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Yudo, Luiz Henrique

Chamber Works' played by Apartment House

Yudo, Luiz Henrique : Chamber Works' played by Apartment House (Another Timbre)

Apartment House play five chamber pieces by American outsider composer Luiz Henrique Yudo, most of whose works are transcriptions into sound of existing artworks, including three short pieces with dedication, the 5 part and quirky "Five Palindromes" and followed by an extraordinary long work based on the patterns in colour artworks, "The Donald Judd Harmonies".
 

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Label: Another Timbre
Catalog ID: at150
Squidco Product Code: 28755

Format: CD
Condition: New
Released: 2020
Country: UK
Packaging: Cardboard Gatefold
Recorded at Goldsmiths College, in London, UK, in December, 2019, and at The University of Huddersfield, in Huddersfield, UK, in Ma, 2017, by Simon Reynell.


Personnel:

Luiz Henrique Yudo-composer

Apartment House-ensemble

Anton Lukoszevieze-cello

Mira Benjamin-violin

Gordon MacKay-violin

Hilary Sturt-violin

Bridget Carey-viola

Heather Roche-bass clarinet

Kerry Yong-electric keyboard

Philip Thomas-piano

Simon Limbrick-vibraphone, percussion

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Artist Biographies:

"Luiz Henrique Yudo (1962 -) is a Dutch/Brazilian composer of Japanese descent. He received his training as an architect at the University of São Paulo (FAU-USP) and later studied at the Nederlandse Film en Televisie Academie in Amsterdam.He studied privately with the Brazilian composer Damiano Cozzella and the American composer Tom Johnson. Many of his compositions are strongly inspired by visual associations. He writes scores in which there are aspects left open to the musicians in order to create an individual interpretation. Performers of his music are therefore invited to play a very active role in the creative process."

-ISCM - International Society for Contemporary Music (https://iscm.org/catalogue/composers/yudo-luiz-henrique)
5/26/2020

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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 (http://www.kalvos.org/lukosze.html)
5/26/2020

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"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/)
5/26/2020

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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 (https://www.naxos.com/person/Gordon_MacKay/107234.htm)
5/26/2020

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"Graduating from the Guildhall School of Music and the Royal College of Music with solo, chamber and contemporary music prizes, Hilary joined the Trio Sentire in Sweden, and then Ensemble Modern, based in Frankfurt. In a period of over 20 years she performed on both viola and violin with the Ensemble in all the principal concert halls and on radio stations in both hemispheres. The Ensemble gained worldwide attention with their collaboration with Frank Zappa in the Yellow Shark, along with many of our leading contemporary composers.

Hilary has guest-led many of the leading European contemporary chamber ensembles, and been a guest principle with the Scottish Chamber Orchestra, Ballet Rambert, and the Orchestra of St Johns Smith Square, She is a member of the Rasumovsky quartet, whose recent recordings include William Allwyn's 3 Quartets, and chamber music by James Friskin. As a member of Apartment House, a contemporary chamber ensemble, she was awarded the Philharmonic Society Award for the Most Outstanding Chamber Music in 2011.

Hilary is much in demand as a teacher, adjudicator and conductor throughout the UK. She is Head of Strings at St Paul's Girls' School, and Professor at the Royal College of Music. Hilary has coached and conducted many youth orchestras both here and abroad - LSSO, LSCO, NCO, Imperial College Orchestra, Guernsey Orchestra, and taught at Pro Corda, and Musicworks. She is a Diploma examiner for the Associated Board and an examiner for AQA exam board. This summer Hilary recorded the new 2015 syllabus Grades 1-4 for the Associated Board."

-RCMJD (http://www.rcm.ac.uk/junior/rcmjdteachers/profile/?id=JD542)
5/26/2020

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"Bridget Carey studied jointly at the Royal Academy of Music and London University and has pursued a varied freelance career based in London, and has developed a particular reputation in the field of new music.

For 15 years she premiered new chamber opera for the Almeida, whilst working in dance scores with Siobhan Davies and Rambert companies, classical contemporary with Opus 20 and Music Projects/London and new complexity with Ensemble Expose. From 1995-2005 she was viola player with the Kreutzer string quartet. More recently, her chamber music interests include Okeanos and the RPS award-winning experimental music group Apartment House, with whom she continues to add to her chamber music discography. She has been a member of Britten Sinfonia for the last 20 years, and is a regular guest with London Sinfonietta and BCMG, among others."

