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„Not just a track, but a sonic space that instigates, challenges, and connects directly with the body.”
— Beat for Beat-Blog (Brazil) on „Love?“

….what is the d’Dorf vibe….?……

Exploratory project from the hometown of Kraftwerk :

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Featured by curators like Hybrid Trap (6 spotify playlists), Jelle Ravesloot/Spotify Treasures + by Maxima Dance FM-Radio, and Beat for Beat-Blog & others.

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https://open.spotify.com/intl-de/album/1REGtVH4Ze3gBCkogdrdZR

Composer. "Sublime music of fluidity & austere beauty”-Boston Globe “Simmering, and lucid...demands to be heard”-New York Times
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[‘kɑːti] [‘ɑːgotʃ]

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.

Juno-Nominated Composer, Pianist and Conductor based in Toronto, Canada.
For a full list of music visit the artist pages linked below:

Douglas Boyce writes chamber music that draws on Medieval and Renaissance traditions and modernist aesthetics, building rich rhythmic structures that shift between order, fragmentation, elegance, and ferocity.  His approach is deeply historical and broadly philosophical.  Many of his works have an direct historical touchstone, such as his  Etude on 'Pymalion qui moult subtilz estoit' (A Book of Etudes, Quire 4, No. 1) which features quotations of and elaborations on music from 15th century Cyprus, or La Deploration for clarinet, violin, and cello, which couples Josquin's lament on the death of Ockeghem with works of his own teacher Robert Suderburg, synthesizing jazz and Renaissance approaches. Other works draw on sources from antiquity, such as the string quartet Alcyone, a partially spoken setting of a tale of Ovid's Metamorphoses, or Tethys, a violin concerto which links the sea-goddess to geological time and tectonic change.
Literature and philosophy are also significant points of articulation: The Winter Journey, a current project commissioned from the ensemble Yarn|wire, is based on a short story by George Perec; the story itself  takes the form of a 19th century fairytale of memory and loss, and so the new composition will involve transformation of the French and German art-song tradition of the 19th and early 20th century. A song cycle focused on settings of American poets (Jorie Graham, BJ Ward, Wallace Stevens) entwines with the poems fragments from philosophers (James, Aristotle, Husserl, Bergson). The piano trio 'Fortuitous Variations' draws upon the language of William James and C.S. Peirce in inspiration, organization, character markings, and movement titles. This approach and the works themselves connect to many aspects of the scholarship in the humanities, including history, anthropology, literary studies, and philosophy. 
His works have been praised many times in the press.  Regarding his Quintet “l’homme armé”, Allan Kozinn wrote “he couches [the medieval melody] in such thoroughly modern scoring that the ear is lured to other things, including the juxtaposition of eerie string writing with playful material for the clarinet and piano, or the lively interplay among all five instruments.” (The New York Times March 12, 2005.) Regarding A Book of Songs (2006), the Stephen Brookes wrote “[they] can only be described as drop-dead beautiful. Easily the most captivating works on the program, these songs of love and death are extraordinarily well written and insightful.” (The Washington Post May 23, 2006)  Regarding La Déploration, Corinna da Fonseca-Wollheim wrote that "...the violinist, cellist... and clarinetist... spread out throughout the crypt. Against vaporous harmonics and ghostly fragments of Renaissance music played by the strings, [a] warm, clear clarinet announced itself as very much alive as it sashayed in and out of blues territory and laughed in the face of their mournful keening." (The New York Times May 17, 2015.)
He has been awarded the League of Composers ISCM Composers Award (2005), the Salvatore Martirano Prize (2006), and the Robert Avalon Prize (2010), and a Fromm Commission (2012). He is a MacDowell Fellow in Winter 2017, and an Avaloch Music Farm Fellow in Fall 2017. His music has been performed by  counter)induction, Aeolus Quartet, Inscape Chamber Orchestra, Redlight Music, Dan Lippel, Robert Baker, Trio Cavatina, Edge Ensemble/Contemporary Music Forum (DC), pianists Ieva Jokubaviciute (Shenandoah University), Alice Belem (State University of Minas Gerais), and Ning Yu; cellists Elise Pittenger (Federal University of Minas Gerais) and Schuyler Slack (Richmond Symphony) and Lori Barnett (George Washington University); and clarinetists David Jones (Washington National Opera), Benjamin Fingland (Dorian Winds).
He is a founding member, curator, and composer-in-residence of counter)induction, a composer/performer collective active in the New York region (www.counterinduction.com).

WWW.ERICCHASALOW.COM

Please try to listen to music with reasonable speakers or headphones. Be aware that this music has lots of subtleties and your experience of it is highly compromised when reproduced through phone speakers, computer speakers or cheap earbuds


Eric Chasalow is a composer known for both electro-acoustic music and music for traditional instruments.  Among the last generation to work at the original Columbia-Princeton Electronic Music Center, since 1990 he has directed BEAMS, the Brandeis Electro-Acoustic Music Studio. Eric’s music is programmed throughout the world and he holds awards from the Guggenheim Foundation, the National Endowment for the Arts, and the American Academy of Arts and Letters.  The Library of Congress established an Eric Chasalow Collection in 2009, and his music may be found on a number of record labels, including New World Records, and his own, Suspicious Motives Records.  A library edition of his complete works for solo instrument and electronics was released in 2015 for his 60th birthday (available through Tfront.com).

Eric is the Irving G. Fine Professor of Music and the Dean of the Graduate School of Arts and Sciences at Brandeis University.

Jacob Gruss is an organist studying at the Yale School of Music and Yale Institute of Sacred Music.

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