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Szlavnics, Chiyoko : During a Lifetime (Another Timbre)

Three works from Canadian composer Chiyoko Szlavnics, two electroacoustic compositions incorporating sinewaves, one with a saxophone quartet and the other with two accordions, two flutes and two percussionists; and a string trio of long sustained tones and slow glissandi.
 

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product information:


Label: Another Timbre
Catalog ID: at108
Squidco Product Code: 23757

Format: CD
Condition: New
Released: 2017
Country: UK
Packaging: Cardboard Gatefold
Track one was recorded at TONLABOR, by Fabio Oehrli.

Track two and three were recorded at the University of Huddersfield, by Simon Reynell.


Personnel:

Chiyoko Szlavnics-composer

Nancy Ruffer-flute

Gavin Morrison-flutes

Jonas Kocher-accordion

Hannes Lingens-accordion

Simon Limbrick-percussion

Richard Benjafield-percussion

Mira Benjamin-violin

Anton Lukoszevieze-cello

John Lely-technical assistance

Konus Quartett-quartet

Fabio Oehrli-soprano saxophone, alto saxophone

Jonas Tschanz-alto saxophone

Christian Kobi-tenor saxophone

Stefan Rolli-baritone saxophone

Gordon Mackay-violin

Mira Benjamin-violin

Anton Lukoszevieze-cello

Apartment House

Highlight an artist name or instrument above
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track listing:


1. During a Lifetime (2015) 18:25

2. Freehand Poitras (2008) 11:01

3. Reservoir (2006) 26:38
Related Categories of Interest:


Compositional Forms
Large Ensembles
Electro-Acoustic
Electronic Forms
Electroacoustic Composition
New in Compositional Music
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descriptions, reviews, &c.

"The fourth disc in the Canadian Composers Series features the music of Chiyoko Szlavnics. The CD contains three works, two of which use sinewaves in conjuncton with acoustic instruments. The title track "During a Lifetime" is written for sinewaves and saxophone quartet, an instrument on which Szlavnics herself used to perform. The final piece, "Reservoir", is composed for sinewaves and an unusual instrumental octet, including two accordions, two flutes and two percussionists. The middle piece 'Freehand Poitras' is for string trio, but like the other works on the disc it is typified by the use of long sustained tones and slow glissandi."-Another Timbre

Szlavnics' use of sustained tones is often derived from line drawings that she does as part of the compositional process: "She deals with sound in a patiently shifting manner, through series of woven-together billows of quiet dynamism. Many of her pieces are effectively translated from drawings that she makes. Often consisting of interleaved matrices of fine lines, it's easy to grasp how their structures serve as foundations for her music. Several hint at an illusory world of perspective that exists between two and three dimensionality, simultaneously evincing depth and flatness."-Nick

Another Timbre interviw with Chiyoko Szlavnics:

"Do you use sinewaves in most of the drawing pieces you've composed, and have you ever composed a piece that is just sinewaves without any instruments?

To answer the second question first, yes, around 2006 I worked a lot with sinewaves and I have a handful of pieces from then that are sinewaves only. In the last five years the majority of my compositions have included sinewaves, but I've reached the point where I'm wanting to separate them again because programming and notating sinewaves is so much work; it makes any new piece twice the amount of work. But I love sinewaves; they don't have to be cold and mechanical. When they're made very sensitively they're so incredibly beautiful and have such a different quality than instruments do. And now I'm feeling a need to find that quality again and the only way to do that is to focus on a few pieces that are just sinewaves again.

You could do everything with sinewaves and it'd be more precise in relation to the drawings, but is there also something about the quality of instrumental sounds that you're drawn to?

Yes, there are two aspects to acoustic instruments. One is that each instrument has an incredibly complex spectrum, which is created by its physical properties. And the way that different instruments' timbres and spectra interact with each other, as well as with sinewaves, is incredibly rich. When I only use sinewaves you don't have this richness; there is so much more interaction that happens with instruments. With sinewaves you might have a very complex chord, but it often doesn't sound complex; it just sounds sweet. Sinewaves are very ethereal and transparent; they have no 'body' or 'skin'. They are a bit like a prism, and the instruments are a bit like light that passes through the prism when they're combined, and suddenly an additional range of colours appears.

