The Squid's Ear Magazine

Newland, Paul

Things That Happen Again [Used Item]

Newland, Paul: Things That Happen Again <i>[Used Item]</i> (Another Timbre)

A portrait of UK interdisciplinary composer Paul Newland's music through five pieces dating from 2009 to 2023 performed by members of London's Apartment House ensemble, including a string quartet, two different trio combinations, a short work for solo piano, and a score for open instrumentation, realised in this recording by a septet.

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Mira Benjamin-violin

Gordon MacKay-violin

Chihiro Ono-violin

Anton Lukoszevieze-cello

Siwan Rhys-piano

Ben Smith-piano

Paul Newland-piano, composer

George Barton-vibraphone, cowbells, percussive objects

Gavin Morrison-alto flute

Heather Roche-clarinet

Simon Reynell-field recordings

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Label: Another Timbre
Catalog ID: at219
Squidco Product Code: 35056

Format: CD
Condition: VG
Released: 2024
Country: UK
Packaging: Cardboard Gatefold
Recorded at Goldsmiths Recording Studio, in London, UK, in 2023, by Simon Reynell.

This is a USED (previously owned) item

Descriptions, Reviews, &c.
Previously played Squidco store copy, used for cataloging and samples, in excellent condition.

Another Timbre Interview with Paul Newland

Can you tell us about the pieces on the CD, starting with 'monotonous forest', the oldest piece on the disc. How did that come about, and - 15 years on - does it still feel recognisably yours?

Ian Vine and Tim Benjamin, composers I knew from Manchester, asked me to write a piece for their ensemble Radius. Jo Kondo had written Holzwege around that time, and that sparked an interest in Heidegger and the idea of forest paths and wandering, and perhaps even becoming lost or disoriented in a landscape that feels self-similar etc. The piece is in five movements, although this isn't really apparent to the listener as they're not strongly contrasting and the music feels continuous except where there are written silences which sometimes break the flow or frame things - attention to flow, the slowness and the falling are all still very familiar territory for me as is the use of silence and the layering of things that unfold at different rates. I also really enjoy unisons.

What about 'things that happen again (again)': how did that come about, and why the unusual title?

I wrote this in the summer whilst staying in Japan. It was a particularly hot summer that year and for some reason that really remains strongly in my mind. The piece is broadly in two halves. In the second half the listener encounters all the same material as heard in the first; it's the same, except that this time, in the second half, the instruments have become uncoupled from each other, things are no longer sounding together. Things that happen again is also the title of an art-work by Roni Horn which consists of two identical cone-shaped solid copper cylinders placed either in separate spaces or at a distance from each other, so that the viewer is unable to see both simultaneously. Choreographer Marina Collard introduced me to this piece. Regarding the "(again)" in brackets of the title. In the past, often one piece has led to another - I'm sure this is a familiar situation for everyone, i.e. you find something while writing a piece that then becomes the subject for the next. However, more recently I've begun writing pieces in batches, and where a collection or series of pieces have concerns that are extremely similar, I give them the same title but need a way to differentiate them. In this instance this is the second version of things that happen again hence the addition of (again) in brackets to designate that it's a second iteration of the piece. I'm very interested in pairs and multiples of things. The piece was premiered as part of MWLTH 2017 by Mira Benjamin (violin), Anton Lukoszevieze ('cello) and Philip Thomas (piano) at St Mary-at-Hill London.

There are several versions of 'locus' online, but all sounding very different because it's such an open score. Can you explain how it works - and have you composed a lot of 'open' scores?

Oliver Leith asked me to write a piece for an event he was organising and I wanted to create a score that somehow encapsulated in the most distilled form possible my long-standing interest in repetition and the overlaying of loops moving at different speeds/rates and/or of different lengths. I wanted to generate a kind of blue-print or more precisely a kind of proto-type piece I guess (except obviously this is a prototype that's coming after all the works that I've written previously, not before). After quite a bit of thought, I wrote the score whilst travelling into London on the train one day. The score invites performers to collect/find/prepare and then play 1,2 or 3 sounds which they then repeat, each separated by silences, the durations of these sounds and silences being chosen by the player from listed divisions of 3 minutes.

