Julio Estrada – Tres instantes – (1982)

Julio Estrada Velasco (born 10 April 1943) is a composer, theoretician, historian, pedagogue, and interpreter.

Estrada was born in Mexico City, where his family had been exiled from Spain since 1941. He began his musical studies in Mexico from 1953–65, where he studied composition with Julián Orbón. In Paris from 1965-69 he studied with Nadia Boulanger, Olivier Messiaen and attended courses and lectures of Iannis Xenakis. In Germany he studied with Karlheinz Stockhausen in 1968 and with György Ligeti in 1972. He completed a Ph.D in Musicology at Strasbourg University from 1990-1994. [source]

Lylia Vásquez, – Piano /Álvaro Bitrán – Violoncello.
Grabada en la UAM-Iztapalapa, México, 1982.

 

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Isang Yun: Piri for Solo Oboe (1971)

Isang Yun (also spelled Yun I-sang; 17 September 1917 – 3 November 1995) was a Korean-born composer who made his later career in Germany. Yun’s primary musical concern was the development of Korean music by the means of Western avantgarde music. After experimenting with 12-tone techniques Yun developed his own musical personality in his works of the early 1960s, post-serialistic “sound compositions”. Yun’s music employed techniques associated with traditional Korean music, such as glissandi, pizzicati, portamenti, vibrati, and above all a very rich vocabulary of ornaments. Essential is the presence of multiple-melodic lines, which Yun called “Haupttöne” (“central” or “main tones”).[source]

[Read here; Isang Young in a conversation with Bruce Duffie]

[Read about Yuns use of Hauptton technique in Piri (page 35)]

Heinz Holliger – Solo Oboe

 

Isang Yun

 

 

 

 

 

 

[inspired by Ronnie Rocket, thanks a lot]

Josef Matthias Hauer: Romantische Phantasie op.37 (1925)

Josef Mattias Hauer (March 19, 1883 – September 22, 1959) was an Austrian composer and music theorist. He is most famous for developing, independent of and a year or two before Arnold Schoenberg, a method for composing with all 12 notes of the chromatic scale.

Hauer “detested all art that expressed ideas, programmes or feelings,” instead believing that it was “essential…to raise music to its highest…level,” a, “purely spiritual, supersensual music composed according to impersonal rules,” and many of his compositions reflect this in their direct, often athematic, ‘cerebral’ approach.

His twelve-tone music was balanced between the “obligatory rule” that each composition follow an arrangement of the total chromatic: “the ‘Constellation’ or “Grundgestalt’ (‘basic shape’),” and his often emphasized concept oftropes, or unordered arrangement of a pair of hexachords. [source]

Joseph Matthias Hauer, to judge from his writings and accounts of his social interactions with his contemporaries, was the Rodney Dangerfield of the Viennese serialists; he just couldn’t get any respect. Having developed a parallel but markedly individual system of serial tonal organization a little ahead of Arnold Schoenberg´s first published efforts in the genre, Hauer wanted recognition as the discoverer of dodecaphonic atonality, an attribute that would forever accrue to Schoenberg despite Hauer´s best efforts to the contrary. Mid-twentieth century critics regarded Hauer as a crackpot and his work sank into oblivion; it is only since the 1990s that any effort has been made on Hauer´s  behalf to get some of his music out on record and to permit the public to judge his relative worth. [source]

[read more in german]

Gottfried Rabl – Conductor

Radio Symphonieorchester Wien

Recorded 2004/2005.

 

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Terry Riley – Chanting the Light of Foresight (2. Movement: The Pipes Of Medb / Medb’s Blues) (1987)

Chanting the Light of Foresight (imbas forasnai) is a 1987 composition by Terry Riley written for and commissioned by the Rova Saxophone Quartet, though during the course of the composition it was decided that Rova would compose “The Chord of War” and “The Pipes of Medb/Medb’s Blues” contains improvisation.

The piece is based on the Taín Bó Cuailnge (The Cattle Raid of Cooley, translated by Thomas Kinsella), a part of the eight-century Ulster cycle of heroic tales.

