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Kronos Quartet - Uniko (2011) - Concert Abbaye de l'Epau (2008)

ooliver — Sun, 15 May 2011 07:46:53 GMT

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Uniko is like an ocean tide coming in. Big wawes of sounds build in complexity, animation and sometimes sheet frenzy.

The New York Times

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In memoriam Aldo Clementi (1925 - 5 mar 2011) ES [1982]

ooliver — Thu, 10 Mar 2011 22:17:37 GMT

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For a number of years, it has been my convinction that Music (and Art in general) must simply have the humble task of describing its own End, or at the very least, its slow dying out. ... Misunderstandings are only created by those who, even unconsciously, think of music as a discourse, and thus, even unawares, as caricature of an arc that describes a useless orgasm. ... Everything flows smoothly, even in total immobility. The reality that surrounds us already moves too fast to make us want to imitate it. The end naturally creates a sense of saturation and exhaustion, but it is never definitive: by way of a hopeless inurement, we immediately hasten into the infinite and the eternal.

Aldo Clementi, from sleeve text

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In Memory of Aldo Clementi (1925 - 4 mar 2011) Opere scelte [1987]

ooliver — Tue, 08 Mar 2011 19:31:25 GMT

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Clementi, with his customary intransigence, proceeds down his solitary road, which in recent years has led him to the use of the so-called "informal" borrowed from certain experiences in painting. (...)
Clementi shapes his music with the transparency and essentiality of means that make master-works.

from sleeve text

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John Cage (1912-1992) - Works for percussion Vol. 5 (2008)

ooliver — Tue, 23 Nov 2010 11:34:27 GMT

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A decade and half after John Cage's death, his oeuvre still has much to offer in the way of surprise. ... Cage always said he considered himself essentially a percussionist composer

Andràs Wilheim

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Sofia Gubaidulina - Complete piano works (2006)

ooliver — Tue, 23 Nov 2010 09:11:21 GMT

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Diana Baker's tone is sparkling, never ugly or brassy, and she navigates her way through Gubaidulina´s muscular virtuosity with the finesse of a Russian ballerina. An important recording.

Haskins / American Record Guide

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Luciano Berio [1925–2003] Epifanie - Coro (2004)

ooliver — Thu, 18 Nov 2010 22:14:30 GMT

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The present release in our Festspieldokumente Edition is intended to illustrate the close bond between Berio and the Salzburg Festival and features performances of two of his most important works, both of which caused something of a sensation not just in Salzburg but in the wider musical world. Both works - Epifanie, which was written between 1959 and 1961, and Coro, which received its first performance at Donaueschingen in 1976 - were later revised and their original versions were withdrawn. For this reason if for no other, the unrevised versions released here are of particular importance for the performing history and reception of these works.

from the attached booklet

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Helmut Lachenmann - dal niente.... (2008)

ooliver — Thu, 18 Nov 2010 12:15:33 GMT

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From Pression for solo cello of 1969 to the trio Allegro sostenuto of 1986-88, listeners of the present CD are confronted with central stations in Helmut Lachenmann's oeuvre ...... Lachenmann worked out his idea of a "musique concrete instrumentale", taking the idea of sound production, which until then had been merely taken for granted in the tradition but never explored in such a radical way, and moving to the foreground of compositional thinking

from the attached booklet

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Cage-Carter-Riley: Changes Chances - Elena Càsoli, guitars (2006)

ooliver — Wed, 17 Nov 2010 17:06:11 GMT

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This record is devoted to three American composers who I only met once but whose work I listened to a great deal before and after I met them. And each of those composers provided me with their own illuminating guidance through what is now known as New Music. ...........
While I know that many people have to spend their lives rushing here and there, I should like to suggest that they listen slowly to everything on this recording as a single, whole event. Only by doing this and absorbing the actual sound of the guitars themselves, the vibrations of their strings and the overall architecture of what is here will listeners hear that each piece is not an independent document but that its identity exists precisely in relation to what comes before and after it.

Elena Càsoli

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Pierre Henry (b 1927) - Mise en musique du Corticalart (1971)

ooliver — Fri, 29 Oct 2010 09:07:20 GMT

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With Corticalart (cortex's art) the connection between artist and his instrument become thousand times clutched than usually. It's the better process to go, early and rightly, to the origin of mental gesture of creation, to intercept, to amplify and to organize instantly the secret voice of main psychical mechanisms.
«Je suis un homme de variété qui compose de façon classique, à partir de bruits intérieurs qui viennent de mes rêves» (Pierre Henry 2010)

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20 Rosas (2002) Fill Out

ooliver — Sun, 03 Oct 2010 17:37:58 GMT

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20 Rosas: soirée for the 20 years of Rosas's Company - Première partie

