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Format: CD (1 Disc)Country: USARelease Date: 27 October, 2017Label: Mode Music OzDimensions: 14 x 1 x 12.5 centimeters (0.06 kg)

Orchestral Works

For this recording project, the fearless French musical collective ensemble 0 (pronounced "zero") began a new kind of collaboration with the Swiss percussion ensemble Eklekto and Gamelan Oksitan- this last the traditional Javanese ensemble of gongs and metallophones based in France. Their transcultural bridge has foundations that go back to Claude Debussy's fascination with the radiant tones of gamelan music that he heard at the 1889 Paris Exposition. Yet neither Debussy nor many other sympathetic composers who followed actually composed for those instruments. They faced challenges of different tuning systems, intricacies of unfamiliar instruments, the weight of another classical tradition, but perhaps no obstacle greater than the cultural gulf of that colonial era. It was not until the 1970s that non-Indonesian composers began to bridge that divide, none more committed than the American composer Lou Harrison. Compositions by Harrison are paired here with works by Larry Polansky, Petar Klanac, Billy Martin, and Roland Dahinden. The diversity of approaches represented on this collection provides a glimpse towards a vibrant future, a future that Lou Harrison helped create.

6 Pieces for Gamelan Slendro

John Cage: The Works for Percussion, Vol. 4
Label/Studio: Mode Records
Album Format: CD
UPC: 764593029625
Release date: 2017-05-05

John Cage: The Works for Percussion, Vol. 4

Tracks: La Ville Qui Dormait, Toi (The City That Slept, You) Bonjour Toi, Colombe Verte (Hello There, You Green Dove) Montagnes (Mountains) Doundou Tchil L'amour De Piroutcha (Piroutcha's Love) Répétition Planétaire (Planetary Repetition) Adieu (Farewell)Format: VINYLRelease Date: 6 March, 2020Label: Mode RecordsDimensions: 31 x 1 x 31 centimeters

Harawi

Working with forces unknown to me has always been an exciting challenge," says Elliott Sharp, "especially when those forces are in the form of younger musicians, highly skilled and enthusiastic." For his work with the musicians of the Veni Academy, he chose three previously composed works that would be easily adaptable to a large ensemble whose instrumentation was not the result of prior design plus one newly composed for the occasion. The chosen pieces were based on well-defined processes that made use of instant decision-making on the part of both the players and the conductor, and finally, some graphic notation. Composed in 2003 for string quartet, The Dispersion of Seeds uses a simple algorithm of arpeggiation of nine chords throughout it's arc to create shifting verticalities. The piece would be different with every performance yet would retain it's distinct identity. The composition Flexagons is based on permutations of composed fragments ordered in time with instructions on how to flex and fold them. Augmenting the flex is the possibility of players "popping out" with short improvised statements that may be acted upon by the other players and thereby revealing another facet. The Hidden Variable is a suite of graphic scores originally conceived for solo guitar using "alternate bows" to generate sounds on the guitar. Palimpsest was composed for the occasion and a world premiere. Historically, a palimpsest manuscript could be reused by scraping or erasing the text. While the removal of the original texts might be quite thorough, elements of the original items might still be evident, whether explicitly or subliminally, creating a "palimpsest." Here Sharp's "original texts" are sample measures taken from previous scores, compiled as raw materials in this new work, superimposed on the now-erased substrate, the "manuscript.

