Browse Titles - 5 results
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Gabriel Valverde: Luminar
composed by Gabriel Valverde, 1957-; conducted by Arvo Volmer; produced by Gabriel Valverde, 1957-; performed by Haydée Schvartz, Sofia Asunción Claro and Marie Kobayashi, Malmö Symphony Orchestra, Pro Contemporania Trio, Vox Nova and Ensemble 2e2m (Mode Records), 1 hour 8 mins
Sample
composed by Gabriel Valverde, 1957-; conducted by Arvo Volmer; produced by Gabriel Valverde, 1957-; performed by Haydée Schvartz, Sofia Asunción Claro and Marie Kobayashi, Malmö Symphony Orchestra, Pro Contemporania Trio, Vox Nova and Ensemble 2e2m (Mode Records), 1 hour 8 mins
Date Written / Recorded
1994-10-02
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Malmö Symphony Orchestra, Pro Contemporania Trio, Vox Nova, Ensemble 2e2m, Haydée Schvartz, Sofia Asunción Claro, Marie Kobayashi
Contributor
Arvo Volmer, Ove Bergvall, Gabriel Valverde, 1957-
Author / Creator
Gabriel Valverde, 1957-, Malmö Symphony Orchestra, Pro Contemporania Trio, Vox Nova, Ensemble 2e2m, Haydée Schvartz, Sofia Asunción Claro, Marie Kobayashi
Publisher
Mode Records
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Gerard Pape: Selected Works
composed by Gerard Pape, 1955-; conducted by Sydney Hodkinson; produced by Gerard Pape, 1955-; performed by Janet Pape, Susan Hansen, Kevin Stewert, Katherine Copeland, Sherry Colquist, Tim Rose, Denise Fest, Helen Haller, James Bergerler, Michael Dielski, David Schmalenberger, Thomas Buckner, Gerard Pape, 1955-, William Hugh Albright, 1944-1998 and Mark Thrasher, fl. 1998-2000, The Arditti Quartet, Ann Arbour Chamber Orchestra and Prism Orchestra of New York (Mode Records), 1 hour 48 mins
Sample
composed by Gerard Pape, 1955-; conducted by Sydney Hodkinson; produced by Gerard Pape, 1955-; performed by Janet Pape, Susan Hansen, Kevin Stewert, Katherine Copeland, Sherry Colquist, Tim Rose, Denise Fest, Helen Haller, James Bergerler, Michael Dielski, David Schmalenberger, Thomas Buckner, Gerard Pape, 1955-, William Hugh Albright, 1944-1998 and Mark Thrasher, fl. 1998-2000, The Arditti Quartet, Ann Arbour Chamber Orchestra and Prism Orchestra of New York (Mode Records), 1 hour 48 mins
Date Written / Recorded
1990
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Arditti Quartet, Ann Arbour Chamber Orchestra, Prism Orchestra of New York, Janet Pape, Susan Hansen, Kevin Stewert, Katherine Copeland, Sherry Colquist, Tim Rose, Denise Fest, Helen Haller, James Bergerler, Michael Dielski, David Schmalenberger, Thomas Buckner, Gerard Pape, 1955-, William Hugh Albright, 1944-1998, Mark Thrasher, fl. 1998-2000
Contributor
Sydney Hodkinson, Chris Willis, Gerard Pape, 1955-
Author / Creator
Gerard Pape, 1955-, The Arditti Quartet, Ann Arbour Chamber Orchestra, Prism Orchestra of New York, Janet Pape, Susan Hansen, Kevin Stewert, Katherine Copeland, Sherry Colquist, Tim Rose, Denise Fest, Helen Haller, James Bergerler, Michael Dielski, David Schmalenberger, Thomas Buckner, William Hugh Albright, 1944-1998, Mark Thrasher, fl. 1998-2000
Publisher
Mode Records
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Morton Feldman: Composing by Numbers - The Graphic Scores, 1950-67
composed by Morton Feldman, 1926-1987; conducted by James Fulkerson; produced by James Fulkerson; performed by Taco Kooistra, Philip Corner, Frank Denyer, 1943- and Marieke Keser, The Barton Workshop (Mode Records), 1 hour 14 mins
Like fellow composers John Cage, Christian Wolff, and Earle Brown, Morton Feldman experimented for a time with graphic notation, and toyed with the various possibilities of this looser, less prescriptive method. While free of serialist clichés and conventions, the musical results on Composing by Numbers are subje...
