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Hodgkinson, Tim: Under The Void (Recommended Records)

Three dynamic works for contemporary classical composition from Henry Cow founder Tim Hodgkinson, composed and assembled using a variety of techniques including live performance, in ensembles that include Hyperion Ensemble, Chris Cutler on percussion, Angharad Davies on violin, Mark Sanders on percussion and Yoni Silver on bass clarinet; extraordinary!
 

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product information:


UPC: 752725042826

Label: Recommended Records
Catalog ID: RERTH4
Squidco Product Code: 28560

Format: CD
Condition: New
Released: 2020
Country: UK
Packaging: Digipack
Recorded by the artist.


Personnel:

Tim Hodgkinson-reeds, winds, composer

Chris Cutler-percussion

Angharad Davies-violin

Edward Lucas-trombone

Mayah Kadish-violin

Alex Paxton-trombone

Lucy Railton-cello

Gwen Reed-bass

Mark Sanders-percussion

Yoni Silver-bass clarinet

Otto Willberg-bass

Hyperion Ensemble-ensemble

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Artist Biographies:

"Tim Hodgkinson (b. 1949) studied social anthropology at Cambridge, and co-founded the politically and musically radical group HENRY COW with Fred Frith in 1968. In addition to composing, he has a long involvement in improvisation, and came back to anthropology in the 1990's with research into music and shamanism in Siberia.

He has participated in many concerts with Iancu Dumitrescu's Hyperion Ensemble both as bass clarinetist and composer and conductor. His compositions have been interpreted in such international festivals as: Spectrum XXI (Brussels, Paris, Geneva, , Berlin, London), Huddersfield Contemporary Music Festival (U.K.) where he was a featured composer in 2007, Craiova and Ploiesti Festivals (Romania), Guarda Festival (Portugal), Cantiere Internazionale d'Arte di Montepulciano (Italy), Konfrontationen Festival (Austria), Nordlyd Festival (Norway), Musique Action (France) and the European Symposium of Experimental Music at Barcelona.

His Piece for Harp and Cello was selected for the SPNM shortlist in 2005. His composition SHHH was accepted for the IMEB electroacoustic music archive at Bourges in 2006. His piece Fragor appeared in the Martin Scorsese film Shutter Island in 2010. He has worked with Hyperion Ensemble, Talea Ensemble, Ne(X)tworks, the Bergersen String Quartet, London Sinfonietta, Insomnio Ensemble, Phoenix Ensemble, Basler Schlagzeug Trio, Nidaros Slagverkensemble, Bindou Ensemble.

As an improvising musician on reeds and lap steel guitar Tim Hodgkinson has performed all over the world with many of the most acclaimed artists in the field, and continues to be fully engaged in the celebrated Konk Pack trio with Roger Turner and Thomas Lehn. In 2009 he released KLARNT - a CD of solo clarinet improvisations.

With Ken Hyder, and Gendos Chamzyryn from Tuva, he works in the K-Space project: numerous tours of Europe and Siberia and CD releases - including INFINITY, a set of recordings that uses customised software to re-compose the music with each listening. In 2009, K-Space developed a sound-installation for the exhibition Shamans of Siberia at the Museum of Ethnology in Stuttgart.

As a writer, he has published articles and reviews on improvised music, musique concrète, spectralism, the ethnomusicology of shamanism, and the aesthetic problems of the impact of new technology on contemporary music - in, amongst others, Perspectives of New Music, Arcana, Contemporary Music Review, Musicworks, The Wire, Cambridge Anthropology, Variant, Rer Quarterly, and Resonance Magazine. His book, MUSIC AND THE MYTH OF WHOLENESS will be published by MIT in January 2016.

He has given lectures, workshops and seminars at Cagliari and Lyon Conservatoires, at the Institute of Contemporary Art, at Goldsmiths College and the School of Oriental and African Studies in London, at Istanbul, Edinburgh and Cornell Universities, and art schools in several European countries, at COMA summer school, and at the Verband für Aktuelle Musik in Hamburg where he was artist in residence in 2010."

