civil war in Lebanon, ending up in Paris. It was a time when, along with his mother's versions of the songs of popular Lebanese singers such as Fairuz, Asmahan and Sabah, he also became aware of the sounds of the first wave of French hip-hop, the chansons of Brassens and Ferre and the band Nirvana. The young Bachar was a voracious listener, and even as he was studying piano and percussion at the conservatory, influences as diverse as Michael Jackson's album "Dangerous", Bach and Mozart were vying with the modern works of Edgar Varese and Iannis Xenakis for his musical attention.

Since that time Bachar Mar-Khalife has worked in many different musical contexts: with the Orchestre National de France, on film scores, and on collaborations with jazz and electronic musicians. He is currently touring with two musicians from Luxembourg, Pascal Schumacher and Francesco Tristano, as part of an equally unorthodox and successful trio, playing a mix of minimal music, jazz and pop. It is in his solo works, however, that his own distinctive musical signature emerges.

Explaining his music is something Bachar Mar-Khalife is not keen on. "I don't want to put any obstacles in the way of my listeners. Each of them should be able to discover their own inner exile." "The value of a good photograph can be measured by the humanity it breathes. It is non-verbal, not something you talk about," says Bachar Mar-Khalife. "And it is exactly the same with my music."

Favourite Track: Ya Nas

[uneminuteparseconde]

