The Squid's Ear Magazine


Paiuk, Gabriel: Adjacent Sound (Another Timbre)

Four works from Amsterdam-based Argentina composer Gabriel Paiuk, particularly "The Construction of an Imaginary Acoustic Space" about the intertwining of technology, affect, space and listening, performed by the New European Ensemble in a mix of strings, reed, brass, piano and tape; also a solo work for cello; a solo work for piano; and a piece for three clarinets.
 

Price: $15.95



Quantity:

In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 2.00 units

Sample The Album:





product information:

Personnel:



Gabriel Paiuk-composer

Rada Ovcharova-violin

Tijmen Huisingh-violins

Emlyn Stam-viola

Willem Stam-cello

Matthijs Broersma-cellos

Marijn van Prooijen-double bass

James Meldrum-clarinet

Sebastiaan Kemner-trombone

Hanna Shybayeva-piano

Francesco Dillon-cello

Teodora Stepancic-piano

Anna voor de Wind-clarinet

Jorge Lopez Garcia-clarinet

Enric Sans I Morera-clarinet


Click an artist name above to see in-stock items for that artist.




Label: Another Timbre
Catalog ID: at186
Squidco Product Code: 31495

Format: CD
Condition: New
Released: 2022
Country: UK
Packaging: Cardboard Gatefold
Recorded by Kaan Yazici (1), Giovanni Magaglio (2) , Elliot Gould (3) and Dario Giustarini.

Descriptions, Reviews, &c.

"Another Timbre Interview with Gabriel Paiuk

Where are you from, where do you live, and how did you come to contemporary music?

I'm from Buenos Aires (Argentina) and live in Amsterdam (The Netherlands) since 2010. Early on, as a pianist, jazz was the spark to engage with music in an intense way, which led further on to a thorough involvement with free improvised music and the exploration of a specific piano-based practice. Although I was also already composing back then, for some years - the early 2000's - I fundamentally devoted myself to free improvised music, both in Argentina and in different trips and projects in Europe. That period was quite significant in nurturing some of my interests and the approach to sound that I would investigate later on. After this period I felt I wasn't reaching the results I was looking for through improvisation and decided to focus back more into a compositional practice. In the mid-2000's I started to get involved with the use of technology and the material interaction between the technologies used to produce acoustic phenomena and the spaces where these are heard.

Why did you leave Argentina and come to Europe?

In 2001 I started to come to Europe more or less regularly for specific projects - at the beginning mostly involved with free improvised music. In 2006 I won the Gaudeamus Composition prize for my work Res Extensa - which was only my second electronic-based work and my first venture into the sound installation domain - and this opened up a window in The Netherlands, which some years later led to the opportunity of a scholarship to carry out a Master's study at the Institute of Sonology in The Hague.

The truth is that I had not even thought about this possibility in advance, but I was interested in the opportunity of staying for a longer time in Europe after a bit more than 10 years of work in Argentina, playing, composing and organising and setting up concerts and festivals. So I never really fully decided I was going to move out, but after I finished these studies in 2012 and the scholarship ended, I became interested in pursuing some opportunities to continue developing my work in Europe, and I've stayed here since then.

Can you say more about why you think improvisation ran out of steam for you?

Even though I was quite attracted by the music I was producing, especially in some of the collaborations I was engaged in, I was finding myself too often thinking - while I was performing - that I wanted the music to go in a different direction. As this thought became more and more frequent it was clear this specific method of music making was not working for me. I have never lost a fascination for some of the music being made through improvisation and I admire many musicians for whom improvisation is evidently the best tool possible. But I realised I was looking for specific temporal and timbral characteristics that I was not achieving through improvisation.

The possibility of focusing on certain listening situations seemed to be more achievable through a compositional path and this also meant acknowledging my thorough attraction by the act of the rehearsal and the possibility to delve into subtle sonorous adjustments that emerge in those circumstances.

I'm not interested in music technologies, and judge things solely by what the resulting music sounds like. So can you explain more about what drew you to explore these technologies, and how you use them?

That's a very fundamental point, because my work with technology does not arise from a fascination with technologies per se. Rather, what prompted my interest in technology is the fact that it is already embedded in our everyday auditory experience. This means that, through their ubiquitousness in mass-media music and communication, technologies are inherent in the ways we learn to listen. What I'm suggesting here is that microphones, loudspeakers or signal-processing devices are as much technologies as a piano or a violin. They all form how we listen in a certain way, they inform the ways we pay attention to sound or expect sound to behave.