Dispersion

This release brings all of Subotnick's piano music together on one album for the first time, along with four first recordings, all supervised by the composer. 'Liquid Strata' is an important work in Subotnick's oeuvre. Here the electronic component is what he calls "ghost electronics," and this is the first of 11 Ghost Pieces. In these works, Subotnick sought to address technology in a way that highlights rather than compromises the inherent features and strengths of acoustical instruments. In the Ghost Pieces, Subotnick pre-recorded the vocal "energy shapes" on tape. These audio signals were played back (but not heard), combined with sine tones, and sent to an envelope follower. The voltages generated trigger Buchla-produced pitch, amplitude, modulation and stereo panning. All of the Ghost Pieces are to be performed live on a proscenium stage, with speakers in front of the performer. 'The Other Piano is a continuation of the Ghost pieces. The composer refers to the electronics as "a quadraphonic sound painting [spread] throughout the auditorium, done on the spot, intuitively, by a sound painter.... one always hears the real piano and the transformations are a fantasy, changing in time and space, whirling around the room..." Subotnick drew conceptual ideas for Falling Leaves from Scarlatti sonatas, a "sense of Scarlatti, but not derivative," particularly repeated notes, the virtuosic crossing of hands, and the idea of cadences. The early Preludes Nos. 1 & 2 are post-Webern influenced works. Prelude No. 4 is the first piece where Subotnick worked with the Buchla synthesizer. The electronic component is composed onto stereo tape, which is played alongside the live piano. Liner notes by Bob Gluck and the composer

Subotnick / Anjou / Subotnick - Complete Piano Works 4  [COMPACT DISCS]

Format: CD (1 Disc)Country: USARelease Date: 20 July, 2018Label: Mode Music OzDimensions: 12.7 x 0.6 x 14.2 centimeters (0.06 kg)

Works for Piano 10

The music on this album was recorded in the studio the day after Uitti and Fanous spent 10 minutes improvising together in concert, in a first meeting. It represents bidirectional ideas in music often and erroneously thought to be opposites: western vs. Eastern, improvised vs. #through-composed. In this recording they are stood on their head, examined, dissected, tortured, and ultimately reconciled. Fanous says:"Musically, Frances and I came from two distinct sets of emphases. In my case, these were non-western music, as well as chromaticism in both it's contemporary classical and free jazz expressions, all funneled through the techniques of classical and flamenco guitar. In Frances' case, it was a lifelong devotion to and mastery of parallel directions: improvisation, as well as contemporary composition at the highest level. Both were made infinitely more powerful by the deployment of ingenious extended techniques, including her revolutionary two-bow methods. Our backgrounds contained enough shared common experience to allow for a tentacular interdigitation of our improvisational languages, which was effortless and natural." The session began with bouzouki-cello duets, in which drones played a central role, calling up a middle-eastern sound-world. Fanous writes: "As the pieces evolved, they gradually became unmoored and reverted to who they really were, but together. This process of feeling one's way through the darkness was like navigating towards some unknown endpoint, the way the ancients used the astrolabe to navigate using the positions of the stars - Negoum in Arabic."

Negoum

"Dream" is a musical journey through the sound of the electric guitar in American concert music, based on sonic research and on the simplicity and beauty of the electric guitar timbre and colors. Sorrentino's transcription of Dream by John Cage opens the program. This version demonstrates the pure beauty of the electric guitar's clean sound with only the addition of light reverb. Alpha Aloha by Jack Vees is an experimental composition, where the electric guitar sound is electronically processed. The sounds result from playing guitar through various digital filters which slowly open and close at different rates, the resonance is set in such a way as to let some notes through with more strength than others. It creates an ocean of sound. David Lang's Warmth, for two electric guitars, explores the warm sound of the tube amp. No effects, only the overdrive and gradually increasing amp saturation. The graphic score Mare Undarum by Elliott Sharp is an invitation to a free improvisation. Quoting Sharp: "Sorrentino uses a variety of techniques on his electric guitar to vividly transform the score into a rarefied and hyperreal landscape. His direct and unadorned Stratocaster tone is rich with harmonics and deep with resonance." Rose of Beans by Alvin Curran, is an extrapolated fragment for electric guitar solo from a larger ensemble piece. This is the first release the lost electric guitar composition by Morton Feldman, The Possibility of a New Work for Electric Guitar. Originally composed for Christian Wolff, it was reconstructed by guitarist Seth Josel. Both of Christian Wolff's works for electric guitar are included here.