With instruments you have a certain quality of sound that you'd never achieve with sinewaves, nor with electronics. You need the actual physical object, like the two accordions in Reservoir, it's amazing what kinds of sounds they produce together! And there's also the human element, which is extremely important: how the musicians start and how they stop, or how they listen and react when another instrument joins them and they play together. Music is a human activity, after all.....

But I think my love of slow tempi and the use of glissandi was born out of two musical sources from when I was still in Toronto. Before I really started really composing, I organised a trio performance for which I transcribed traditional Japanese Gagaku music, which is extremely stately and very slow, and I think that music deeply affected me. And the other source was Indian music. In Toronto there's a large Indian community and there were many classical Indian music concerts, and I remember being intensely moved by some of them. In a way, I think I was reproducing some of both of those musics while improvising on the saxophone; I very much enjoyed bending pitches very slowly, that is, playing very small pitch changes."


Artist Biographies:

"Chiyoko Szlavnics was born and raised in Toronto, Canada, and has livedin Berlin, Germany, since 1998.

She studied music at the University of Toronto, and privately withthe composer James Tenney.

She composes for a wide variety of instruments and ensembles, oftencombining them with sinewaves. A central aspect of her work is the audiblephenomenon called "beating", which is highlighted through her particular use ofextended sustains, glissandi, tuning systems, and her way of combiningacoustic instruments with electronics.

Drawings became the starting point for her compositional process aroundthe year 2003. But in 2009 & 2010, several drawings series suddenly emerged,which distinctly belonged to the field of visual art. Szlavnics now practicesin both disciplines, and not only are her drawings heard in concert, buther music is sometimes also seen in exhibitions in Europe andNorth America."

-Chiyoko Szlavnics Website (http://www.chiyokoszlavnics.org/journey4.html)
8/18/2017

"Jonas Kocher is a sound artist and accordionist born in 1977. He is collaborating with personalities from various backgrounds and in numerous artistic and social contexts. His work explores issues such as the listening, space and perception as well as the integration of different kind of random elements. His specific approach to his instrument involves at the same time physicality and reduction, uncontrolled playing and high precision.

Jonas Kocher has a strong interest in process oriented works and unstable situations. As a sound artist he has realised works that are situated between composed theatre, installation and concert pieces. He got commissions from Ensemble Paul Klee, Biennale Bern 2010 & 2017, Ensemble Phoenix Basel, etc. and regularly collaborates with musicians such Michel Doneda, Joke Lanz, Axel Dörner, Hans Koch, Jacques Demierre and many more. Read the full biography on wikipedia

Jonas Kocher is initiator of Bruit, a structure that fosters sound and interdisciplinary works."

-Jonas Kocher Website (http://www.jonaskocher.net/6877793/about)
8/18/2017

"Simon Limbrick's involvement in music embraces performance, composing and education.

He was a member of the cult systems orchestra The Lost Jockey and Man Jumping, recording for EG Editions and creating scores for leading dance companies, Second Stride, London Contemporary Dance, Rosemary Lee and Sue MacLennan. He has been in demand as a percussionist performing all over the world with the Nash Ensemble, Birmingham Contemporary Music Group, Endymion Ensemble, Composers' Ensemble and Fibonacci Sequence as well as recording with artists such as Alabama3, Gavin Bryars Pete Lockett and for Blue Note Records. He has been guest principal with the LSO and worked under conductors, Leonard Bernstein, Oliver Knussen, Simon Rattle and Tom Ades. He has featured on film and television including documentaries about Steve Reich and Kenneth MacMillan's award winning Judas Tree.Compositions created for him include works by Javier Alvarez, Brian Elias (Kenneth MacMillan's last ballet The Judas Tree), Vic Hoyland and Andrew Poppy. He has performed the world-premieres of solo pieces by James Dillon, Frederic Rzewski , Claude Vivier, Philip Cashian, Thea Musgrave, Harry de Wit, Howard Skempton, Michael Wolters and Ed Kelly. His solo performances have been broadcast by the BBC, RAI, Radio France, Dutch TV and radio.

