Browse Titles - 10 results
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Broken Line
composed by Alvin Lucier, 1941-; produced by Eckhard Glauche, fl. 2001 (Mode Records, 2015), 1 hour 4 mins
Sample
composed by Alvin Lucier, 1941-; produced by Eckhard Glauche, fl. 2001 (Mode Records, 2015), 1 hour 4 mins
Date Written / Recorded
2012-07
Field of Study
Classical Music
Content Type
Music recording
Contributor
Thomas Monnerjahn, fl. 2012, Eckhard Glauche, fl. 2001
Author / Creator
Alvin Lucier, 1941-
Date Published / Released
2015
Publisher
Mode Records
Copyright Message
Copyright © 2015 by Mode
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Cage: A Cage of Saxophones, Vol. 1
composed by John Cage, 1912-1992; produced by Dr. Wilhelm Schlemm; performed by Ulrich Krieger, 1962-, Kathrin Wagner, Gerhard Scherer, Mario Bertoncini, Reinhold Friedl, Friedemann Werzlau, Tobias Rüger, Reimar Volker, Raymond Kaczynski and Andreas Peters (Mode Records), 1 hour 14 mins
Sample
composed by John Cage, 1912-1992; produced by Dr. Wilhelm Schlemm; performed by Ulrich Krieger, 1962-, Kathrin Wagner, Gerhard Scherer, Mario Bertoncini, Reinhold Friedl, Friedemann Werzlau, Tobias Rüger, Reimar Volker, Raymond Kaczynski and Andreas Peters (Mode Records), 1 hour 14 mins
Date Written / Recorded
1999-11-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Ulrich Krieger, 1962-, Kathrin Wagner, Gerhard Scherer, Mario Bertoncini, Reinhold Friedl, Friedemann Werzlau, Tobias Rüger, Reimar Volker, Raymond Kaczynski, Andreas Peters
Contributor
Ekkehard Stoffregen, Dr. Wilhelm Schlemm
Author / Creator
John Cage, 1912-1992, Ulrich Krieger, 1962-, Kathrin Wagner, Gerhard Scherer, Mario Bertoncini, Reinhold Friedl, Friedemann Werzlau, Tobias Rüger, Reimar Volker, Raymond Kaczynski, Andreas Peters
Publisher
Mode Records
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Cage: Two^6; Four No3
composed by John Cage, 1912-1992; produced by Michel Bernard; performed by Ami Flammer, Martine Joste, Dominique Alchourroun and Jean Michaut (Mode Records), 1 hour 9 mins
Cage's last series of works was a total of 47 so-called "number pieces" written between 1987 and 1992. They are performed on this CD by Ami Flammer (violin and rainsticks), Martine Joste (piano and rainsticks), Dominique Alchourroun (piano and rainsticks), and Jean Michaut (rainsticks). The title Four3, describes...
Sample
composed by John Cage, 1912-1992; produced by Michel Bernard; performed by Ami Flammer, Martine Joste, Dominique Alchourroun and Jean Michaut (Mode Records), 1 hour 9 mins
Description
Cage's last series of works was a total of 47 so-called "number pieces" written between 1987 and 1992. They are performed on this CD by Ami Flammer (violin and rainsticks), Martine Joste (piano and rainsticks), Dominique Alchourroun (piano and rainsticks), and Jean Michaut (rainsticks). The title Four3, describes four "interpenetrating" activities (silence, rainsticks, a high note without vibrato, two pianists playing random fragments from Cage's...