I'm very interested in open scores, I particularly enjoy how open scores and text scores strongly foreground concept, material and performativity, and deal, often very overtly, with the interweaving (and entanglement) of these. I really enjoy the self-reflexive quality that prose and open scores can conjure and evoke. This often provokes important questions about making/listening etc. The process of generating these kind of scores, of finding the most succinct way in which to express them as well as finding the appropriate balance between clarity and ambiguity really fascinates me. locus was premiered at The Old Operating Theatre London (2013) David Arrowsmith (guitar), Paul Newland (guitar), Ryusuke Koarashi (bowed objects) and Oliver Leith (field recordings).

The string quartet, 'difference is everywhere (altered again)': again, can you explain the title and does it relate to your earlier quartets?

This quartet is the third in a series of quartets all written since 2017 which share very similar concerns and in many ways are re-iterations of each other (as mentioned above). They are: difference is everywhere, difference is everywhere (altered), and difference is everywhere (altered again). The words of the title "difference is everywhere" are from Antoine Beuger in his interview with James Saunders.

For a long time, by this point, I'd been continuously trying to pare things down in my work, in an attempt to cultivate a kind of close listening to the material surface and surface qualities of the sound as well as the temporal qualities of any given piece.

Antonie Beuger's words caught my attention and somehow, for me, perhaps point to a quality in the material as well as a quality inherent in the type of listening experience (encounter) that I'm searching for, or attempting to cultivate in my work, a sort of listening-in which can begin to arise as the material is pared down, reduced, fragmented, slowed, stretched, blurred, re-examined, woven, repeated, spun, simplified, while at the same time seeking to remove anything inessential, as well as continuing to raise questions relating to conventions of form and flow etc. As a result I think a space can open up - a space for the listener as well as for the sounds themselves. I'm very interested in this sense of presence, the presence of the sounds, the presence of the silence, the presence of the players - a field of experience that might initially feel quite empty can slowly begin to feel more detailed as we begin to notice or pay attention to small things, small sounds or shifts in the sound or bow etc. - Things that we might normally miss; I enjoy paying attention to these things.

And while a sense of stillness might help focus our listening in a particular way, I'm really interested in the not-quite-stillness when something is just happening, or something just manages to keep moving forward, on the edge of stopping, but not....or hovering on the edge of just sounding/moving/being still. Hearing a sound that might be a deliberate part of the piece, or is it a sound that is actually a part of the environment in which the piece is taking place? - where does one begin and the other end? - Any sort of ambiguity seems very rich to me, and a good place to be.

Having said all this, I feel ultimately though that , when I'm actually writing or playing, I really like to just follow my instincts, and let things unfold and go where they feel like they need to go and not worry too much about anything at all too directly but just to be listening.

Finally the short piano piece, 'Laurence Crane on Whitecross St'. Again, it's rather unlike the other pieces on the CD, but is it representative of one aspect of your compositional work? What were the circumstances of its composition?

These kind of triadic harmonies are present in some of my previous pieces (particularly piano pieces e.g. nagahama fragments) but don't appear so regularly perhaps. During Covid I got into the habit of playing at the piano and if you like, taking a chord for a walk, so starting with a triad and then moving to the next but with the simple rule of keeping one or two of the notes fixed from the previous chord, and then just following your nose, and seeing where you go with no concern for tonal functional harmony but just enjoying the feeling and sound of the shift from one to the next. After a while I realised there was probably a piece here and I wanted to write it down. I wanted capture the feeling that although at first it might feel like it's moving forward and going somewhere actually that's an illusion and it just keeps ending up in the same sort of place again and going around and around in different ways in long loops - and then towards the end it gradually slowly sinks down... At the time I realised Laurence was about to celebrate perhaps a not insignificant birthday so I made it as a birthday gift for him. The connecting of places and people in titles is something I know Laurence enjoys.

Artist Biographies

"Mira Benjamin is a Canadian violinist, researcher and new-music instigator.

She performs new and experimental music, with a special interest in microtonality & tuning practice. She actively commissions music from composers at all stages of their careers, and develops each new work through multiple performances. Current collaborations include new works by Anna Höstman, Scott McLaughlin, Amber Priestley, Taylor Brook and James Weeks.

Since 2011, Mira has co-directed NU:NORD - a project-based music and performance network which instigates artistic exchanges and encourages community building between music creators from Canada, Norway & the UK. To date NU:NORD has engaged 79 artists and commissioned 62 new works. Through this initiative, Mira hopes to offer a foundation from which Canadian artists can reach out to artistic communities overseas, and provide a conduit through which UK & Norwegian artists can access Canada's rich art culture.