Des concerts à Paris et alentour

en gras : les derniers ajouts :-: in bold: the last news 

Février 10. Gabriella Smart joue “Terres Brulées” de Kasper T. Toeplitz – Auditorium|Cité internationale des arts (gratuit) 10. ...And You Will Know Us By The Trail Of Dead – Petit Bain 10. The Murder Capital + Junior Brother – Café de la danse ||COMPLET|| 11. Moor Mother + NSDOS + Badbad (fest. How To Love) – Petit Bain 12. Tristesse Contemporaine + Nova Materia + ToutEstBeau (fest. How To Love) – Petit Bain 12. Joachim Montessuis + Uriel Barthélémi + Martin Bakero – Quai de Bourbon 12. L'Ocelle Mare + Guionnet, Badrutt & Loriot trio – Instants chavirés (Montreuil) 13. Mondkopf + Tomaga + Tern + Black To Comm [Rafael Anton Irisarri : ANNULÉ] (fest. How To Love) – Petit Bain 13. Ride – Le Trianon 13. Blue Haired Girl + Brome [A-Sun Amissa : ANNULÉ] – ESS’pace 13. Les Tigres du futur + Kwartz + Alvilda – Espace B 13. Super Parquet + Franz France (dj) – Quai de Bourbon 13. Thurston Moore Group – Instants chavirés (Montreuil) ||COMPLET|| 14. Fils de Vénus + TSHA + dj Vegyn + MegaWax + Pauline Forte (fest. How To Love) – Petit Bain 14. Youth + Jeanne Claire + John Poubelle + Aka Jet Boy (dj) + The Soft Rider (dj) + Âme de boue (dj) – Quai de Bourbon 14. Bip3 + Outdoor Leisure + Is a Fish – Le Zorba 15. The Raincoat – Centre Pompidou 15. Maud Geffray : cinéconcert sur “Still Life. A Tribute to Philip Glass” (fest. FAME) – La Gaîté lyrique 15. Drive with a Dead Girl + Nursery + Shrouded and the Dinner – Instants chavirés (Montreuil) 15. Blawan + Nazira + Fred Terror – Dehors brut 15. The Hacker + Identified Patient + François X + Jana Woodstock + Nico Moreno + SpunOff + Toma Kami – La Cité fertile (Pantin) 15. 14anger + Félicie + Sina XX + Manon Démon & Le Saint – Sierra Neon (Saint-Denis) 16. Infecticide (Danse la grève) – DOC (gratuit) 16. Ropoporose : cinéconcert sur “ Dark Star” de John Carpenter (fest. How To Love) – Petit Bain 16. Orchestral Manoeuvre in the Dark – La Cigale 16. Cosmic Neman : “Reality Is a Dream” (fest. FAME) – La Gaîté lyrique 18. Biliana Voutchkova + Judith Hamann – Instants chavirés (Montreuil) 19. Pita + Renaud Bajeux + Fred Serendip (dj) – Quai de Bourbon 20. Human Koala + Gerome Nox + David Fenech : bande-son pour lecture performée de Pierre Escot – Gare XP (gratuit) 20. Heimat + Franky Gogo + Dominique Manu – La Boule Noire 20. Le Chemin de la honte + Frankreich – Quai de Bourbon 20>22. Borja Flames + Chicaloyoh + Coke Asian + Dress Rehearsals + France Sauvage + Guillaume Malaret + Jean Carval (dj) + Johann Mazé + Krikor + Leroy se meurt + Magrava + Mamiedaragon + Plein soleil + Uj Bala + Zohastre – Espace B 21. Pop. 1280 + Dune Messiah + Private Word – Supersonic (gratuit) 21. Ensemble Links joue "Drumming" de Steve Reich + Cabaret contemporain : "Détroit" + Molécule – Le 104 21. TG Gondard + Belmont Witch – Café de Paris 21. Eszaid + Magda Drozd + Delmore FX (fest. Oto Nove Swiss) – Instants chavirés (Montreuil) 22. Tomoko Sauvage + Julie Semoroz (fest. Oto Nove Swiss) – Centre culturel suisse 22. Cent Ans de Solitude & Flint Glass : cinéconcert sur “Sprengbagger 1010” de Carl Ludwig Achaz-Duisberg – Club de l’Étoile 22. Low Jack b2b King Doudou + Ｓ Ｓ Ｓ Ｓ + StaStava  + Laura Not (fest. Oto Nove Swiss) – Petit Bain 23. Félicia Atkinson + Tujiko Noriko + Manuel Troller (fest. Oto Nove Swiss) – Lafayette Anticipations 23. Oiseaux-Tempête : cinéconcert sur “Tlamess” d’Ala Eddine Slim – Petit Bain 24. Sleater Kinney – Le Trianon 24. The Legendary Pink Dots + Mellano Soyoc – Petit Bain 26. Emily Jane White + Jim Rosemberg – La Cave (Argenteuil) 27. Laurent Perrier & David Fenech + Fantasia Nel Dessert – Le Zorba 27. Zombie Zombie + Kreidler – Petit Bain 27. Sofy Major + Membrane + Pord – Espace B 27. Deeat Palace + Elek Ember + Philémon – Instants chavirés (Montreuil) 28. Shlømo + A Strange Wedding + Adar + Azamat B. + Eastel + Belafa aka Corbeille Dallas – Sierra Neon (Saint-Denis) 29. Nylex + Plomb + Hélice Island – Le Zorba 29. SPFDJ b2b VTSS + Dax J + Hadone + Stranger – tba Mars 02. DIIV – La Gaîté lyrique ||COMPLET|| 03. Napalm Death + EYEHATEGOD + Misery Index + Rotten Sound – La Machine 03/04. The Mission – Petit Bain 04. David Fenech & Laurent Perrier – Quai de Bourbon 05. Dorian Pimpernel + Mooon – Supersonic (gratuit) 05. Orange Blossom : “Sharing” avec les machines de François Delarozière – Élysée Montmartre 05. King Dude – La Boule noire 06. Frustration + Italia 90 – Le Trianon 06. Electric Fire + Fantazio et les Turbulents (Sonic Protest) – Les Voûtes 06. Chris Liebing + AZF – Dehors Brut 07. Sourdure – La Lingerie|Les Grands Voisins (gratuit) 07. L’atelier d’éveil musical du centre social Raymond-Poulidor + Foudre rockeur (Sonic Protest) – Les Voûtes 07. Ensemble intercontemporain joue Steve Reich : cinéconcert sur un film de Gerhard Richter – Salle Pierre Boulez|Philharmonie 07. Dave Clarke + Kuss + Murd + Toscan Haas – Dehors Brut 07. Alcest + Birds In Row + Kælan Mikla – La Machine ||COMPLET|| 10. Tempers – Supersonic (gratuit) 10. Jerusalem in my Heart + Méryll Ampe et les élèves de l’Ensapc + Lucretia Dalt (Sonic Protest) – La Dynamo (Pantin) 10. Arnaud Rebotini : live pour “Fix Me” d’Alban Richard – Centre des Arts (Enghien-les-Bains) 11. Nada Surf – La Cigale 11. Mopcut + F-Space + We Use Cookies + Astra Zenecan (Sonic Protest) – La Station 12. Laurent Perrier & David Fenech – Souffle Continu (gratuit) 12 Thomas Bégin + JD Zazie (Sonic Protest) – La Muse en circuit (Alfortville) 13. Russian Circle + Torche – Bataclan 13. Emptyset + Hair Stylistics + Méryll Ampe (Sonic Protest) – L’Échangeur (Bagnolet) 14. Panico Panico + Tabatha Crash + Cosse – ESS’pace 14. Lonely Walk + Tamara Goukassova + Shock – L'Espace B 14. Why The Eye + WAqWAq Kingdom + Maria Violenza + Fleuves noirs + Jean-Marc Foussat + Julia Hanadi Al Abed + Pierre Gordeeff (Sonic Protest) – L’Échangeur (Bagnolet) 16. Hällas + La Secte du Futur + Meurtrières – La Maroquinerie 17. Chelsea Wolf – La Gaîté lyrique 18. Pelada – Petit Bain 18. Lee Scratch Perry & Adrian Sherwood + 2Decks + Zaraz Wam Zagram (Sonic Protest) – Église