American Music for Electric Guitar

This release brings together ALL of Morton Feldman's compositions for cello and piano, including unpublished works and a first recording. Together, these works tell the story of Feldman's music. They span 35 years - over half his lifetime - from when he was searching for his voice as a student to when he was opening new doors in the last years of his life. The album is bookended by two realizations of the graphic score "Durations 2" (1960), giving an opportunity to hear what the flexibility of graphic notation can bring. The "Sonatina" (1946) is the earliest work here, and a first recording. Displaying the influence of Béla Bartók, Feldman wrote for the cello sound he loved without fully understanding the realities of playing the instrument. The resulting solo part is naively virtuosic and often even impossible to play. For this recording, Stephen Marotto keeps as close as possible to the written score, aiming to fulfill what Feldman heard in his mind's ear. By 1948, Feldman had been studying privately with the composer Stefan Wolpe for several years. The unpublished "Two Pieces," from that year is a fluctuating music held together not by logic, but through it's carefully poised gestures - what Wolpe called "shape." While the emotional drama of this and other early works would soon disappear from Feldman's music, it was above all the idea of "shape" that remained with him for the rest of his life. In 1950, Feldman met John Cage, who shepherded him into the world of the New York avant-garde. The unpublished, compact "Composition for cello and piano" (1951) is a sudden breakthrough, yet it already contains the DNA of his very last works in it's minimal material and blurred memories of sounds. "For Stockhausen, Cage, Stravinsky, and Mary Sprinson" (1972) is an ephemeral, unpublished piece, a shard of music broken off from the main body of work Feldman was producing at the time. It consists of just two musical moments separated by silence - the same chord expressed in two different ways. At almost 1 hour and 29 minutes, "Patterns in a Chromatic Field" (1981) is one of Feldman's late, long-duration works, and it is perhaps the best known of the works recorded here. Liner notes by Samuel Clay Birmaher.

Complete Music for Cello & Piano

Roger Reynolds at 85 1

On April 6, 1327, a 22-year-old Italian poet named Francesco Petrarca caught a glimpse of a young woman, Laura, in a church in Avignon. He later reported that "living sparks issued from two lovely eyes". Those sparks enflamed Petrarch such that he spent the rest of his illustrious career coming to terms with them. In the 16th century, madrigals were developed by Adrian Willaert and Cipriano de Rore, which took Petrarch's agonized images as justification for violating the rules that had guided musicians since before the beginnings of notated music. Those living sparks have leapt ahead seven more centuries to inspire Katharina Rosenberger. Her tempi agitati embeds Petrarch's texts (especially fragments from his "Ascent of Mount Ventoso") and settings of sonnets by Willaert and Rore within her own responses to those materials. In live performance, Rosenberger works together with stage-director Ludger Engels to distribute members of the ensemble, Neue Vocalsolisten, around the sound space; they dart around throughout the site, thereby embodying Petrarch's "vive faville." While a sound recording lacks the visual dimension crucial to Rosenberger's concept, it allows the listener to attend much more closely to her rich tapestry of sonorities as she puts Petrarch's 14th-century poetry and 16th-century madrigals into dialogue with her extended vocal techniques. Sometimes the singers coalesce into whole polyphonic samples before returning to the extended vocal techniques from which they had emerged. Sometimes, finally, the madrigal itself appears, now intact. Rosenberger thereby simulates Petrarch's struggle to put into coherent form his reactions to Laura's glance. Those living sparks have indeed inflamed thousands: Laura's glance goaded Petrarch to the heights of formal perfection in his sonnets, and it led the madrigalists to imagine tonal worlds far beyond the stylistic precepts they had inherited.

Tempi Agitati [CD]

Voces is a collection of rare recordings documenting many of Walter Zimmermann's compositions for voices from 1979-2016. The words set to music range from Meister Eckhart and Hadewijch to Michail Lermontov, Ossip Mandelstam, Edmond Jabès, Tomas Tranströmer, Felix Philipp Ingold and Robert Creeley (with Creely's voice accompanying the musicians). Performers include: Claudia Barainsky, Tehila Nini Goldstein, Sheva Tehoval / Magda Lapaj, Peter Schöne / Jan Philip Schulze, Neue Vocalsolisten Stuttgart, KNM Ensemble, Walter Zimmermann and Band and the musicians of the Merce Cunningham Dance Company with David Tudor, Takehisha Kosugi, D'Arcy Gray, John D. S. Adams. A rare recording from 1982 was recently discovered: "Freunde/Friends" sung and played by Walter Zimmermann and his rock/pop/new music band during their U.S. Tour in Los Angeles, showing a very different musical side of Walter Zimmermann. This deluxe 3-album set comes with a 74-page booklet containing the complete song texts (with translations) and essays by Albert Breier and Christopher Fox. Lavishly illustrated with photos and art by Nanne Meyer. Packaged in a slipcase.