Recently, he performed his own concerto Bulls Yard and Stockhausen's Zyklus at the Sage, Gateshead,(see review) solo steel-pan in Brian Elias' Judas Tree at Royal Opera House, London, in 2010 and directed his mixed-media project, dot-machine, a web-based musical construction accessible on www.marimbo.com. He created a 24 hour long piece surfaces with the composer James Saunders, with financial assistance from the Arts Council of Great Britain and premiered at the Huddersfield Contemporary Music Festival in 2011.

In education, Simon has led workshops since 1982, and been a returning resident artist in festivals and organisations, including Blackheath Concert Halls, Aldeburgh Music, Sound It Out , Spitalfields Festival. Workshop projects have been led by him throughout Europe. As a fully-qualified teacher, he has led Music and Performing Arts in Secondary Schools for five years. He has led school and community projects for Aldeburgh Music. As Artistic Director, he helped establish In Harmony Norwich, creating mixed-ability orchestral pieces for professional and young student players. Until the School of Music closed in June 2014, he was Director of 'Musician in the Community' and 'Creative Leadership' courses at University of East Anglia.



As a composer, Simon has gained an MA in Electroacoustic Composition from City University and collaborated as a composer on a number of large scale works, including a project at Fort Dunlop, Birmingham, with Rosemary Lee and site-specific work with Dutch composer/sound sculptor Harry de Wit in Holland and Brussels.He has produced film scores for TV and film festivals and composed music for theatre productions at the National Theatre and Royal Shakespeare Companies. Groups he has created pieces for include Mary Wiegold's Songbook, Roger Heaton Group, Ensemble Bash, Network of Sparks, Endymion Ensemble, Richard Durrant, Ritmatic, Hooloo. The Brighton Youth Orchestra performed machina lumina , for string ensemble and vibraphone throughout 2009. His composition Machine for Living for Landesmusikrat/Splash was recorded at Deutschlandradio. He has produced recordings for wergo and others.Currently composing a large piece for jazz brass and marimba.

He has created the CDs, Steam, Hooloo, Clean, Ritmatik, Dot-Machine, Hammer, Rise and Fall, , between and Relay, which are frequently broadcast and available on well-known download sites. NEW RELEASE of a double CD RELAY, of contemporary steel-pan music in Sept 2014. Sound Composer for the film 3 Church Walk by the director Emily Richardson premiered on 18th Oct 2014 at The London Festival, BFI, London."

-Simon Limbrick Website (http://www.marimbo.com/cv.html)
8/18/2017

"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 (http://mirabenjamin.com/about/)
8/18/2017

"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 (http://www.kalvos.org/lukosze.html)
8/18/2017

"I am a composer and musician based in London, UK. I write music and words, play objects and electronics, and curate music events.

I am interested in the variety of sounds, correspondences and experiences that can emerge through the use of limited sets of musical building blocks. My pieces explore sound, silence, proportion, process, perception and listening.

I am co-author, with James Saunders, of Word Events: Perspectives on Verbal Notation (Continuum 2012), a book about text scores.

Together with composers Tim Parkinson and Markus Trunk, I curate Music We'd Like to Hear, a concert series described by TEMPO as 'an oasis of thoughtful and idealistic music-making'."

-John Lely Website (http://johnlely.co.uk/)
8/18/2017

"Born in Berne (Switzerland). Studied classical music at the Hochschule für Musik in Basel with further studies undertook in Paris (Cité Internationale des Arts), Lucerne (postgraduate degree) and Zurich (Master of Music in Performance) in the fields of improvisation and contemporary composition. Numerous appearances at home and abroad, solo and together with various improvising music ensembles in Australia, USA, Japan, UK, Lybanon etc. 2004 Founder and artistic director of "zoom in", a festival for improvised music at Berne Minster. 2006 Co-founder of the new music label "CUBUS RECORDS". 2012/13 Artistic director of Szofa Budapst (supported by Pro Helvetia)"

-Christian Kobi Website (http://www.christiankobi.ch/index.php/biography.en.html)
8/18/2017

"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 (http://mirabenjamin.com/about/)
8/18/2017

"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 (http://www.kalvos.org/lukosze.html)
8/18/2017

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Search for other titles on the Another Timbre label.