Saint-Merry 19. HP (Haswell & Powell) + Inga Huld Hakonadrottir & Yann Legay + Asmus Tietchens + Regreb “2 Cymbals” (Sonic Protest) – Église Saint-Merry 20. Ensemble Dedalus : "Occam Ocean" d'Éliane Radigue – Le Studio|Philharmonie 20. Bleib Modern + Order 89 + Blind Delon + IV Horsemen + Paulie Jan + Codex Empire + Opale + Panzer + DJ Varsovie (fest. des souvenirs brisés) – Petit Bain 20. Jon Hopkins – Salle Pleyel 20. Senyawa + Bonne humeur provisoire + Black Trumpets (Sonic Protest) – La Marbrerie (Montreuil) 20. Paula Temple + 16H07 b2b Ket Robinson + Ma Čka – Yoyo|Palais de Tokyo 21. Mind/Matter + Die Orangen + Mitra Mitra + Qual + Rendered + Verset Zero + Years of Denial (fest. des souvenirs brisés) – Petit Bain 21. Front 242 + She Past Away – Élysée Montmartre 21. Container + Muqata’a + OD Bongo + Diatribes & Horns + Jealousy Party + Urge + Wirklich Pipit + Me Donner + Cancelled + FLF + 2Mo (Sonic Protest) – Le Générateur (Gentilly) 21. GZA – La Marbrerie (Montreuil) 21/22. Laurie Anderson : "The Art of Falling" – Cité de la musique|Philharmonie 22. Mike Cooper + Yann Legay + Will Guthrie & Ensemble Nist-Nah + Cheb Gero (Sonic Protest) – théâtre Berthelot (Montreuil) 24. Skemer + IV Horsemen + Silly Joy – Supersonic (gratuit) 24. Joe Gideon – Espace B 25. Low House (Eugene S. Robinson & Putan Club) + Moodie Black – Petit Bain 25. Wrekmeister Harmonies – Espace B 25. Buzzkull + Kontravoid + Crystal Geometry – Badaboum 27. Lebanon Hanover – La Gaîté lyrique 27. Baston – L’International 27. Maggy Payne : « Crystal » (diff.) + 9T Antiope + John Wiese + Matthias Puech + Nihvak (fest. Présences électronique) – Studio 104|Maison de la Radio 27. Mongolito + Biere Noire + Bisous De Saddam + Léa Jacta Est + Club Passion (Croux fest.) – Café de Paris 28. Ensemble Links : "Drumming" de Steve Reich + Cabaret contemporain joue Kraftwerk – théâtre de la Cité internationale 28. Iannis Xenakis : « Mycenae Alpha » (diff.) + Marja Ahti + Rashad Becker + Nina Garcia + Kode9 (fest. Présences électronique) – Studio 104|Maison de la Radio 28. Cut Hands + NAH + Shit&Shine + France Sauvage + Burris Meyer + UVB76 (dj) – Petit Bain 28. Satan + Noyades + S.O.L.A.N + Traitors + Accès de faiblesse (Croux fest.) – Espace B 28. Denis Frajerman + David Fenech – Plateforme 28. Balladur + Bracco + Coeval + Bajram Bili (dj) – La Boule noire 29. Ivo Malec : « Recitativio » + Eve Aboulkheir + Richard Chartier + Lee Gamble + Will Guthrie & Mark Fell (fest. Présences électronique) – Studio 104|Maison de la Radio Avril 03. CocoRosie – Le Trianon 03. Kuniyuki Takahashi & Henrik Schwarz + Hugo LX & DJ Nori + Akiko Nakayama (Japan Connection fest.) – La Gaîté lyrique 04. Hiroaki Umeda + Nonotak + Aalko + Make It Deep Soundsystem (Japan Connection fest.) – La Gaîté lyrique 04. Satoshi Tomiie & Kuniyuki + Hiroshi Watanabe + DJ Masda + Akiko Kiyama + Daisuke Tanabe + Intercity-Express (Japan Connection fest.) – La Gaîté lyrique 04. Ash Code – Espace B 04. 2kilos &More & Black Sifichi + Plurals – Le vent se lève 04. OOIOO – Lafayette Anticipations 06. Julie Doiron – Espace B 06. Bauhaus – Grand Rex 09. Will Samson + Northwest + Lyson Leclercq – Le vent se lève 09. The Chap + Rubin Steiner Live Band – Badaboum 14. Lucy Railton & Joe Houston jouent "Patterns in a chromatic field" de Morton Feldman – Instants chavirés (Montreuil) 14>17. Metronomy – La Cigale 17. Facs + ISaAC – Petit Bain 18. Siglo XX – La Boule noire 19. Rome + Primordial + Moonsorrow – La Machine 20. Big ‡ Brave + Jessica Moss – La Boule Noire 23. Volkor X + ToutEstBeau + Aphélie – Supersonic (gratuit) 23. Health + Pencey Sloe + Dead – Petit Bain 25. Selofan + Jupiter Jane – Supersonic (gratuit) 26. Pharmakon + Deeat Palace + Unas – Petit Bain 26. Igorrr + Author & Punisher + Otto Von Schirach – La Cigale 27. Dean Wareham joue "On Fire" de Galaxie 500 – Petit Bain 27. Caribou – L’Olympia 27. The Foals + The Murder Capital – Zénith 28. Ulver – L’Alhambra 30. Conflict + The Filaments – Gibus Mai 06. hackedepicciotto – Espace B 08. Max Richter : "Infra" + Jlin + Ian William Craig – Cité de la musique|Philharmonie 09. Max Richter : "Voices" – Salle Pierre Boulez|Philharmonie 09. Jonas Gruska + Leila Bordreuil + Jean-Philippe Gross + Kali Malone (fest. Focus) – Le 104 10. Iannis Xenakis : « La Légende d’Eer » + Folke Rabe : « Cyclone » et « What ??? » (fest. Focus) – Le 104 10. Max Richter : "Recomposed" & "Three Worlds" – Salle Pierre Boulez|Philharmonie 11. Cannibale + Frankie and the Witch Fingers + Euromilliard – La Maroquinerie 13. Wire – La Maroquinerie 13. Austra – Badaboum ||COMPLET|| 14>16. Tops + Aksak Maboul + Corridor + JFDR + Palberta (Le Beau festival) – La Boule noire & La Station 16. Black Midi – Carreau du Temple 19. Swans + Norman Westberg – Le Trabendo 22. François Bayle : « Le Projet Ouïr » + Marco Parini : « De Parmegiani Sonorum » + Yan Maresz (fest. Akousma) – Studio 104|Maison de la Radio 23. Julien Négrier + Hans Tutschku : « Provenance-émergence » + Félicia Atkinson : « For Georgia O’Keefe » + Warren Burt + Michèle Bokanowski (fest. Akousma) – Studio 104|Maison de la Radio 24. Philippe Mion + Pierre-Yves Macé : « Contre-flux II » + Daniel Teruggi : « Nova Puppis » + Adam Stanovitch + Gilles Racot : « Noir lumière » (fest. Akousma) – Studio 104|Maison de la Radio 23. Damon Albarn – Salle Pierre Boulez|Philharmonie 24. Damon Albarn – Salle Pierre Boulez|Philharmonie ||COMPLET|| 26. Minimal Compact – La Machine 30/31. Paula Temple + Dave Clarke + Ben Klock + Len Faki + 999999999 + VTSS b2b Shlomo + DVS1 + François X… (Marvellous Island) – île de loisirs de Vaires-Torcy  Juin 01/02. The Dead C – Instants Chavirés (Montreuil) 03. Bambara – Espace B 04. Phill Niblock + Tim Shaw – Instants Chavirés (Montreuil) 05. And Also The Trees – La Maroquinerie 06/07. Four Tet + Nils Frahm + Park Hie Jin + Modeselektor… (fest. We Love Green) – Bois de Vincennes 12. The Breath of Life + Box and the Twins – Gibus 14. Nick Cave & The Bad Seeds – Bercy Arena 18. Acid Mothers Temple – Espace B Juillet 01. Apparat – Le Trianon Septembre 30. Peter Hook & The Light : Joy Division : A Celebration – Bataclan