-Tim Hodgkinson Website (http://www.timhodgkinson.co.uk/information.html)
8/5/2020

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"Chris Cutler started messing about with banjo, guitar and trumpet at school, settling for drums and playing shadows and other instrumental covers in his first band in 1963. Subsequently he played in R'n'B and Soul Bands, winding up in 1967 playing in London's psychedelic clubs. At the start of the seventies, with Dave Stewart, he co-founded The Ottawa Music Co, a 22 piece Rock composer's orchestra, eventually joining British experimental group Henry Cow with whom he toured, recorded and worked in dance and theatre projects until it's demise in 1978. In 1977 Henry Cow, The Mike Westbrook Orchestra and Frankie Armstrong formed a big-band and toured around Europe. After Henry Cow, Cutler went on to co-found a series of mixed national groups Art Bears, News from Babel, Cassiber, The (ec) Nudes, P53 and The Science Group. He was a permanent member of American bands Pere Ubu, Hail and The Wooden Birds and now works sporadically with John Rose, Fred Frith, Zeena Parkins, Iancu Dumitrescu, Peter Blegvad and Stevan Tickmayer.

Other lasting collaborations have included Aqsak Maboul (Belgium), Lussier/Derome and Les Quatre Guitaristes (Canada), The Kalahari Surfers (Africa), Perfect Trouble (Germany), Between (Sweden), N.O.R.M.A., (Italy), Telectu (Portugal), Mieku Shimuzu (Japan),The Hyperion Ensemble (Romania), The Film Music Orchestra, 'Oh Moscow', Gong, The Work and Towering Inferno (UK), The Residents (USA), and stateless Tense Serenity and Mirror Man. There have also been countless improvisational groupings and solo performances. Recent projects include Radio pieces with Lutz Glandien and Shelly Hirsch, Live Soundtrack for Carl Dreher's Vampyr (with Italians Musci and Venosta), his Timescales project and work with David Thomas and Linda Thompson.

He also founded and runs the independent label and distribution service ReR/Recommended and, until 1991, the East European specialist label Points East. He is editor of the New Music magazine Unfiled and author of the theoretical book File Under Popular as well as of numerous articles and papers published in 14 languages. He lectures intermittently on theoretical and music related topics. He has appeared on more than 100 recordings."

-Chris Cutler Website (http://www.ccutler.com/)
8/5/2020

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"Angharad Davies is a violinist, one at ease in both improvising and composition, with a wide discography as part of varied range of ensembles and groups. She's a specialist in the art of 'preparing' her violin, adding objects or materials to it to extend its sound making properties. Her sensitivity to the sonic possibilities of musical situations and attentiveness to their shape and direction make her one of contemporary music's most fascinating figures. 2015 has seen her being commissioned for a new work at the Counterflows Festival, Glasgow and premiering Eliane Radigue's new solo for violin, Occam XXI at the El Nicho Festival, Mexico.

She's performed at, the Queen Elizabeth Hall, BBC Proms, Music We'd Like to Hear's concert series, is an associate artist at Cafe Oto, is a member of Apartment House, Cranc and Common Objects, been artist in residence at Q-02, and played live with Tony Conrad in the Turbine Room at the Tate Modern. Other collaborations have featured the likes of John Butcher, Daniela Cascella, Rhodri Davies, Julia Eckhardt , Kazuko Hohki, Roberta Jean, Lina Lapelyte, Dominic Lash, Tisha Mukarji, Andrea Neumann, Rie Nakajima, Tim Parkinson, J.G.Thirlwell, Stefan Thut, Paul Whitty, Manfred Werder, Birgit Ulher, Taku Unami and she's released records on Absinth Records, Another Timbre, Potlatch and Confrontrecords."

-Angharad Davies Website (http://www.angharaddavies.com/biog.html)
8/5/2020

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Edward Lucas is an improvising tromboninst who co-runs the Earshots label and concert series with Daniel Kordik. They have a long standing trombone and synth duo: Kordik / Lucas.

-Squidco 8/5/2020

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"Mayah Kadish, violinist. Performs early music, new music, and many musics in between. On period instruments."

-Mayah Kadish Website (http://mayahkadish.com/)
8/5/2020

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"Alex Paxton (1990) is an award-winning composer and improvising-trombonist based in the UK. His music is stylistically pluralist. Informed by his life as a jazz musician & improviser, Alex's work draws upon an enormous range of classical and folk music traditions and heats them into his own uniquely explosive musical voice. Much of his work is interested in incorporating soloistic improvisation and is a celebration of expressive individual existence. He is artistic director, composer and trombonist of the ensemble DREAM MUSICS who have recorded his music with some of the Uk's most exciting creative musicians; for example: PURPLE-TREE TAPESTRY, MUSIC for BOSCH PEOPLE, BYE, PRAYER; with STRINGS and JOAN RIVERS.