The work is partly in resonant intonation, requiring false fingerings, jaw manipulations, and straining the lips and lungs, and contains many unusual time signatures. “The Tuning Path” and “The Pipes of Medb” progresses from simple to more complex areas of tuning, statically depicting night on the battlefield. “Medb’s Blues” is in the form of a 6 bar 10/4blues where players alternately keep a cantus firmus while others improvise. “Song Announcing Dawn’s Combat” depicts foster brothers and main character adversaries Cúchulainn and Ferdia and uses 7/8 rhythms, pulsing drones, and Hindustani scales to refer to the Bhagavad Gita. Ferdia is killed by his brother with a secret weapon, gae bolga, which Cúchulainn removes from the body while lamenting in “Ferdia’s Death Chant”. Cúchulainn completes his training under Scáthach as a warrior and shaman, and she chants to him his future through the imbas forasnai through repeated phrases containing 8/8 and 7/8 measures. Only the first chord of the Rova-composed section does not appear throughout the rest of the piece. Riley responded to Rova’s concern for this by saying, “Well — that’s the chord of war. [source]

Movements:
1. The Tuning Path / 2. The Pipes of Medb/Medb’s Blues / 3. Song Announcing Dawn’s Combat / 4. The Chord of War / 5. Ferdia’s Death Chant / 6. Chanting the Light of Foresight

Performed by Rova Saxophone Quartet:
Steve Adams – Alto Saxophone
John Raskin – Baritone Saxophone
Bruce Ackley – Soprano Saxophone
Larry Ochs – Tenor Saxophone, Sopranino Saxophone

Recorded on April 15, 16; May 9, 10; July 21, 1993 at St. Stephens Church, Belvedere. Relesed on New Albion in 1994: Terry Riley – Rova ‎– Chanting The Light Of Foresight – Imbas Forasnai

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[via Adrian Aurelius, thanks a lot]

Olivier Messiaen – Oraison (1937)

Olivier Messian´s  “Oriason” is written for the early electronic instrument, the Ondes Martenot, a close relation of the theremin.

Olivier Messiaen (December 10, 1908 – April 27, 1992) was a French composer, organist and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex (he was interested in rhythms from ancient Greek and from Hindu sources); harmonically and melodicaly it is based on modes of limited transposition, which he abstracted from his early compositions and improvisations. Many of his compositions depict what he termed “the marvellous aspects of the faith”, and drew on his deeply held Roman Catholicism. [source]

Ensemble D´Ondes Martenot De Montréal. 1992.

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Dubravko Detoni – Phonomorphia II (1967 – 1970)

From the album by the Croatian composer Dubravko Detoni: Jugoslav AvanGarde Music: Graphies I.II.III / Phonomorphia 1.2.3., written between 1967 – 1970 and released in 1970.

Dubravko Detoni (born 1937 in Križevci, Croatia) is a composer, pianist and writer. Although active since the early 1970s he is almost unknown internationally.

He was educated in Zagreb, Sienna, Warsaw and Darmstadt, and studied with John Cage in Paris. He has written more than a hundred musical pieces, theatrical spectacles, multimedia and performance pieces, books of poetry, essays, commentaries, and radio and TV programs.

As the founder and leader of the ensemble, ACEZANTEZ, he has performed around Europe, Asia and America. [source]

Dubravko Detoni – Piano & Tape

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Kronos Quartet, Kimmo Pohjonen And Samuli Kosminen – Kamala (2007)

From the album “Uniko”, commissioned by Kimmo Pohjonen & Samuli Kosminen for the Kronos Quartet. “Uniko” was composed over an eighteen-month period before its world premiere in Helsinki in September 2004.

Kimmo Pohjonen (born August 16, 1964) is a Finnish accordionist who has revolutionized accordion sounds and performance with his custom-made electrified and modified instrument. Since the mid-nineties he has released numerous albums and toured the world with various projects.

Kimmo Pohjonen and Samuli Kosminen Kluster meet Kronos Quartet in the Uniko project featuring music composed by Pohjonen and Kosminen, commissioned by Kronos. The Uniko album with Kronos was recorded in 2007 and was released in 2011 by Finnish art music record label Ondine. [source]

All tracks on “Uniko” : I. Utu / II. Plasma / III. Särmä / IV. Kalma / V. Kamala / VI. Emo / VII. Avara

Kimmo Pohjonen – Accordion, Voice
Samuli Kosminen – Electronics (Strings & Accordion Samples), Programmed By
Jeffrey Zeigler –  Cello
Hank Dutt – Viola
David Harrington – Violin
John Sherba – Violin

Recorded at Avatar Studios, NYC, 2007.
Additional recordings at Greenhouse Studios, Reykjavik and Ulappa, Helsinki, 2008-2010.
Mixed at Greenhouse Studios, Reykjavik and Seawolf Studios., Helsinki.
Mastered at Finnvox, Helsinki.