[suehpro]

Favorite Albums of 2018

My favorite album of the year: Five Dramas of Swollen Emotion for Music and Voice - Isak Sundstrom (Black Sweat)

And the other 99, in random order...

Migration of the Snails - Melodic Energy Commission (Telephone Explosion)

Libra Rising - Okkyung Lee, Ches Smith, Chris Corsano (Hot Cars Warp Records)

Disambiguation - Cruel Diagonals (Drawing Room)

Camizole/Lard Free - self-titled (Souffle Continu)

I Need to Start a Garden - Haley Heynderickx (Mama Bird)

AAMM - “A” Trio & AMM (Al Maslakh)

Captiva - Zeena Parkins (Good Child)

Consuelo - Chesterfield (Mikroton)

Chez Helene - Joelle Leandre & Marc Ducret (Ayler Records)

Disturbio - Angelica Castello (Mikroton)

I’ll Be Here In the Morning - Postcards (Ruptured)

Electronic Music from the Eighties and Nineties - Carl Stone (Unseen Worlds)

Ectotrophia - Happy Rhodes (Numero Group)

Hippo Lite - Drinks (Drag City)

The Air Around Her - Ellen Fullman & Okkyung Lee (1703 Skivbolaget)

Piano Interpretations - Kukuruz Quartet/Julius Eastman (Intakt)

A Day Hanging Dead Between Heaven and Earth - Fred Frith & Hardy Fox (Klanggalerie)

Attica / Coming Together / Les Moutons de Panurge - Frederic Rzewski (Black Sweat)

Runt Vigor - Audrey Chen (Karlrecords)

Raw Silk Uncut Wood - Laurel Halo (Latency)

Cheol-Kkot-Sae - Okkyung Lee (Tzadik)

Ductus Pneumaticus - Phil Minton & Torsten Muller (WhirrbooM)

Ours - Thumbscrew (Cuneiform)

Samara Lubelski / Bill Nace - self-titled (Relative Pitch)

Sun Embassy - Sun Ra Arkestra (Roaratorio)

Raise the River - Robert Dick & Tiffany Chang (RogueArt)

The Faust Tapes - Faust (Superior Viaduct)

Levitate (expanded, remastered) - The Fall (Cherry Red)

Lantskap Logic - Evelyn Davis, Fred Frith, Phillip Greenleaf (Clean Feed)

Improvisations - G.I. Gurdjieff (Fantome Phonographique)

Without - Clara de Asis (Elsewhere)

Thought Gang - self-titled (Sacred Bones)

Fades - Cheer-Accident (Skin Graft)

Uncharted Territories - Dave Holland, Evan Parker, Craig Taborn, Ches Smith (Dare2 Records)