Alex was elected to the 9th International Composition Seminar 2019/20 and awarded a commission ILOLLI-POP by Ensemble Modern (Frankfurt, Germany) . In 2019 he played and recorded his concerto OD ODY PINk'd for Jazz Musician and Royal National Scottish Orchestra (RSNO). He was a Leverhume Art Scholar with the London Philharmonic Orchestra 2016-2017: NOW WE ARE DUH-DUR. In 2018 Alex was awarded the Harriet Cohen Memorial Music Award for his compositions and in 2017 his piece SPAKE represented the UK in the Orchestral section of the International Society of Contemporary Music (ISCM).

His music has been played/recorded by leading orchestras and ensembles including Ensemble Modern, Klammer Klang, London Philharmonic Orchestra LPO, Royal Scottish National Orchestra (RSNO), Ensemble x.y, x.y Song, Bournemouth Symphony Orchestra (BSO), National Youth Jazz Orchestra (UK) NYJO,Listen-Pony, Aldeburgh Festival Ensemble, Psappha Ensemble, Orion Symphony Orchestra OSO, Helios Collective, Chaos Collective Orchestra, Mirrors of Hall Big Band, Dr. K Sextet, 5KBrass Quintet, RAM Philharmonic and RCM Philharmonic and soloists Tabea Debus, Patrick Terry, David Zucchi & Jacob Collier.

He has written six operas including NOGGIN and the WHALE (Massed forces including 500 young instrumentalists and singes) FOR the LOVE of THORNSTIEN SHIVER hosted by English National Opera and Helios Collective, BEL and the DRAGON as part of the Tête à Tête opera festival, the EQUIVOCAL HARRIET BOWDLER at Second Movement Opera and WOOLF MUSIC at the Forge in Camden and RAVEN's CHILD for Jacob Colier and Orchestra.

As an improvising and jazz trombonist Alex has played as a soloist with Royal Scottish National Orchestra (RSNO) & Ensemble x.y. He has made over 100 recordings as a soloist and performs regularly in duos with pionieering improvisers, as well playing in groups such as HYPERION ENSEMBLE (UK), Apocalypse Jazz Unit, Laura Jurd, Speckles Brass.

Extensively, Alex writes art-music for musicians in community settings including, innovative ways of writing for young instrumentalists & singers in a post-Roald Dahl world of new-music. eg: NOGGIN and the WHALE (Massed forces including 500 young instrumentalists and singes), Fly Like a Kitchen, Muffin, Pudding Tummy and The Sound of Magic. He is composer in residence at Pelican Music Service.

Alex studied as a scholar at Royal Academy of Music (BMushons -1st class) and the Royal College of Music (MComp distinction.) under the supervision of Sir Peter Maxwell Davis, Jonathan Cole and Mark Anthony-Turnage, Gary Carpenter, Phillip Cashian, Christopher Austin and Pete Churchill."

-Alex Paxton Website (https://alexpaxtonmusic.com/Biog)
8/5/2020

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"Lucy Railton is a British cellist and composer whose work bridges experimental electronic and electroacoustic practices with modern classical composition and performance. Since graduating from the Royal Academy of Music in 2008, Railton has worked as a cofounder and director of the London Contemporary Music Festival, played with electronic producers as varied as Peter Zinovieff and Beatrice Dillon and performed works by avant-garde artists such as Iannis Xenakis and Morton Feldman. In March 2018, she released her debut solo album, Paradise 94, on the Modern Love label. As she explores her interest in electroacoustic music, improvisation and modified cello, Railton's sound is an absorbing, often extreme examination of the potential of an acoustic instrument."

-Last.FM (https://www.last.fm/music/Lucy+Railton/+wiki)
8/5/2020

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"Gwen Reed (London) Double Bass

Gwen is a vibrant and versatile bassist with vast experience in contemporary music, chamber and orchestral playing, session work, and more."

