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Iddon, Martin: Naiads (Another Timbre)

With titles taken from different kinds of water nymphs in Greek mythology, composer Mark Iddon's four-part work is a hauntingly beautiful set of compositions of seeming siren calls and rich percussion, realized by an octet configuration of the UK ensemble Apartment House, with two pianists (Philip Thomas and Mark Knoop), three strings, clarinet, flute and percussion.
 

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Label: Another Timbre
Catalog ID: at202
Squidco Product Code: 32722

Format: CD
Condition: New
Released: 2022
Country: UK
Tracks 1, 4 and 5 recorded at Goldsmiths Music Studio, in London, UK, in December, 2021, by Simon Reynells.

Tracks 2 and 3 recorded at St. Paul's Hall, University of Huddersfield, in July, 2019, by Simon Reynells.


Personnel:

Martin Iddon-composer

Mark Knoop-piano

Philip Thomas-piano

Mira Benjamin-violin

Bridget Carey-viola

Anton Lukoszevieze-cello

Heather Roche-bass clarinet

Emma Williams-flutes

Simon Limbrick-percussion

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Artist Biographies:

Martin Iddon: "I am a composer and musicologist. My music has been performed and broadcast on radio and TV in North America, Europe and Australasia by musicians including Apartment House, Distractfold, Ensemble Interface, Kairos Quartet, Ensemble SurPlus, Jack Adler-McKean, Séverine Ballon, Jeffrey Gavett, Nicolas Hodges, Heather Roche, Ashot Sarkissjan and Eva Zöllner.

A portrait CD, pneuma, was released in 2014, followed by Sapindales in 2021. My string trio Danaë won the chamber music category of the 2014 British Composer Awards and my solo tuba piece, Lampades, won the 2021 Ivors Composer Award for solo composition.

My books, New Music at Darmstadt, John Cage and David Tudor, and John Cage and Peter Yates are published by Cambridge University Press, while John Cage's Concert for Piano and Orchestra which I co-wrote with Philip Thomas is published by Oxford University Press.

I studied at the Universities of Durham and Cambridge and am Professor of Music and Aesthetics at the University of Leeds."

-University of Leeds (https://ahc.leeds.ac.uk/music/staff/303/professor-martin-iddon)
1/25/2023

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"London based pianist and conductor Mark Knoop is known for his fearless performances and individual interpretations. He has commissioned and premièred countless new works and worked with many respected composers including Michael Finnissy, Joanna Bailie, Bryn Harrison, Bernhard Lang, Matthew Shlomowitz, Jennifer Walshe and Steven Kazuo Takasugi. His versatile technique and virtuosity also brings fresh approaches to the standard and 20th-century repertoire.

Mark performs regularly throughout Europe, the United Kingdom and Australia and in New Zealand, South Korea, Mongolia, United States of America, Canada and at festivals including Transit (Leuven), Ultima (Oslo), Huddersfield, London Contemporary Music Festival, Borealis (Bergen), Spor (Århus), Athelas (Copenhagen), and MaerzMusik (Berlin).

He performs with various ensembles including Plus-Minus (London/Brussels) and Apartment House (London), and has conducted EXAUDI (London), Scenatet (Denmark), and London Sinfonietta. His recordings of music by John Cage, Richard Beaudoin, Karlheinz Stockhausen, Peter Ablinger, and David Lumsdaine have been critically acclaimed."

-Mark Knoop Website (http://www.markknoop.com/home)
1/25/2023

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"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)
1/25/2023

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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/)
1/25/2023

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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)
1/25/2023

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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)
1/25/2023

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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/)
1/25/2023

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

Emma Williams: flute & piccolo player, freelance orchestral musician, therapeutic functional movement, pelvic health coach & yoga teacher.

"I trained at the Royal College of Music as a flautist and have been working as a freelance performing musician and teacher for over 25 years. I came to yoga in my late 20's having had to cope with recurring fractures and broken bones due to Polyostotic Fibrous Dysplasia, a rare soft bone condition which I was born with. As well as being a freelance performing musician, I am also a qualified Hatha yoga teacher with a particular interest in anatomy and breathing. My passion is women's health, supporting and informing women about pelvic health."