Earlier Music - Officer! (Klanggalerie)

Big Hug/Ocean Fruit - Coffee (Cooling Pie Records)

Nosongs - Marianne Schuppe (Edition Wandelweiser)

An Unintended Legacy - AMM (Matchless)

Everyone Needs a Plan - Matthew Revert & Vanessa Rossetto (Erstwhile)

Imbrication - Jeph Jarman (Unfathomless)

Music of Southern and Northern Laos - Various (Akuphone)

Lightworks - Stop Motion Orchestra (Knock’em Dead)

Studio 105, Paris 1967 - Don Cherry (Hi Hat)

Se (in) De Bos - Book of Air (Granvat)

Traversing Orbits - Mary Halvorson & Joe Morris (RogueArt)

The Smoke - Lolina (self-released)

A l’Abri des Micro-Climats - Guigou Chevenier & Sophie Jausserand (Knock’em Dead/Megaphone)

Rats Don’t Eat Synthesizers - Dwarfs of East Agouza (Akuphone)

A Philosophy Warping, Little By Little That Way Lies a Quagmire - Konstrukt & Keiji Haino (Karlrecords)

Last Man in Europe - Remote Viewers (ReR)

Lot 74 - Solo Improvisations - Derek Bailey (Honest Jon’s)

Totale’s Turns (It’s Now or Never) - The Fall (Superior Viaduct)

Divine Ekstasys - Delphine Dora & Sophie Cooper (Feeding Tube)

In a Convex Mirror - John Zorn (w/Ches Smith & Ikue Mori) (Tzadik)

Pressing Clouds Passing Crowds - Kim Myhr (Hubro)

The Machinic Unconscious - Wendy Eisenberg (Tzadik)

Sisters Sarah Hennies and Lenka Novosedlikova (mappa)

Aviary - Julia Holter

Crystal Spears - Sun Ra (Modern Harmonic)

Recordings 1969-1988 - Ursula Bogner (Faitiche)

God Is More Than Love Can Ever Be - Sun Ra (Cosmic Myth)

Coyotes - Felicia Atkinson (Geographic North)

The Vanity of Trees - Padma Newsome (New Amsterdam)

Utter - Ingrid Laubrock & Tom Rainey (Relative Pitch)

Joy’s Reflection Is Sorrow - Sharron Kraus (Sunstone)

Seed Triangular - Mary Halvorson & Robbie Lee (New Amsterdam)

Distant Voices - Steve Lacy, Yuki Takahashi, Takehisa Kosugi (Aguirre)

Chordis et Machina - Ikue Mori & Christian Ronn (Resipiscent)

Maroon Cloud - Nicole Mitchell (FPE Records)

The Peter Blegvad Bandbox - Peter Blegvad (ReR)

Ghost Forests - Meg Baird & Mary Lattimore (Three Lobed Recordings)

ガラ刑GALAKEI - Tori Kudo (bruit direct disques)

Contemporary Chaos Practices - Ingrid Laubrock (Intakt)

Failed Celestial Creatures - David Grubbs & Taku Unami (Empty Editions)

Lost in Shadows - Ashley Paul (Slip)

The Bray Harp - Jeph Jerman (White Centipede Noise)

The Expanding Universe - Laurie Spiegel (Unseen Worlds)

Uncompahgre - Kirk Knuffke & Ben Goldberg (Relative Pitch)

All the Roots - Hollow Deck (Feeding Tube Records)

Mangelen Min - Building Instrument (Hubro)

Ki-Motion - Mkwaju Ensemble (WRWTFWW)

Kashawa: Early Singles - Stella Chiweshe (Glitterbeat)

Brace for Impact - Joe McPhee & Mats Gustafsson (Corbett vs Dempsey)

Something More - Mikayel Abazyan (self-released)

Code Girl - Mary Halvorson (Firehouse 12)

A Complete and Tonal Disaster - Congs for Brums (self-released)

Persepolis - Iannis Xenakis (Karlrecords)

Beholder - Julia Reidy (A Guide to Saints)

Both Directions at Once: The Lost Album - John Coltrane (Impulse!)

Asperger - Caterina Palazzi | Sudoku Killer (Clean Feed)

Waved Out - Robert Pollard (GBV, Inc)

The Cymbals/Symbols Sessions: NYC 1973 - Sun Ra (Modern Harmonic)

Letters to the Friends of the Late Darcy O’Meara - Matthew Revert (Round Bale)

Canaxis - Holger Czukay (P-Vine Records)

X/Ten - Peter Hammill (Fie!)