Voces

Preludes Books 1 & 2

Format: CD (1 Disc)Country: USARelease Date: 3 February, 2017Label: Mode RecordsDimensions: 14 x 1 x 12.5 centimeters (0.17 kg)

Alvin Lucier: Two Circles

Flutist Roberto Fabbriciani continues his releases dedicated to the flute repertoire of single composers with works by Belgian composer Henri Pousseur (1929-2009). Previous releases on Mode featured Aldo Clementi and Bruno Maderna. As with the preceding Clementi and Maderna releases, this Pousseur release marks the first time Pousseur's works for flute have been collected in one recording. It is important to note that Fabbriciani had a long working relationship with the composer. The series of Flexions was composed in 1979 for the performance examinations at the Conservatory in Liège, where Pousseur had been director for 3 years. It aims to introduce students to the diversity of post-tonal harmonic materials without discarding any contact with tradition and the harmonic qualities of the standard repertoire. Two pieces belong to the category of open or mobile form works. The score of Éclipticare (2001) is a proposal to be elaborated (completed). Fabbriciani has made two different versions, including extended playing techniques prominent in the contemporary flute repertoire but largely unused by Pousseur in his written scores. Éclipticare builds a kind of bridge to Zeus jouer de flûtes (2006), a score that is co-signed Pousseur-Fabbriciani for good reasons. Pousseur provided the tape (Hymne à Zeus ornothologue, extracted from the eight Études paraboliques, 1972) as well as a "plan of action" indicating the specific time-spans and the choice of instrument to be used according to the tessitura (from bass-flute to piccolo). All the other details remained in Fabbriciani's hands. This type of collaboration had long been part of Pousseur's practice and is also the outcome of his firm belief in the social and human importance of sharing. In addition to the flute repertoire, this release also includes Pousseur's Scambi for electronic tape, composed in 1957 and realized by Pousseur at the Studio di Fonologia in Milan at the invitation of Luciano Berio.

Works for Flute

The idea for a recital of 'Modern Lied' came about over breakfast following the first concert Sun and Schulze performed together. Realizing that they enjoy the same things, Schulze said: 'Our next program should be harder. It should be the hardest program ever. We should put some of the greatest contemporary masterpieces of Lied in one program should be harder. It should be the hardest program ever. We should put some of the greatest contemporary masterpieces of Lied in one program. It should be just insanely beautiful and hard and most of all insanely good. No old stuff included.' This recital is the result of that idea. The earliest work is Holliger's beautiful cycle on Morgenstern texts. It forms a bridge from traditional lieder to the modern. The Morgenstern Lieder have a completely different sense of harmony, very soft, somewhere between Debussy, Berg and Ravel.

Modern Lied

Format: Audio CDRelease Date: 16 August, 2019Label: Mode RecordsDimensions: 14 x 1 x 12.5 centimeters (0.09 kg)

Paradis

This release couples two of Reich's "sextets" for the first time: the Sextet of 1984 and the Pulitzer Prize winning Double Sextet of 2007, which also makes it's first appearance on LP. A striking difference between the two pieces is that the rhythmic world of Sextet mostly consists of a single-meter grooving, while Double Sextet works in the angular, off-kilter shifting meters reminiscent of Reich's Tehillim (also of Stravinsky). Ekkozone impart a uniquely chamber music feel and color to these works while maintaining their propulsive character. Liner notes by Adam Sliwinski. LP lacquers and mastering by veteran Scott Hull at Masterdisk. Plated and pressed by RTI, California. Danish percussionist and conductor Mathias Reumert lives and breathes contemporary classical music. An in-demand soloist, he explores new percussive territory while remaining a committed interpreter of yesterday's masterworks. As creator and leader of the acclaimed ensemble Ekkozone, he explores the bounderies between classical, world and experimental music in performances at rock and jazz festivals. Ekkozone is a Danish crossover ensemble that masterfully explores the lines between classical, world and experimental music. Formed by Mathias Reumert in 2013, the ensemble enjoys a special connection with Reich's music and has performed a large part of his oeuvre, including several performances of Music for 18 Musicians.