-Okeanos Website (http://okeanos.co.uk/wp/?page_id=1017)
5/26/2020

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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 (https://heatherroche.net/about/)
5/26/2020

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"Kerry is a musician who lives in east London. He trained as a pianist and now also performs on keyboards and live electronics.

Kerry has performed at Audiograft, Chisenhale Arts Club, Kämmer Klang, Rational Rec, Borealis Festival, Huddersfield Contemporary Music Festival, ISCM World Music Days, Kings Place, City of London Festival, Music We'd Like To Hear, Nonclassical and in groups Apartment House, ELISION, Plus-Minus Ensemble and Ensemble Offspring.

Kerry studied piano with Stephanie McCallum at the University of Sydney (where he also studied composition) and at the Sydney Conservatorium of Music. He completed a doctorate at the Royal College of Music where he studied piano with Andrew Ball and researched Performance practices of music for piano with electroacoustics. He has also dabbled with the other side, playing with bands Apopalyptics, Casiokids and Half-handed Cloud and the Welcome Wagon.

Kerry also directs music at Grace Church Hackney (which meets in Hoxton), where they are happy to use ancient chants, traditional hymns and new works with choirs, bands, electronics, objects and the like."

-Kerry Yong Website (http://kerry-yong.blogspot.com/p/about-me.html)
5/26/2020

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

"Philip Thomas (b.1972, North Devon) specialises in performing new and experimental music, including both notated and improvised music. He places much emphasis on each concert being a unique event, designing imaginative programmes that provoke and suggest connections.

He is particularly drawn to the experimental music of John Cage, Morton Feldman and Christian Wolff, and composers who broadly work within a post-Cageian aesthetic. In recent years he has been particularly associated with the music of Christian Wolff, giving the world premiere of his Sailing By in 2014 and Small Preludes in 2009, the UK premiere of Long Piano (Peace March 11), having co-edited and contributed to the first major study of Wolff's music, Changing the System: the Music of Christian Wolff, published by Ashgate Publications in 2010, and currently recording all of Wolff's solo piano music for sub rosa. He is an experienced performer of John Cage's music, having performed the Concert for piano and orchestra with both Apartment House and the Merce Cunningham Dance Company as well as most of the solo piano and prepared piano music, including a unique 12-hour performance of Electronic Music for piano

He has commissioned new works from a number of British composers whose ideas, language and aesthetic have been informed in some ways by the aforementioned American composers, such as Stephen Chase, Laurence Crane, Richard Emsley, Christopher Fox, Bryn Harrison, John Lely, Tim Parkinson, Michael Parsons, and James Saunders.

In recent years Philip has pursued a passion for freely improvised music, after significant encounters with the music of AMM and Sheffield-based musicians Martin Archer, Mick Beck and John Jasnoch. He has worked with improvisers in a variety of contexts and recently devised a programme of composed music by musicians more normally known as improvisers as well as others who have been influenced by improvisation in some form. This led to a CD release, Comprovisation, which featured newly commissioned works by Mick Beck, Chris Burn and Simon H Fell. Other CD releases include music by Martin Arnold, Laurence Crane, Christopher Fox, Jürg Frey, Bryn Harrison, Tim Parkinson, Michael Pisaro, James Saunders, Christian Wolff, as well as with improvisers Chris Burn and Simon H Fell.

Philip is a regular pianist with leading experimental music group Apartment House, with whom he has performed in festivals across the UK and Europe. He has also performed with the Quatuor Bozzini, and in duos with Mark Knoop, Ian Pace and John Tilbury (piano duet and two pianos) and James Saunders (electronics).

In 1998 Philip was awarded a PhD from Sheffield University in the performance practice of contemporary piano music. Between 2000 and 2005, he was Head of the Sheffield Music School whilst pursuing an active performing and teaching career. He joined the staff team at the University of Huddersfield in 2005, and became Professor of Performance in 2015. Philip is one of the Directors of CeReNeM, the University's Centre for Research in New Music. He continues to live in Sheffield, where he premieres the majority of his programmes, with his wife Tiffany and children Naomi and Jack."

-Philip Thomas Website (http://www.philip-thomas.co.uk/biog.html)
5/26/2020

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

"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)
5/26/2020

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track listing:


1. A Quartet For Francois Morellet 08:07

2. A Quartet For Chris Beekman 09:14

3. A Quartet For Palladio 04:09

4. Five Palindromes #1 02:19

5. Five Palindromes #2 02:08

6. Five Palindromes #3 01:41

7. Five Palindromes #4 02:57

8. Five Palindromes #5 01:40

9. The Donald Judd Harmonies I-Xxiii 34:54

10. The Donald Judd Harmonies - Extract For Streaming 10:19
sample the album:








descriptions, reviews, &c.