In my work, technologies are not meant as tools or as extensions that enable us to discover "uncharted" territories, but I'm rather focused on interfering or operating on the way these technologies are already part of the sonorous reality we are immersed in.

One example that I delve into in my work is the spatial aspect of the sonorous. I explore this almost with the same criteria in my sound installation work and my pieces for instruments and loudspeakers/electric/electronic sources. On both series of works I draw attention to the way the imprints of recording, reproduction and transduction play a role in how we experience the spatial dimension of sound, and how these processes bear sensitive traces that inform how we engage with it.

How does this play a role in the different pieces on the album?

The four pieces on the CD cover a broad time span. The first piece, which is the most recent, is a clear example of the kind of entwinement between technologies, affect, space and listening that I've been working on for a while. This piece plays with the role of different conditions of sound production in shaping the way we pay attention to sound - how we engage in listening to it. In its live version the piece involves other layers which are not present in the recording. This entails both the synchronisation (and non-synchronisation) between the actions of the players and what is heard (produced at points by a digital soundtrack and at points by a tape machine which is operated by a performer on stage)., As well as the material nuances imprinted on the sound by the use of three different stereo set-ups. Each of these three stereo layers diverge in dimension and placement in relation to the audience, and thus bear spatial and material qualities which are inherent in the ways in which we are exposed to sound in our media-saturated environment. The title of the piece is not meant as a statement of purpose, but rather as a question. The aim is to prompt an instability in the ways in which the sound of music triggers a seemingly imaginary realm and to problematise the role of both audio and instrumental tools in informing this process.

'El Mismo' can be located along the same path. It deals with the unstable identity of the piano sound as technologies of recording and reproduction have transformed and proliferated what the sound of the piano can be. 'Disyunción' does not use any audio technology, but it aso prompts questions concerning our audible engagement with the timbral/material indentity of an instrument and how this unfolds within the performance of memory.

The last and oldest piece - 'Cuando ya no importe', from 2005 - can be located at the beginning of an exploration of the material aspects of listening and a fascination with the subtle transformations of the everydaythat I thought Uruguayan writer Juan Carlos Onetti - to whom the piece is dedicated - explores in his texts. What probably captivated me in his writing is the wayminimal gestures of language subtly put into question the identity of what we perceive as the real.


Artist Biographies

"Gabriel Paiuk (*1975) is a composer and sound artist whose work focuses on the problematisation of the experience of sound in widespread media.

His work takes the form of sound installations and compositions for traditional instruments and particular loudspeaker setups. Recent works have been presented at Gallery W139 and Sonic Acts Festival in Amsterdam.

His instrumental pieces have been performed internationally by ASKO ensemble, Kammerensemble Neue Musik Berlin, Slagwerk Den Haag, Francesco Dillon, Ekkehard Windrich, Modelo62, Rank Ensemble, Ensemble 306, Kwartludium Ensemble, Quinteto Sonorama and Alexander Bruck. His electronic composition / sound installation Res Extensa was awarded the Gaudeamus composition prize in 2006.

He is currently a member of the faculty staff at the Institute of Sonology (The Hague, NL). He was director of the Center for Advanced Studies in Contemporary Music in Buenos Aires (2009) and taught sound design at the Center for Cinematographic Investigations in Buenos Aires (2004-2009).

In recent years he has articulated his compositional practice with theoretical research, leading to talks and workshops in contexts such as the KASK-School of Arts (Ghent), the Amsterdam School for Cultural Analysis (University of Amsterdam), Master Artistic Research at KABK (co-led with Raviv Ganchrow), HKU Utrecht and to a publication in Organised Sound magazine (Cambridge University Press, UK).

He has regularly collaborated with other artistic disciplines, mainly as stable composer of the La Otra dance company (2001-present), regularly staging works for dance/physical theatre in important theatres and festivals in Buenos Aires.

As a pianist-improviser he collaborated with musicians like Axel Dorner, Jason Kahn, Keith Rowe, Andrea Neumann, Burkhard Beins, Rhodri Davies, Gunter Mueller, Lucio Capece, Robin Hayward, Sergio Merce and others, performing in venues and festivals in Berlin, Brussels, New York, Barcelona, London, Paris, Amsterdam and Lisbon and editing records in diverse specialized labels.

He was curator and producer of many contemporary and experimental music series in Buenos Aires since 2000 until 2009."