Sample
composed by Morton Feldman, 1926-1987; conducted by James Fulkerson; produced by James Fulkerson; performed by Taco Kooistra, Philip Corner, Frank Denyer, 1943- and Marieke Keser, The Barton Workshop (Mode Records), 1 hour 14 mins
Description
Like fellow composers John Cage, Christian Wolff, and Earle Brown, Morton Feldman experimented for a time with graphic notation, and toyed with the various possibilities of this looser, less prescriptive method. While free of serialist clichés and conventions, the musical results on Composing by Numbers are subject to the limitations of the players' collective imagination, and tend toward a rarefied pointillism -- a cliché in its own right -- t...
Like fellow composers John Cage, Christian Wolff, and Earle Brown, Morton Feldman experimented for a time with graphic notation, and toyed with the various possibilities of this looser, less prescriptive method. While free of serialist clichés and conventions, the musical results on Composing by Numbers are subject to the limitations of the players' collective imagination, and tend toward a rarefied pointillism -- a cliché in its own right -- that only a devoted fan can follow with persistence. If the brief pieces from the 1950s are heard individually, they seem frustratingly airy, abrupt, and aphoristic; but if heard in sequence, then the changes of instrumentation and different timbral effects at least provide some aural relief. Perhaps most satisfying for its spectral textures, continuity, and length is Intersection I (1951), which the Barton Workshop realizes with much fuller harmonies and richer sonorities. Out of "Last Pieces," The Straits of Magellan (both 1961), and In Search of an Orchestration (1967) are more active than the earlier Projections, and adventurous listeners may appreciate these later compositions for their greater complexity and tension. The ensemble, alternately conducted by James Fulkerson and Jos Zwaanenburg, specializes in the more arcane and experimental music of the late avant-garde, and its explorations of Feldman's graphic scores are a welcome addition to the catalog, even if they are not as absorbing or compelling as many of his later efforts. ~ Blair Sanderson, All Music Guide
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Date Written / Recorded
2001
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Barton Workshop, Taco Kooistra, Philip Corner, Frank Denyer, 1943-, Marieke Keser
Contributor
James Fulkerson, Robert Bosch, 1861-1942
Author / Creator
Morton Feldman, 1926-1987, The Barton Workshop, Taco Kooistra, Philip Corner, Frank Denyer, 1943-, Marieke Keser
Publisher
Mode Records
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Rubin: Hallelujah Games
composed by Amy Rubin, fl. 1990; produced by Laura Kaminsky, 1956-; performed by Amy Rubin, fl. 1990, William Trigg, Christine Schadeberg, Kathleen Nester, Jo-Ann Sternberg, Atsuko Sato and Todd Nichols (Mode Records), 1 hour 22 mins
Sample
composed by Amy Rubin, fl. 1990; produced by Laura Kaminsky, 1956-; performed by Amy Rubin, fl. 1990, William Trigg, Christine Schadeberg, Kathleen Nester, Jo-Ann Sternberg, Atsuko Sato and Todd Nichols (Mode Records), 1 hour 22 mins
Date Written / Recorded
1998-08-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Amy Rubin, fl. 1990, William Trigg, Christine Schadeberg, Kathleen Nester, Jo-Ann Sternberg, Atsuko Sato, Todd Nichols
Contributor
David Avidor, Laura Kaminsky, 1956-
Author / Creator
Amy Rubin, fl. 1990, William Trigg, Christine Schadeberg, Kathleen Nester, Jo-Ann Sternberg, Atsuko Sato, Todd Nichols
Publisher
Mode Records
Tracks
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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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