-Encore Musicians (https://encoremusicians.com/Gwen-Reed)
8/5/2020

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"Mark Sanders has played with many renowned musicians including Roscoe Mitchell, Wadada Leo Smith, Derek Bailey, Henry Grimes, Roswell Rudd, Peter Brotzmann, Barry Guy, Otomo Yoshihide, Jah Wobble, Sidsel Endresen , Charles Gayle, Peter Evans and William Parker. He works with John Edwards in a duo and with groups including Evan Parker, `Foils` with Frank Paul Schubert and Matthius Muller and groups with Veryan Weston, John Tilbury, Agusti Fernandez and Mathew Shipp. Mark works in a regular improvising duo with John Butcher and also performing John`s composition `Tarab Cuts` which has played festivals in Rio de Janiero, Amsterdam, Barcelona, Glasgow, Bristol and London. In a trio with cellist Okkyung Lee, John and Mark have played in Belgium, France, England and Scotland. He also has a longstanding duo with Sarah Gail Brand which has featured on the BBC`s `The Stuart Lee Show`and in the film `Taking the dog for a Walk`.

He has performed solo for a Christian Marclay exhibition at The White Cube Gallery in London, Evan Parker`s festival`Unwhitstable` in Wroclaw, Poland for `Solos Festival` The 100 Years Gallery London, an improvised music series in Derby and Cafe Oto in London. Working with Christian Marclay in his `Everyday` piece for film and live music, he has performed in Aldeburgh, Ruhr Trienalle, Vienna Bienalle, Holland festival and London`s QEH and has also collaborated with him playing for the film `Screenplay`in London and Lisbon. In situations using composition in one form or another Mark works in various projects including `13 Vices` with Brian Irvine/Jennifer Walshe, Alex Hawkins Ensemble featuring Peter Evans, Simon Fell Ensembe, groups with Hasse Poulsen and Luc Ex , Sarah Sarhandi`s `Both Universe`, Elaine Mitchener`s `Sweet Tooth` and has played in the groups of Shabaka Hutchings including`Sons of Kemet` Conceptual Artist Sam Belinfante collaborated with Mark in his piece `On the One Hand, and the Other` in two exhibitions at Camden Arts Centre, London For Conceptual artist Henrik Hakensen`s film `The End` he has performed as an improvising soloist with orchestras conductedd by Jessica Cottis, playing the music of John Coxon in Glasgow, Sydney and Monte Carlo As a guest with New York`s ICE Ensemble he has performed John Zorn`s `The Tempest` in London and at Huddersfield New Music Festival.

Mark also works in the groups of Paul Dunmall including Deep Whole Trio with Paul Rogers, in duo and `Frisque Concordance` with Georg Graewe , and the ensembles of Mikolaj Trzaska, Uwe Oberg and Peter Jaquemyn. He has performed in the USA, Canada, Brazil, Japan, Morrocco, South Africa, Australia, Mozambique and Turkey, playing at many major festivals including Nickelsdorf, Riga, Ulrichsburg, Glastonbury, Womad, Vancouver, Isle of Wight, Roskilde, Berlin Jazz days, FMP, Mulhouse, Luz, Minniapolis, Banlieue Bleues, Son D`hiver and Hurta Cordel."

-Mark Sanders Website (http://www.marksanders.me.uk/biography.html)
8/5/2020

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"Info

Yoni Silvers plays the bass clarinet (extended/constricted/strangulated), as well as alto sax, violin, piano, voice, some computer fiddlings and some general fiddlings. Improvisation, composition, performance, and much in-between.

These are some of the combos I am a part of these days:

- Hyperion Ensemble, led by Rumanian Hyper-Spectralist composers Iancu Dumitrescu and Ana-Maria Avram.

- Denis D'or, with Grundik Kasyansky on electronics and Tom Wheatley on double bass

