composed by Martin Arnold (1995)
performed by:
Natalie Michaud: soprano recorder
Alain Trudel: sackbut
Geneviève Soly: positive organ

Mole Meander

performed by Maciej Skrzeczkowski on 21.06.22, Royal Conservatory of the Hague (NL)
mixed & mastered by Lilita Dunska

for blandine & maciej

'Forever Forever', out now on Brainfeeder: https://genevieve.lnk.to/foreverSo

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Forever Forever

Watch For The View

https://www.nts.live/shows/in-focus/episodes/in-focus-anne-briggs-11th-august-2020
Since withdrawing from public life and refusal to record any new music since the 1970s, a mythology has grown around the figure of Anne Briggs. Renowned for her crystalline, delicate singing voice, she adapted playfully to traditional songs about relationships, sex, difficult working lives and political strife.

In Focus: Anne Briggs

“Poor little human being! Little child of Time!” (Excerpts)
An interlude from the play “Sensa” (ca. 1917), originally for lyres 

Music by Elsie Hamilton
Orchestration by Rebecca Lane and Thomas Nicholson (2024)
Audio documentation by Sam Dunscombe from the first live performance at KM28 (Berlin) on 10.10.2024

- - -

This music is in Kathleen Schlesinger’s Venus Species, corresponding to the Phrygian mode in her interpretation of Ancient Greek music. 

- - -

MO Abbott (trombone), Ellen Arkbro (trumpet), Sam Dunscombe (recording), Judith Hamann (cello), Jon Heilbron (contrabass), Rebecca Lane (quarter-tone flutes), Thomas Nicholson (viola), Michiko Ogawa (clarinet), Marc Sabat (violin)

Poor little human being. Little child of Time!

Elsie Hamilton – Poor little human being. Little child of Time! (Excerpts)

Pibroch

Nils Ostendorf: trumpet, shruti box
Kim Myhr: acoustic guitar


recorded June 2015 at Studio Boerne, Berlin

Nils Ostendorf+Kim Myhr Weissensee #2

Infinite Greyscale is delighted to present 10 new recordings by Alasdair Roberts. Alternating between unaccompanied songs and instrumental tracks, Roberts presents traditional compositions at their most raw and affecting. 

The Tunes

I am indebted to my piping friend Donald Lindsay for The Blythsome Bridal, The Braes of Tulliemet and The Smith’s a Gallant Fireman, while Chief O’Neill’s Favourite and The Flowers of Edinburgh were learnt from my fiddling friend Neil McDermott. The Blythsome Bridal is used as the melody to a comic lyric called ‘Fy Let Us A’ To The Bridal’ first published in 1706.  The Braes of Tulliemet lie near the Perthshire town of Pitlochry.  The Smith’s a Gallant Fireman is also known as ‘Carrick’s Rant’. Chief O’Neill was Francis O’Neill (1848-1936), who was born in County Cork, emigrated to the USA as a young man and eventually became chief of the Chicago Police from 1901 to 1905. The Flowers of Edinburgh was first published in James Oswald’s Caledonian Pocket Companion around 1760.  The guitars are fretted in the following positions as the tunes appear on the record: II, II, V, VII and V.

The Songs

My family stayed in a haunted house in the village of Balquhidder for a very short while in the early 1980s after moving from Germany to Scotland.  However, I only took to singing The Braes of Balquhidder very recently after hearing a recording of it sung by the late Tim Lyons. The Seasons was learnt from the singing of the late Aberdeen singer Lizzie Higgins, daughter of Jeannie Robertson.  Edinburgh-based Ulsterman Cathal McConnell knows many fine songs, most of which are collected in his book/CD set I Have Travelled This Country.  I learnt this version of The Curragh of Kildare from that source.  The late Sheila Stewart of Rattray, near Blairgowrie, is the source of my version of False, False.  I would be unable to attribute my singing of Roberts Burns’ The Silver Tassie to a single source, owing to its general popularity in Scotland. I am forever indebted to all the fine singers and musicians mentioned above, and to many others unmentioned, for passing on songs and tunes to me over the years.

Alasdair Roberts
London, June 2020

Fretted and Indebted

The Braes Of Tulliemet

Lana Del Rey (May Jailer) - Next To Me

Fredrik Rasten: acoustic guitar, voice

Svevning is a Norwegian word meaning levitation or flying, in the sense of flying without
effort – like when a bird is fully supported by the airstream, merely gliding.

Svevning also refers to interference or beating, the acoustic phenomenon that occurs when
two tonal sounds differ in pitch only slightly. When two tones are sustained with stability, their difference in frequency manifests sonically as a pulsating pattern of vibration. As the difference in frequency between the two tones increases, the speed, or frequency of the pulse increases correspondingly until a point or
area is reached where the difference is no longer heard as a pulse, but as a tone. This is
what is known as a difference tone.

I do not know how the two meanings of ‘svevning’ (in German, Schwebung) relate to each
other etymologically, but I find a latent poetry in their combined meanings and connotations.

Svevning is an extension of my earlier piece Limn. The music unfolds as an ever-changing continuum of chords, propelled by open strings and their harmonic nodes, slowly interwoven by retuning, patterns of plucking and occasional
voice.

Fredrik Rasten, July 2021, Berlin




all rights reserved 
credits
released October 5, 2021

Recorded by Fredrik Rasten at CityLAB Berlin on March 3 & 5, 2021.
Mixed by Sam Dunscombe.
Mastered by Giuseppe Ielasi.
Cover artwork and design by d’incise.
Thanks to Marcus Pal, Mareike Lee, Adam Asnan, CityLAB Berlin, Sam, Giuseppe and
d’incise.

Released on INSUB records

buy download or cd here:

fredrikrasten.bandcamp.com/album/svevning

Svevning II

Fredrik Rasten is a guitarist and composer (b. 1988) working in the field of experimental music, both improvised and composed. His main focuses are exploring and utilizing the acoustic possibilities of the steel string guitar. The last years he has been working extensively with just intonation, taking an extended concept of consonance as a point of departure. He has studied in this field with  Catherine Lamb and Marc Sabat in Berlin. In his work he is also inspired by wandelweiser music, traditional british folk and early music.



contact: fredrikrasten(at)gmail(dot)com

Svevning II

Fredrik Rasten

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