Cage's last series of works was a total of 47 so-called "number pieces" written between 1987 and 1992. They are performed on this CD by Ami Flammer (violin and rainsticks), Martine Joste (piano and rainsticks), Dominique Alchourroun (piano and rainsticks), and Jean Michaut (rainsticks). The title Four3, describes four "interpenetrating" activities (silence, rainsticks, a high note without vibrato, two pianists playing random fragments from Cage's Extended Lullaby) and only incidentally four performers, similar to Robert Ashley's Trios (White on White) for various instruments (1963). This has a subtle and mysterious landscape effect. One5 for Piano Solo is a 21-minute piece, made from 21 isolated sound "tanks" for the left hand and 24 for the right hand which are freely chosen by the performer. The sustaining pedal is used to overlap these sounds. Dynamics are also left to the performer, as is duration to a certain extent. In Two6 for Violin and Piano, each performer has two "data banks" of materials with which to fill the time brackets that total 20 minutes. And silence is always an option. The violinist either plays at the verge of audibility, or plays a florid passage. The pianist may select from an ascending scale of sonorities, and may also play from the Extended Lullaby, the set of (quasi-)random variations that Cage composed on Erik Satie's Vexations. The parts are realized by the performers from these materials, as they are encouraged to maintain a sense of the "intangible" which these performances achieve beautifully. ~ "Blue Gene" Tyranny, All Music Guide
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Date Written / Recorded
1994-01-24
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Ami Flammer, Martine Joste, Dominique Alchourroun, Jean Michaut
Contributor
Madeline Sola, fl. 1988, Michel Bernard
Author / Creator
John Cage, 1912-1992, Ami Flammer, Martine Joste, Dominique Alchourroun, Jean Michaut
Publisher
Mode Records
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Christian Wolff: (Re:) Making Music - Works 1962-1999
composed by Christian Wolff, 1934-; conducted by James Fulkerson; produced by James Fulkerson; performed by Elisabeth Smalt, Jos Zwaanenburg, Nicola Walker-Smith and Charles Van Tassel, The Barton Workshop, in Edition Christian Wolff (Mode Records), 1 hour 14 mins
Having little to do with issues of content and form, Christian Wolff's experimental works are more concerned with the ways music is created and received, and how the composer's conceptions are intimately tied to the performers' interactions and the listener's perceptions. Like his colleague John Cage, Wolff eschew...
Sample
composed by Christian Wolff, 1934-; conducted by James Fulkerson; produced by James Fulkerson; performed by Elisabeth Smalt, Jos Zwaanenburg, Nicola Walker-Smith and Charles Van Tassel, The Barton Workshop, in Edition Christian Wolff (Mode Records), 1 hour 14 mins
Description
Having little to do with issues of content and form, Christian Wolff's experimental works are more concerned with the ways music is created and received, and how the composer's conceptions are intimately tied to the performers' interactions and the listener's perceptions. Like his colleague John Cage, Wolff eschewed the rigors of post-Webernian serialism and instead wrote in an intuitive manner, avoiding systems and communicating more directly th...
Having little to do with issues of content and form, Christian Wolff's experimental works are more concerned with the ways music is created and received, and how the composer's conceptions are intimately tied to the performers' interactions and the listener's perceptions. Like his colleague John Cage, Wolff eschewed the rigors of post-Webernian serialism and instead wrote in an intuitive manner, avoiding systems and communicating more directly through raw sonorities and improvisation. Vol. 6 of the Edition Christian Wolff surveys works from 1962 to 1999, and covers a wide range of instrumental combinations and approaches, from the complex gestures of Kegama and the hyperactivity of Digger Song, to the conversational frankness of the vocal duets in Leaning Forward and the rustic fiddling of the Pieces (3) for violin and viola. Wolff's adventurous ideas are effectively shown in the four Exercises, where his concepts are worked out in short, digestible portions. Always attuned to Wolff's intentions and demands, the Barton Workshop makes his pieces sound fresh and vital, and recaptures some of the excitement this music generated at the height of the avant-garde. However, listeners should not take these performances as definitive, for that is an impossibility in Wolff's open-ended oeuvre. Mode's sound quality is consistently excellent throughout this varied double disc. ~ Blair Sanderson, All Music Guide
