Mathias Spahlinger - Musica impura

Mathias Spahlinger is a fastidious composer of highly charged music. His music does recall Lachenmann, but he is not a Lachenmann drone or imitator (like many younger-generation German composers). Instead he reaches back to the music of Webern through ultra-condensed miniatures and a very economical manner of writing. When I first heard Spahlinger, I was totally unprepared for the visceral intensity of his music; unlike the restrained expressionism of his Second Viennese School ancestors, Spahlinger's music frequently boils over into violent noise. This music needs to be listened to very carefully. It is an exploration of monumental relevations of expression in a small, compact, terse, and very dense manner. Albeit not such a distinction, (avaxhome.ru)



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thanks avant-terrorist :)

William Duckworth - The time curve preludes

William Duckworth's Well-Tempered Clavier of minimalism. Elegant studies in proportion and sonority. Each prelude grows from a single rhythmic figure, uses modal harmonies, raga-style drones, and Medieval melodic outlines, and captures a particular but relatively brief mood, whether meditative, dance-like, or song-like. Duckworth's shifting, modal patterns unfold in a specially reverberant universe created by sustaining (with weights) certain of the keyboard's lowest notes. With pace and duration perfectly controlled, the preludes progress from sweetness to pungency with an elegiac inevitability.

Performer: Neely Bruce

Tracklisting:

1 Untitled (2:21)
2 Untitled (2:08)
3 Untitled (2:00)
4 Untitled (1:54)
5 Untitled (2:09)
6 Untitled (4:11)
7 Untitled (2:45)
8 Untitled (1:48)
9 Untitled (1:48)
10 Untitled (1:46)
11 Untitled (3:34)
12 Untitled (2:45)
13 Untitled (3:12)
14 Untitled (3:45)
15 Untitled (1:40)
16 Untitled (2:17)
17 Untitled (2:33)
18 Untitled (2:03)
19 Untitled (2:36)
20 Untitled (1:44)
21 Untitled (1:45)
22 Untitled (2:11)
23 Untitled (3:30)
24 Untitled (2:35)

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Jani Christou - Symphony No. 1

Jani Christou was born at Heliopolis, N.E. of Cairo on January 9th, 1926, of Greek parents. He was educated at the English School in Alexandria, and began composing at an early age. In 1945 he travelled to England to study formal logic and philosophy at Kingâs College, Cambridge under Ludwig Wittgenstein and Bertrand Russell (he attained an MA in philosophy in 1948). At the same time he studied music privately with H. F. Redlich, the distinguished musicologist and pupil of Alban Berg, and in 1949 travelled to Rome to study orchestration with F. Lavagnino. He also travelled widely in Europe, culminating for a short period in Zurich, where he met and attended lectures in psychology with Carl Jung. Christou's studies in psychology were greatly encouraged by his brother Evanghelos (himself a pupil of Jung) whom Christou considered his spiritual mentor and who exerted a strong influence on his creative thinking. Christou was deeply affected by his brother's death in 1956 as the result of a car accident, and it was Jani who arranged the posthumous publication of Evanghelos's book The Logos of the Soul.

He returned to Alexandria in 1951, and in 1956 he married Theresia Horemi a remarkable young painter from Chios who supported and assisted Christou in all his artistic and creative aspirations. Christou would compose for long hours at a stretch, and when not actually physically engaged in the act of composing would spend a great deal of time studying in his vast library of books and absorbing subjects from philosophy, anthropology, psychology, theology and comparative religions, history and pre-history through to occultism and art. Christou was as much a philosopher and metaphysician as he was a composer, and it is important to understand that all of his music sprang from his philosophical studies and theories. This is particularly so in the music covering the last ten years of his life, where his compositional techniques are at times transmuted beyond conventional music. In a series of Î130 Projectsâ (described by John G. Papaioannou as 130 metamusical, ritual works) Christou extends musical syntax to such a degree that the boundaries between music, theatre and everyday 'life', merge, coexist and sometimes become mutually independent one from the other: Anaparastasis III (The Pianist) for actor and instrumental ensemble and tapes (1968); Anaparastasis I, for baritone and instrumental ensemble (1968) and Enantiodromia are prime examples of this genre of Christou's late music. (http://www.janichristou.org/)



Symphony No. 1 for mezzo-soprano and orchestra (1951)
Athens State Orchestra. Kitsa Damassiotou, mezzo-soprano. Conductor: Alec Sherman

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Phoenix Music for Orchestra (1949)
Deutsches Symphonie-Orchester Berlin, conductor: Brad Lubman

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Liz Allbee/Sharon Cheslow/Weasel Walter - Plants That Kill




Liz Allbee is a voracious musician whose work spans many genres, including new music, improvisation, electronic composition, Asian folk and pop, noise, minimalist, free jazz and experimental rock. She has played with a wide array of musicians, including Anthony Braxton, Wadada Leo Smith, Cecil Taylor, Hans Grusel, Birgit Uhler, Alberto Braida, Fabrizio Spera, Gino Robair, Yugen Noh Theater, SFSound, and with members of Caroliner, Sun City Girls, and Rova. She lives in Oakland, CA.


1. dionaea muscipula
2. cephalotus follicularis
3. utricularia
4. nepenthes
5. prosopis
6. syzygium
7. quisqualis pubescens
8. dalmatian spurge
9. strophantus
10. convolvulus jalapa

genre: free improvisation

liz allbee - trumpet, electronics, conch shell, voice
sharon cheslow - guitar, electronics, objects, voice
weasel walter - drums, percussion

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Nicolas Schöffer - Hommage À Bartók

Genre: electronic, experimental, avant

Tracklisting:

		Electronic Compositions
1		Chronosonor 1–2 (10:12)
2		Chronosonor 3 (9:53)
3		Chronosonor 5 (11:30)
4		Percussonor 1–2 (8:48)

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Vittorio Gelmetti - Musiche elettroniche

Genre: electronic, experimental, contemporary classical, avantgarde

Tracklisting:

1		Trendi D'Onda A Modulazione D'Intensità (10:40)
2		Modulazioni Per Michelangiolo (15:20)
3		Nous Irons A Tahiti (13:40)
4		Traumdeutung (10:10)
5		L'Opera Abbandonata Tace E Volge La Sua Cavità Verso L'Esterno (23:10)

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