Caradon / Colwell / Miles - Lights Out - COMPACT DISCS [CD]

Joel Krosnick - Virtuoso Cello [COMPACT DISCS] date 04/24/2007

A champion of new and experimental music, saxophonist Drew Whiting has been described (by Diakcritical. Com) as a virtuoso whose performances are Inchexquisite and emotive... managing everything with aplomb. Inch His debut album on Innova Recordings, In Lights Starkly Different, features seven recent compositions for saxophone and electronics. From beginning to end, Whiting's album - as the title implies - has lots of variety. He performs on soprano, alto, tenor, and baritone saxophones, and the electronics are just as varied. The opening track, Random Access by John Mayrose, utilizes live electronics and gradually layers Whiting's alto saxophone (stored in RAM) until there are dozens of him performing by the end of the piece. Whiting also lent a plethora of saxophone sounds to the creation of the electronics for Ed Martin's raucous work Break for baritone saxophone (that explores the harmonics of it's low A), as well as Jeff Herriott's pensive work As brightness is smeared into memory for soprano saxophone. Judith Shatin's For the Fallen juxtaposes the soprano saxophone against the clash of the Capana dei Cauditi (Bell for the Fallen, cast from canons melted after World War 1), similarly to how Alexis Bacon uses the sounds of rocks and metals with the tenor saxophone in her piece Ötzi (after a 5,000 year old mummy of the same name). Letting the listener (and performer) relax a bit, Nathan Edwards creates mellow, ambient electronics for Whiting's tenor saxophone lines to wash over in Saudade Study (titled after the Portuguese for foggy melancholy). Edwards also happens to be the recording engineer for the majority of works on the album. Rounding out the album is the title track written by Robin Julian Heifetz. The computer-generated sounds made by Heifetz range in character from serene to apocalyptic, and Whiting's tenor saxophone responds accordingly to achieve a nea

Veit Erdmann-Abele writes of his new InchThe term I like to use is Klangbild, a picture in sound. It refers to the musical reaction we can have vis-à-vis paintings or texts. Take the Five Meditations on Stained-Glass Windows, for instance the original stained-glass windows featured scenes from the Old and New Testaments. My music is by no means an attempt to InchdescribeInch those stories; rather, it is the outgrowth of my very personal, individual thoughts and emotions. My approach is like that of a book illustrator. The music should not attempt to recount the story; rather, quite differently, it offers an independent commentary on the events. I apply the same approach in my Inchmusical commentariesInch on Dietmar Scholz's textual aphorisms. The music does not literally depict Inchthe lonely hair that becomes important by falling into the soupInch, but tries to grasp the meaning hidden behind the text. This becomes particularly apparent in the case of Scholz's aphorism InchIn a mirror, everything is similar and everything is the oppositeInch this textual content can be musically depicted as a form. In the same way, my musical setting of the Romanesque Frescoes is not a description, but a commentary.Inch