Double Sextet

Tracks: 33-127, for electric guitar & recording: No. 33 33-127, for electric guitar & recording: No. 34 33-127, for electric guitar & recording: No. 35 33-127, for electric guitar & recording: No. 36 33-127, for electric guitar & recording: No. 37 33-127, for electric guitar & recording: No. 38 33-127, for electric guitar & recording: No. 39 33-127, for electric guitar & recording: No. 40 33-127, for electric guitar & recording: No. 41 33-127, for electric guitar & recording: No. 42 33-127, for electric guitar & recording: No. 43 33-127, for electric guitar & recording: No. 44 33-127, for electric guitar & recording: No. 45 33-127, for electric guitar & recording: No. 46 33-127, for electric guitar & recording: No. 47 33-127, for electric guitar & recording: No. 48 33-127, for electric guitar & recording: No. 49 33-127, for electric guitar & recording: No. 50 33-127, for electric guitar & recording: No. 51 33-127, for electric guitar & recording: No. 52 33-127, for electric guitar & recording: No. 53 33-127, for electric guitar & recording: No. 54 33-127, for electric guitar & recording: No. 55 33-127, for electric guitar & recording: No. 56 33-127, for electric guitar & recording: No. 57 33-127, for electric guitar & recording: No. 58 33-127, for electric guitar & recording: No. 59 33-127, for electric guitar & recording: No. 60 33-127, for electric guitar & recording: No. 61 33-127, for electric guitar & recording: No. 62 33-127, for electric guitar & recording: No. 63 33-127, for electric guitar & recording: No. 64 33-127, for electric guitar & recording: No. 65 33-127, for electric guitar & recording: No. 66 33-127, for electric guitar & recording: No. 67 33-127, for electric guitar & recording: No. 68 33-127, for electric guitar & recording: No. 69 33-127, for electric guitar & recording: No. 70 33-127, for electric guitar & recording: No. 71 33-127, for electric guitar & recording: No. 72 33-127, for electric guitar & recording: No. 73 33-127, for electric guitar & recording: No. 74 33-127, for electric guitar & recording: No. 75 33-127, for electric guitar & recording: No. 76 33-127, for electric guitar & recording: No. 77 33-127, for electric guitar & recording: No. 78 33-127, for electric guitar & recording: No. 79 33-127, for electric guitar & recording: No. 80 33-127, for electric guitar & recording: No. 81 33-127, for electric guitar & recording: No. 82 33-127, for electric guitar & recording: No. 83 33-127, for electric guitar & recording: No. 84 33-127, for electric guitar & recording: No. 85 33-127, for electric guitar & recording: No. 86 33-127, for electric guitar & recording: No. 87 33-127, for electric guitar & recording: No. 88 33-127, for electric guitar & recording: No. 89 33-127, for electric guitar & recording: No. 90 33-127, for electric guitar & recording: No. 91 33-127, for electric guitar & recording: No. 92 33-127, for electric guitar & recording: No. 93 33-127, for electric guitar & recording: No. 94 33-127, for electric guitar & recording: No. 95 33-127, for electric guitar & recording: No. 96 33-127, for electric guitar & recording: No. 97 33-127, for electric guitar & recording: No. 98 33-127, for electric guitar & recording: No. 99 33-127, for electric guitar & recording: No. 100 33-127, for electric guitar & recording: No. 101 33-127, for electric guitar & recording: No. 102 33-127, for electric guitar & recording: No. 103 33-127, for electric guitar & recording: No. 104 33-127, for electric guitar & recording: No. 105 33-127, for electric guitar & recording: No. 106 33-127, for electric guitar & recording: No. 107

Peter Albinger: 33-127

Format: Audio CDRelease Date: 27 September, 2019Label: Mode RecordsDimensions: 14 x 3 x 12.5 centimeters