-Emma Williams Website (https://www.emmawilliams.co.uk/)
1/25/2023

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)
1/25/2023

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track listing:


1. Crinaeae 12:35

2. Pegaeae 15:10

3. Limnades 18:32

4. Potameides 18:18

5. Eleionomae 7:26
sample the album:








descriptions, reviews, &c.

Another Timbre Interview with Martin Iddon

What are naiads, and how do they relate to the series of pieces on the CD? Is it programmatic music in any way?

The naiads are freshwater nymphs from Greek myth. There were five different sorts of naiads, each one of which provides the name for one of the pieces in my cycle, Naiads: crinaeae (fountains and wells), limnades (lakes), pegaeae (springs), potameides (rivers), and eleionomae (marshes and wetlands). Though they could grant protection or prophecy, they were not necessarily always benevolent, and could be mercurial or even, especially, in the case of the eleionomae, maleficent.

In composing, I don't really think in programmatic, or even figurative, terms. The pieces aren't intended somehow bluntly to represent those mythical figures though I do think (I think) of music as necessarily representative of something, even if it's more nebulous or much harder to pin down in words or image. I suppose that's one good reason to try to capture it musically in the first place.

The same simple musical materials recur across the cycle, though used in different ways in each piece (and not every piece features all of them): fixed (sometimes elongated or trailing, some short, punctual) pitches; glissandi which are, like the pitches, smeared out; regular, dripping pulsation; meandering or more quickly flowing streams of pitch material; and, various sorts of quiet white noise.

I do think of those materials, as somehow having characteristics which I might map onto at least some of the potential behaviours of water. My thinking in this regard is very definitely influenced by the strange waters that you find in pieces by Chaya Czernowin, like Maim (2001-06) or Hidden (2013-14), even if Chaya's music may not seem to have all that much aurally in common with mine.

Both Maim and Hidden are pieces I've found myself obsessing over pretty regularly and for a long time. They seem to me to do something a bit more distant (or distanced) than simple figuration, more like asking about the sorts of ways in which this musical material might move or flow if it were watery and what happens when those different watery materials encounter one another, whether, because they're also music, they're still miscible or miscible in the same way. There's a quotation from Bachelard I once used to describe Chaya's Algae (2009) (and which also made its way into the title of another of her pieces) that I regularly recalled in writing the Naiads pieces: "In the depths of matter there grows an obscure vegetation; black flowers bloom in matter's darkness. They already possess a velvety touch, a formula for perfume."

There's also, as is often the case in my music, another of my obsessions sitting in the background, in that the pitches are largely derived from Dufay's motet, Salve flos Tusce gentis, which mentions the naiads in its motetus section, though I'm not sure they're derived in a way that leaves them more than distantly palpable.

The cycle was composed over a period of 5 years. Did you plan to produce a cycle of linked pieces from the start? And did your compositional approach change in any way during the 5-year period when you were composing these pieces?

I suppose it does look like quite a long timescale, but in fact the first piece to be written, eleionomae, which is also the last piece in the cycle, was really adrift from the others. By my reckoning I wrote twelve or so pieces between it and crinaeae, which was written back to back with limnades. Then there were another couple of pieces-a song cycle and a solo guitar piece-before I went back to pegaeae and potameides, which also almost overlapped in my working on them. So, they definitely feel to me a lot closer together than perhaps they may seem. That said, eleionomae is sort of comprised of what turns out to be the muddy residue of (or in?) the other pieces, but that means that in the process of writing them, since the rest of them came later, I was sort of trying clean up the materials of this earlier piece.

I wrote eleionomae for a workshop at Darmstadt, which Rebecca Saunders was running with the dissonArt ensemble. Because it was for that purpose, I'd left it quite simple and quite open: largely it comprises very quiet, static noise, with just a little bit of pitch, and a little bit of pulsation, as well as long pauses, and the instruction that it should be played with eyes closed. That piece is quite different from the others, in that it contains none of the Dufay, and I didn't know at that stage that those materials would ultimately lead to the more noisy elements of the ones that would be written later.

