Started by Mandryka, February 01, 2021, 02:59:48 AM
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Quote from: amw on March 21, 2021, 10:56:21 PMHave only listened to the big piece here but it's quite attractive music, in a vaguely post-new complexity-ish way. Pace sounds good to me here but I don't have very good speakers.
Quote from: Mandryka on March 15, 2021, 06:55:15 AMCassandra Miller is very active in London, where she works, and is one of those composers who has a sort of local cult. Most of her music is available on Another Timbre, but I just found an extraordinary piece for string orchestra, descending glissandi, relentlessly descending glissandi, on this interesting CD on bandcamp and spotify She enjoys writing music which is based on found music, which he meticulously transcribes, her scores are micro-detailed and very technically demanding I'm told. Probably my favourite pieces by her have been O Zomer and Philip The Wonderer (for Philip Thomas) -- here he is https://www.youtube.com/v/FYiiilacMIs&ab_channel=continuummusicVery often her work is based on found music. In the Tracery series a piece of found music is used initially as the basis of a meditation, where a singer spontaneously responds to what she hears -- she has a singer working with her, Juliet Fraser. These improvisations are recorded and then processed. Here's Tracery: Rocking and Swaying, which is based on a Ben Johnson quartet, introduced by Juliet https://vimeo.com/267404968In the introduction Juliet Fraser explains the evident connection to Pauline Oliveros's work. I note that, as far as I know, Oliveros's meditations were NOT performance pieces, and inded Fraser denies that what she's doing in Tracery is performing. I don't know what I think of this.
Quote from: T. D. on March 22, 2021, 09:08:53 AMThanks, these look interesting. I have and enjoy 2 of Miller's Another Timbre recordings. Will definitely try the piece for string orchestra, as I particularly liked the Duet for Cello and Orchestra. So much of AT's catalog is solos and duets that (non-Feldman-like; that sonic genre is also over-represented) pieces for larger ensembles seem rare and exotic.A bit sceptical about the collaboration with C. Palestine (teddy bears and all), but it surely won't be run-of-the-mill.
Quote from: Mandryka on May 15, 2021, 08:51:50 AMI'd always been indifferent towards Howard Skempton's piano music, which I had got to know mainly through John Tilbury's famous recording. And yet, today, I found a YouTube playlist which is a revelation - the pianist is someone called Raymond Chapman Smith, and the programme was given at the American Contemporary Music Ensemble - here's one of the pieces https://www.youtube.com/watch?v=7TuGEz08zTkMuch more thoughtful and much less wilful than Tilbury in the same music, more nuanced too, even given YouTube sound. Chapman Smith makes Skempton appear like a Laurence Crane avant la lettre. (Which, of course, he is!)
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