Lokale Musik

ENSEMBLE REFLEXION K; ENSEMBLE L’ART POUR L’ART; AUDITIVVOKAL ENSEMBLE

Absence

This album collects works for piano through piano quartet by Irish composer Gerald Barry. All, except for "Ø" for piano quartet, are first recordings. The works are beautifully performed by the Fidelio Trio (Darragh Morgan, Mary Dullea and Adi Tal) with guest artists Gerald Barry (piano on "All day at home busy with my own affairs") and joined by Rose Redgrave (viola on "Ø"). Shortlisted for the 2016 Royal Philharmonic Society Music Awards, the Fidelio Trio are enthusiastic champions of the piano trio genre, performing the widest possible range of repertoire on concert stages across the world; they are broadcast regularly on BBC Radio 3, RTÉ Lyric FM, WNYC, NPR and featured on Sky Arts documentaries; they have an impressive list of commissions and first performances from the leading and newest composers and have a large discography of highly acclaimed recordings.

In the Asylum

TAKAHASHI,AKI; MARGARET LANCASTER; DAVID SHIVELY

CAGE: THE WORKS FOR PIANO, VOL. 2

Format: CD (1 Disc)Country: USARelease Date: 21 July, 2017Label: Mode Music OzDimensions: 14 x 1 x 12.5 centimeters (0.06 kg)

Early Immersive Music of Joan la Barbara

Breathing Songs
Label/Studio: Mode Records
Album Format: CD
UPC: 764593001423
Release date: 1988-01-01

Breathing Songs

This release brings together two works by Alvin Lucier centered on the pipe organ, a perfect instrument for Lucier's compositional practice. Both are first recordings. "Swing Bridge" was commissioned by this record's ensemble, the Australian Art Orchestra, for the Melbourne Town Hall Grand Organ. The score requires that specific pipes be removed from the organ and run into three specially constructed offset chests, each accommodating two pipes (six pitches total). These pipes are manipulated by three or more performers, known as 'pipe wavers.' This music explores the phenomenon of the organ making it's operation performative and visceral. We hear the way the energy produced by the organ 'sounds' the space in which the music was performed and recorded, and, for those who witnessed the performance, we experienced the physicality of air moving through pipes as the wavers shifted the tuning of each pipe microtonally with their hands. This is conceptual work of the highest order but it is also sensual, beautiful, and engrossing, with the textures of the ensemble woven into the pulsations produced by the organ and the resonances of the room. For "Sizzles" the composer writes: "Drums of various sizes are randomly placed throughout the performance space. Fine materials such as lentils, chickpeas, and candy hearts are sprinkled on the drumheads. As low organ tones are sounded, the skins of the drums vibrate sympathetically, causing the drums to sound and the material to move. Each drum is individually amplified with a contact or air microphone and a separate amplifier."

Swing Bridge

Sam Dunscombe writes: "This release marks Volume 4 in Mode's Radulescu Edition. The three works on this release explore different aspects of Radulescu's theory of Sound Plasma as it evolved over the course of the 1970s, from Radulescu's early to middle periods. Capricorn's Nostalgic Crickets (1972) presents a simple pulse of spectrally dense sound events, described in the composer's own words as a "PULSE-TIDE of MUSIC and SILENCE." The seven clarinetists should transcend their instrumental selves, coming together to evoke the sounds of the natural world - the timbres of electronic music, the magical and phonetic aspects of language, even other instruments. This is to be done in the most fluid way possible, never dwelling on any one interaction but rather creating a sense of a whole universe of sounds constantly evolving and decaying. Small Infinities' Togetherness (1972) is the shimmering articulation of a single sound spectrum (that of a low 'D') that shifts between harmonicity and inharmonicity, spectral narrowness and spectral width. The version presented on this album features two archival recordings of Radulescu playing organ (the original tape from Fountains of My Sky) and synthesiser (initially intended as a backing track for a duo version with Fernando Grillo). These are augmented with two sound groups recorded in the period between 2018-21, one of electronics (analogue and digital synthesis together with tape manipulation) and one of acoustic instruments (a set of Radulescu's original Romanian folk wooden flutes, and a specially tuned sound icon). In Opus 42: Inner Time / Outer Time (1980-83), paired compositions presented together here for the first time, a spectrum of odd number harmonics is deconstructed and rebuilt by overlaid flutes and clarinets, the instruments' natural variations of pitch causing the total sonic mass to seethe and boil."