- Trio with Mark Sanders on drums and Tom Wheatley on double bass

- Duo with Steve Noble

I also play or have played with people such as Jean Claude Jones, Harold Rubin, Steve Noble, Eddie Prevost, Angharad Davies, Oren Ambarchi, Stephen O'Malley, Eran Sachs, Alex Drool, Maya Dunietz, Wolfgang Fuchs, John Edwards, Toshimaru Nakamura, Ghédalia Tazartès, Ehran Elisha, Alex Ward, Sharon Gal, Mark Sanders, Günter Baby Sommer, Eyal Maoz, Daniel Davidovsky, Ofer Bymel, Damon Smith, Birgit Ulher, Fritz Welch, Daysuke Takaoka, Neil Davidson, Tim Hodgkinson, Part Wild Horses Mane on Both Sides, Seymour Wright, Catherine Lamb, Hannes Lingens, Tom Wheatley, Dylan Nyoukis, Yonatan Avishai, Steve Beresford, Carl Ludwig Hübsch, London Improvisers Orchestra, Thanos Chrysakis, Mazen Kerbaj, Heiner Metzger, Ute Kanngiesser, Dominic Lash, Ariel Shibolet, Eivind Lønning, Sophie Angel, Grundik Kasyansky, Konzert Minimal, Crank Sturgeon...

I've composed and arranged music for film directors Avi Mograbi ('Z-32'), and Josef Pitchhadze ('Year Zero'); theatre director Ariel Efraim Ashbel (The Empire Strikes Back); artists Alona Rodeh ('Over and Above') and Gilad Ratman ('The Workshop' for Venice Biennale 2013); and poets/spoken-word-artists Roman Baembaev and Pyotr Shmugliakov. Also did arrangements for singer-Israeli songwriters Rona Kenan, Shlomi Shaban, and others have been played by ensembles such as the Israeli Philharmonic and Tel Aviv Soloists Ensemble, and been a member of the Israeli rock band Habiluim and metal/circus-core band Midnight Peacocks.

I've also composed pieces for ensembles such as the Israeli Contemporary Players, and numerous ad-hoc ensembles."

-Yoni Silver Website (https://yonisilver.wordpress.com/info-2/)
8/5/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Otto Willberg is a professional double bass and bass guitarist, with considerable experience playing both jazz, classical and popular music. He has toured Europe and the US with different groups, and has a strong passion for sharing his skills and knowledge of music. He has worked with Alex Ward, Andrew Cheetham, Colin Webster, Andrew Lisle, Toshimaru Nakamura, Sam Andreae, Ashley Paul, Hannah Marshall, Dirk Serries, Ianncu Dumitrescu, &c. &c.

-Squidco 8/5/2020

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"Hyperion Ensemble is a chamber music ensemble from Romania, based in Bucharest. It was founded in 1976 by composer Iancu Dumitrescu and specializes in the performance of contemporary classical music, more particular it is the main promoter in Romania of the Spectral Music trend. Hyperion performed all over the world, and premiered the major works of Iancu Dumitrescu and Ana-Maria Avram Hyperion Ensemble's performances are hyper-spectralist, transformational and acousmatic. Hyperion Ensemble realized many broadcastings for Radio Shows and a lot of LPs and Compact-Disc, particularly the 24 CD series with Dumitrescu and Avram's music."

-Wikipedia (https://en.wikipedia.org/wiki/Hyperion_Ensemble)
8/5/2020

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track listing:


1. Under The Void (2016-8) 20:03

2. Then (2019) 20:20

3. Ortemchei (2019) 12:42
sample the album:








descriptions, reviews, &c.

"These are not recordings of live performances: they are audio versions of compositions, made using a wide variety of techniques. I do not think of my pieces as achieving single definitive performances, and the versions here are not definitive either. I mixed virtual instruments with recorded acoustic instruments to work towards a sound image. But, just as with live performances, this sound image does not contain all the ways in which I could imagine this music sounding.

The first piece, UNDER THE VOID, is scored for flute, oboe, clarinet (doubling bass clarinet), bassoon, trumpet, horn, trombone, 2 violins, 2 violas, cello, bass, piano, and 2 percussion. What you hear is a direct audio realisation of this score.

I had made sets of chords derived from clarinet harmonics, and arranged them according to which pitches were shared as different harmonics of different fundamentals. I saw these sets as pitch fields having particular shapes. Even though I had made many personal choices about the harmonics, how accurately to measure them, and so on, these pitch field shapes constituted themselves as a kind of basic musical material that embodied an objective truth - even if this truth only concerned the behaviour of vibrating air in tubes with parallel sides. Out of this feeling emerged the idea of an opposition between a realm of static forms that appear as givens, and a realm of human actions, interventions, interruptions and in general the innumerable ways that humans have of breaking down fixed structures. Here I was thinking the human as a living, and so non-coherent, being, within which patterns sometimes develop that begin to isolate and harden themselves against change before suddenly breaking down or erupting into quite different behaviours. In other words there is a human capacity for rational goal-directed problem-solving action in which contradiction is on a smaller scale than that of the patterns themselves, and there is a human capacity for friction and violence in which the patterns themselves are in contradiction, or subject to contradictions larger than themselves. So one important serial aspect of this piece operates along a scale with constructive, extrapolating, and gradual, actions one end, and destructive, disturbing, and sudden, actions the other.

