A composition for string quartet and trumpet in 9 parts by German composer Bojan Vuletic, a work inspired by and dedicated to Paul Celan, performed with the MIVOS String Quartet & Nate Wooley, and premiered in NYC's Issue Project Room.
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Label: Ignoring Gravity Music
Catalog ID: IGM 12-13
Squidco Product Code: 17043
Packaging: Cardstock gatefold foldover
Recorded on June 19th, 2011 by Marc Urselli at EastSide Sound, New York City.
Olivia De Prato-violin
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1. A Du Darfst 5:18
2. B Ich Weiss 5:58
3. C Fadensonnen 7:14
4. D Todesfuge 6:26
5. E Prinzessin Nimmermued 7:09
6. F Ein Wurfholz 2:59
7. G Zähle Die Mandeln 9:42
8. H Die Fleissigen 10:42
9. I Sprachgitter 4:30
Related Categories of Interest:
NY Downtown & Jazz/Improv
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Recordings featuring brass instruments - trumpets, trombones, tubas, other horns
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Atemwende is the first large composition of Bojan Vuletic's cycle RecomposingArt. This first piece takes as its inspiration poetry by Paul Celan. The music was premiered and recorded in New York City by Nate Wooley and the MIVOS string quartet.
"Atemwende marks the beginning of an ambitious effort by Yugoslavian composer Bojan Vuletić: a set of 12 compositions inspired by artists working in poetry, literature, visual art, photography, theater and dance. Written in nine parts and dedicated to the Romanian poet Paul Celan, the suite is played quite beautifully by trumpeter Nate Wooley with the Mivos Quartet.
A pairing of trumpet and string quartet is both unusual and challenging: the former could easily overwhelm the latter without half trying. Not that Wooley is the sort of musician to let that happen. He can play softly without losing articulation and his extended techniques let him breathe easily alongside the strings. It seems likely, in fact, that the piece was written with him in mind: Wooley and Mivos gave it its premiere at Issue Project Room in June of 2011 and the CD was recorded the following day.
The disc opens with a lovely piece built from prolonged tones, slowly folding the inhalations and exhalations of the horn in among the quartet's lines. The second piece sets strings and trumpet in a sort of round robin of phrases. By the third the group has become an integrated quintet of soundmakers, exploring quieter and less strictly musical textures. From there the group is opened to mournful melodies, romantic sways and occasionally harsh passages. If a bit disjointed at times, it's nevertheless quite striking.
The composing itself is dramatic and sometimes quite beautiful, and also a bit puzzling - at least once attempts are made to take it apart and put it together again. It doesn't quite hang together as a single work even though it's presented as such, closer to a series of studies in texture between breath and brass on the one hand and bows and strings on the other. Inclusion of some of Celan's poetry would have gone a long way toward framing the music. That's an obstacle to understanding the work, but it's not a problem in the music. As a set of short compositions (between 3 and 11 minutes) it works wonderfully well and, of course, it doesn't need to be more than that. And even without the source material, it might best be seen as a set of poems, not tied together linearly but connected in feel."-Kurt Gottschalk, The New York City Jazz Record
• Show Bio for Nate Wooley
"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.
Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.
Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".
In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.
Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."-Nate Wooley Website (http://natewooley.com/about)
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