Struggle Artist - Meyers (Shelter Press)

Stadium - Eli Keszler (Shelter Press)

Meltdown - Live in Mexico - King Crimson (Panegyric)

Bimini Twist - Alison Statton & Spike (Tiny Global Productions)

[slackula]

January 18, 2019

Long Music For a Long Winter

Link Here

Tracks:

Andrew Bernstein - Boogie Woogie Phase

Iannis Xenakis - Metastasis

Martin Smolka - Rain, A Window, Chimneys, Pigeons and So On… and A Railway-Bridges, Too

Kyle Gann - Etude No. 7: Cosmic Boogie Woogie

David Tudor - Rainforest Version I, Music For Dance

Diskaholics Anonymous Trio - Totally Gump (Gump Completist)

Alvin Lucier - Bird and Person Dyning

Ingram Marshall - Fog Tropes

[nokogiribiki]

NOKO 106 - Applied Sound Arts

musique concrète, GRM archive

NOKO 106 - Applied Sound Arts

last year Editions Mego's Peter Rehberg starts, in cooperation with Christian Zanési and François Bonnet, the revivalism of the impressive GRM archive. now Recollection GRM offers as sublabel the opportunity to get a selection of merits for witness pressed in vinyl. ongoing with Pierre Schaeffer, initiator of the Groupe de Recherches Musicales, the republishing launched in 2012. first with works of Guy Reibel, Bernard Parmegiani, Luc Ferrari, Ivo Malec and Traces One, a compilation. in march 2013, Traces Two follows plus a further member - Iannis Xenakis and his GRM Works 1957-1962.

in this mind, we pursue early electro-acoustic sounds and their pioneers even perceived as musique concrète. that's the point of origin, other composers of the unlasting widen in decades past will know too well how to conduct electric current - a concert of sounds.

Applied Sound Arts - a night of applied arts and adventurous music presented by Fervent Dots Audio in cooperation with contentual historic emphases by Freundeskreis Grassi Museum. acousticians are Kanding Ray (Raster-Noton), Ben Lucas Boysen aka Hecq (Hymen), Architect (Hymen) and Signalstörung aka Fervent Dots (GNM). ASA 2013 - 22 february at Grassi Museum für angewandte Kunst in leipzig, germany.

「 download 」

106 001 | robert normandeau | bédé | CAT116CD (1990) 003 | françois bayle | petite polyphonie | MGCB0392 (1973) 005 | pierre bastien ft. the insects orchestra | entomology | WORMREC4278 (2012) 016 | bernard parmegiani | dedans-dehors (excerpt) | REGRM003 (1977) 029 | luc ferrari | presque rien avec filles | REGRM005 (1989) 032 | bernard parmegiani | matières induites | AM714.01 (1975) 035 | vladimir ussachevsky | wireless fantasy | CD813 (1960) 039 | francis régnier | chemins d'avant la mort | REGRM004  (1968) 043 | ilios | the continuum of emanation from the one | SR290 (2009) 048 | eleh | rotational change for windmill | TO:80 (2010) 061 | tod dockstader | part one | ST-201 (1963) 063 | tom dissevelt | gamelan | PHS600-189 (1963) 066 | Ø + noto | melodie | CDR039 (1998-2000) 072 | bernard parmegiani | points contre champs | AM714.01 (1975) 080 | danny de graan | o super mom (laurie anderson remixed) | STCD162, ERSCD006 (2003) 087 | ivo malec | triola 3: nuda | REGRM006 (1978) 099 | autechre & the hafler trio | æo³ (excerpt) | DS82 (2005) 107 | françois bayle | polyrythmie | MGCB0392 (1973) 112 | jean-françois pauvros | les oiseaux n'aiment pas le bleu | KKKP1 (2004) 117 | helm | arcane matters | PAN27 (2012) 124 | luc ferrari | presque rien n°2, ainsi continue la nuit dans ma tête multiple (excerpt) | REGRM005 (1977)

2013-02-04 . radio blau 2018-02-22 . radio blau «rerun 2018-03-06 /-17 . radio corax 2018-03-09 /-16 /-23 . radio lotte 2018-03-25 . fsk hamburg 2019-08-17 . radio corax «rerun

[garadinervi]

Trio Xenakis – peaux, from Xenakis révolution. Le bâtisseur du son, (documentary/biography, 2022, 56', in French w/ French, Italian, English, Spanish, and Polish sub, and German dubbed), Directed by Stéphane Ghez, Arte / Cinétévé, 2022. Trio Xenakis: Adélaïde Ferrière, Emmanuel Jacquet, Rodolphe Théry, and Jean-Baptiste Bonnard, Othman Louati, Emmanuel Curt

[dustedmagazine]

Anna Webber — Idiom (Pi Recordings)

Photo by Peter Gannushkin

Idiom by Anna Webber

Anna Webber has been releasing an impressive body of work over the last decade with her Simple Trio alongside pianist Matt Mitchell and percussionist John Hollenbeck, her work with larger ensembles, as well as participation in groups led by musicians like Hollenbeck, Mitchell, Dan Weiss, Harris Eisenstadt and Jen Shyu. Her striking release on Pi Recordings, Clockwise, featured pieces for septet based on compositions by Iannis Xenakis, Morton Feldman, Edgard Varése, Karlheinz Stockhausen, Milton Babbitt and John Cage which mined the timbral and structural foundations of their sources while extending them in to improvisational frameworks that bristled with inventive dynamism. For her follow-up on Pi, she presents a two-disc set featuring the Simple Trio and a twelve-piece ensemble working through compositions from her “Idiom” series based on her specific woodwind extended technique vocabulary. As with Clockwise, what could easily become an academic exercise is instead embraced by the groups as impetus for vibrant collective invention.