The first form of action to show itself arose simply from seeing how a note belonging in one chord changes into another note in the following chord. Step-wise motional pathways began to stretch out and multiply in various ways, as if extending high bridges across deep chasms or voids between the chords, which now appeared as separate, and so potentially remote, structures in a larger world.

Zones of unpitched percussion and percussive piano represent the form of discontinuous and staccato action most antagonistic to the stability of sustained notes in the chords. At the other end of the scale, glissandi represent the most continuous way of passing between stable states: in fact at the end of the piece you hear a complete pitch field in the pure form of a set of glissandi as the notes of one chord slide continuously towards the notes of the next, momentarily pausing before sliding on to the next again. I worked these out using a very small software called High C - itself derived from the UPIC programme written by Xenakis. (Sketches of such glissando fields appear on the CD artwork.) By extension other kinds of glissandi gradually worked their way in, such as those made by lowering a gong into a bath.

Then, in the middle of the work, the percussionist and musical activist Daniel Buess, the person for whom I was writing this piece, ceased, in a completely unforeseeable way, to exist as a living person. The void that had been there all along as an idea now acquired a sharper sense. What substitutes for a person we have known and who is no longer there, is, and can only be, the presence of the world itself. Peering UNDER the emptiness, we find the sky, the wind, the stars. Or they appear, and say: we are here. Or they say: there is no limit to how we can be felt and experienced and perceived, we are a phenomenological infinitude, and so we contain the seeing and hearing and sensing of all living beings past present and future. This is evidently not something new but something present in all cultural traditions.

THEN (2019) is unscored and was never designed for performance. (Although if anyone wanted to commission a performance score, working out how to do it would be a great project!) I worked by ear on computer without prior calculation or notation, using virtual strings, brass, woodwinds, accordion, and piano, together with siberian frame-drums, gongs, viola, electronics, bowed cymbals, lap steel guitar and Yamaha DX-21 keyboard. I imagined a sequential structure that loosely follows an imagined shamanic ritual. In this, the piece develops from previous work by the K-SPACE trio in which I collaborated with Ken Hyder and Gendos Chamzyryn, and I remain indebted to these two musicians and explorers. As in the shamanic rituals of Siberia, there is a high degree of spontaneity, which, transferred to the recording of music, can allow a sense of discovery to permeate what becomes fixed. But apart from this playful poietic dimension, THEN is also serious in the sense that, as shamanic rituals often do, it specifically addresses crisis, illness, loss, and death, and their accompanying emotional states. This becomes clearer as the piece unfolds from its perhaps lightly undertaken opening section and gradually takes up the responsibilities it has offered itself - much as might be the case in an actual shamanising session.

All my compositional work is deeply influenced by sound-recording. But in THEN this connection is more direct than usual, and any musical calculation is low in the mix. The main tools in use come from studio work: timbral and frequency placement in an overall spectrum conceived as a space, manipulation of recordings, artificial dynamics, and xenochrony. After seeing and hearing Y. Utsunomia's audiovisual piece "Study of Ultra-Pure Tone" in Tokyo, I had wondered about "total" chords that might contain every possible pitch within the instrumental spectrum. The chords heard at the start of THEN, and referred to occasionally throughout, were arrived at by a process of removing a vast number of notes from such total chords, so as to leave registral bands that seemed to relate to one another in interesting ways.

I allowed myself to pick up some sounds from elsewhere whilst making the piece. The presence of the accordion came from the very striking playing by Stefanie Mirwald at the Rebecca Saunders portrait concert I heard in London on 19/1/19, and the bowed cymbals were inspired by the solo given by Eddie Prévost at the Cafe Oto on 14/3/19.