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Date Written / Recorded
1999
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Barton Workshop, Elisabeth Smalt, Jos Zwaanenburg, Nicola Walker-Smith, Charles Van Tassel
Contributor
James Fulkerson, Robert Bosch, 1861-1942
Author / Creator
Christian Wolff, 1934-, The Barton Workshop, Elisabeth Smalt, Jos Zwaanenburg, Nicola Walker-Smith, Charles Van Tassel
Publisher
Mode Records
Series
Edition Christian Wolff
Tracks
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(Re):Making Music - CD 2
composed by Christian Wolff, 1934-; conducted by Frank Denyer, 1943-; produced by James Fulkerson; performed by Marieke Keser, Elisabeth Smalt, Frank Denyer, 1943-, John Anderson, Judith Van Swaay and James Fulkerson, The Barton Workshop, in Edition Christian Wolff (Mode Records), 1 hour 25 mins
Sample
composed by Christian Wolff, 1934-; conducted by Frank Denyer, 1943-; produced by James Fulkerson; performed by Marieke Keser, Elisabeth Smalt, Frank Denyer, 1943-, John Anderson, Judith Van Swaay and James Fulkerson, The Barton Workshop, in Edition Christian Wolff (Mode Records), 1 hour 25 mins
Date Written / Recorded
1999
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Barton Workshop, Marieke Keser, Elisabeth Smalt, Frank Denyer, 1943-, John Anderson, Judith Van Swaay, James Fulkerson
Contributor
Frank Denyer, 1943-, Robert Bosch, 1861-1942, James Fulkerson
Author / Creator
Christian Wolff, 1934-, The Barton Workshop, Marieke Keser, Elisabeth Smalt, Frank Denyer, 1943-, John Anderson, Judith Van Swaay, James Fulkerson
Publisher
Mode Records
Series
Edition Christian Wolff
Tracks
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Made in America: The Complete Works by William Russell
composed by William "Bill" Russell, 1905-1992; conducted by Charles Wood, 1866-1926; produced by Brian Brandt, fl. 2011; performed by Laurie Frink, Essential Music (Mode Records), 4 hours 19 mins
Sample
composed by William "Bill" Russell, 1905-1992; conducted by Charles Wood, 1866-1926; produced by Brian Brandt, fl. 2011; performed by Laurie Frink, Essential Music (Mode Records), 4 hours 19 mins
Date Written / Recorded
1991-08-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Essential Music, Laurie Frink
Contributor
Charles Wood, 1866-1926, David Avidor, Brian Brandt, fl. 2011
Author / Creator
William "Bill" Russell, 1905-1992, Essential Music, Laurie Frink
Publisher
Mode Records
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Speech Without Borders
composed by Bernadette Speach, 1948-; conducted by Bernadette Speach, 1948-; produced by Bernadette Speach, 1948-; performed by Jeffrey Schanzer, 1954-, Leonard Krech, Jan Williams, Anthony de Mare, Michael Pugliese, 1956-1997, Thulani Davis, 1949-, Lindsey Horner, Jeffrey Hoyer, Oliver Lake and Myra Melford, Bowery Ensemble (Mode Records), 54 mins
Sample
composed by Bernadette Speach, 1948-; conducted by Bernadette Speach, 1948-; produced by Bernadette Speach, 1948-; performed by Jeffrey Schanzer, 1954-, Leonard Krech, Jan Williams, Anthony de Mare, Michael Pugliese, 1956-1997, Thulani Davis, 1949-, Lindsey Horner, Jeffrey Hoyer, Oliver Lake and Myra Melford, Bowery Ensemble (Mode Records), 54 mins
Date Written / Recorded
1985
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Bowery Ensemble, Jeffrey Schanzer, 1954-, Leonard Krech, Jan Williams, Anthony de Mare, Michael Pugliese, 1956-1997, Thulani Davis, 1949-, Lindsey Horner, Jeffrey Hoyer, Oliver Lake, Myra Melford
Contributor
Bernadette Speach, 1948-, David Avidor
Author / Creator
Bernadette Speach, 1948-, Bowery Ensemble, Jeffrey Schanzer, 1954-, Leonard Krech, Jan Williams, Anthony de Mare, Michael Pugliese, 1956-1997, Thulani Davis, 1949-, Lindsey Horner, Jeffrey Hoyer, Oliver Lake, Myra Melford
Publisher
Mode Records
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Wolff,C., Vol.2: Chamber Works
composed by Christian Wolff, 1934-; conducted by James Fulkerson; produced by James Fulkerson; performed by Frank Denyer, 1943-, The Barton Workshop (Mode Records), 1 hour 12 mins
This collection presents a wonderful overview of the variety and range in Christian Wolff's work from 1950 through 1987, from the most delicate of soundpieces, to gently humorous works, to powerfully moving political and humanist statements. There are excellent performances by The Barton Workshop with composer/tro...
