Discover Weekly Archive - Part 1

One song from every genre we currently track. <a href="http://everynoise.com/thesoundofeverything.html">Annotated here.</a>

The Sound of Everything

GEORG PHILIPP TELEMANN - GERMAN BAROQUE

feeling baroque

Super Power Club: 8-Bit Tribute to Modern Rock Hits

Seven Nation Army

Ich seh euch faßt mit bttern thränen nach

05. Telemann "Ach Gott, wie beugt" TWV 1:1564 1. Aria "Ach Gott…"

https://oolongbois.bandcamp.com/
ohhyeah im deadha

roxies and cigarettes - oolong

Keep It Up

»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion.

»The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once. 

What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens.

As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

All tracks composed and recorded by Uwe Zahn.  
Originally released on CCO in 2000.  
Remaster and cut by Kassian Troyer @ D&M.  
Cover art by Jim Kühnel based on a photograph by Uwe Zahn.   
Text by Kristoffer Cornils.

Tides (2022 Remaster)

Arovane - Tides (2022 Remaster)

with Jed Wentz (traverse), Igor Ruhadze (violin), Cassandra L. Luckhardt (viola da gamba) and Job ter Haar (violoncello) 

G. P. Telemann, 6e Quatuor in E minor, Modéré

Winner of the 2013 Pulitzer Prize in Music, this is Caroline Shaw's a capella choral masterpiece "Partita for 8 Voices."

COMPOSER: Caroline Shaw
ENSEMBLE: Roomful of Teeth

NOTE: This is a live performance! (recorded in the Fox Cabaret on 1/25/2016)

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

Caroline Shaw — Partita for 8 Voices: III. Courante

Pas de bourrée

Ouverture-Suite in G Major, TWV 55:G4 "Les Nations anciens et modernes": III. Les Allemands anciens

Ouverture-Suite in G Major, TWV 55:G4 "Les Nations anciens et modernes": IV. Les Allemands modernes

Cover

Robert Moran
Trinity Requiem

Tray Card

Trinity Requiem
(Commemorating the 10th Anniversary of September 11, 2001)
1.	Introit 	4:33
2.	Kyrie	4:56
3.	Psalm 23	3:42
4.	Offertory	2:58
5.	Sanctus	3:33
6.	Agnus Dei	2:56
7.	Pie Jesu	2:28
8.	In Paradisum	4:44
The Trinity Youth Chorus, Trinity Wall Street
Robert Ridgell, conductor

9.	Tears Into Dust	6:40
Latvian Choral Ensemble
Vladimir Veretsikoff, conductor

Seven Sounds Unseen
10.	1	3:16
11.	2	14:06
12.	3	5:14
Musica Sacra
Richard Westenburg, conductor

13.	Notturno in Weiss	8:12
The Esoterics
Eric Banks, conductor

Total: 67:51




TRINITY REQUIEM (2011)
Commemorating the 10th Anniversary of September 11, 2001

The Trinity Youth Chorus
Trinity Wall Street
conducted by Robert Ridgell

Executive Producer: Linda Hanick
Engineering: Leonard Manchess, Tom Durak (New York)

Melissa Attebury, Associate Director
Wesley Chinn, Assistant
James Blachly, Assistant
Eric Dudley, Assistant

Choir
Kiana Bartholomew
Luthian Brackett*
Chloé Combs
Cecilia Gault
Johanna Go
Jalene Lipowitz
Hannah O’Sullivan
Molly Quinn*
Melanie Russell
Hannah Sklover
Virginia Warnken*
Jelani Wiltshire
Peter Yao
Allison Zhao

*Trinity Choir Member

Instrumentalists
Alexander Hermann, Organ
Jennifer Hoult, Harp
Aminda Asher, Cello
Veronica Parrales, Cello
Sara Wolfe, Cello
Miho Zaitsu, Cello

The Trinity Youth Chorus is the voice of youth in Lower Manhattan, providing a unique musical environment for young singers. A collective of community choirs, the chorus offers music education and performance opportunities for girls and boys, ages 5-18. The program emphasizes the social aspect of singing, brings together collaborative neighborhood partners, and teaches the importance of building bridges within the community.