That 'eyes closed' instruction-which also doesn't appear anywhere else in the cycle-is actually a bit of residue from days spent on the River Wear and the River Cam as a cox, something I spent probably more hours doing than studying music, which was what I supposed to be doing, for a time. My favourite exercise was always that of asking a crew to row, very slowly, eyes closed, which produces a stillness, a clarity, and a focus on technique-also the grace of technique-which is hard to capture ordinarily. It also, in the context of rowing, creates an unusual relationship between the members of the crew who have to sense the ways in which the four or eight of them move as a single unit differently. That element is preserved, in a way, in the other pieces in the cycle and is really core to how the whole thing works. Most of the time, in most of the pieces, each performer is operating entirely independently of each other performer, though they often have very similar material to play which, at a quiet dynamic, might create a sort of blurring effect between the performers. They have to remain, though, attentive for occasional cues-sometimes visual, sometimes aural-which will enable them to move on to the next section of the piece, for instance. And, of course, even though each player is carrying out their allotted tasks without directly having to synchronise those tasks with anyone else, they still have to attend to being part of an ensemble playing, largely, very quietly, such that they make themselves heard, but without preventing anyone else doing the same.

I don't remember if I thought that there was going to be a cycle at the stage of writing eleionomae: I'd only just written the first 'derivative' piece of my vocal quintet, Hamadryads, which turned into a whole sequence of other, individually named, hamadryad pieces, like Ptelea, which was on my last Another Timbre release. So I guess it simply felt like the title and the slightly claggy musical materials went together, even if I can't have missed the fact that it hinted that there were definitely four more pieces on the theme to be written.

The second piece to be composed, crinaeae, was commissioned by Ensemble Interface (I think you were at the premiere, actually, at the Anthony Burgess Centre in Manchester). I'm pretty sure that Ian Buckle had already asked for the third, limnades, as a commission for the Pixels Ensemble, and it seems likely that the cycle was in part a way of thinking about the pieces together in ways that would make it possible to compose them in quite rapid succession. I can't remember for sure! I think something much the same happened when Anton Lukoszevieze asked for something for Apartment House, a request which resulted in the final two pieces to be written in the cycle, again written immediately after one another.

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(Another Timbre)
Cameron, Allison / Apartment House
Somatic Refrain
(Another Timbre)
Shim, Kunsu
LUFT.INNERES
(Another Timbre)
Reeder, Kory / Apartment House
Codex Vivere
(Another Timbre)
Ellestad, Mark
Discreet Angel
(Another Timbre)
Shim, Kunsu
LUFT.INNERES
(Another Timbre)
Feldman, Morton / Apartment House
Piano and String Quartet
(Another Timbre)
Akama, Ryoko
Songs For A Shed
(Another Timbre)
Iddon, Martin
Sapindales
(Another Timbre)
Feldman, Barbara Monk
Verses
(Another Timbre)
Smith, Linda Catlin / Apartment House
Ballad
(Another Timbre)
O'Rourke, Jim / Apartment House
Best That You Do This For Me
(Another Timbre)
Beuger, Antoine / Apartment House
Jankelevitch Sextets
(Another Timbre)
Armstrong, Newton: Plus Minus Ensemble; Severine Ballon
The Way To Go Out
(Another Timbre)
Fox, Chistopher
Works For Piano, Philip Thomas piano
(Hat [now] ART)
Hodgkinson, Tim / Jason Alder / Chris Cundy / Yoni Silver / Heather Roche / Shadanga Duo / Thanos Chrysakis
Music For Bass Clarinets
(Aural Terrains)
Democ, Adrian / Apartment House
Ziadba
(Another Timbre)
Burn, Chris / Philip Thomas
as if as
(Confront)
Feldman, Morton (Philip Thomas)
Piano [5 CD BOX SET]
(Another Timbre)
Apartment House
Perform Olivier Messiaen and Linda Catlin Smith
(Another Timbre)
Schlothauer, Burkhard
Harmonies And Structures
(Edition Wandelweiser Records)
Smith, Linda Catlin
Wanderer
(Another Timbre)
Finnissy, Michael
Choralvorspiele / Andersen-Liederkreis
(Hat [now] ART)
Cage, John
Winter Music
(Another Timbre)
Chessex, Antoine / Apartment House / Jerome Noetinger
"Plastic Concrete" / "Accumulation"
(Bocian)









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