Originally from Vancouver, British Columbia, Mira lived for ten years in Montréal, where she was a member of Quatuor Bozzini. Since 2014 she has resided in London (UK), where she regularly performs with ensembles such as Apartment House, Decibel, and the London Contemporary Orchestra Soloists, and is currently the Duncan Druce Scholar in Music Performance at the University of Huddersfield.

Mira is the recipient of the 2016 Virginia Parker Prize from the Canada Council for the Arts. The prize is awarded annually to a Canadian musician in recognition of their contribution to the artistic life in Canada and internationally."

-St. Martin in the Field Website (

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"Violinist Gordon MacKay was a member of the National Youth Orchestra of Scotland before gaining a music degree at the University of London. He is currently a member of contemporary group Apartment House, and has also performed with the Kreutzer Quartet, as well as featuring as a guest player with Lontano and the London Symphony Orchestra.

He has recorded a solo violin work by Sylvano Bussotti for BBC Radio 3, and performed a violin duo by Effy Efthymiou with Madeleine Mitchell, which was shortlisted for the Ivan Juritz Prize in 2018."

-Naxos (

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"Japanese-born violinist Chihiro Ono use music as a tool to explore human abilities, link people and places, and open human beings' minds."

-Musicity Sound Space (

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"Cellist Anton Lukoszevieze (born 1965 in the UK) is one of the most diverse performers of his generation and is notable for his performances of avant-garde, experimental and improvised music. Anton has given many performances at numerous international festivals throughout Europe and the USA (Maerzmusik, Donaueschingen, Wien Modern, GAS, Transart, Ultima, etc.etc.). He has also made frequent programmes and broadcasts for BBC Radio 3, Danish Radio, SR2, Sweden, Deutschland Rundfunk, WDR, Germany and ORT, Austria. Deutschlandfunk, Berlin produced a radio portrait of him in September, 2003. Anton has also performed concerti with the City of Birmingham Symphony Orchestra at the 2001 Aldeburgh festival and the Netherlands Radio Symphony Orchestra. He has collaborated with many composers and performers including David Behrman, Alvin Lucier, Amnon Wolman, Pierre Strauch, Rytis Mazulis, Karlheinz Essl, Helmut Oehring, Christopher Fox, Philip Corner, Alvin Curran, Phill Niblock and Laurence Crane, He is unique in the UK through his use of the curved bow (BACH-Bogen), which he is using to develop new repertoire for the cello. From 2005-7 he was New Music Fellow at Kings College, Cambridge and Kettles Yard Gallery. Anton is the subject of four films (FoxFire Eins) by the renowned artist-filmmaker Jayne Parker. A new film Trilogy with compositions by Sylvano Bussotti, George Aperghis and Laurence Crane premieres at The London Film Festival, October 2008. In November will premiere a new hour long work by Christopher Fox for cello and the vocal ensemble Exaudi commissioned by the Huddersfield Contemporary Music Festival and will also present new solo works for cello and live electronics. Anton is also active as an artist, his work has been shown in Holland (Lux Nijmegen), CAC, Vilnius, Duisburg (EarPort), Austria, (Sammlung Essl), Wien Modern, The Slade School of Art, Kettles Yard Gallery, Cambridge Film Festival and Rational Rec. London. His work has been published in Musiktexte, Cologne, design Magazine and the book SoundVisions (Pfau-Verlag, Saarbrucken, 2005). Anton Lukoszevieze is founder and director of the ensemble Apartment House, a member of the radical noise group Zeitkratzer and recently made his contemporary dance debut with the Vincent Dance Company in Broken Chords, Dusseldorf."

-Kalvos Damian (

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"Welsh pianist Siwan Rhys enjoys a varied career of solo, chamber, and ensemble playing, with a strong focus on contemporary music and collaboration with composers.

She has played at prestigious British venues such as the Barbican Hall, Wigmore Hall, Royal Festival Hall, St David's Hall, Symphony Hall, and abroad at the Elbphilharmonie Hamburg, Le Tambour Rennes, and Shanghai Symphony Hall amongst others. She has also appeared at the Aldeburgh Festival, BBC Proms, Principal Sound, Occupy the Pianos, Lille Piano(s) Festival, and has recorded many times for television, radio, and labels such as NMC, all that dust, and Prima Facie. Her recent recording of Stockhausen's KONTAKTE (with percussionist George Barton) was released in October 2019 on the all that dust label.