Notes on TRINITY REQUIEM

When Robert Ridgell asked me to compose the TRINITY REQUIEM for his youth chorus as part of the 10th Anniversary of Sept. 11th, 2001, a commissioned score, my immediate reaction was “No, Robert.... having a youth choir sing a Requiem strikes me as slightly ghoulish and a bit unnerving. Let me think about this”. Directly after this conversation, I began to get ‘flash-backs’ of numerous stories I had heard throughout my life of children who had lost their entire families from plagues, wars, endless catastrophes, vicious governments, etc. I told Rob that I had heard of a specific story of a little girl in Kosovo, maybe no more than 8 years old, whose parents and brother of age 6 had been murdered; she was found daily at the grave of her brother, and had completely lost the ability to speak. “Rob, this is what ‘our’ Requiem is about, these thousands and thousands of kids left with nothing. A friend of mine in England, as a little child, was sent off to Wales during the Nazi bombings of London. He returned to London at the end of the war to find that both his parents had been killed. I was speechless. Luckily we have the ability to attempt some expression of grief through our music. Let’s get going with this project now”.

9/11/2001?   Most of the voices in this Trinity Youth Chorus are of young people born in 2000. The World Trade Center attack would mean nothing to them... But knowing and seeing on television children’s lives destroyed time and again would have a deep impact. We recorded the Trinity Requiem in November 2010; a very intense and moving experience for everyone involved. At the conclusion of In Paradisum, many of us were in tears. One note concerning the Offertory: I based this short movement upon the bass line of the famous Pachelbel Canon, using that organ statement for my own musical canon for the four celli. The first four notes of the Pachelbel ‘bass line’? Where had I heard those before?  They are used as the  “Parsifal” chimes, courtesy of Mr. R. Wagner. And even with our concern for eliminating New York City street sounds during this recording, we couldn’t totally succeed. During the opening of the Offertory, one hears a siren passing the church. We decided that this ‘alarm’ was, although ‘not in the score’, worth keeping as a reminder that the World Trade Center, ten years before, had just been behind Trinity.

Tears Into Dust (2004)
Latvian Choral Ensemble
Vladimir Veretsikoff, conductor

Looking backward... I cannot see the ancients of days.  Looking forward.... I cannot see ages yet to come.  Only Heaven and Earth have remained, and will remain forever...I am alone, I grieve. I drop tears into the dust.
– Chen Tzu-ang
Program notes for SEVEN SOUNDS UNSEEN (1992)

Back in 1992, as a commission from the Catalyst Series of BMG, I composed SEVEN SOUNDS UNSEEN for 20 solo voices for Richard Westenburg and his Musica Sacra.  Two short sections surround the extended middle part, which uses text-fragments from many letters of friend John Cage to me over a period of 30 years (he had given me the original manuscript of his book, “M”, and I ‘dipped’ into some of these pages, taking statements that had such a musical ‘ring’ I had to include them).   Each of the three parts asks for a different stage arrangement of the various voices for no other reason than to move sounds around for the actual recording.  After I completed the score and sent it on its way to Westenburg (actually hand-delivered to the producer of the recording, Andre Gauthier), I looked forward to attending the actual recording and hearing this work for the first time “outside of my head” and with hopes that what was ‘internally heard’ would manifest itself in the studio performance.   The entire day, spent in the studio, was amazing from start to finish, the singers producing such magic.

Producer:  Andre Gauthier
Engineer:   Anthony Salvatore

Notturno in Weiss (2006)	

The Esoterics, Eric Banks, director. With guest harpists Alexis Odell and Melissa Walsh 
(Notturno in Weiss also appears on their album Sonettaria, Terpsichore Records. www.TheEsoterics.org)

Anne Dame
Anthony Balducci
Betsy Bæskens
Brad Fanta
Curtis Man
Dan Luethy
Doug Rank
Erin Harlan
Gretchen Hubbert
Jamie Balducci
Jennifer Gosnell
Jeremiah Oliver
Jessica Spears
Jim Peterson
Kathea Yarnell
Keith Horlock
Kevin Fansler
Lorri Froggét
Maria Drury
Mary Wieneke
Merideth Burness
Michæl Seidel
Mitchell Baier
Rick Sipe
Sam Beckert
Sean Glenn
Shawna Avinger
Sheri Doyle
Steve Shelton
Vanessa Ament
Whitney Wishart
Will Thayer-Daugherty

Recording engineer: Rick Lyman
Recording producer: Brian Fairbanks
Recording editor: Al Swanson

Notturno in Weiss [Nocturne in white] (2006)
Poem by Christian Morgenstern
Translated by Eric Banks

Die steinerne Familie,
The family of stone,
Aus Marmelstein gemacht,
Fashioned from marble,
Sie kniet um eine Lilie,
Kneels unto a lily,
In totenstiller Nacht.
In the deathly still of night.

