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Kosmogonia
PIANO DIARIES OF A MUSICAL ALCHEMIST Every single composition on this CD represents a time capsule from my life. Each piece I played and recorded on a different piano, in a different city, and in a different period of my life. In all of the pieces I applied the method I call 'preparation in real time'-the personal performance practice I often use in my live performances. It implies using devices, easily movable objects, and different fingerings to temporarily shift the instrument's timbre from that of the piano to that of a harpsichord or clavichord. For instance, in Genesis (2009) and Kosmogonia (Cosmogony) (2005), following the proverb 'necessity is mother of invention,' I came up with a vibrating glove. When placed on the piano strings, the electromagnets stuffed into the glove's fingertips helped create the sostenuto-sounding strings, mockup flute sounds, and bass clarinet I needed. Mappa della Memoria, for acoustic baby grand piano, was recorded live during my recital at the Bogliasco Foundation in Genoa, Italy, where I held a composer's residency in 2004. Based on the eponymous work by the ingenious Italian visual artist Mario Fallini, the Memory Map is a fitting piece to start this album with. Like a traveler who retraces his own footsteps, Fallini draws his version of the iconic medieval allegory of memory, traditionally depicted as a portly matron in elaborate dress, by 'stitching' the titles of his own works in each fold of her sumptuous attire. Sonatina No.1 was composed in 1996 and recorded in 1997 on an upright piano after I rescued it from the local bar and somehow fit it into the kitchen of my studio apartment in Manhattan. I dedicated this piece to Morpho, a large, mysterious South American butterfly with iridescent wings who lives for only a day before being sealed for eternity into a pendant by a jewelry maker. Sonatina No.2 and Sonatina No.3 were composed in 2004 and recorded on an amplified Chinese-made baby grand piano I purchased at a liquidation sale at the San Francisco Opera. In the already-mentioned Genesis, I wondered what it sounded like when God went about making the world. During my college years, while sitting in the symphony orchestra and counting numerous empty bars in my harp parts, I entertained the idea of getting a job in a planetarium. I recalled that fantasy many years later in Kosmogonia, where I explore the ways to depict in sound the mindboggling theory of the ever-expanding universe. This album is dedicated to my dad, Dr. Vladimir Jordano MD. Victoria Jordanova Los Angeles, May 2012 Notes by Dean Suzuki Victoria Jordanova, an American composer born in Kragujevac, Serbia, is probably best known for her magnificent Requiem for Bosnia for broken piano, harp and child's voice. The current CD is her first for piano since the release of the Requiem in 1994. Unlike the Requiem, which exists only as a recording and cannot be performed live (the namesake broken piano no longer exists), Kosmogonia is comprised of works that can be performed in concert. Born in Serbia, a longtime San Francisco resident, and now living in Los Angeles, Jordanova's aesthetic forebears include West Coast American experimentalists and mavericks, Henry Cowell and John Cage. She is inspired by their innovative piano compositions, and especially by Cowell's 'string piano' (when performers bypass the piano's keyboard and play directly on the strings, variously plucking, strumming, rubbing and otherwise manipulating them), as well as his generous use of tone clusters, and Cage's 'prepared piano,' inspired by and extrapolated from Cowell's string piano, in which items such as screws, bolts, bits of rubber and other materials are inserted and wedged between the strings, thus dramatically transforming the instrument's timbre. It should be no surprise that other important influences on Jodanova include Krzysztof Penderecki and György Ligeti, both composers who experimented with and explored sound masses, unorthodox timbres, and unconventional musical textures and techniques. In an undergraduate class taught by composition professor Dr. Jere Hutcheson, Jodanova encountered Penderecki's Kosmogonia (1970) (a work that inspired her own work of the same title found on this CD), Threnody for the Victims of Hiroshima (1960) and Ligeti's Atmospheres (1961). The music left her awestruck. Such inspiration is borne out when Jordanova states that she uses a computer and MIDI-instruments to compose, 'But whenever I really want to test an idea, only the piano will do. I open it, knock on it, touch every part of it, play it inside and out, amplify it to hear it's softest whispers, and present it with all kinds of toys and devices to coax every possible sound out of it. And it always gives back more than I expect, surprising me with new sounds and possibilities.' Jordanova's wide-open ears are on a never-ending quest for new sounds, timbres and sonorities. She says, 'Some of the best times of my life were spent with pianos. I have played many pianos in my life and I've never found one I didn't like. From the old upright, which never could be tuned properly, that I rescued from a local bar and worked on in my Manhattan apartment, to the one that fell down two flights of stairs in the French-American International School in San Francisco, which I used to record my Requiem-all gave me something unique. Sometimes I feel that there is more at play than a mere material object, as in the medieval concept of Anima mundi--a pure, ethereal spirit diffused throughout all nature that animates all matter in the same sense in which the soul was thought to animate the human.' She concludes with a rather cunning and insightful proposal: 'Maybe the piano participates in my compositions as much as I do.' In her Sonatina no. 1 for upright antique