-Universiteit Leiden (https://www.universiteitleiden.nl/en/staffmembers/gabriel-paiuk#tab-1)
3/25/2024

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

"Francesco Dillon (b.Turin, 1973) already has a brilliant international career to his credit, characterised by the originality and variety of the repertoire that he has embraced. As a soloist he has performed on such prestigious concert stages as the Konzerthaus in Vienna, the Muziekgebouw in Amsterdam, the Berlin Philharmonie, the Herkulessaal of Munich, the Laeiszhalle in Hamburg, the Jordan Hall in Boston and the Colon Theatre of Buenos Aires, with such orchestras as the Italian National Radio Orchestra (RAI), the Southwest Radio Symphony Orchestra of Stuttgart, the Radio Symphony Orchestra of Vienna, the Orchestra of the Colon Theatre, Ensemble Resonanz, Oulu Sinfonia Finland, and the Tuscany Regional Orchestra (ORT). Most recently he made an acclaimed debut with the Philharmonic Orchestra of La Scala, Milan, conducted by Susanna Mallki.

Having graduated in Florence under the guidance of Andrea Nannoni, he continued his studies with Anner Bijlsma, Mario Brunello, David Geringas and Mstislav Rostropovich, thereafter studying composition with Salvatore Sciarrino.

In 1993 he was one of the founders of the Quartetto Prometeo, a chamber group of international acclaim and winner of numerous prizes (Prague Spring, ARD Munich, Bordeaux) and recently honoured with the Leone d'Argento award of the Biennale Musica of Venice. Dillon is also a stable member of the Alter Ego ensemble which is regularly invited to the major contemporary music festivals around the world. His passion for chamber music has led to performances with musicians such as Irvine Arditti, Mario Brunello, Giuliano Carmignola, Piero Farulli, David Geringas, Veronika Hagen, Alexander Lonquich, Enrico Pace, Jean-Guihen Queyras.

The profound interest in contemporary music which he has always cultivated has led to solid collaborations with the major composers of our time: Gavin Bryars, Ivan Fedele, Luca Francesconi, Stefano Gervasoni, Philip Glass, Vinko Globokar, Sofija Gubaidulina, Jonathan Harvey, Toshio Hosokawa, Giya Kancheli, Alexander Knaifel, Helmut Lachenmann, David Lang, Alvin Lucier, Arvo Pärt, Henri Pousseur, Steve Reich, Fausto Romitelli, Kaija Saariaho, Salvatore Sciarrino and with cult experimental musicians such as Matmos, and Pansonic, William Basinsky and John Zorn.

Dillon's performances have been transmitted by such important broadcasters as the BBC, RAI, ARD, Radio France, ORF, the Australian Broadcasting Corporation and WDR. He has recorded for the ECM label, as well as Kairos, Ricordi, Stradivarius, Die Schachtel and Touch. He recently recorded for the first time, Variations by Salvatore Sciarrino which received the Diapason d'0r prize, and Ballatta by Giacinto Scelsi, both with the Italian National Radio Orchestra (RAI). As a duo with the pianist Emanuele Torquati, he has brought out three CDs of rare music of Schumann and the complete works for cello by Franz Liszt for Brilliant Classics. Along with his concert activity there have been teaching experiences in institutions such as the School of Music of Fiesole, the Tchaikovsky Conservatory of Moscow, the Pacific University in California, Untref-Buenos Aires, Manchester University. From 2010 he has been artistic director of the season of contemporary music Music@villaromana in Florence."

-Francesco Dillon Website (http://www.francescodillon.com/)
3/25/2024

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

"Teodora Stepancic, born in Belgrade Serbia. She studied piano and composition at the University of Arts in Belgrade and the Royal Conservatory in The Hague. Among her teachers are: Gilius van Bergeijk, Yannis Kyriakides, Martijn Padding, Louis Andriessen, Vlastimir Trajkovic, Dejan Stosic, Aleksandar Sandorov, Ljiljana Vukelja, Milica Vasiljevic.

She participated masterclasses for piano, composition, improvisation and electronic music, working with Paul Goulda, Eric Lesage, Kemal Gekic, Messiah Maiguashka, Peter Michael Hamel, Alvin Currin, Richard Ayres, Caliope Tsoupakis, David Toop, Kim Cascone, Ray Lee, Manos Tsangaris, William Forman.