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20 Rosas (2002)

ooliver — Tue, 27 Jul 2010 21:47:52 GMT

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20 Rosas: soirée for the 20 years of Rosas's Company

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Lectura Dantis - Bene/Sciarrino (1981)

ooliver — Mon, 10 May 2010 21:03:55 GMT

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Many actors read-out some "Canti" of Dante's Divina Commedia, but nobody did it like Carmelo Bene, moreover with accompaniment of Salvatore Sciarrino's "musique de scène"

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Ivan Vandor - Ritratto (2010, live broadcast)

ooliver — Mon, 29 Mar 2010 21:11:53 GMT

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Of the eight pieces in program, all for small groups of performers, six are of recent years, one in 1995 and "Song of Farewell" even in 1966. These tracks have in common some key characteristics: the parts of different instruments often move in apparent independence from one another, in a contrapuntal way, also rely mostly on sequences of small intervals. The dominant dynamic is "piano", mostly the "pianissimo", the times are generally slow or very slow. All this combines to create a "timeless", an inner feeling of suspension or extension of time, almost of fixity, which is essentially and strongly contemplative.

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Bruno Maderna [1920 Venezia - 1973 Darmstadt] (2007)

ooliver — Fri, 26 Mar 2010 10:31:52 GMT

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L'uomo, non come quantità, come massa, ma come singolo deve lottare per un mondo ideale, dove ci sia posto per il veggente, anche per il precursore, e poco importa se è un anarchico (Man, not in quantity, as in mass, but as an individual, alone, must strive for his ideal world, where there is place for the seer, as for the precursor, and little does it matter ìf he be an anarchist)

Bruno Maderna

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Bruno Maderna [1920 Venezia - 1973 Darmstadt] Musica da camera (1994)

ooliver — Thu, 25 Mar 2010 20:57:29 GMT

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The problem of what 'interpret' means is particularly fascinating for the music of the sixties and seventies, with those "open" works which permit a creative contribution on the part of the performer. The concept of interpretation itself is in itself open to "opening up": it changes with time, and how much more the conditions change between the moment of conception and that of performance of a work.

C. Ambrosini, from the attached booklet

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Bruno Maderna [1920 Venezia - 1973 Darmstadt] Oboe Concertos (2006)

ooliver — Thu, 25 Mar 2010 19:47:32 GMT

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"While working out the piece I was constantly aware that music already existed, that it had always existed, even the music that I was writing. It is merely necessary to trust what you hear around you and in you, and to realize it in a score. 'Fixed form' and 'open' are the same thing".
Bruno Maderna wrote that of his "Third Oboe Concerto", the last work he wrote before dying on November 13, 1973.

from the booklet attached

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Luciano Berio [1925–2003] The String Quartets (2002)

ooliver — Wed, 24 Mar 2010 18:58:47 GMT

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It is significant that it was in the 1950s, exactly when experimental fervour was at its height at the Studio di Fonologia in Milan, that Luciano Berio also decided to tackle the quartet, almost as if he wished to counterbalance, with this structural discipline, the disorientating wealth of possibilities of the new electronic experimentation. As Berio himself has declared, "the serial experiment meant for me, above all, an objective broadening of musical means and the possibility of examining a more extensive musical domain whilst respecting, indeed taking pleasure in, its premisses."

from the attached booklet

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Luciano Berio [1925–2003] Violin Works (2006)

ooliver — Wed, 24 Mar 2010 18:23:23 GMT

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Studying Berio's works, one realises how it is essential to progressively abandon the instruments of the past dialectic and mostly those relationships "cause - effect" upon which any deduction approach is grounded. Each of his works is based on the concept of multipolarity, i.e. on a boundless and continuous proliferation of linguistic correlations".

Enzo Restagno: "Luciano Berio" Torino 1995

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Niccolò Castiglioni (1932-1996) - Complete Works for Oboe (2009)

ooliver — Wed, 24 Mar 2010 07:46:19 GMT

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Among the most important contemporary composers Niccolò Castiglioni is one who, through his spontaneous experiencing of the musical material, personifies the romantic concept of genius at its best: he is the one, who through his simplicity, sincerity and merriment, sings praises of the wonders of an enchanted and fairytale like nature, which the lay person with deeply-felt humanity and mystical devotion can participate in.

Renzo Cresti: "Il linguaggio musicale di Niccolò Castiglioni". Milano/Guido Miano Publishers, 1991

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Niccolò Castiglioni (1932-1996) - Cangianti (2007)

ooliver — Tue, 09 Mar 2010 16:25:06 GMT

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... these recordings enable us to establish contact with one of the most unusual musical poetics of the late 20th century. ... but what matters most is that anyone stepping into this world returns a child and look ahead at the objects of life with the eyes of a child

Alfonso Alberti, from booklet notes

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