piano, Jordanova coaxes beautiful sounds from an instrument that would have horrified Chopin and would be considered beneath contempt by contemporary concert pianists (can one imagine Lang Lang performing on an upright piano, much less an antique one?). Instead of regarding the faults of the antique piano as shortcomings, she views them as opportunities for sonic exploration. Indeed, the Sonatina would be a completely different and much less successful work were it played on a pristine concert grand. Those familiar with the string piano and prepared piano, and with works by composers such as Stephen Scott who also use extended techniques on the instrument, including 'bowing' the strings (for example, strands of rosined nylon fishing line are threaded under the strings then drawn back and forth to excite the strings), will recognized the instrument as a piano, but may be bewildered by the manner of sound generation in Genesis and Kosmogonia. These compositions require a vibrating glove, in which small electromagnets are placed in the fingertips. Jordanova does not insert her hand in the glove to stroke or massage the strings. Rather, she uses the glove as a holder for the electromagnets, which are placed directly on the strings. Further manipulation, including use of the keyboard, sustain pedal and touching the string with the fingers, changes the overtone structure for the purpose of discovering new timbres and advancing the music. The amplification employed in several works on this CD is used only to precisely reveal the subtleties and nuances of the piano, rather than to increase power and volume. By running the sound from the microphone directly into the computer input, the normal recording studio problems of trying to accurately capture acoustic sound are circumvented. The amplification and recording techniques allow the listener to hear everything--harmonics, partials and other acoustic phenomena--in a way that would not be possible using traditional recording methods. As a result, one hears the music differently and in a way that enhances Jordanova's compositions and reveals her special gifts. Dean Suzuki Associate Professor of music- Shop: odax
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Far From Over
Keyboarder und Komponist Vijay Iyers Reihe an Energie-geladenen ECM-Veröffentlichungen hat international reichlich Lob eingefahren. Und doch erreicht Iyer auf seinem fünften Album für das Label seit 2014 - Far From Over, eingespielt mit seinem dynamischen Sextett - ein neues Level. Damit steigert er diese künstlerische Entwicklung weiter, die den englischen 'Guardian' dazu brachte, ihn "einen der weltweit einfallsreichsten Jazzpianisten der neuen Generation" zu nennen.Far From Over präsentiert sein Sextett aus virtuosen Improvisatoren - mit den Bläsern Graham Haynes, Steve Lehman und Mark Shim und einem Rhythmusgespann aus Bassist Stephan Crump und Tyshawn Sorey. Dabei nutzt die Gruppe die Fülle der Jazzhistorie, während sie kühn nach vorne drängt. Das Spektrum der Musik reicht von aufregend Explosivem ("Down to the Wire", "Good on the Ground") bis zu Elegischem ("For Amiri Baraka," "Threnody"), wobei melodiöse Hooks, bezaubernde Atmosphäre, rhythmische Kraft und ein urwüchsiger Spirit zur Faszination des Ganzen beitragen. "Diese Gruppe hat eine Menge Feuer in sich, aber auch Erdiges, denn ihre Klänge, Timbres und Texturen haben eine solche Tiefe", sagt Iyer.- Shop: odax
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Krzysztof Penderecki: Threnody for the Victims of Hiroshima, Polymorphia, Jonny Greenwood: Popcorn Superhet Receiver
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Millennium: The New Zealand Works
THE WORKS Flourish for an Occasion: John Ritchie This ceremonial fanfare was commissioned for the opening of the Christchurch Town Hall in 1972. Rhapsody in Brass: Dean Goffin Dean Goffin's "Rhapsody in Brass" is the most popular work for brass band by a New Zealand composer. It was written in the Syrian Desert in 1942 and first performed in Cairo later that year. It has the distinction of having been selected as a "test piece" for the 1949 British Open and for the 1952 National Contest in New Zealand. Colne: arranged by Thomas Rive Like Dean Goffin, Thomas Rive has been an influential figure in the musical life of the Salvation Army. "Colne", a hymn tune, was originally written for the Santa Ana Corps in California. The Enchanted Dance Hall: Kenneth Young This work, commissioned by the Evening Post Onslow Band, evokes images of times past and the faded glories of a dance hall through a charming series of dances, some slow and melancholic, others boisterous and irreverent. Threnody: John Ritchie "Threnody" is a lament written in memory of Mervyn Waters, a revered past Music Director of Woolston Brass. This piece features the cornet playing of Kevin Hickman. Lambton Quay: Larry Pruden Lambton Quay is one of the main streets in Wellington, New Zealand's capital city. This concert march was originally written for brass band in 1957 but was never performed. Two years later, composer Larry Pruden expanded the work for symphony orchestra. It won the APRA/NZBC competition in 1975. Down the Brunner Mine: Anthony Ritchie This set of ten variations is based on a folk song recalling one of New Zealand's worst mining disasters. In 1848 Sixty-seven men were killed by exploding gas in the Brunner Mine which is situated near Greymouth, on the West Coast of South Island. Haast Highway: Larry Pruden"Haast Highway" celebrates the forging of a road through the Southern Alps traversing some of New Zealand's most rugged terrain. In 1975 this work won first prize in a composition competition organised by the Brass Bands Association of New Zealand (BANZ). Millennia: John Rimmer Composed for the Fredonia State University Brass Ensemble in 1990, this work was inspired