Sample
composed by Christian Wolff, 1934-; conducted by James Fulkerson; produced by James Fulkerson; performed by Frank Denyer, 1943-, The Barton Workshop (Mode Records), 1 hour 12 mins
Description
This collection presents a wonderful overview of the variety and range in Christian Wolff's work from 1950 through 1987, from the most delicate of soundpieces, to gently humorous works, to powerfully moving political and humanist statements. There are excellent performances by The Barton Workshop with composer/trombonist James Fulkerson as conductor and director. The works included are several that address feminist concerns and history: Piano Tri...
This collection presents a wonderful overview of the variety and range in Christian Wolff's work from 1950 through 1987, from the most delicate of soundpieces, to gently humorous works, to powerfully moving political and humanist statements. There are excellent performances by The Barton Workshop with composer/trombonist James Fulkerson as conductor and director. The works included are several that address feminist concerns and history: Piano Trio (Greenham - Seneca - Camiso), named after three women's peace encampments around the world; I Like to Think of Harriet Tubman, with a powerful text by {%Susan Griffin} about this brave "conductor" on the Underground Railroad who risked life and limb to guide slaves to freedom, which text also contains pointed references to modern times; and the Piano Song (I am a Dangerous Woman), to an insightful text by {%Joan Cavanagh} ("I will tell you, sir, whether you are concerned or not, masculinity has made of this world a living hell, a furnace burning away at hope, love, faith, and justice"). There are surprising instrumental pieces: the delicate Duo for Violinist and Pianist (1961) which is also a duo about contrasting senses of time; the remarkably forward-looking Serenade (1950) which Wolff composed when he was only sixteen years old; the beautiful in memoriam piece For Morty; and the sweetly humorous Stardust Pieces, named after his third child, {%Starbuck}. The Eisler Ensemble Pieces contain variations on traditional folk songs about joyful resistance to oppression. ~ "Blue Gene" Tyranny, All Music Guide
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Date Written / Recorded
1996
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Barton Workshop, Frank Denyer, 1943-
Contributor
James Fulkerson, Robert Bosch Geluid, fl. 2002
Author / Creator
Christian Wolff, 1934-, The Barton Workshop, Frank Denyer, 1943-
Publisher
Mode Records
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Xenakis: Music for Strings
composed by Iannis Xenakis, 1922-2001; conducted by Johannes Kalitzke, 1959-; produced by Harry Vogt; performed by John Eckhardt, Ensemble Resonanz (Mode Records, 2005), 58 mins
In its outstanding Edition Iannis Xenakis, Mode presents coherent programs that put the composer's hard-to-categorize works in context and help make his fierce but fascinating music more intelligible to a growing legion of admirers. This is the sixth volume in the series, covering six compositions for various conf...
Sample
composed by Iannis Xenakis, 1922-2001; conducted by Johannes Kalitzke, 1959-; produced by Harry Vogt; performed by John Eckhardt, Ensemble Resonanz (Mode Records, 2005), 58 mins
Description
In its outstanding Edition Iannis Xenakis, Mode presents coherent programs that put the composer's hard-to-categorize works in context and help make his fierce but fascinating music more intelligible to a growing legion of admirers. This is the sixth volume in the series, covering six compositions for various configurations of strings that also broadly represent three key periods in Xenakis' ouevre. Of his early works, Syrmos and Analogique A+B (...
