Various - Anatomy - COMPACT DISCS [CD]
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Mark Barden's music attends to the thresholds of our perception. Subtle deviations, ephemeral swarms of detail, and sustained sonic textures predominate on this portrait recording, as Paul Griffiths' booklet text notes. In these works, which range from solo to full orchestra, Barden hunts for extremes. InchVeilInch unfolds at the edge of stillness. Two piccolos enfold one another, superimposing pitched and breath sounds with the fluctuating caprice of a veil caught in the air's shimmer. Other works sculpt volatile sounds verging on ex- or implosion that Barden culls from registral extremes. In InchcleftInch, an exhaustive string duo played with ferocious intensity by Ashot Sarkissjan and Séverine Ballon, Barden focuses on the threshold between unity and divergence, between fusion and splitting. InchCan we imagine,Inch he asks, Inchthat a gap created between cleft layers is not empty but instead rages with chaotic violence?Inch While smaller instrumentations frame this violence in a sharp and rarefied manner, the orchestral and ensemble works here inhabit a broader, more weighted space. In InchaMassInch, interpreted by ensemble mosaik, Barden deploys three very different trios to produce a dense, self-similar sound mass that grows to a brutal, sustained climax. Rivaling this sonic power is the titular work InchanatomyInch, an early orchestral work for percussion solo and large orchestra, heard here by Brian Archinal and Deutsches Symphonie-Orchester Berlin conducted by Peter Rundel.
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- GenreClassicalDescriptionMark Barden's music attends to the thresholds of our perception. Subtle deviations, ephemeral swarms of detail, and sustained sonic textures predominate on this portrait recording, as Paul Griffiths' booklet text notes. In these works, which range from solo to full orchestra, Barden hunts for extremes. InchVeilInch unfolds at the edge of stillness. Two piccolos enfold one another, superimposing pitched and breath sounds with the fluctuating caprice of a veil caught in the air's shimmer. Other works sculpt volatile sounds verging on ex- or implosion that Barden culls from registral extremes. In InchcleftInch, an exhaustive string duo played with ferocious intensity by Ashot Sarkissjan and Séverine Ballon, Barden focuses on the threshold between unity and divergence, between fusion and splitting. InchCan we imagine,Inch he asks, Inchthat a gap created between cleft layers is not empty but instead rages with chaotic violence?Inch While smaller instrumentations frame this violence in a sharp and rarefied manner, the orchestral and ensemble works here inhabit a broader, more weighted space. In InchaMassInch, interpreted by ensemble mosaik, Barden deploys three very different trios to produce a dense, self-similar sound mass that grows to a brutal, sustained climax. Rivaling this sonic power is the titular work InchanatomyInch, an early orchestral work for percussion solo and large orchestra, heard here by Brian Archinal and Deutsches Symphonie-Orchester Berlin conducted by Peter Rundel.ArtistVariousTitleAnatomyFormatCDLabelWergo Germany
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Mark Barden's music attends to the thresholds of our perception. Subtle deviations, ephemeral swarms of detail, and sustained sonic textures predominate on this portrait recording, as Paul Griffiths' booklet text notes. In these works, which range from solo to full orchestra, Barden hunts for extremes. InchVeilInch unfolds at the edge of stillness. Two piccolos enfold one another, superimposing pitched and breath sounds with the fluctuating caprice of a veil caught in the air's shimmer. Other works sculpt volatile sounds verging on ex- or implosion that Barden culls from registral extremes. In InchcleftInch, an exhaustive string duo played with ferocious intensity by Ashot Sarkissjan and Séverine Ballon, Barden focuses on the threshold between unity and divergence, between fusion and splitting. InchCan we imagine,Inch he asks, Inchthat a gap created between cleft layers is not empty but instead rages with chaotic violence?Inch While smaller instrumentations frame this violence in a sharp and rarefied manner, the orchestral and ensemble works here inhabit a broader, more weighted space. In InchaMassInch, interpreted by ensemble mosaik, Barden deploys three very different trios to produce a dense, self-similar sound mass that grows to a brutal, sustained climax. Rivaling this sonic power is the titular work InchanatomyInch, an early orchestral work for percussion solo and large orchestra, heard here by Brian Archinal and Deutsches Symphonie-Orchester Berlin conducted by Peter Rundel.
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Various Artists - From a to Z 2 / Various [COMPACT DISCS] date 06/24/2003
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MUSIC TO HEAR, Joseph Summer's follow up to WHO IS SYLVIA from Navona Records off his Shakespeare Concerts set, is the result of the composer's lifelong obsession with poetry. The album pairs the works of contemporary poets as well as Shakespeare with Summer's music in order to express deeper significance than either words or music are capable of on their own. The first two tracks on the record-both for string quartet with a female vocalist-set sonnets by the eminent poet Robert Kelly. They blossomed out of Summer's friendship with Kelly; in return for Kelly having written a poem about Summer's music, Summer set the poet's InchSonnet 4, for LydiaInch for mezzo soprano and string quartet as well as InchSpring SonnetInch for soprano and quartet. These contemporary verses are paired Shakespeare's InchSonnet 8Inch which cries out InchMusic to hear, why hear'st thou music sadly?Inch Later comes Boston composer Tom Schnauber's world-premiere setting of Wordsworth's InchScorn Not the SonnetInch for mezzo-soprano and piano. After two more settings of Shakespeare, we hear composer Binna Kim give life to Lady MacBeth's InchGive Me Your Hand.Inch The piece for mezzo-soprano, cello, and piano is chillingly evocative, portraying Lady MacBeth's descent into madness in the wake of the murders she helped perpetrate. Summer's settings of Sonnets 97 & 98 follow, whose rich string textures are full of love and agonized longing. The work ends with Summer's original InchEpilogue to the Tempest.Inch The marriage of music and poetry is both ancient and elemental. In his musical settings, Summer plums a region of the human soul rarely exposed in the bustle of daily life. In MUSIC TO HEAR, Summer invites listeners to claim this deeper humanity, just as Shakespeare did at the Globe Theatre some 400 years earlier.
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