Spectral composers Iancu Dumitrescu & Ana-Maria Avram present 4 works recorded live in Berlin from 2009-14, with participants including Yoni Silver, Tim Hodgkinson, Stephan O'Malley, orchestration including stretchable steel and computer, crystals, prepared piano, &c.
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Label: Edition Modern
Catalog ID: ED MN 1034
Squidco Product Code: 21505
Packaging: Jewel Case
Recorded in Berlin in 2009-2014.
Iancu Dumitrescu-composer, objects, prepared piano, stretchable steel, computer sounds
Maya Dunietz-flute, piano
Stephan O'Malley-electric guitar
Yoni Silver-bass clarinet
Tim Hodgekinson-bass clarinet
Eran Sachs-in input mixer
Guillaume Ollendorff-electric guitar
Schmil Frankel-double bass
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1. Ultrasonic Sublime 16:42
2. Gnosis (IV) 16:18
3. Nocturnal 13:51
4. Metalstorm (III) 17:08
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Dumitrescu, Iancu And Avram, Anamaria: Hyperion International Live in Berlin (2009-14)Iancu contributes Ultrasonic Sublime, for crystals, artificial diamonds, contact microphones, prepared piano, stretchable steel and computer sounds. And Gnosis (IV) for contrabass. Both very impressive pieces. From Ana Maria Nocturnal, for 2 bass clarinets (Tim Hodgkinson and Yoni Silver) and computer sounds, and Metalstorm (III) for ensemble and computer sounds. .
Iancu Dumitrescu is considered one of the leaders of the spectral music trend at a worldwide level. In 1976 he founded the HYPERION Ensemble, proposing a new aesthetic in today's music, hyper-spectral, based on the radiant power of sound, within its microcosmic complexity - which is questioned, analyzed, re-composed from a spectral perspective.
Ana-Maria Avram is a composer, pianist, conductor, born in 1961 in Bucharest, Romania. She studied composition at the National University of Music- Bucharest and musical aesthetics at Sorbonne, Paris. She has been a member of the Hyperion Ensemble since 1988. Her music is affiliated with the spectral music trend and incorporates the outward semblance of abstraction of archetypal sound, achieving its full development in the synthesis of electroacoustic and instrumental sources.
• Show Bio for Iancu Dumitrescu
"Iancu Dumitrescu is one of the leading personalities of contemporary music, embracing both composition and interpretation. He centers his work on the phenomenological principle, which Sergiu Celibidache made him to discover, and which Dumitrescu applies to the composition itself, and on the idea of acousmatics. Acousmatics represents for Dumitrescu not only " the art of disguising a sonic source " in a concrete approach, but the very metaphor of the sound, infinite, cryptical alchemy applied to the sound material.
Iancu Dumitrescu has born the 15th of July 1944 in Sibiu, Romania, son of Gheorghe T Dumitrescu (1904-1982), University Professor, philosopher and psychologist, author of numerous volumes, and of Maria Dumitrescu, a Mathematics teacher. Around four, probably in 1949 he witnesses the general search and arresting of his father with tragic consequences for the entire family. Three years of kept into custody without any awareness from the family, until the death of Stalin, with unforgettable consequences. 1950-1963: Elementary school and college. 964-1969. Musical studies at the Musical Academy in Bucharest. It was the first year after WW2 when admittance in high school happened without the censorship of the " political file of the family ". The vigilance however remained complete and its effects increasingly harmful. He later followed, beginning with 1978, systematic studies of conducting and musical phenomenology with Sergiu Celibidache. 1964 Depressing atmosphere, with serious political pressure, harassing, when modern art was denounced and condemned to disappear, as well as those frequenting it. However those young years are full of impetus, of challenge and even some unexpected artistic success. The encounter of few extraordinary colleagues, enthusiastic and talented opened the opportunity of a new and real stimulation. From 1966, for two decades he launches into a fervent musicological and journalistic activity, trying, under difficult conditions, to engage his writing through the construction of an axiological, selective dimension of the Romanian musical culture of that time. He writes permanent editorials for important cultural magazines and newspapers such as "Luceafarul", "România Literara", than Radio broadcastings, articles in "Scânteia tineretului", "România libera", "Saptamâna Culturala" etc.