by popular scientific literature. A statement from "A Brief History of Time" by the brilliant theoretical physicist and mathematician, Stephen Hawking, made an impact on John Rimmer - "...in less than half a century man's view of the universe, formed over millennia has been transformed". This brass band arrangement of "Millennia" closely follows the original. It is a typical contemporary work for the modern brass band. Invercargill March: Alex Lithgow Dedicated to New Zealand's southernmost city, this sprightly march is instantly recognised world-wide and is possibly the most internationally performed New Zealand composition ever! It's popularity is widespread throughout the world's banding fraternity and it has become the unofficial anthem of a city which remains a stronghold of New Zealand banding. THE COMPOSERS Alexander Lithgow (1870-1929) Born in Glasgow, Lithgow was brought to Invercargill as a boy by his migrant family. He was taught to play the cornet there by W.V. Siddall, who like Lithgow, would become a conductor of the Woolston Band. Lithgow himself conducted Woolston in 1901. The present conductor, David Gallaher, continues the link with Invercargill having spent 14 years in that city as a player with "The Invercargill Band". Lithgow wrote "Invercargill March" in 1908, and dedicated it to the citizens of Invercargill as a memento of the many pleasant years he spent there as a boy. Sir Dean Goffin (1916-1984) Sir Dean Goffin was born in Wellington and educated at both Christchurch Technical College and Napier Boys High School. From a Salvation Army family, Sir Dean became bandmaster of the Wellington South Band in 1936. After enlisting in the New Zealand Army at the outbreak of World War II, Sir Dean was appointed bandmaster of the 4th Brigade Band. The band was sent to Crete in 1941 and fought there as an infantry platoon under Lt. Goffin during that ill-fated campaign. Lt. Goffin was later complimented by Sir Howard Kippenberger, one of New Zealand's greatest soldiers, for his performance as a platoon commander. After returning to civilian life and completing a music degree at Otago University, Sir Dean began a career of full-time service in the Salvation Army. For 10 years he was responsible for the Salvation Army's music in Great Britain. He returned to New Zealand in 1971 and held a variety of posts before being elevated to that of "Commissioner for New Zealand and Fiji". He received a Knighthood in 1983. Sir Dean's brother Norman, a distinguished musician in his own right, was a life member of the Woolston Band. Larry Pruden (1925-1982) Like many New Zealand musicians and composers the "Cambridge Summer Schools of Music" had a major influence on Larry Pruden. Further study at the Guildhall School of Music in London with Alfred Neiman and later Benjamin Frankel brought him into contact with Edwin Carr, David Farquhar and Robert Burch. On his return to New Zealand, Pruden worked in the programme section of Radio New Zealand and then for "The Listener" Magazine. In 1975 he was awarded the Mozart Fellowship at Otago University. John Rimmer (1939-) Grandson of the famed British March King William Rimmer, it was natural enough that John Rimmer begin his musical education in a brass band at school. Rimmer is another for whom the Cambridge Summer Music Schools were of significance in composition along with Ronald Tremaine at Auckland University and Peter Maxwell Davies. He won a composition prize in 1984 from the International Horn Society. Rimmer studied horn himself in Toronto with Eugene Rittich. He is now based at Auckland University. Kenneth Young Kenneth Young was born in Invercargill but grew up in Christchurch. He began his music career as a cornettist in the Woolston Junior Band under the tutorship of Mervyn Waters, though initial encouragement in composition came from Frank Dennis, a music teacher at Christchurch's Cashmere High School. After studying at Auckland University he took up his current position as tuba player with the New Zealand Symphony Orchestra. Further study followed in the United States and Europe. During this time he developed a reputation as a composer and he has maintained a steady output of works since, culminating in a first symphony in 1988. Kenneth Young has been a member of the music faculty at Victoria University since 1988. He was appointed Conductor-in-Residence of the New Zealand Symphony Orchestra early in 1993. John Ritchie (1921-) John Ritchie began his music career as a clarinettist at the King Edward Technical College in Dunedin, playing under Vernon Griffiths. He was later to succeed Griffiths as Professor of Music at Canterbury University. After Post-graduate study at Harvard University under Walter Piston he went on to gain extensive musical experience with orchestras, brass bands and choirs while overseas. He formed a string orchestra in 1958 which was the nucleus of the now semi-professional Christchurch Symphony Orchestra. John Ritchie has alway been closely involved in music education as well as composing. He composed the ceremonial fanfares for the 1974 Christchurch Commonwealth Games. In 1976 he was elected Secretary General of the International Society of Music Education. A patron of many of the city's musical organisations, he has become an integral part of Christchurch's musical life. John Ritchie is fondly regarded as the current Patron of Woolston Brass. Anthony Ritchie (1960-) The son of composer John Ritchie, Anthony was educated at St. Bede's College, Christchurch and later at Canterbury University. Early encouragement was provided by his father and Dorothy Buchanan. Post-graduate study in Hungary was followed by a year as a composer in schools in Christchurch and then a year as resident Mozart Fellow at Otago University. Anthony Ritchie i- Shop: odax
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