In totenstiller Nacht
[textless]

Der Lilie Weiß ist weicher
The white of the lily is softer,
Als wie das Weiß des Steins,
Than the white of the stone,
Der Lilie Weiß ist weicher,
The white of the lily is softer,
Doch das des Steins ist bleicher
Yet that of the stone is paler
Im Weiß des Mondenscheins.
In the white of the moonlight.

Die Lilie, die Familie,
The lily, the family,
Der Mond in sanfter Pracht,
The moon in gentle splendor,
Sie halten so Vigilie,
They each hold their vigils,
Wetteifernde Vigilie, 
Their emulating vigils,
In totenstiller Nacht.
In the deathly still of night.

BIO

Robert Moran has traveled many musical paths since 1957 when he began his study of 12-tone music in Vienna with Hans Erich Apostel and completed his Masters with Luciano Berio and Darius Milhaud. He has composed for solo instruments and intimate chamber groups; created musical compositions incorporating 100,000 performers, radio and television stations, skyscrapers, and airplanes; and has collaborated with Phillip Glass to compose minimalist opera scores. Moran compositions range from the absurd theatre piece Divertissement Number One (1967), in which performers react to the sight and sound of popcorn popping, to the sinister yet funny Alice in Wonderland (2011) for the Scottish Ballet.

Throughout his career Moran has been careful not to ally himself with any specific school of composition. Musicologist and critic Walter Simmons noted that Moran “has passed through most of the ‘isms’ that have comprised the contemporary music landscape of the past 50 years.” This freed him to explore whatever musical form interested him at the moment, and his numerous musical excursions led to the development of his unique style.

The 2011 Ruhr Triennale, Oberhausen, Germany commissioned Moran's BUDDHA GOES TO BAYREUTH, composed for two choruses and two string orchestras, conducted by Rupert Huber.  In 2012 Ballet West will premiere THE LOTTERY, based upon the short story of Shirley Jackson and choreographed by Val Caniparoli.

Also by Robert Moran on innova:
Open Veins (627)
Mantra (714)
Cabinet of Curiosities (792)


Bob Moran: Trinity Requiem  In Paradisum

Mndsgn - Camelblues

Broken Heart - AMPERS&ONE

Musical Banquet

Dowland: Lady Rich, Her Galliard

Sisask : Starry Sky Cycle

Starry Sky Cycle Op.52 - Pleiades : 17. II Maja

Hard Normal Daddy

Beep Street

Handel: Water Musick - Telemann: Wassermusik

Water Musick, Suite No. 1 in F Major, HWV 348: I. Overture - Adagio e staccato

Water Musick, Suite No. 1 in F Major, HWV 348: III. Andante

Water Musick, Suite No. 1 in F Major, HWV 348: II. [Allegro]

Water Musick, Suite No. 1 in F Major, HWV 348: IV. [Allegro]

Water Musick, Suite No. 1 in F Major, HWV 348: V. [Passepied]

Ouverture "Wassermusik" in C Major, TWV 55:C3: I. Ouverture

528Hz Repairs DNA & Brings Positive Transformation

Electromagnatic Spectrum

432Hz Powerful Miracle Tones Music for Enhancing Positive Energy

Attract Massive Wealth

Hifalutin

baglaens

Bach's Lullaby Cello Suite, Collection

Bach: Cello Suite No.2 in D minor BWV 1008 - IV. Sarabande

Adès, Nørgård, Abrahamsen: Music for String Quartet

VI. O Albion

Property of Pigeons

Seishundokei (Special Editon)

Seishundokei

Daydream

'Times go by Turns' is the highly anticipated follow-up to New York Polyphony’s 2012 release 'endBeginning'. The program features Masses by Thomas Tallis and William Byrd, as well as an enigmatic three-voice Mass setting by medieval English composer John Plummer. Three new works written for New York Polyphony by composers Gabriel Jackson, Andrew Smith, and the late Sir Richard Rodney Bennett complete the sequence.

Thomas Tallis - Mass for Four Voices - Sanctus (excerpt)

Good As Hell

Georg Philipp Telemann - Overture In F Minor, TWV 55 - F1(Collegium Instrumentale Brugense, 2006)

Ouverture "Wassermusik" in C Major, TWV 55:C3: I. Ouverture

Zefiro