In 1967 he is awarded with the Prize for journalism of the LUCEAFARUL magazine for his " originality and sharpness ". In the same dreadful period, by its harsh ideological limitations, its dogmatism and sclerosis the musicological interventions of Dumitrescu quickly attracted the attention of officials who were preparing to attack. But it was necessary to reject to any risk the cultural repression. Firstly by drawing attention to other aesthetic attitudes, other names, and the marginalized ones - against those became the taboos, the untouchables "skills" of the time. It was necessary to propose another professional ethics, a new elite, imposing a new generation of composers. Thus, disarticulating one week after another the Establishment of the time, he became the official choice of the attacks, controversies, and charges in the official press, but could not be silenced. The activity as a musicologist, composer and performer (conductor) intersects from the very beginning. Febrile period 1964-1970: the young student is attracted and finds himself in the avant-garde movements. He desperately looks for scores, recordings, unpublished, innovative ideas: Stravinsky, Bartok, Webern, Schoenberg, Berg, Stockhausen, Boulez, Berio, Nono, Cage, Lutoslawski, Penderecki ... Frenetic Revelation of the modernity. The avant-garde. The atonalism, dodecaphony, Stochastics, the Aleatorism. First systematic explorations in composition. The unique role of Professor A. Mendelssohn, who during an important meeting expressed as " from all his students having made progress, only for Iancu Dumitrescu composition represents the very life! " 1967 to 1969. As still a student, he realizes his first original compositions invested with an opus number thereafter: Diachronies "(I-II-III-IV) for piano, published in 1970 by" Gerig Musikverlage " recorded by WDR-Köln, Radio Madrid, Radio Brussels etc.). "Metamorphoses" for solo clarinet and 'Alternances (I-II) "string quartet, works later recorded by Radio România and Radio France. First discoveries of the sound core, the natural harmonics, the microscopic approach of the sound world etc. The idea of acousmatic. The Spectralism - ideas that will remains central in his composition since. First presence of his works at Radio France - Grand Auditorium. World Premiere of "Multiple" for three percussion groups. The work was engraved little after for CBS Harmonia Mundi.
1974 to 1976. Dumitrescu configures the Hyperion Ensemble, an artistic group of performers and composers who will occupy for 40 years, one of the most important and dynamic role in Romanian music 1978 - He received a Scholarship from Sergiu Celibidache in Germany, after examinations, repeated interviews and extensive theoretical discussions with the Master. Since June 1978, systematic studies of general and musical phenomenology, and also conducting at the University of Trier and Munich. Sergiu Celibidache became for him the Master has always sought, to whom he always relates. He since joined the Husserlian Phenomenology - perspective that has led to important theoretical crystallization and to fertile creative conclusions, re-placing in question the principles of academic composition, petrified and deprived - as we can easily see - of any genuine creative impulse. After extensive explorations, he finally foresees his own vision on sonic world he has pursued since. Thus, the essential concepts of "phenomenological reduction" and "pure intuition" became functional in composition. According to Dumitrescu, it is the first time phenomenology is utilized as a true method of composition, which re-poses in question essential concepts, nevertheless hidden at that time: inspiration, vision, creativity, imagination.
1991 - Inauguration of the EDITION MODERN CD Label in collaboration with "RER Megacorp" - London. Until 2011 26 CDs with the music of Iancu Dumitrescu and Ana-Maria AVRAM were released, and distributed in United States, Canada, France, Germany, United Kingdom, Italy, Austria, Japan, Brazil, South Africa, Korea.. . Iancu Dumitrescu is considered one of the leaders of the spectral music trend at a worldwide level. In 1976 he founded the HYPERION Ensemble, proposing a new aesthetic in today's music, hyper-spectral, based on the radiant power of sound, within its microcosmic complexity - which is questioned, analyzed, re-composed from a spectral perspective. Dumitrescu is also Founder and Artistic Director of the International Music Festivals of Computer Assisted Music Acousmania, Musica Nova, Musica Viva and the International Spectral Music Festival SPECTRUM XXI - held annually in three European capitals. His creation counts more than 200 works, chamber music, electro acoustic, orchestral music, computer music, etc.
His work is edited by Salabert (Paris), Editura Musicala (Bucharest) Gerig Musikverlage-Schott-Schöne (Köln). The LPs and Cds of his music are published by Edition RZ (Berlin) Generation Unlimited (United States), Escargot-Harmonia Mundi (France), Electrecord (Bucharest), Artgallery (Paris), ReR Megacorp (London), Bananafish (Los Angeles) Edition Modern (London-Bucharest). The musicological contributions of Iancu Dumitrescu have concretized in numerous articles such as "Structure & Freedom" (London, Resonance magazine), "Writing: Iancu Dumitrescu" in "Revue et Corrgiée " , Grenoble, "Iancu Dumitrescu: On The Inside Looking In" (Bananafish, Los Angeles ) "In the land of ninth sky : Iancu Dumitrescu Ana-Maria Avram" (Musicworks, Toronto) and in the book "Iancu Dumitrescu, Acousmatic Provoker" (ReR Megacorp, London)."-Spectral Music (http://www.spectralmusic.org/Iancudumitrescu/Biography.html)
^ Hide Bio for Iancu Dumitrescu
• Show Bio for Yoni Silvers
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 Silvers Website (https://yonisilver.wordpress.com/info-2/)
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