TR195 - John Tilbury - 'Metalessness' [excerpt]

Having previously contributed to the Ashberry remixes and being the oldest and most valuable friend of Wounded Wolf Press, Marc Hasselbalch gives birth to its new era with his first album for it; Hold.

Please visit https://woundedwolfpress.com/hold/ for more information and ordering details.

Marc Hasselbalch - Hold Teeth [Pre-order]

Taken from the album 'Woodwind Multiples' due for release via Modern Love on July 7th. 2023.

8B4 (1985/2022) is played by Manuel Zurria and is for four bass flutes. It is a revision of 8x4, which was written in 1985 for the DownTown Ensemble and was only performed once, due to its unusual instrumentation: alto flute, English horn (originally bass oboe), clarinet, and voice.

Woodwind Multiples

Mary Jane Leach - 8B4

One of a set of seven O Antiphons, to be sung on the days of Advent leading to Christmas.

Recorded by Westminster Kantorei, conducted by Amanda Quist.

Published by GIA Music.

O Sapientia

Yo La Tengo (Ira & Georgia Vince Scelsa Idiot's Delight WNEW Interview 12-28-97 with several in studio performances

Yo La Tengo Interview 12 - 28 - 97

Count On Me

Count On Me (feat. Great Lake Swimmers)

This is a fund raising project, please go here to reserve your copy;
https://qrates.com/artists/12019/items/12737

The Hogweed And The Aderyn - Cosmogyral (LP Preview)

Jack Quartet. 2019. String Quartet, Transducers, Sine Waves, Objects

Three Chords [2019]

Nube obbediente (2011)
for: trombone, percussion and ensemble

Divertimento Ensemble
Pablo Andoni, conductor
Elio Marchesini, percussioni

08.09.2018, Teatro Comunale, Moncalvo

Stefano Gervasoni - Nube obbediente(2011) Excerpt

Lumina (2020)
for orchestra (2222.4331.3perc.harp.pno.strings)

Performed by the USC Thornton Symphony (Donald Crockett, conductor)

Program note:

"Lumina" explores the spectrum of light and dark and the murkiness in between. Using swift contrasts between bright, sharp timbres and cloudy textures and dense harmonies, the piece captures sudden bursts of radiance amongst the eeriness of shadows.

Lumina

French composer and multi-instrumentalist Christine Ott returns to Gizeh Records for her fourth album ‘Time to Die’, the sequel to the highly regarded ‘Only Silence Remains’ (2016).

‘Time To Die’ is a musical fresco in eight chapters, a sensory journey between the world of the living and the dead, for which the musician weaves a unique dramaturgy between contemporary classical and electro-acoustic music.

The title track picks up the story where ‘Only Silence Remains’ left off ... Like it’s centrepiece; ‘Disaster’, the beloved cinematic text here is read by Casey Brown. Ott seeks to offer strong sensations, without artifice, whether by the power of her compositions on the piano (‘Brumes’, ‘Horizons Fauves’), or by intuitive arrangements mixing her unique practice of Ondes Martenot with a maelstrom of Jupiter8, Monotrons, Timpani and Tubular Bells as on the first track. In addition, Ott captivates us with her harp playing on ‘Chasing Harp’, by her aerial singing on ‘Landscape’, or even on the airwaves on ‘Comma Opening’, which ends a triptych of songs after the versions published on ‘Chimères (pour Ondes Martenot)’ (NAHAL 2020) and on ‘Volutes’ from her side-project Snowdrops (Injazero 2020). These two previous records have been praised by critics, especially in the best records of the year according to The Guardian.

This expressive and spontaneous impetus, leitmotif in her musical production, takes a new form within ‘Time to Die’. Through the notes disseminated in an endlessly reinvented minimalist heritage, the interpretation is the ultimate musical glue allowing the pieces to come to life, thereby making this repertoire and its composer-performer unique. A universe where music - despite the album's title - never dies.

We finally share these few words from the talented American musician and videographer Fredo Viola, with whom Christine has forged long-distance correspondence since the first lockdown. Listening to the record, he wrote her these few words, which he allows us to share here:

"Stunning, terrifying, magnetic, delicate, painful and uncanny... It’s like discovering a bizarre object hanging very low in the sky, something beautiful but unfathomable, just out of reach. The way I see the album is as a series of quite cinematic meditations on the theme of death and dying, changing prismatically, up to that incredibly delicate and beautiful conclusion.” Fredo Viola

PRESSING NOTES
50 — Blue Vinyl + CD - Deluxe edition. Gizeh Store Exclusive. Includes the sheet music for the track 'Miroirs' housed inside a hand-numbered, silkscreened card folder with additional texts from Christine Ott. Heavyweight card sleeve with poly-lined paper inner.

200 — Blue Vinyl - Heavyweight card sleeve with poly-lined paper inner.

CD — Housed in a six-panel digipak with additional artwork featured on the inner sleeve.

CREDITS
All music composed by Christine Ott
—
Christine Ott — Harp, Vocals, Piano, Ondes Martenot, Jupiter8, Percussions, Timpani, Tubular bells, Monotron, Vibraphone / Mathieu Gabry — Mellotron, Keyboards, Vibraphone, Effects, Processing and Arrangements on 1,4,5,8 / Casey Brown — Spoken Voice on 1
—
Recorded in Serpentine Studio Strasbourg, Conservatoire de Strasbourg & Musée Würth Erstein from 2012 to 2019 / Mixed by Benoit Burger in Spring 2020 / Mastered by Lawrence English / Artwork by Renaud Allirand / Layout by Richard Knox / Limited Numbered Vinyl Edition includes the piano score of "Miroirs", transcribed by Rémi Zeller

#pianoday2021

Time to Die

Landscape

Christine Ott - Landscape

Christian Carey's compositions have been performed by the New York New Music Ensemble, Cassatt String Quartet, loadbang, Atlantic Chamber Orchestra, Locrian Chamber Players, Aspen Contemporary Ensemble, Dal Suono Sommerso, singing cellist Jody Redhage, NYC opera flutist John McMurtery, and Met Opera flutist Diva Goodfriend-Koven.

O Sapientia

christiancarey

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