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Opinion from Toriano Porter. After recording these sounds, the next step was to arrange them within a composed structure. This forced him to proceed differently from how he normally composes a new work. In the studio, Trandafilovski assembled all these elements into three compositions with their characteristics. Using diverse devices from the studio, he leaves the acoustical qualities as such intact in his mixing process but puts them in a new light.
His constructions sound very abstract in one way but as they constantly point to the concrete sounds as the topic of his research, they are also very physical.
The works are full of details and nuances, which makes concentrated listening to a very rewarding experience. Besides, he works as a composer of acoustic and electro-acoustic music, as well as multimedia and installation projects.
He plays the piano on the first of three compositions that are included on this disc. To continue with this last work, it is a tale spoken by diverse members of the ensemble. The story is interspersed with short instrumental parts that introduce the next scene and underline the spoken words. Halfway, however, the piece becomes dominated by complex rhythmic structures, followed by open sections with room for silence.
Gradually, the piece continues in a friendly mode, with the meandering flute playing a melodic theme or sections dominated by percussive sounds. Serving both as poetic inspiration and actual performance instruction, the score moves from structured improvisations to notated patterns. Grounded in collaborative composition practices, the ensemble makes creative decisions in the construction of uniquely own performance. First because of the contrasting playing by Umble and Marks.
Umble plays very long and lyrical lines, whereas pianist Marks plays complex rhythmic patterns with short attacks. In a way, as if each of them walks their own way. Second because of the electronic treatments adding another perspective and dimension. Sometimes in the background of piano and clarinet. Sometimes a section is completely electronic. An interesting play with contrasts.
First some background on him. So Rollet grew up with improvised and experimental music from an early age, accompanying his father during concerts and festivals. He started playing sax at the age of 11 and got later a classical education on this instrument.
He was a member of the noise rock band Prohibition until their dissolution in Numerous collaborations in the world of experimental and improvised music Deeper Melodica. Rollet and Borisov know one other already since the 90s but never had the opportunity to play together.
Time schedules allowed them to pick one day for recording a session together as two duos. At this first meeting, they deal in experimental, open and free rock-based improvisations. Rollet is the one who plays most from a jazz background, whereas the others seem to start more from a rock attitude. Interesting meeting with fine interaction of acoustic and electronic means. There are some strong and engaging moments, but overall it made an arbitrary impression.
Not sure if this is the first meeting also. We have Rollet playing sax again and Sharpley computer. The meandering solos by Rollet work very well with the textures created by Sharpley, that sometimes pure sound-oriented. Sharpley plays in a subdued way, but his movements and gestures are exact and appropriate and make a good match with the more expressive style of Rollet.
Fine balance and nice colouring! Both had releases on this label Pieck under the name of Cinema Perdu and they were teamed together for a piece for a label promotion compilation, 'Moving Music - Sounds From The Rocking Chair' Vital Weekly and apparently, that was with mutual satisfaction and so the worked on some more material. Pieck is a man of modular electronics and field recordings.
It seems that on this collaborative effort, the instrument range is limited to the use of modular electronics for both composers and relying heavily on the use of field recordings. As such we see the title to be the program here; these are field reports of two men going on a fictitious world, combining sounds that may not belong together, both electronic and from the outside, colliding together or simply going alongside together, just because it is possible.
The modular synthesizer produces sounds that one can also find outside, the whirring and buzzing of electricity, gas escaping or power lines, and they mix it up with the sound of people talking, Deeper Melodica from an odd angle, further alienating the origin. It is full of sound, but not always full of life; this is a rather empty world, in which just a few elements sound aloud.
A sort of science fiction music, life on a different planet in a distant future; that is the sort of feeling I had with this music. I can't figure out if this planet is clean and beautiful, as some of this has a 'dirty' feeling, like some edges around the music proofs.
This is an excellent exercise in collaboration and the results are most satisfying; it fits the soundtrack to an arty science fiction film. These are two very opposite releases. I started with Hive Mind, listened to it a bit and put it aside for a while because I wanted to check if Heart Of Palm was on an equal dark, noisy nature.
With its pink cover and shots of palm trees, it could go either way. Using tapes, field recordings, electronics, slide guitar, seashells, sand and rum, Hardacre creates some fascinating music.