Teodora Stepancic is active as composer, pianist, performer and improviser and collaborated with ASKO Ensemble, Orkest de ereprijes, Holland Symfonia, Netherlandse Blazers Ensemble, PreArt Soloists (Switzerland) etc. She is member and co-founder of may ensembles: ensemble Modelo62 (Holland), D€N HAAG A££$TAR$ €NS€MBL€ SZ group with Miguelangel Clerc and Grzegorz Marciniak und die Serbian Sound Youth mit Maja Lekovic und Svetlana Maras.

Teodora Stepancic has given converts in Holland, Serbia, Switzerland, Israel, Lithuania, UK, Bosnia and Hercegovina, Macedonia, Albania etc., on the festivals such as Gaudeamus Music Week, Dag in de branding, November music, Noordelijk film festival, BBC Proms (London), Process (Vilnius), Internetional review of composers, KOMA (Belgrade)."

-Dumpf (https://dumpf.com/en/edition/teodora-stepancic/)
3/25/2024

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

"Anna voor de Wind was born in Groningen, the Netherlands, in 1986. She studied at the Conservatory of Amsterdam clarinet with Hans Colbers and bass clarinet with Erik van Deuren, graduating cum laude from her Master studies in 2010. In 2011 she completed the International Ensemble Modern Academy and received a Master in Modern music at the Hochschüle of Frankfurt.

Anna has a very wide range of work experience, working as a freelancer with many professional orchestras and contemporary music ensembles as well as music-theatre companies. Examples include the Asko Schoenberg Ensemble, Nieuw Ensemble, Ives Ensemble, Veenfabriek and Ensemble Modern. Anna has taken part in many national and international competitions, academies and master classes. In the summer of 2010 she was invited as Young Artist in Residence with the National Youth Orchestra of the Netherlands, and spent time there working closely with the composer Mark-Anthony Turnage, who wrote her a solo piece. It was here that she made her debut as a soloist, with the clarinet concerto by Nielsen.

Anna is active in two newly founded ensembles: Looptail and the Amsterdam Collage Ensemble. With these ensembles she presents an innovative and challenging sound for both creators, performers and the audience alike."

-Looptail Website (http://www.looptail.nl/anna.html)
3/25/2024

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


Track Listing:



1. The Construction of an Imaginary Acoustic Space 19:08

2. Disyuncion 10:03

3. El Mismo 5:49

4. Cuando ya no importe 16:20

Related Categories of Interest:


Compositional Forms
Electro-Acoustic
Stringed Instruments
Recordings by or featuring Reed & Wind Players
Piano & Keyboards
Large Ensembles
Solo Artist Recordings
Trio Recordings
Staff Picks & Recommended Items
New in Compositional Music

Search for other titles on the label:
Another Timbre.