Disc one features five pieces for Webber on tenor sax and flute, along with Mitchell and Hollenbeck. Things kick off with “Idiom I,” an insistent study based on “vented” fingerings on flute where an extra key is left up or down, causing unpredictable microtonal shadings. Starting out with a tight unison statement, the trio begins to unravel the tautly-wound theme, launching it into a three-way exchange as phrases are hocketed around the trio. “Idiom III” and “Idiom IV” utilize the beating intervals of saxophone multiphonics as the underpinning for ruminative collective examinations. Where some would seize on frenzied overblowing, Webber instead uses the technique to burr tonalities, playing off of Mitchell’s formidable intervals and Hollenbeck’s spare, splashing percussion. “Forgotten Best” is the only piece not in the “Idiom” series, employing a more flowing, lyrical abstraction than other pieces on the set. A compact reading of “Idiom V,” based on the spectral analysis of extended flute technique, creates a fractured framework imbued with shimmering harmonics and scumbled textures for piano and drums. The driving run-through of “Idiom III” that closes the disc is a distinctive highlight of the trio session, as the three run through the coursing angularity of the 10-minute improvisation with lock-step deliberation. 

Disc two is dedicated to an hour-long performance of “Idiom VI” performed by a twelve-piece ensemble of three reeds, three brass, three strings, synthesizer, bass and drums, led by conductor Eric Wubbles. Here, a series of saxophone dyad multiphonics are used as the bases for the scored parts as well as for parameters used by the improvised sections, creating slowly shifting layers of harmonic depth. Across six movements and four interludes, the ensemble traverses motivic building blocks that encompass drifting, spectral densities, more pointed stabbing, percussive interjections, potent ensemble crests and heated solos. 

In “Movement I,” Liz Kosack’s synthesizer bursts forth with frothy waves of oscillations leading in to a bass-heavy interlude that hums and buzzes with timbral depth. The leader’s flute buoys the start of “Movement II,” moving to a contrapuntal section for the ensemble and a probing trombone solo by Jacob Garchik. The brass interplay of “Movement III” and percolating lines of the ensemble lead in to darting contra-alto clarinet solo by Yuma Uesaka and a section of string overtones and synthesizer swoops that glimmers over a driving pulse. “Interlude 3” which moves in to “Movement V” is rife with groaning and morphing layers, transitioning to breathy interplay with a surging tenor solo by the leader that trades off with a cascading trumpet solo by Adam O’Farrill, goading the ensemble toward a roiling conclusion. Skittering strings color the final “Movement VI” with Webber’s labyrinthine tenor circular breathing gradually mounting in dynamics, leading the piece to seething collective intensity which subsides in to a spare coda for the leader’s burred bass flute. Clockwise established that Webber was both an improviser and composer worth keeping an eye on. With Idiom she continues to up that ante. 

Michael Rosenstein

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Idagio—the Spotify for Classical Music—Has Changed My Life

I really don’t mean to get all Music Appreciation 101 on you, but I need to ask: Have you listened to classical lately? On purpose, I mean. A local string quartet playing Vivaldi during cocktail hour at your college roommate’s wedding—or a Mozart piano concerto broadcast through the surprisingly decent sound system at your local gourmet produce market—doesn’t count.

Until quite recently, I listened to a ton of classical music—both live and, more often, on recordings: opera, symphonies, choral works, string quartets, piano trios, and solo pieces, for starters, from a wide range of orchestras and conductors and choruses and performers from around the world as recorded by scores of labels.

What happened? Quite simply, streaming music happened. And here’s where I hear a plaintive lacrimoso recitative: Don’t streaming music services have a wealth of classical offerings?

Yes—and, effectively, no. Both Apple Music and Spotify boast thousands upon thousands of all of the above and more. And they’re wonderful to listen to if you know exactly what you’re looking for. If you don’t—if you’re relying on either of these streaming services to help you discover new composers or new performers or new works, or if you’re looking to use their interface to explore these things on your own—you’re likely out of luck.

It all comes down to metadata. While metadata for most popular music is quite simple—there’s the artist, the song or track, and the album it’s from—classical metadata might encompass everything from the composer, the orchestra, the conductor, the choir (which may have its own director), various soloists, the title of the piece (along with perhaps some sort of number or nomenclature to indicate its place within a larger symphony or work), and an artist’s opus number, or, in the case of composers like Mozart or Bach, whose works are ordered by their own system, their Kochel or BWV number. Not simple.

This isn’t merely a matter for Juilliard students to debate while waiting for rehearsal space. If a streaming service doesn’t have more than three or more fields of dynamic metadata, any browsing or searching you do will be rendered largely pointless. There’s a larger issue of respect at play here as well. If you want to browse by genre in Apple Music, for example, you’re presented with 35 categories to choose from, including African Music, Bollywood, K-Pop, Latino, Música Mexicana, Música Tropical, Pop Latino, Reggae, Rock y Alternativo, Soul/Funk, Urbano Latino, and World—yet 15 centuries of music from around the world, from Gregorian chant and liturgical plainsong through Bach, Mozart, Beethoven, Chopin, Wagner, Stravinsky, Debussy, John Cage, musique concrète, Steve Reich, Iannis Xenakis, Gavin Bryars, Philip Glass, Nico Muhly, and the Boston Pops are all neatly encompassed under a single genre: Classical.