Another Timbre Interview with Luiz Henrique Yudo


Could you tell us about your background, and how you became involved with experimental music?

Background:
Trained as architect, worked as art-director at an advertisement agency and briefly as a fashion designer. Film studies while working as a freelance illustrator, painter and sketcher. Later working in a museum.No background in music: auto-didactic, outsider.

Experimental music:
Music coming from structures, labyrinths, alphabets, codes, patterns, architecture, paintings, drawings, sculptures, displays, textiles, numbers, geometry, tables, anything visual with a sonic potential.

Conclusion:
Visual perception, sound solution.


How do you go about turning a visual object into a score?

It is just a personal way of composing. It was not taught by anyone. It is a trained awareness that brings satisfying results.


Where did you grow up, and where do you live now?

Born and grew up in the countryside of Brazil, university studies in São Paulo city, later moved to Europe: first Paris and now living in Amsterdam.


While your scores usually present the musicians with a definite and clear structure, you often leave it to the musicians to choose some of the crucial details of how the music will actually sound. Can you explain why you do this, and does it sometimes lead to disappointments?

It is a game of responsibilities. The composition is constructed in such a way that it has its own identity. Some details are deliberately left open, so that the musicians can imprint their own personalities on the music they are performing, without compromising the identity of the composition. It is a nice way to produce music that can surprise again and again in each new performance. It is never aleatoric, it is just open. It could lead to disappointments, but only if the musicians did not correctly understand the instructions of the composer.


Interview with Apartment House's Anton Lukoszevieze

What drew you to want to play Yudo's music?

I remember discovering his name floating about in the general experimental music world and then I performed his FIVE PALINDROMES with Tim Parkinson for MWLTH. I then contacted Luiz who was very kind and gracious in sending me scores. After that Apartment House began to perform his music and I was hooked. What drew me in was the sheer eloquence and beauty of the works that I heard, before having actually seen the scores, which are in themselves works of art.


How do most of Yudo's scores work?

Often Luiz writes in the score exact rhythms and a limit of pitch materials that you as a performer may choose. For example in A QUARTET FOR PALLADIO each of the 4 instruments may only use 4 pitches or 'sounds', which are assigned to precise rhythms. This rhythmic element is thus derived from the original Palladio drawing, by Luiz. In other works such as the FIVE PALINDROMES, each instrument may only use 2 pitches/chords/sounds, but can change one of them (or not) after a period of time. So then one can hear clear changes in the texture and harmonic content of the music. Sometimes the tempi of works is free (as in the 5 Palindromes), though at times in other works Luiz will give a metronome marking or temporal suggestion for how fast or slow the music should be. In THE DONALD JUDD HARMONIES I-XXIII he asked for a very slow tempo, which does seem to mirror clearly the visual nature of the Judd colour forms that the music is derived from.

Our task as a group is to make things sound good, which of course is highly subjective! In rehearsal we make group or individual decisions as to what pitch or sound material we use for each piece. Therefore often, before we start a work we have no idea what it will sound like! If we think something is not quite right, we will make small changes and discuss it. It can be as simple as suggesting a different tempo, some higher or lower pitches, more chords, or more percussive sounds, etc.

One basic tenet I have is that each work should have its own character or sound world. This can often be defined by the choice of instruments, I like a variety or a similarity. Some works such as A QUARTET FOR PALLADIO demanded for me a complex mix of sounds (on the recording this is percussion playing flower pots, bowed viola, prepared cello playing pizzicato and synthesiser keyboard.) Other works demand a more homogenous texture and sound world, such as THE DONALD JUDD HARMONIES I-XXIII. In choice of pitch one need not adhere to an equal tempered tuning of course, so in some works (A QUARTET FOR CHRIS BEEKMAN) some of the instruments are de-tuned, creating a very distinct sound world. For THE DONALD JUDD HARMONIES I-XXIII one has to choose a gamut of pitches that are then used for the entire work. I chose a gamut consisting of ascending perfect 4ths, which then become perfect 5ths, as these seemed to create harmonies that had a purity and, somehow, a poetic connection to the Judd colour forms.

There does need to be a certain degree of commitment and empathy when preparing and performing all kinds of experimental music, so a dedicated and creative approach does aide the realisation of Luiz's works and the beauty for me is in the infinite musical possibilities and potential that lie there in them.

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