The Vienna Art Orchestra takes on Satie in a modern improvisation setting for music that is anything but minimal, using the composer's concepts as a springboard for reflective yet exuberant music.
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Catalog ID: 671
Squidco Product Code: 28140
Packaging: Cardstock 3 page foldover
Recorded by Michael Kornhausl on September 20th through 22nd, 1983 and March 14th, 1984 at Studio Kornhausl, Vienna.
This is a USED (previously owned) item
Wolfgang Puschnig-sopranino saxophone, alto saxophone, bass clarinet, flute
Harry Sokal-soprano saxophone, tenor saxophone, flute
Roman Schwaller-tenor saxophone, clarinet
Hannes Kottek-trumpet, flugelhorn
Karl Fian-trumpet, flugelhorn
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• Show Bio for Lauren Newton
"Born in Coos Bay, Oregon, U.S.A. She received the Bachelor of Music degree in 1975 from the University of Oregon and in 1977 a degree in Vocal Performance from the School of Music in Stuttgart, Germany.
She has performed 20th century music as well as works written especially for her by composers A. Hölszky, B.Konrad, W.Dauner,H.J.Hespos, H.Zerbe and others. She was singer with the "Vienna Art Orchestra" from 1979 to 1990(20 LP/CDs). Her first solo LP "Timbre" received the annual German Critics Award in 1983 and was again released in´98 as a CD under the title "Filigree". Tours and CD recordings with Vocal Summit with B.McFerrin, J. Lee, J.Clayton and U. Dudziak. She composed music for the Freiburg Theater in Germany, and Burg Theater in Vienna, Austria, for radio-plays (german, swiss and austrian radios) and for film, acting and singing in all of these as well. She performed with austrian poet Ernst Jandl from 1983 until 1999. Since 1990 she performs with the vocal quartet "Timbre", since 1995 with Joëlle Léandre(b), Fritz Hauser (dr), Urs Leimgruber(s), and Heiri Känzig,(b). Diverse music projects, concerts, radio and cd recordings with Jon Rose (v/comp), Hannes Zerbe (p/comp), Patrick Scheyder (p), Vladimir Tarasov (dr), Joachim Kuehn(p), Aki Takase(p), Anthony Braxton (sax/fl/comp) and the European Chaos String Quintet as well as performances with artist, Koho Mori. She has done commissioned works, radio plays and has sung as soloist in performance art projects as well as in collaboration with various dancers.
Since 1974 she travels extensively with different groups performing at most of the reknowned music festivals in Europe, Russia, USA, Canada and parts of Africa. Since 1982 she continues to sing in Japan in concerts and recordings with different japanese artists. She lives in Germany since 1974."-Lauren Newton Website (http://www.laurennewton.com/en/index.htm)
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1. Reflections On Aubade 2:58
2. Reflections On Meditation 3:35
3. Reflections On Severe Reprimande 2:57
4. Reflections On Idylle 4:01
5. Gnossienne No. 3 3:00
6. Reflections On Gnossienne No. 2 4:26
7. Reflections On Gnossienne No. 1 5:53
8. Satie Ist Mir Traum 3x Nicht Erschienen 6:24
9. Vexations 1801 8:52
10. Vexations 1611 9:45
11. Vexations 2105 23:22
descriptions, reviews, &c.
Previously played Squidco store copy, used for cataloging and samples, in excellent condition.
"[...] Satie, the original "Enfant Terrible", was a strange man with strange thoughts that produced strange music with strange titles that don't seem so shocking today ("Jack-in-the-Box", "Driveling Preludes for a Dog", "Dried Embryos"), but considering that he was born two centuries ago, this bad boy of classical music deserves a very close look.
Satie lived an unconventional life and demanded the same from those who attempted to sneak a peek into it. For example, his notes to Vexations require To play this motif 840 times in succession... which was eventually done, decades after his death. Repetition and evolution in music were an experiment, and repetition in life seemed a necessity. After his death it became known that he had several dozen umbrellas, dozens upon dozens of handkerchiefs, all identical. He never let anyone into his apartment, he wore the same exact velvet suits, of which he had twelve, and he wrote some strikingly original music, yet his name isn't as well known as those of composers he had influenced, from Milhaud, Poulenc, Debussy and Ravel to John Cage and John Zorn. He composed modal piano works, avant ballets, circus music, and film scores and was cool in a way that someone who died in 1925 can be considered cool.
How far from the notated Satie is the music on this album? It depends. If you are after the note-for-note reproduction of the written scores on the instruments for which it was written, you ought to look elsewhere. Aldo Ciccolini is considered the master of Satie's piano music, and there are more than a few current orchestras in the classical realm that give Satie a worthy homage.
Here is something else... music is set free, detaching itself from the trampoline of Satie's compositions and bouncing from arrangements to improvisations. Mathias Ruegg, the leader of the VAO, titled some of the music Reflections and like reflections on the water they are not mirror images, but rather a set of pieces based on Satie's works organized to show the Orchestra's view of his music. They are memorable, but far from mundane. On the contrary, here the orchestrations are fresh and unusual in their representation of the soloists' improvised take on how they feel about Satie. The music ranges from several short orchestral pieces on the first half of the album to the lengthier solo reflections of Lauren Newton, Roman Schwaller and Wolfgang Puschnig, all brilliantly accompanied on vibes by Woody Schabata. Interestingly, many of the compositions are two-pronged, with renditions of Satie's originals played quasi-straight and followed by the improvisations from the Orchestra members. In his younger days Satie worked as a café pianist-an improvisational connection here, perhaps?
It's impossible to say whether Satie would've liked this excursion, for all we know, given his explosive temperament, he might have chased the Orchestra members off the stage with one of his umbrellas, but for me this disc remains one of the more original and interesting interpretations of any classical composer to date.
In a sort of an ironic slap in the face, Satie's Gymnopedies seem to be the favorite of more than a few budget "classical relaxation" compilations; he has been written off as a "musical humorist" by his contemporaries, only to be resurrected in our time as a hefty cornerstone of all of modern music. One can only hope that he does not become another embalmed head in the long row of dusted-off geniuses, in line to what seems to be the set route-novelty and innovation, followed by dismissal and obscurity, followed by revival, acknowledgement and comfort of recognition, spelling death to the original ideas and goals. The Minimalism of Eric Satie makes this hope of evolution and experiment a beautiful reality."-Dmitry Zhukov
The Squid's Ear!
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