ÕRTEMCHEI (2019) is the Tuvan word for "worlds". The choice of this title refers to a way of composing where I have some limited elements that generate divergent kinds of results in the form of sound-ecologies. I began (again!) with a set of chords, but this time conceived in 3 layers corresponding to the cosmology of lower world, middle world and upper world (or sky). I then used the intervals in the chords to make rhythmic sets that gave rise to three horizontally unfolding worlds. Each group of chords opens up the conditions for each successive world to develop. All three worlds use duration and rhythm patterns to lay out sequences of timbral and gestural changes, which are scored partly graphically. This is a technique that I used around 2011 for two earlier pieces, On Earth, and Ananké, which both appear in recorded form on my previous CD CUTS.

Unlike the other two pieces here, Õrtemchei has been performed live, and was premiered by the Hyperion Ensemble (U.K.) at Iklektik Arts, London, on 15/9/19. The band on this occasion were: Chris Cutler, percussion, Angharad Davies, violin, Edward Lucas, trombone, Mayah Kadish, violin, Alex Paxton, trombone, Lucy Railton, cello, Gwen Reed, bass, Mark Sanders, percussion, Yoni Silver, bass clarinet, and Otto Willberg, bass. What you hear here merges some short chordal passages from this performance with virtual instruments treated in various ways, together with my own interpretations of parts of the score on bass clarinet, strings, and percussion, and a very few fragments of the live recording of Gymnos, an earlier piece written for, and performed by, a different version of the Hyperion Ensemble in 2016 - fragments that seemed to fit the timbral and textural contrasts I was looking for."-Tim Hodgkinson

