25 Years Experimentalstudio Freiburg
View record and artist detailsRecord and Artist Details
Composer or Director: Silvia Fómina, Dror Feiler, Pierre Boulez, Manfred Stahnke, Günter Steinke, Mauricio Kagel, Antoine Beuger, György Ligeti, Brice Pauset, Peter Ablinger, Benedict Mason, Frederic (Anthony) Rzewski
Label: Col legno
Magazine Review Date: 6/1999
Media Format: CD or Download
Media Runtime: 229
Mastering:
DDD
Catalogue Number: WWE3CD 20026
Tracks:
Composition | Artist Credit |
---|---|
IEAOV |
Peter Ablinger, Composer
Andrew Digby, Trombone Gregory Johns, Cello Michael Svoboda, Trombone Peter Ablinger, Composer Scott Roller, Cello |
Fourth Music for Marcia Hafif |
Antoine Beuger, Composer
Antoine Beuger, Composer Olaf Henzold, Conductor South West German Radio Symphony Orchestra |
Anthèmes 2 |
Pierre Boulez, Composer
Hae-Sun Kang, Violin Pierre Boulez, Composer |
Ember |
Dror Feiler, Composer
Dror Feiler, Composer Olaf Henzold, Conductor South West German Radio Symphony Orchestra |
Auguri Aquae |
Silvia Fómina, Composer
Michael Gielen, Conductor Silvia Fómina, Composer South West German Radio Symphony Orchestra Tomoka Hemmi, Harpsichord Yukiko Sugawara, Piano |
Etudes 1-3 |
Mauricio Kagel, Composer
Mauricio Kagel, Composer Michael Gielen, Conductor South West German Radio Symphony Orchestra |
Etudes, Book 3, Movement: Pour Irina |
György Ligeti, Composer
György Ligeti, Composer Irina Kataeva, Piano |
(The) Four Slopes of Twice among Gliders of her Gr |
Benedict Mason, Composer
Benedict Mason, Composer Irina Kataeva, Piano |
Perspectivae Sintagma I (canons) |
Brice Pauset, Composer
Brice Pauset, Composer Jean-Luc Plouvier, Piano |
Scratch Symphony (In memory of Cornelius Cardew) |
Frederic (Anthony) Rzewski, Composer
Frederic (Anthony) Rzewski, Composer Michael Gielen, Conductor South West German Radio Symphony Orchestra |
Trace des sorciers |
Manfred Stahnke, Composer
Manfred Stahnke, Composer Olaf Henzold, Conductor South West German Radio Symphony Orchestra |
Arcade |
Günter Steinke, Composer
Günter Steinke, Composer Lucas Fels, Cello |
Composer or Director: Cristóbal Halffter, Isabel Mundry, Dieter Schnebel, André Richard, Emmanuel Nunes, Mark André, Diego Minciacchi, Brian Ferneyhough, Luigi Nono
Label: Col legno
Magazine Review Date: 6/1999
Media Format: CD or Download
Media Runtime: 226
Mastering:
DDD
Catalogue Number: WWE3CD 20025
Tracks:
Composition | Artist Credit |
---|---|
AB II |
Mark André, Composer
Mark André, Composer Recherche Ensemble |
Time and Motion Study II |
Brian Ferneyhough, Composer
Brian Ferneyhough, Composer Werner Taube, Cello |
Variaciones sobre la resonancia de un grito |
Cristóbal Halffter, Composer
Cristóbal Halffter, Composer Ernest Bour, Conductor South West German Radio Symphony Orchestra |
Klavierstück IV: Vae Victis |
Diego Minciacchi, Composer
Diego Minciacchi, Composer Ortwin Stürmer, Piano |
Gesichter |
Isabel Mundry, Composer
Christian Dierstein, Percussion Claudia Barainsky, Singer Françoise Rivalland, Percussion Isabel Mundry, Composer Salome Kammer, Singer |
Diario Polacco No. 2: Quando stanno morendo |
Luigi Nono, Composer
Elisabeth Rave, Soprano Lucas Fels, Cello Luigi Nono, Composer Martin Fahlenbock, Bass flute Monika Bair-Ivenz, Soprano Petra Hoffmann, Soprano Susanne Otto, Contralto (Female alto) |
Wandlungen |
Emmanuel Nunes, Composer
Emmanuel Nunes, Composer Ensemble Modern Ernest Bour, Conductor |
Echanges |
André Richard, Composer
André Richard, Composer Lothar Zagrosek, Conductor South West German Radio Symphony Orchestra |
Monotonien I, IV, V |
Dieter Schnebel, Composer
Dieter Schnebel, Composer Marianne Schroeder, Piano |
Author: kYlzrO1BaC7A
The Freiburg retrospective pays tribute to the studio that has specialized in revealing music’s spatial dimension. In the 1970s, this meant merging composition and performance into a dynamic listening process: witness Ferneyhough’s integration of these apparent opposites into music of claustrophobic intensity. Nono’s work typifies his output in the 1980s, achieving an effortless continuity between its hieratic vocal writing and the graphic ‘interference’ of cellist and speakers, in a sound world as vast as it is intangible. Andre Richard’s Echanges demonstrates musical imagination as well as technical expertise, moving powerfully from its opening antiphonal exchanges to a haunting cor anglais soliloquy. Among recent works, Diego Minciacchi’s Vae Victis makes much of the disparity between the teeming exuberance of the ‘live’ piano part and the studied neutrality of the tape. Isabel Mundry’s Gesichter draws some arresting timbres from voices and percussion, the spatial facet affording an eloquence the music might not otherwise possess.
The selection from the 1997 Donaueschingen Festival confirms that an enquiring spirit is still active, though some will contend that today’s answers are essentially those to yesterday’s questions. Certain works – the Beuger and Mason in particular – are too close to installation art for a recording to adequately convey their meaning. Mauricio Kagel’s Etudes display a pungent orchestral imagination, the musical material shrouded in sufficient ambiguity to keep the listener intrigued. Frederic Rzewski bravely reinvents the egalitarian ensemble, although his Scratch Symphony loses focus after its opening movement – a ravishing study in timbre recalling both Ives and Schoenberg. Anthemes continues Boulez’s spatial exploration of natural and treated sound; its cascading opening and pizzicato resonances – from 13'30'' – are among his most mesmeric ideas. Two other works stand out: Silvia Fomina’s Auguri Aquae maintains a consonant purity through all its accumulating complexity; Peter Ablinger’s IEAOV is akin to a frozen musical sculpture, poised between meaningful harmonic density and white noise.
While these recordings are only a partial overview on the state of Western art music at the close of the century, they offer provocation and satisfaction in equal measure, as well as significant pointers to the future. Everyone drawn into the maze of contemporary culture needs to investigate them.'
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