And then there’s this: Browse “Ludwig van Beethoven” under Artists in Apple Music, and you’ll find what seems to be a helpful scroll at the bottom of the screen listing “Similar Artists.” Fair enough—there’s Tchaikovsky, Mozart . . . uh . . . The Philadelphia Orchestra. . . and then, oddly, Chopin. Click on that Chopin and you’ll find not the sublime work of the peerless Frédéric Chopin, who composed music of staggering, heartrending genius, but a song called “Circumstance” by the hip-hop artist J.O. Rodriguez, featuring “Chopin.” (Opening line: “Seems like lately you gotta do everything your daaaaamn self. Can’t ask for no daaaaaamn help.”) Molto agitato!

To compound the insults, have a gander at the “Top Songs” listed under any major composer. Who knew, really, that a highlight of Beethoven’s oeuvre was “Fur Elise Reimagined” by DJ cMellow & Ludwig van Beethoven? And who could have predicted that the second track listed for Mozart would be his “Piano Sonata No. 10 in C Major” as recorded by the virtually unheard-of Pennrose Orchestra on Classical Piano Lullabies Volume 1? (It’s the pastel-color album with a teddy bear on the cover.)

As far as Spotify goes: Take much of the above, with a slightly more user-friendly interface. Tidal? Same, plus a virtually useless search function. Sounds complicated, yes?

The upside of all this: It doesn’t have to be this way. There’s 15 centuries of mind-blowing music out there waiting for you to discover it, or rediscover it, or obsess on it—and it doesn’t require a lick of expertise on your part.

Idagio, launched in the United States and Canada last fall, is a new streaming service focusing solely on classical recordings—but focusing on doing it right. It’s not simply a matter of what they offer (currently over a million tracks, with 20,000 more added each month), but, rather, how they offer it: Idagio’s interface is at once elegant, easy to navigate and understand, and robust in terms of what you can do with it. Searches are a breeze—or if you don’t know just what you’re looking for, you can browse by composers, ensembles, soloists, conductors, instruments, genres, and periods. Still at a loss? Use the Discover-button navigation to find featured new releases, look at what’s popular now, or listen to composer essentials, award-winning albums, or scores and scores of brilliantly curated themed playlists (from “Femme Fatales” and learned explorations of, say, the overture or the toccata to “Child Prodigies” and classical music for children) and exclusive performances and recordings. Save whatever you want to your own playlist, and download anything you want available 24/7. If you’re an audiophile who obsesses about sound quality, you can stream (and download) in lossless format.

Too complicated? There’s a button for that, too. Go to “Moods” navigation, and a circle appears on-screen. Simply put your finger down and twirl the circle to pick any one of the moods that arise: Passionate (a Schumann sonata for violin and piano); Melancholic (a Schubert string quartet); Radiant (some rousing Paganini for violin and orchestra); Gentle (a Scriabin piano sonata); and onward through Exciting, Nervous, Angry, Happy, Relaxed, Peaceful, Optimistic, Joyful, Powerful, Festive, Sad, and Tragic.

Me, I generally know what I’m looking for, though there’s no button for The Opposite of Punk Rock. I listen to enough (mostly) guitar-based music that’s passionate, radiant, exciting, nervous, angry, joyful, and powerful all at once that when I reach for classical music, I’m likely going for some sweet spot in between melancholic, gentle, and tragic—a combination that I consider radiant, joyful, and powerful. Specifically, this usually takes the form of sacred choral music from the 16th and 17th century (I have a 30-year-long fanboy obsession with The Tallis Scholars under the direction of Peter Phillips) and more modern piano music—mainly in forms a bit smaller and quieter than full-on concertos and sonatas—from the likes of Arvo Pärt, Bartók, Messiaen, Satie, Copland, Reich, and Barber.

But has Idagio actually changed my life, or just given me another music-streaming app with which to obsess over and build absurdly specific categorized playlists? A little bit of both, frankly: I’ve found that—particularly with a good pair of noise-canceling headphones—solo piano music is an almost ecstatic counterpoint to a morning-rush-hour subway commute. I’ve discovered that the high-volume, lossless streaming of The Tallis Scholars’s rendition of Allegri’s Miserere transports me to Merton College Chapel at Oxford, where it was recorded, in a way that sets the hairs on my arm on end.

I’ve also started buying more tickets to classical concerts (in particular the brilliantly curated and hauntingly site-specific splendors of the Angel’s Share series, held in the catacombs of Green-Wood Cemetery in Brooklyn) and fewer to everything else. And instead of playing air guitar, I’m listening to pieces I used to sing a long time ago—in particular, Mozart’s “Non più andrai” aria from Le Nozze di Figaro, under the weight of which I crashed and burned at state competition in high school—and air-singing them with sublime perfection. (Idagio offers 23 well-annotated recordings of this aria, in recordings from 1937 to 2015, not one of which is from Mozart and Baby Friends Playtime.)

In short: Bravo.