Recommended & Related Releases:
Dykstra, Jordan
A Known Unknown [CDr w/ Score Booklet]
(Editions Verde)
A fascinating conceptual work on CD and printed score that attempts to sonically represent celestial events through guided improvisations, providing the performers an abstract of the main musical ideas and options on how to execute them, exploring microtonal sounds, harmonic interactions and sound as moments within physical boundaries, here in a studio realization in Zurich.
Other Recommended Releases:
Arnold, Martin
Flax
(Another Timbre)
Commissioned in 2020 by pianist Philip Thomas, whose health prevented him from performing the work, Canadian composer Martin Arnold's 79-minute hypnotic solo work for piano emphasizes the keyboard's upper register in slow moving textural melodies influenced by innovative 50's & 60's bop pianists, performed in 2022 at the University of Huddersfield by pianist Kerry Yong.
Dykstra, Jordan
A Known Unknown [CDr w/ Score Booklet]
(Editions Verde)
A fascinating conceptual work on CD and printed score that attempts to sonically represent celestial events through guided improvisations, providing the performers an abstract of the main musical ideas and options on how to execute them, exploring microtonal sounds, harmonic interactions and sound as moments within physical boundaries, here in a studio realization in Zurich.
Orquesta del Tiempo Perdido (Jeroen Kimman)
Sepk
(Shhpuma)
Fusing many styles into a strange jazz-like environment fueled by exotica, electronica, orchestral forms and unusual transitions, Dutch multi-instrumentalist & composer Jeroen Kimman, along with ten Amsterdam musicians including John Dikeman, Koen Nutters, Michael Moore and Mark Morse, present Kimman's unusual and often rubbery musical vision while continually fascinating his listeners.
Summers, Sarah-Jane
Echo Stane
(Another Timbre)
Performing solo on the Hardanger fiddle, a Scottish folk instrument for which Sarah-Jane Summers holds a masters degree from the Norwegian Academy of Music, the composer and improviser entered the studio to develop these nine experimental pieces, reworking each piece into its fascinating blend of modern contemporary music that harkens back to folk tradition.
Democ, Adrian
Neha
(Another Timbre)
Neha, the Slovakian word for tenderness, is expressed by composer Adrián Demoč in this lovely and gentle work performed by the Slovak Radio Symphony Orchestra; and "Popínavá hudba", written for the international symphony orchestra for new music, Ostrava New Orchestra, referencing the growth of climbing plants through an alluring melodic line that shifts and spreads in direction.
Harrison, Bryn
A Coiled Form
(Another Timbre)
A remarkable, intense and startlingly virtuosic solo performance from Berlin violinist Sarah Saviet in a long-form extension of an originally 15-minute work commissioned by Saviet of UK composer Bryn Harrison, developed together to allow the score to be variable in length through performer choices to re-sequence the events and repetition of the composition.
Philippakopoulos, Anastassis
Piano 1 Piano 2 Piano 3
(Edition Wandelweiser Records)
An album of concentrated expression for solo piano in three works from French composer Anastassis Philippakopoulos and meticulously performed by Serbian pianist Teodora Stepancic, exploring intervals through minimalistic progressions, titled "Piano 1", "Piano 2" & "Piano 3", each in two or three parts as they build to explosive moments in the final movement.
Chang, Johnny / Keir GoGwilt / Celeste Oram
Hope Lies Fallow
(Another Timbre)
Six pieces developed by violinists Johnny Chang and Keir GoGwilt, with vocalist Celeste Oram joining on three, starting with early music works by Hildegard van Bingen and Orlando de Lassus in a hybrid of musical archaeology informed by modern concepts of repetition, variations of timbre, improvisation, &c, as they seek hidden sound worlds in older notation.
Lang, Klaus / Trio Amos
Tehran Dust
(Another Timbre)
Three chamber works by Klaus Lang of a beautifully fragile and dark nature and a meticulous inner structure, alongside arrangements of early music pieces by Johannes Ockeghem and Pierre de la Rue, performed by Klaus Lang himself on organ with the Trio Amos of Sylvie Lacroix on flute, Krassimir Sterev on accordion and Michael Moser on cello.
Granberg, Magnus and Skogen
How Lonely Sits the City?
(Another Timbre)
Composer and pianist Magnus Granberg developed this delicately introspective work as a collaboration between his Skogen ensemble and cellist Leo Svensson Sander & harpist Stina Hellberg Agback, concerning the development of art in times of crisis, using Messiaen's "Quatuor pour la fin de temps" (Quartet for the End of Time) as a basis, and brought into focus by actual pandemic.
Ellestad, Mark
Discreet Angel
(Another Timbre)
Three chamber works by Calgary, Canadian composer Mark Ellestad composed between 1988 and 1994 and recently retrieved by the composer, including the title track, a graceful solo guitar work performed by Christián Alvear; a meditative piece for pump organ & Hardanger fiddle performed by the composer; and a large work for violin and cello performed by Apartment House.
Shim, Kunsu
LUFT.INNERES
(Another Timbre)
Six chamber works for strings by Korean composer and Fluxus performance artist Kunsu Shim, performed by the Luna String Quartet, "specialists in quiet music", along with six short pieces written for Kunsu by composer friends and collaborators, including Arnold Marinissen, Ammon Wolman, Alwynne Pritchard, Nicolaus A. Huber, Gerhard Stabler and Anton Lukoszeviez
McIntosh, Andrew
A Moonbeam Is Just A Filtered Sunbeam
(Another Timbre)
Intended to be played continuously without a break, composer and violinist Andrew McIntosh's long-form composition features field recordings of pine woods in his home state of California in performance with violin, viola, piano, wine glasses, slate and electronics, an ethereal work combining improvisation, open tunings, just intonation and sympathetic resonance.
Rodgers, Georgia / Apartment House
September
(Another Timbre)
Eight chamber works of interestingly structured and exquisitely restrained character, composed between 2016 and 2021 by UK composer Georgia Rodgers, performed by the Apartment House ensemble in configurations of acoustic duos, trios & quartets, one solo piece for piano & electronics, one solo work for electronics and the title piece in 3 parts by a quintet.
Iddon, Martin
Sapindales
(Another Timbre)
Four clarinet-based works in trio, duo and solo from UK composer and musicologist Martin Iddon, performed by Heather Roche on bass and contrabass clarinets, Juliet Fraser on voice for "Muses", Anton Lukoszevieze on cello and James Opstad on double bass; music with intricate, interweaving lines, the title piece a mesmerising work for multi-tracked clarinets and field recordings.
Taylor, Mark R.
Aftermaths
(Another Timbre)
Works for solo piano by Mark R Taylor, beautifully played by Teodora Stepancic, the first CD release by a remarkable but neglected English composer whose piano works present a metrically rhythmicized exploration of a generative spectrum, here featuring works dating between 1979 and 2018 and performed by Serbian pianist Teodora Stepancic.
Smith, Linda Catlin
Wanderer
(Another Timbre)
Eight sophisticated chamber pieces composed by Linda Catlin Smith and realized by the Canadian Apartment House ensemble, including a solo piano performed by Philip Thomas, a piano duo with Thomas and Mark Knoop, and works for percussion & cello, 2 quintet pieces for strings, percussion and winds, and two 7-piece conducted works with two percussionists, strings and brass.
Elyakim, Dganit
Failing Better
(Aural Terrains)
Using electronics and voice, composer & sound artist Gtanit Elyakim presents a diverse set of compositions in collaboration with other acoustic, voice and electronic artists, a superb debut for an artist interested in aspects of the human and the digital paradigm.
Chabala / Jones / Martin / Mukarji / Nakamura
Unbalanced In (Unbalanced Out)
(Another Timbre)
Six musicians from around the world (Chabala / Jones / Martin / Mukarji / Nakamura) created this 50-minute track over the course of a year by collaborating and file-sharing online.