Plasmatic Music

Format: Audio CDRelease Date: 3 May, 2019Label: Mode RecordsDimensions: 12.7 x 0.6 x 14.2 centimeters (0.09 kg)

Works for Organ & for Cello

Complete Cello Works

Tracks: Beginning to M289 M290 to M557 M558 to M766 M767 to M991 M992 to M1269 M1270 to M1372 M1373 to EndFormat: Audio CDRelease Date: 21 June, 2019Label: Mode RecordsDimensions: 14.2 x 1.2 x 12.4 centimeters (0.08 kg)

For Bunita Marcus

Bernard Parmegiani (1927-2013), the grand old man of French electroacoustic music, did not write much music for tape with live performers. Among them is "Stries" for the unusual combination of three live synthesizer players and tape. Until recently, "Stries" had not been played live for some 30 years. This is the first complete recording, only part of it had been previously released on LP on the INA/GRM label. "Stries" was written for the three synthesizer players of the Paris-based electroacoustic trio TM+, Yann Geslin, Laurent Cuniot and Denis Dufour, founded at the INA/GRM. Over the span of the ensemble's lifetime, TM+ used a range of different instruments - analog synthesizers in the late 1970s and early digital synthesizers in the mid-1980s - and amassed a repertoire of about 40 compositions written especially for them. Fortunately, Yann Geslin, of the INA/GRM, archived the original score by Parmegiani, as well as the parts for the instrumentalists. Also in GRM's archives was the original analog reel-to-reel tape for the piece, as well as the analog 8-track recordings from the recording session. Armed with this material, the electronic music trio of Colette Broeckaert, Martin Lorenz and Sebastian Berweck, together with Yann Geslin, recreated the piece with the aim of bringing it back to the stage as well as producing generic scores that could help get the piece into the repertoire of many instrumentalists. Their work is realized on this release.

Stries [CD]

Sarah Maria Sun's "Killer Instincts" is an incredibly creative and colorful collection of songs about bad people doing bad things. Perhaps no longer "hip" thing to do, it is a concept album - pleasurable journey in bad people's shoes. To assemble the collection, Sarah brought together songs from a wide range of genres - classical art song and melodrama, opera, Broadway, movie soundtracks, and classic rock and pop. How can this work? In these songs, Sarah inhabits a wide range of characters, at the same displaying her amazing abilities in disparate styles. The arrangements, by Max Renne and Sarah, are as clever as the repertoire. Bernstein's virtuoso "Glitter and Be Gay" arranged for an ensemble of banjos and guitar, and his "There's a Law About Men" sung to an electronic background of the orchestral accompaniment chopped and minced with filters. Joe Walsh's rock classic "Life's Been Good" sung accompanied by just bass guitar. Tom Waits' "Just the Right Bullets" in a wild west meets surf music arrangement. Others are sung basically straight: the Schubert melodrama "Abschied von der Erde" and the first recording of Stefan Wolpe's harrowing "Hitler." And on and on. Keep an open mind and enjoy the ride!

Various Artists - Killer Instincts   [COMPACT DISCS]