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Dark Energy
(FMR)
Dunmall, Paul / John O'Gallagher / John Edwards / Mark Sanders
Freedom Music
(FMR)
Seen, The
Archive : Volumes Vi - X : 2014 To 2016
(Confront)
Cardew, Cornelius / London Experimental Ensemble
Treatise
(Split Rock Records)
Frey, Jurg / Magnus Granberg
Early to Late
(Another Timbre)
Noble, Steve / Yoni Silver
Home
(Aural Terrains)
Watts / Weston / Sanders / Edwards
Hear Now: A Film by Mark French [DVD]
(FMR)
Butcher, John / John Edwards / Mark Sanders
Last Dream Of The Morning
(Relative Pitch)
Dunmall / Shipp / Edwards / Sanders
Live in London
(FMR)
Dunmall / Edwards / Noble / Sanders
Go Straight Around The Square
(FMR)
Henry Cow
Vol. 9: Late
(Recommended Records)
Henry Cow
Vol. 8: Bremen
(Recommended Records)
Henry Cow
Vol. 7: Later and Post-Virgin
(Recommended Records)
Henry Cow
Vol. 1: Beginnings
(Recommended Records)
Martusciello, Elio
To Extend the Visibility [PAL DVD]
(Recommended Records)
Remote Viewers, The
No Voice From The Hall
(Remote Viewers)
Silver / Sanders / Wheatley
NAX/XUS
(Confront)
Cundy, Chris
Gustav Lost
(FMR)
Dunmall / Noble / Edwards / Sanders
Chords Of Connections
(FMR)
Davies, Angharad / Tisha Mukarji
Ffansion | Fancies
(Another Timbre)
Davies, Angharad / Rhodri Davies / Michael Duch / Lina Lapelyte / John Lely & John Tilbury
Goldsmiths
(Another Timbre)
Elyakim, Dganit
Failing Better
(Aural Terrains)
Zorn, John
Cerberus: The Book Of Angels Volume 26
(Tzadik)
Remote Viewers, The
November Sky
(Remote Viewers)
Common Objects: Butcher / Davies / Davies / Patterson
Whitewashed with Lines [2 CDs]
(Another Timbre)
Dunmall, Paul Sextet
Life in Four Parts
(FMR)
Remote Viewers, The
Pitfall
(Remote Viewers)
Watts / Weston / Sanders / Edwards
Hear Now: A Film by Mark French [DVD]
(FMR)
Parker, Evan
The Ayes Have It
(Emanem)
Dahl, Anders & Skogen
Rows
(Another Timbre)
Davies, Angharad and Cremaster (Monteiro / Fages)
Pluie Fine
(Potlatch)
Various Artists
Wandelweiser und so weiter [6 CD Box]
(Another Timbre)
Dunmall / Wooster / Sanders / Mapp
The Iceberg Quartet
(FMR)
Dunmall, Paul / Mark Sanders
Pipe & Drum
(FMR)
MacLean, Steve & Chris Cutler
Year of the Dragon
(Recommended Records)
Jones, JC
Myelination
(Kadima)
Ward / Hill / Lash / Sanders
Predicate
(FMR)
Dunmall / Gibbs / Rogers / Sanders
Kithara
(FMR)
SFE - Simon Fell Ensemble
Positions and Descriptions
(Clean Feed)
Remote Viewers, The
To The North
(Remote Viewers)
Dunmall / Sanders / Edwards
Mind Out
(FMR)
Dunmall / Edwards / Gibbs / Sanders
Boundless
(FMR)
Silver, Yoni
peep holes
(Creative Sources)
Davies, Angharad / Axel Dorner
A.D.
(Another Timbre)
Gjerstad / Edwards / Sanders
Bergen
(FMR)
Paura
The Construction Of Fear
(Creative Sources)
Yoshihide, Otomo
Core Anode
(Meena)
Davies, Angharad / Tisha Mukarji
Endspace
(Another Timbre)
News From Babel
Sirens and Silences / Work Resumed on the Tower / Letters Home
(Recommended Records)
Ramanan, Roland
Caesura
(Emanem)
Various Artists
Freedom of the City Festival 2005 [2 CDs]
(Emanem)
Art Bears
The World As it Is Today
(Recommended Records)
Frith, Fred
Middle of the Moment
(Recommended Records)
Biota
Object Holder
(Recommended Records)
(EC) Nudes, The
Vanishing Point
(Recommended Records)
Recommended & Related Releases:
Orchestra Entropy
Rituals
(Discus)
Dunmall / Sanchez / Sanders
A Songbirds Temple
(FMR)
Seen, The
Archive : Volumes Vi - X : 2014 To 2016
(Confront)
Hodgkinson, Tim / Jason Alder / Chris Cundy / Yoni Silver / Heather Roche / Shadanga Duo / Thanos Chrysakis
Music For Bass Clarinets
(Aural Terrains)
Last Dream Of The Morning (Butcher / Edwards / Sanders)
Crucial Anatomy
(Trost Records)
Dunmall / Swell / Owston / Sanders
So Perhaps
(FMR)
Pursglove, Percy / Paul Dunmall / Mark Sanders / John Etheridge
Deps
(FMR)
Somersaults (Olie Brice / Tobias Delius / Mark Sanders)
Numerology of Birdsong
(West Hill Records)
Gayle, Charles / John Edwards / Mark Sanders
Seasons Changing [2 CDs]
(Otoroku)
Dunmall, Paul / John Adams / Mark Sanders
Ghostly Thoughts
(Hatology)
Musson, Rachel / Pat Thomas / Mark Sanders
Shifa: Live at Cafe Oto [VINYL + DOWNLOAD]
(577)
Spring Heel Jack / Wadada Leo Smith
The Sweetness of the Water [VINYL]
(Treader)
Parker / Trzaska / Edwards / Sanders
City Fall [2 CDs]
(Listen! Foundation (Fundacja Sluchaj!))
Alder, Jason / Thanos Chrysakis / Caroline Kraabel / Yoni Silver
Music for Baritone Saxophone, Bass Clarinets & Electronics
(Aural Terrains)
Biota / Mnemonists
The Biota Box [6 CD BOX SET]
(Recommended Records)
Davies, Angharad / Rie Nakajima / Alice Purton
Dethick
(Another Timbre)
London Experimental Ensemble
Child Ballads [VINYL]
(Split Rock Records)
London Experimental Ensemble
Child Ballads
(Split Rock Records)
Dunmall / Siegel / Pursglove / Sanders
As One Does
(FMR)
Common Objects (Davies / Butcher / Davies / Lapelyte / Patterson / Thomas)
Skullmarks
(Meena)
Dunmall, Paul / Alan Niblock / Mark Sanders
Dark Energy
(FMR)
Dunmall, Paul / John O'Gallagher / John Edwards / Mark Sanders
Freedom Music
(FMR)
Noble, Steve / Yoni Silver
Home
(Aural Terrains)
Watts / Weston / Sanders / Edwards
Hear Now: A Film by Mark French [DVD]
(FMR)
Butcher, John / John Edwards / Mark Sanders
Last Dream Of The Morning
(Relative Pitch)
Dunmall / Shipp / Edwards / Sanders
Live in London
(FMR)

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