Saxophonist Rives with Wade Matthews on software synthesis and manipulated field recordings in a piece inspired by the story of Arethusa, a servant of the Greek goddess Artemis.
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Label: Another Timbre
Catalog ID: at20
Squidco Product Code: 12420
Packaging: Jewel tray, not sealed.
Recordd July 1-8, 2008 at Smiling Cow Studios in Madrid, Spain.
Wade Matthews-software synthesis, manipulated field recordings
Stephane Rives-soprano saxophone
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1. 1 8:52
2. 2 8:19
3. 3 17:26
4. 4 11:59
London & UK Improv & Related Scenes
sample the album:
"Perusing Ovid while translating a text on Ruben's Vertumnus and Pomonoa, I came across the story of Arethusa, a metaphorical tale of flight and transformation that speaks to the identity of the musicians on the the present CD, their artistic evolutions and their way of making music. Arethusa - a Nereid nymph and virginal servant of the Greek goddess Artemis (Diana the Huntress to the Romans) - takes a dip in a stream, not knowing it belongs to the river god, Alpheus. Smitten by her beauty, Alpheus pursues her with carnal intent. Arethusa flees but is unable to outrun the libidinous river. She cries out to Artemis, who quickly envelops her in a dense cloud, successfully hiding Arethusa from the god. Fear and the exertion of running cause her to perspire so heavily that, hidden in the fog, she gradually turns into a stream. Alpheus is eager to mingle his waters with hers, but Artemis opens a subterranean channel that bears Arethusa's stream to Otrygia in Sicily, where she becomes a fountain. For two expatriate musicians, this story speaks of attitudes towards change, perception and identity. [...]"-Wade Matthews, from the liner notes.
At The Squid's Ear!
• Show Bio for Wade Matthews
"In 1989, after completing his doctorate at Columbia University in New York, French-born American musician Wade Matthews moved to Madrid and became active on the international improv scene. Drawing on his work at the Columbia-Princeton Electronic Music Center (His doctoral dissertation was on improvisation guided by electronic sounds) he approached the bass clarinet and alto flute as "acoustic synthesizers," rethinking their sonic possibilities, phrasing, and relation to breath in a musical language based on real-time creation. When faster processors made laptop synthesis viable, Matthews gradually abandoned the woodwinds and returned to his first love, tweaking a virtual synthesizer to allow very rapid control of sound parameters for solo playing and dialog with others. In 2007, he founded INTERMEDIA 28 with photographer Adam Lubroth and guitarist Julio Camarena. There, he began to combine field recordings with electronic synthesis in a 2-computer setup that has since become his main instrument.
Matthews has presented his work on five continents, including performances at the Museum of Modern Art in New York, the National Center for the Arts in Mexico City, the Teatro Colón in Buenos Aires, the Reina Sofía Museum of Contemporary Art in Madrid, The Stone, in New York; Fylkingen, in Stockholm, and concerts and festivals in London, Paris, Berlin, San Francisco, Montevideo, Barcelona, Beirut, Cape Verde, Lisbon, Dublin, Oslo, etc. Besides his concerts, Matthews is interested in sharing ideas about music and his activity as a lecturer and visiting professor has taken him to the Paris Conservatory, the University of California, San Diego; the California Art Institute, Columbia University, the Universidad de las Americas in Puebla, Mexico; the American University of Beirut, Limerick University in Ireland, and many, many others."-Wade Matthews Website (http://www.wadematthews.info/Wade_Matthews/ABOUT.html)
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