Recent concert engagements include performances of Charles Ives' 'Concord Sonata' in France as part of the Oeuvres Monstres series, Nono's ...sofferte onde serene... at the Principal Sound festival, Feldman's For Philip Guston and Why Patterns?, Stockhausen's KONTAKTE, and appearances at Occupy the Pianos and Lille Piano(s) Festival playing music by Vivier and Eastman.

Also a regular ensemble and orchestral pianist, Siwan has worked with the London Sinfonietta, Birmingham Contemporary Music Group, Colin Currie Group, Aldeburgh Festival Ensemble, Mahogany Opera Group, Music Theatre Wales, Philharmonia Orchestra, London Symphony Orchestra, and City of Birmingham Symphony Orchestra, with conductors Oliver Knussen, François-Xavier Roth, and George Benjamin among others.

Siwan works regularly with mezzo-soprano Lucy Goddard, and is a member of GBSR piano-percussion duo with whom she was a 2017-18 St John's Smith Square Young Artist.

She is an honorary member of the Welsh Gorsedd of Bards and an Entente Cordiale alumna. She teaches at the London Contemporary School of Piano."

-Siwan Rhys Website (

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"Ben Smith is a London-based composer and performer specialising in contemporary music. He is interested in - amongst other things - phenomenological and semiotic approaches to musical analysis, and compositional encounters with silence and repetition. Ben was a Junior Fellow at Guildhall School of Music & Drama from 2020-2022, where he previously studied with Laurence Crane, Rolf Hind, and James Weeks. His recording of Evan Johnson's complete piano music was released on all that dust in November 2021."

-Ben Smith Website (

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"Paul Newland is a composer and performer with interests in acoustic, collaborative, interdisciplinary and site-specific work which invites close listening to sound through patterning, extended duration, amplification and slowing of often sparse, pared down material, making use of both traditionally notated and open scores. The work draws on continuing interests in contemporary visual arts, dance and Japanese culture.

His work has been performed internationally by artists such as; [rout], 175 East, Apartment House, Arditti Quartet, Asko Ensemble, BBC Symphony Orchestra, Ilan Volkov and the BBC Scottish Symphony Orchestra, London Symphony Orchestra, Quatuor Bozzini, Elias Quartet, An Assembly, Ensemble xy, Jack Sheen, Thallein, Jane Chapman, exquisite corpse, Rolf Hind, Richard Casey, Philip Howard, Huuj Ensemble, Jonathan Powell, Ito Noritaka, Ryusuke Koarashi, Ives Ensemble, Ixion, Audrey Riley, Mieko Kanno, Darragh Morgan and Mary Dullea, Tim Parkinson and James Saunders, Radius, London Sinfonietta, Okeanos, Noszferatu and Psappha as well as performances at and broadcasts by BBC Radio 3, ResonanceFM, Music We'd Like to Hear, Beaconsfield Gallery London, Bermondsey Street Festival, Huddersfield Contemporary Music Festival, Ocean Hackney, Kettle's Yard Cambridge, Ultima (Norway), Gaudeamus (Holland), The Incubator Arts Project the Bowery New York City and Sonorities Festival Montpellier. His music has been released by NMC, Divine Art and BML.

He is a founding member of the ensemble [rout] and the free-improvising electric guitar duo exquisite corpse (Paul Newland/David Arrowsmith). exquisite corpse have featured at venues such as London's Vibe Bar, Café Oto Dalston, Old Fire Station Oxford, Audiograft, Crondell St. Underground Car Park Shoreditch Festival, The Book Club Spitalfields, The Old Police Station Deptford, Cakey Muto Hackney, sssh BOOM The Rag Factory Brick Lane, Greenwich Dance Agency, and Resolutions at The Place.

He has a longstanding creative partnership with choreographer Marina Collard with whom he has generated more than eleven new dance works. He studied composition with Anthony Gilbert and Sir Harrison Birtwistle at the Royal Northern College of Music in Manchester and with Michael Finnissy at the Royal Academy of Music in London.

In 1993 he received the Paul Hamlyn Award for Composition. In 1999 he was awarded a Japanese Government Monbusho Scholarship and from 1999-2002 he studied in Japan with composer Jo Kondo.

He completed his doctorate in 2005 at Royal Holloway University of London under the supervision of composer Simon Holt.

He has taught composition at Guildhall School of Music since 2006 and was appointed Associate Head of Composition in 2012 with responsibility for directing the Department's Masters programme. He is a Fellow of the Higher Education Academy."

-Guildhall School (

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"George Barton is a solo, chamber and orchestral percussionist and timpanist based in London.