Format: CD (1 Disc)Country: USARelease Date: 15 June, 2018Label: Mode Records

George Crumb: Metamorphoses (Book I); Five Pieces for Piano

This is the second of two volumes celebrating "Roger Reynolds at 85,"and marks the first recording of his Piano Etudes, in two Books. Book I was written between 2010 and 2011, Book II in 2016-2017. Reynolds' Etudes allows the performer to not only choose the number of Etudes to be presented (even repeating them, if desired) as well as their order. In this way, the performer becomes a co-creator with the composer. All 12 Etudes are presented in this recording by Eric Huebner. Each etude inhabits a world distinctly it's own. Reynolds dares a remarkable leap from the first to the second book. Rather than merely continue the premises and promises established by the first six etudes, the second six constitute a difference in kind rather than an extension. Their complexity is intensified, their investigations more extreme, even though they make comparable technical demands. The Etudes carry subtle quotations from Reynolds' own, earlier piano works as well as the traditional literature of piano etudes. The lineup Reynolds has chosen includes Chopin, Mendelssohn, Liszt, Debussy, and Ligeti. Yet these allusions are not mere homages, and these quotations range from fleeting to obsessive. Reynolds collaborated with Huebner on the 2009 Mode release, Epigram and Evolution (mode 212/13), an anthology of Reynolds' piano works to that date. This led the composer to value Huebner's extraordinary capacity to combine virtuoso technique with Zen-like concentration. Their artistic bond inspired Reynolds to contemplate writing his own brand of etudes.

Piano Etudes

Book edited by Cat Hope and Lindsay Vickery, including CD recording of the 8 John Cage 'Variations' (1958-76), recorded by the Australian ensemble Decibel.

Book & CD. First edition. 251 pages. Printed in Germany.
 
Authors featured are Leta E. Miller, David P. Miller, Vincent Bonin, Paul van Emmerik, Thomas DeLio, James Pritchett, Cat Hope, Lindsay Vickery, Stuart James and an introduction by Warren Burt.


Variations I [bass clarinet, bass flute, and cello]
Variations II [alto saxophone, flute, viola, piano, and cello]
Variations III [drum set and a.m. radio]
Variations IV [cello, flute, viola, bass clarinet, and environmental sounds]
Variations V [reel to reel tapes and oscillators]
Variations VI [electric bass guitar and analog effects, electric cello, and digital effects]
Variations VII [mobile phones, tablet computers, and laptops]
Variations VIII [no input feedback bass clarinet]


The eight 'Variations' compositions by John Cage reflect the most productive years of his compositional life - from Variation I in 1958 to Variation VIII in 1976. They show the evolution of some of the earliest aleatoric, multimedia and spatial approaches to contemporary live music performance. 

This book brings together new and existing perspectives, experiences and backgrounds to these remarkable works, explored by leading International Cage scholars and practitioners. The writings are complemented with a CD recording of Decibel's Complete John Cage Variations Project, an hour long performance program featuring the Variations I - VIII. The works are performed using annotated digital scores created within the ensemble, automating many of the manual processes that resulting in new, accurate versions that align with Cage's artistic aims. Traditional acoustic instruments and period electronics are featured alongside photocells, Arduino boards, online messaging services and calls, noise bass guitar, shortwave radio and custom DIY circuitry. 

Rare composer notes and missing parts were sourced from the John Cage Trust, New York Public Library and Langlois Foundation. Published in conjunction with Cage's publisher Peters Edition, the scores developed for the project are available via the Apple store. 


Decibel is a new music ensemble and artistic research team that focuses on the integration of acoustic and electronic instruments in chamber music performance, founded in Western Australia in 2009. They are world-leading interpreters of graphic notations and pioneer digital score formats for composition and performance. This includes the ongoing development of their successful Decibel ScorePlayer App for iPad, enabling coordinated performance of graphic notations for musicians and composers internationally. They have released 7 albums and tour internationally regularly.

Cat Hope is an artist scholar whose research interests include animated notation, gender and music, Australian music, digital archiving, as well as music composition and performance as artistic research. She has been awarded Civitella Ranieri, Churchill and Hamburg Institute for Advanced Study Fellowships, and is co-author of 'Digital Arts - An Introduction to New Media (Bloomsbury, 2014) and co-editor of 'Contemporary Musical Virtuosities' (Routledge, 2024). She is a Professor at Monash University in Melbourne, Australia.

Lindsay Vickery is a composer/performer whose music includes works for acoustic and electronic instruments in interactive-electronic, improvised or fully notated settings, ranging from solo pieces to opera and has been commissioned by numerous groups for concert, dance and theatre. He writes and presents on a range of topics, most recently on the emergence of the "screenscore", nonlinear music and the realization of Cage's music. He is head of composition and music technology at the WA Academy of Performing Arts at Edith Cowan University, Perth, Australia.

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