In its outstanding Edition Iannis Xenakis, Mode presents coherent programs that put the composer's hard-to-categorize works in context and help make his fierce but fascinating music more intelligible to a growing legion of admirers. This is the sixth volume in the series, covering six compositions for various configurations of strings that also broadly represent three key periods in Xenakis' ouevre. Of his early works, Syrmos and Analogique A+B (both 1959) exemplify the mathematically generated music Xenakis developed at the beginning of his career, filled with group glissandi, clustered harmonics, and scurrying pizzicato textures. Two compositions of his dynamic middle period, Aroura (1971) and Theraps (1975-1976), reflect the severity of the mythopoetic concepts that preoccupied Xenakis in that decade. The somewhat gnomic late pieces, Voile (1995) and the sextet Ittidra (1996), are hard to define in terms of techniques or time period, yet demonstrate a consolidation of Xenakis' ideas, particularly in the dense accumulations of sounds and interwoven arboresences in Voile. The Ensemble Resonanz, directed by Johannes Kalitzke, is incisive in its execution and thrilling for its shockingly brilliant timbres; and bassist John Eckhardt deserves special recognition for his heroic solo performance of Theraps, one of the most incredibly difficult pieces for bass ever composed. Mode's sound quality is absolutely superb. ~ Blair Sanderson, All Music Guide
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Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Ensemble Resonanz, John Eckhardt
Contributor
Johannes Kalitzke, 1959-, Gerd Poschta, fl. 1999, Harry Vogt
Author / Creator
Iannis Xenakis, 1922-2001, Ensemble Resonanz, John Eckhardt
Date Published / Released
2005
Publisher
Mode Records
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Xenakis: Works for Piano, Vol. 4
composed by Iannis Xenakis, 1922-2001; conducted by Charles Peltz; performed by Aki Takahashi and Jane Peters, Society for New Music (Mode Records, 1999), 1 hour 1 mins
Known for drawing unusual sonorities from conventional instruments, Xenakis strangely left the piano's potential for novel sounds unexplored. In these works, Xenakis stays on the keyboard without so much as a plucked string or any use of gadgetry to alter the instrument's sound. Although that might make these piec...
Sample
composed by Iannis Xenakis, 1922-2001; conducted by Charles Peltz; performed by Aki Takahashi and Jane Peters, Society for New Music (Mode Records, 1999), 1 hour 1 mins
Description
Known for drawing unusual sonorities from conventional instruments, Xenakis strangely left the piano's potential for novel sounds unexplored. In these works, Xenakis stays on the keyboard without so much as a plucked string or any use of gadgetry to alter the instrument's sound. Although that might make these pieces appear less radical, even "safe," Xenakis exploits every other option available. Evryali is an energetically rhythmic piece that bur...
Known for drawing unusual sonorities from conventional instruments, Xenakis strangely left the piano's potential for novel sounds unexplored. In these works, Xenakis stays on the keyboard without so much as a plucked string or any use of gadgetry to alter the instrument's sound. Although that might make these pieces appear less radical, even "safe," Xenakis exploits every other option available. Evryali is an energetically rhythmic piece that bursts into a chaotic roar of crashing chords, traversing the piano's range and achieving maximum volume. Dikhthas is also heavily dependent on loud, percussive playing, though the violin's glissandi and pitch-bending provide the microtones that are integral to Xenakis' sound and add a welcome timbral contrast. Herma, constantly shifting in mood with wildly variable gestures, is regrettably like many other avant-garde solo piano pieces. A kind of mini-concerto, Palimpsest is the most characteristic work on the disc, full of the sonic mayhem and ritualistic patterns for which Xenakis is best known. Mists darts everywhere, as if actively pursuing ideas only to find that they dissipate when grasped. A.r., the briefest piece, is a rapid toccata extrapolated from a fragment by Ravel, though the overpowering result is unlike anything by that composer. ~ Blair Sanderson, All Music Guide
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Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Society for New Music, Aki Takahashi, Jane Peters
Contributor
Charles Peltz
Author / Creator
Iannis Xenakis, 1922-2001, Society for New Music, Aki Takahashi, Jane Peters
Date Published / Released
1999
Publisher
Mode Records
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