Customers Who Bought This Item Also Bought:
Lely, John / Apartment House
Meander Selection
(Another Timbre)
A diverse set of compositions by London composer, performer and improviser John Lely performed by the UK ensemble Apartment House, demonstrating the spectrum of Lely's work across string quartets, solo piano works, a solo electronic piece, and a work for violin, two violas & cello; works of cohesive direction across a variety of approaches and interests.
Cage, John / Apartment House
Hymnkus / Thoreau Drawings / Two
(Another Timbre)
The UK avant ensemble Apartment House performs three of John Cage's later works: Two (1987), a number piece using randomly-determined time brackets specifying pitch & dynamic; Hymnkus for up to 14 instrumental parts each of 17 elements blending the concepts of a hymn and a haiku; and Thoreau Drawings, the score twenty unnumbered pages on which Cage drew shapes onto a grid of six systems, each divided into 5+7+5 parts, following the form of a haiku.
Parkinson, Tim / Apartment House
An Album
(Another Timbre)
Collecting five chamber works from prolific London-based composer Tim Parkinson, written between 1998 and 2017 and performed by the Apartment House ensemble: one piece for solo violin performed by Mira Benjamin, two duos for violin & piano (by Benjamin & Siwan Rhys), a quintet for winds and strings and a septet, both featuring flute and bass clarinet.
Cameron, Allison / Apartment House
Somatic Refrain
(Another Timbre)
A diverse set of compositions from Canadian composer Allison Cameron showing the breadth of her interests across experimental and compositional forms, including a solo multiphonic work for bass clarinet; a guitar trio with the Allison Cameron band of Cameron, Eric Chenaux & Stephen Parkinson; and Apartment House performing quintet and sextet compositions.
Reeder, Kory / Apartment House
Codex Vivere
(Another Timbre)
A beautifully unfolding story in connected works forming a codex from Texas composer and Wandelweiser artist Kory Reeder, a long form work performed by the UK Apartment House Ensemble in a septet of strings, winds and piano, each section creating a loose narrative ark through several notational strategies envisioned with characters, scenes, diversions, and digressions.
Feldman, Mark / Katinka Kleijn
Sine Nomine
(Listen! Foundation (Fundacja Sluchaj!))
Blurring free improvisation and compositional strategies in this encounter at the "First Meeting Series" at FAB Music Studio Chicago between New York violinist Mark Feldman and Chicago cellist Katinka Kleijn, a remarkable concert in two parts showing imaginative skills of phenomenal technical expertise and experience, instant compositions of the highest order.



The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC