Vokal / Instrumental
Six songs (1976) for voice, violin, clarinet, piano, cello, harp, and guitar; based on poems by Jean Gebser (1905-1976). The philosopher conveys his core ideas in lyrical language, where form, linguistic rhythm, inflections of speech and mea- ning become an essential part of the musical design. Floating relationships of pitches continue to change from one mode to the next, firmly anchored in their sound universe. The passing of time is crafted only through the pulsating sounds, con- nected throu…
11 Microexercises
Microexercises were started when the Miniaturist Ensemble asked for a piece with no more than 100 notes in it. Having enjoyed making one such piece, I went on to make 21 more (and then a second collection, Grete, with an additional 14). Instrumentation and number of players are mostly open, as are selection of pieces, playing order, clef and transposition readings, and dynamics.I like the notion of quite long pieces, and, more recently, also quite short ones (these have a history too: Beethove…
drei, 1-21
Three separate recordings where each musician follows hiw own very minimal score. Sound and silence. With Johnny Chang (violin), Sam Sfirri (melodica), Jürg Frey (clarinet).
das wetter in offenbach
Thomas Stiegler and Hannes Seidl, 'das wetter in offenbach'(2010), a radiophonic work mixing field recordings in the city of Offenbach with sine waves.
Urs Peter Schneider . Klavier
"I have played my friend Peter Streiff’s music for decades, and it has always moved and inspired me with its mindfulness, its spiritual force and daring novelty, where unusual demands and joyfulness are in balance." (Urs Peter Schneider, December 2013)
Von Magischem/Of magic nrs 5 & 6 Écriture automatique. Absence of intentionality and dissolution of referential thin- king. Written down after long preparation in pace with the actual duration of the piece.
Three piano studiesMovements and duratio…
Kompositionen 1973-1986
Schneider studied under tutors as diverse as Walter Lang, Frederic Rzewski, Henri Pousseur and Karlheinz Stockhausen, and his compositions range from drone pieces for solo church organ to chamber music, early electronic assemblages and operatic works.
120112
(…) the three pieces presented by Borg (piano) and Norstebo (trombone) are spellbinding explorations of the low tone. Three pieces but they segue into one another effortlessly and, with the possible exception of slight variation in pitch (and I’m not even sure of that) are pretty much indistinguishable from each other unless I missing some subtle pattern shift. The sounds are all low and sustained–bottom of the keyboard piano and extremely low trombone (the disc says, simply, “trombone”, though …
songs and piano pieces
song 2 (2008) (bass flute)four piano pieces (2005-2008) I II III IV song 6 (2010) (flute)a phrase a silencea phrase a silence…..more and more anastassis philippakopoulos' monodies reveal their deeply dialogical character:each phrase a call, an address, a reaching outeach silence an intense listening, an opening up to be addressed in turneach phrase: call and response in oneeach silence: response and call in onein this music the deepest and most…
Caminantes... Ayacucho
2007 release - Luigi Nono No hay caminos, hay que caminar … Andrej Tarkowskij (1987) “Wayfarer, there is no path. Yet you must walk”, in Spanish: “Caminante, no hay caminos. Hay que caminar.” These words are the contents of an inscription, which Luigi Nono read on the wall of a monastery in Toledo in the middle of the 1980s. They must have affected him most deeply, since in the last three years of his life he made them the basis of the titles of a trio of works. In “Hay que caminar” he surely re…
For Samuel Beckett
1999 release - For fifty-five minutes the great American composer Morton Feldman weaves his tapestry of sounds, a pattern always the same and yet never the same, an iridescent, thick fabric, full of details, although these never distract the listener's attention. Feldman met Beckett only once in his life (though Beckett later sent him a postcard on which the composer discovered the text for his opera Neither). He created music of a beguiling tonality and beauty, inspired more by painting and lit…
La lontananza nostalgica utopica futura
2000 release - Nostalgic, utopian, future distance\", the title of this piece investigates the possibilities of violin playing, the intimate, physical quality of the sound and the historical dimensions inherent to this instrument.
Der Regen, das Glas, das Lachen
1998 release - While standing at the waterfall, we become aware of our thoughts, but not the waterfall itself; if we succeed in letting our thoughts stand still, we hear a melody within the turmoil. Everyone his own. (Peter Ablinger)
Enban Live at the Strange Fruit
Avant-primitive improv from the duo of Takehisa Kosugi (Violin, Recorder, Voice) and Takashi Kazamaki (Percussion, Harmonica). Recorded in 1983, Kosugi shows yet another side of himself, trading his drone for a more free-hillbilly style, which meshes perfectly with Kazamaki's masterful tumbling and clattering. A ritualistic, shamanic vibe: the music has natural flow, nothing seems forced, percussions are all over, underlining the shamanic explorations for the soulful violin (or bamboo flutes) pl…
24 petits preludes pour la guitare
Composer : Antoine Beuger. Performer: Cristian Alvear Montecino (guitar). It takes waiting. Then another string, another finger. A pass in the middle of an arpeggio: an alvearium must be built, a conduit, an in-between- arpeggios --- (very) slow, very free, molto legato
Hildegard von Bingen : John Cage
Two ways of hearing these two sets of 9 pieces:first separate, then alternating. And all of a sudden 800 years of temporal distance seem to dissolve and the pieces communicate with each other. Isn’t one even tempted to think, that John Cage wrote his pieces to be combined this way with Hildegard von Bingens songs, as an attempt to overcome the “nasty ditch” (Lessing) between two completely different historical situations?
On Foot
This compact disc contains recordings of pieces from the 2005 project On Foot, onwhich Craig Shepard walked 250 miles in 31 days across Switzerland. Every day, he composed a new piece, wrote it down, and performed it outdoors in a public space such as a bridge, public square, intersection, or mountain-top. The pieces are intended to frame the everyday sounds of the place in which they are heard. The performances on this CD were recorded in the work spaces of the performers.Careful listening will…
keine fernen mehr
'keine fernen mehr I' and 'keine fernen mehr II'. Antoine Beuger, whistling. Recorded Studio von Buktu, Wuppertal, August 2010. Recording, editing, mastering: Tim Buktu. Recommandation: this CD is best played at a very low volume level.'
piano piece
piano piece (2006)Starting from nothing except the idea of the sound of the instrument, and the possibility of anything.From this starting point, then tracing a path through this limitless field of constant possibility.Focusing on the present. Every moment in the piece as a beginning. piano piece (2007)To work, for a period of time, until that work and time is over.Working, and the resultant work itself, as a means of knowledge, an instrument of exploration; which is therefore always beyond ones…
duos
Since their formation in 1998 at the Darmstadt Summer Courses for New Music, duo Contour have commissioned and performed over 40 new pieces by composers from Asia, Europe, New Zealand, Switzerland and the United States. Their collaborative work has combined the acoustic world of trumpet and percussion with dance, electronics, improvisation, origami, story-telling, theatre and video, as well as and with other musicians in their 'duo Contour plus….' programmes. The duo has been resident at …
im sefinental
Stefan Thut 'Aussen raum' (2008). Manfred Werder '2008(3)' (2008). A field recording near a river divided in two parts.