I think I had not heard of Heart Of Palm before I must be carefulbut there have been a few releases, cassettes mostly, and on this CD we find a compilation of pieces, found on these releases, plus a bonus song.
The tropical touch is in the water sounds washing ashore which, yes, could be at a Fjord in Norwayshady loops of percussion, rubbing of sand on contact microphones and such. I am not sure if Heart Of Palm deliberately set out to 'invent' a musical style of his own, but what he does, I seldom heard.
There are vaguely melodic touches in some pieces, such as in 'Her Tears Shed In Paradises Grotto', along with water, thunder and birds sounds, and it is these touches that make this not much of a noise release, even when there are elements used from that particular world loops of percussive sound, such as in 'Oil Mixed In Water, Like Rum In Coconut'; he loves his titles to be wordyand so it bounces and forth between the abstract and the recognizable, or perhaps I should say, the friendlier music.
At the opposite end of that tropical beach, we find Hive Mind. Something serious for sure and something entirely different when it comes to music. Hive Mind is Grey Holger, whom you might know from his Troniks label. This work was recorded in for a CD release, but the label stopped before the Deeper Melodica was done, and in released on a cassette, having lost four minutes and cut in half. Now it is restored and released in full on a CD.
An interesting note is found on Bandcamp "remastered by Grant Richardson under the specific direction to ignore playback compatibility with small stereo systems. It starts inaudible, but be careful not to bring up the volume too much, as soon it is where it wants to be and that is speaker trembling exercise. I have pretty much a regular set-up, turned down the volume so that it remained audible but not life-threatening.
I was thinking about the necessity of this radical approach. If the sound is at this low volume and so strong, you might miss out on a few things that are part of this music, but Deeper Melodica that is the idea? I have no idea what Hive Mind does to generate these sounds; I am thinking of a guitar but just as well this might be something Deeper Melodica just a few pedal effects, for instance, or some computer patch hooked up to this kind of analogue gear.
The big bass environment is what thrives the piece forward, one big black massive roll and on top, there is this distorted sound, like something is slowly burning away and this is amplified.
In the absence of any better alternative, the curved, bulb-belled tenor oboe then retained the name even after the oboe da caccia fell into disuse around The Schwarzenberg Wind Harmonie of employed 2 cor anglais as well as 2 oboes, 2 bassoons and 2 horns.
The first oboe trios were composed by Johan Went for the Teimer brothers. In Johann and Franz Teimer died. The first recorded performance of an oboe trio was which Beethoven attended. Within this short period of five years, when the Teimer brothers performed in Vienna and the other various Schwarzenberg Palaces, over 20 oboe trios were composed.
Phillip Teimer continued to play the cor anglais in Schiknaeder's opera house in Vienna until his death in He also sang some roles with the company due to his sonorous bass voice. Considering the name "cor anglais", it is ironic that the instrument was not regularly used in France before about or in England before the s. Until the 20th century, there were few solo pieces for the instrument with a large ensemble such as orchestra or concert band. Important examples of such concertos and concertante works are:.
Better known chamber music for English horn includes:. The English horn's timbre makes it well suited to the performance of expressive, melancholic solos in orchestral works including film scores as well as operas. Famous examples are:. From Wikipedia, the free encyclopedia. Woodwind musical instrument.
For the concertos, see List of concertos for English horn. Brass instruments. String instruments. They don't make compilations like this anymore. Kudos to the store: Got my Item as described. The sound on the CD is pretty clean and some tracks have a great remastering, even matching today standards! Thank you.
John Lee - Pt. Elton contrasts with the rest of the band as the master jazz musician of the quartet; his own singular voice on alto sax and saxello takes flight. Throughout these live Deeper Melodica Allan is afforded vast open reaches to explore in a more open context than with his own bands, rekindling his explosive chemistry with John Marshall. Herein Holdsworth devotees can discover a contrast in a setting, where some of the most storied masters and innovators from the 60s and 70s generation forge new paths together.
The original source: 2 CDRs with flat stereo-mix of the show. Carefully restored, enhanced and mastered by Mark Wingfield.
Track listing: CD 1 1. Seven Formerly 2. Alphrazallan 3. Elsewhere 4. Baker's Treat 5. Calyx 6. Abracadabra 2. Madame Vintage Suite 3. Has Riff 4.
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