He is a member of the Colin Currie Group and has also worked with the London Symphony Orchestra, Orchestra of the Age of Enlightenment, Nash Ensemble, Britten Sinfonia, Aurora Orchestra, Birmingham Contemporary Music Group, Endymion, Music Theatre Wales, BBC Singers, Mahogany Opera Group, Notes Inégales, Riot Ensemble, London Contemporary Orchestra, the Royal Opera House, and the Multi-Story Orchestra, among many other ensembles and orchestras.

As a solo artist George has performed at the Southbank Centre's "The Rest is Noise" festival, the "Occupy the Pianos" festival at St John's Smith Square, and at a number of Nonclassical events across London, among other venues across the UK. His collaboration with Turner Prize -winning artist Jeremy Deller at the Barbican's Station to Station festival was featured on BBC2's Artsnight, and his playing has been recorded and broadcast many times for BBC Radio 3 and NMC. He was featured soloist at Filthy Lucre's The Sounding Body concerts and clubnight - footage available on the media page.

As an ensemble and orchestral player he has performed at all the major London concert halls, including at the BBC Proms every year since 2014, as well as such venues as the Cologne Philharmonie, Elbphilharmonie Hamburg, Tokyo Opera City, and many others.

He has performed chamber music at various venues around the UK and abroad, including the Concertgebouw Grote Zaal, Amsterdam, Cité de la Musique, Paris, Delft Chamber Music Festival, Royal Festival Hall, and Huddersfield Contemporary Music Festival.

With duo partner Siwan Rhys he has performed at St John's Smith Square, Barbican Hall, the City of London Festival, XOYO, Scala and The Forge, among other venues. Committed to commissioning new music, the duo became New Dots artists in 2014; in 2017 they took part in the Stockhausen biennial at Kürten, performing Kontakte and solo works. The duo was selected to become one of three St John's Smith Square Young Artists for the 2017-18 season. Their programme for the season included the premiere of a 40-minute work from Oliver Leit and the UK premiere of Eric Wubbels' doxa, alongside music by Stockhausen, Kagel, Cage, Fran le Lohé and John Luther Adams, as well as unpublished music by Morton Feldman."

-George Barton Website (

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Gavin Morrison: "Flautist, West Ham fan, terrible golfer, lover of single malt and real ale."

-Gavin Morrison Twitter Account (

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"Born in Canada, clarinetist Heather Roche trained in England, lived in Germany for 7 years and now lives in London.

She has performed at some of the major European festivals, including musikFest (Berlin), BachFest (Leipzig), Musica Nova (Helsinki), Acht Brücken (Cologne), the International Computer Music Conference (Huddersfield, Ljubljana), the Dias de Música Electroacústica (Seia, Portugal) and the Agora Festival (Ircam, Paris). She has also performed solo programmes at the Zagreb Music Biennale, the Huddersfield Contemporary Music Festival, the New York Electroacoustic Symposium, at CIRMMT (Montreal), Unerhörte Musik (Berlin), Eavesdropping (London), and with the Birmingham Electroacoustic Sound Theatre (BEAST).

She has performed with ensembles and orchestras including Musik Fabrik (Cologne), the WDR Orchestra (Cologne), mimitabu (Gothenburg), the London Symphony Orchestra (London), ensemble Garage (Cologne), ensemble interface (Berlin), the Riot Ensemble (London), the Alisios Camerata (Zagreb), and ensemble proton (Bern). She also plays across the UK in a trio with Carla Rees (flutes) and Xenia Pestova (piano) and in 2015 formed an duo with the accordionist Eva Zöllner, with whom she has played across Germany, the UK and in Portugal. She is a founding member of hand werk, a 6-person chamber music ensemble based in Cologne, and worked with the group from 2010-2017.

She has solo CDs out on the HCR/NMC and Métier labels. Please see the Discography for further details.

In 2014 she was awarded a DIVA (Danish International Visiting Artists Fellowship), and lived in Copenhagen for two months.

Since 2016 she has acted as the Reviews Editor for TEMPO, a quarterly journal for contemporary music published by Cambridge University Press.

Her website is host to one of the most widely read new music blogs on the Internet. In 2017 it had 75,000 hits from around the world. She successfully crowdfunded in 2014 in order to host her first composition competition. Six young composers were chosen out of 270 applicants to write new pieces, which were premiered in 2016.

She is a fervent advocate of collaboration, and her PhD research at the University of Huddersfield (under the supervision of Dr. Philip Thomas) explored the nature of dialogue within performer-composer relationships. She has given workshops in instrumental technique and/or iPad use in performance all over Europe, for example in London, Munich and Copenhagen.

Heather completed her Masters of Music (Orchestral Training) in 2006 at the Guildhall School of Music and Drama in London, studying under Joy Farrall and Laurent Ben Slimane, in addition to conducting with Sian Edwards. Following her degree she completed residencies with the International Ensemble Modern Academy, at IMPULS in Graz and with ensemble recherche in Freiburg, the Darmstadt Summer Courses 2008 and 2010 and the International Ensemble Modern Academy in Innsbruck, Austria. She has performed in masterclasses with Michael Collins, Ernesto Molinari and Shizuyo Oka, to name a few. She completed her BMus in 2005 at the University of Victoria, Canada, studying under Patricia Kostek."

-Heather Roche Website (

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Track Listing:

1. Monotonous Forest (2009) 12:14

2. Things That Happen Again (Again) (2017) 9:40

3. Locus (2013) 12:20

4. Difference Is Everywhere (Altered Again) (2023) 23:56

5. Laurence Crane On Whitecross St (2021) 3:51

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Another Timbre.

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Weeks, James
(Another Timbre)
Five chamber works from UK composer James Week performed by Explore Ensemble, developing works extending the poetic idea of a piece as an imaginary or remembered space by exploring combinations of instruments such as the mixed instrumental duos, the use of slow-moving or static background harmonics, and intimate instrumental idioms based on long, breath-length sounds.
Democ, Adrian / Apartment House
(Another Timbre)
Commissioned by Another Timbre for the quarantine commissions series, Hlaholika was developed by composer Adrián Demoč for the Apartment House ensemble as a quintet of violin, double bass, clarinet, viola & piano, using the configurations for 3 other works performed here by Apartment House; plus a piece for an ensemble from the Janacek School of Music in the Czech Republic.
Beuger, Antoine / Apartment House
Jankelevitch Sextets
(Another Timbre)
The 4th album on Another Timbre from a series of pieces by composer Antoine Beuger, each acknowledging a cultural or intellectual figure, here titled for philosopher, musicologist, educator and one-time member of the French Resistance, Vladimir Jankélévitch, represented by Beuger in a large dramatic work performed by the Apartment House sextet.
Verlaak, Maya
All English Music is Greensleeves
(Another Timbre)
Five fascinating works by the Belgian composer Maya Verlaak, realized by Apartment House and soloists Sarah Saviet & Mark Knoop, experimental compositions including a work of personal reflection based on "Alouette"; a conceptual game piece; a composition layering pre-recorded segments of "Greensleaves"; and two interactive acoustic & computer pieces.
Leith, Oliver / George Barton / Siwan Rhys
Good Day Good Day Bad Day Bad Day
(Another Timbre)
UK composer Oliver Leith presents a work in 8 movements for piano, keys and percussion performed by Siwan Rhys (keys) and George Barton, an invocation of everyday life through a personal and often idiosyncratic orchestration reflective of personal ritual & habits; our good and our irrational, often contradictory impetus, portrayed through quirky and embraceable episodes.
Eastman, Julius / Apartment House
(Another Timbre)
A live recording of Julius Eastman's 1974 work "Femenine" performed by Apartment House led by cellist Anton Lukoszevieze, with Simon Limbrick on vibraphone, Kerry Yong on piano, Mark Knoop on keyboard, Mira Benjamin on violin, and Gavin Morrison and Emma Williams on flute, an ecstatic and intricate work using a repeating figure contrasted with both asynchronous and complementing backgrounds.
Miller, Cassandra
O Zomer!
(Another Timbre)
Two ensemble works and two solo pieces by Christian Wolff's favourite contemporary composer, Cassandra Miller, who is blazing a very personal trail through the experimental music world, with brilliant performances by Apartment House, Mira Benjamin, Philip Thomas, and Charles Curtis with the BBC Scottish Symphony Orchestra, conducted by Ilan Volkov.
Frey, Jurg / Magnus Granberg
Early to Late
(Another Timbre)
New ensemble pieces by Jurg Frey and Magnus Granberg played by Ensemble Grizzana, commissioned by Another Timbre with the request that both start from the same two fragments of early music, one by Johannes Ockeghem, the other by William Byrd, each composer producing fascinatingly different pieces that both contain echoes of the source material.

The Squid's Ear Magazine

The Squid's Ear Magazine

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