KAIROS music — Catalogue 2017 by paladino media

www.kairos-music.com

CATALOGUE 2017

PIERLUIGI BILLONE: Sgorgo Y . N . oO

10 / 2016

Yaron Deutsch

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There aren’t many works for solo e-guitar in the New Music genre, as the e-guitar has a bigger place in other genres. But if you listen to this recording by the excellent guitarist Yaron Deutsch, you will wonder why that is. Played with brilliant technique and an elaborate sound, this CD takes you on a journey through the cosmos of Pierluigi Billone. Enjoy!

0015016KAI Billone Sgorgo Y . N . oO

MING TSAO: Plus Minus

09 / 2016

Ensemble ascolta | Johannes Kalitzke | Stefan Schreiber | Kammerensemble Neue Musik Berlin 9120040 73514 2

“Plus Minus” and “Mirandas Atemwende”, two works by Chinese- American composer Ming Tsao. This release is the follow up to former KAIROS CD “Die Geisterinsel” by Ming Tsao. Played by ensemble Ascolta and Kammersensemble Neue Musik Berlin, conducted by Johannes Kalitzke and Stefan Schreiber. This CD is literally a piece of art.

0015014KAI Tsao Plus Minus

CLAUDIO AMBROSINI: Song Book for Guitar

07 / 2016

Alberto Mesirca

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This recording, performed by Alberto Mesirca – a virtuoso in whom bravura combines with pure musicality – represents something of an event in the history of recordings for guitar, as it focuses on one of the most considerable contributions made to the guitar repertory in the second half of the 20th century: the work of Venetian composer Claudio Ambrosini, containing 21 pieces composed between 1973 and 2013.

0015012KAI Ambrosini Song Book for Guitar

NEW 2016 OLGA NEUWIRTH: Original Soundtrack to Goodnight Mommy

04 / 2016

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Wiener Glasharmonika Duo

0015009KAI Neuwirth Original Soundtrack to Goodnight Mommy

Soundtrack for highly acclaimed horror movie / psychological thriller “Goodnight mommy“. To be one of the scariest movies of 2015 / 2016. Youtube trailer for the movie is beyond 8.000.000 views. The soundtrack itself can be heard as one nightmarish listening journey through mistrust, anger and alienation. The album includes thirteen extra tracks which were not used in the motion picture. The soundtrack has been remastered specifically for this edition.

FRIEDRICH CERHA: Nacht . Drei Orchesterstücke

04 / 2016

SWR Sinfonieorchester Baden-Baden und Freiburg | Emilio Pomárico | WDR Sinfonieorchester Köln | Jukka-Pekka Saraste 9120040 73505 0

Two recent orchestral pieces by one of the key figures of the European avantgarde. Alongside Ligeti, Boulez and Stockhausen Friedrich Cerha created this rich and colorful orchestral style. From large scale micro tonal movements to delicate, gloomy melodies. In 2016 he will celebrate his 90th birthday and his music has never been more fascinating.

0015005KAI Cerha Nacht . Drei Orchesterstücke

VYKINTAS BALTAKAS: b(ell tree)

06 / 2016

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0015004KAI Baltakas b(ell tree)

Vykintas Baltakas’ new album arouse interest by analytical and also programmatical listeners. The piece Pasaka retells the mythological version of genesis and “(co)ro(na)” represents a fully composed fermata. Baltakas is successful in turning enigmas of musical aesthetics into tones and creates a musical experience which is both diversified and homogeneous at the same time.

NEW 2016 ROMAN HAUBENSTOCK-RAMATI: Konstellationen

06 / 2016

Vera Fischer | Klangforum Wien

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Haubenstock-Ramati connects to his musical predecessors as much as he surpasses them. Though dodekaphony does play a noticeable role in his way of thinking, he trespassing its rules, he proves his artistical and conceptual independence. His graphical way of notation tranfers an extraordinary amount of responsibility to the performers, inspiring the musicians of Klangforum to an amazing interpretation.

0015003KAI Haubenstock-Ramati Konstellationen

REINHARD FUCHS: Mania

06 / 2016

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0015001KAI Fuchs Mania

This record presents four major works by young Austrian composer Reinhard Fuchs. Set in an aesthetic world influenced by Guiseppe Ungaretti, David Lynch, Jackson Pollock and the structural idea of a palimpsest. Each work has it’s own character but is related to the other pieces on the record. Klangforum Wien’s outstanding performance in the opener “Mania” (inspired by Lynch’s Blue Velvet) gives that piece a hauting intensity.

coming up: 0015010KAI Masaot / Clocks without Hands Remnants of songs … an Amphigory … miramondo multiplo …

Photo: © haraldhoffmann.com

OLGA NEUWIRTH

MING TSAO: Die Geisterinsel

2014

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0013372KAI

The voice, though it’s rhythm and intonation, is spoken in such a way that does not psychologiye or romanticise Hölderlin’s language, but allows the words of the text to resonate beyond the conventions of syntax and to connect with the music in unpredictable ways.

Tsao Die Geisterinsel

AGATA ZUBEL: Not I

2014

Agata Zubel | Clement Power | Klangforum Wien

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At this point, Zubel returns to earlier ideas, the violence of the interchanges shocking in it’s immediacy. The final pause gently introduces the protagonist’s return to inarticulacy, with the other voices returning, looped in their own ostinati-like a piece of post-war musique concrete.

0013362KAI Zubel Not I

BERND RICHARD DEUTSCH: Dr. Futurity

2015

Klangforum Wien | Enno Poppe | Arditti Quartet

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Deutsch is hardly interested in working disassociatively with noisy effects, be it instrumental or electronic. And he still regards himself as a composer of “pitches’’, which doesn’t prevent him from employing a diverse array of instrumental means.

0013352KAI Deutsch Dr. Futurity

HELMUT LACHENMANN: Schreiben

2014

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SWR Sinfonieorchester Baden-Baden und Freiburg | EXPERIMENTALSTUDIO des SWR | Lucerne Festival Academy Ensemble Despite all content-related aesthetic paradigms, he insists that music’s content and real-world relevance consist precisely in steering the listener’s attention toward their own listening.

0013342KAI Lachenmann Schreiben

BEAT FURRER: Wüstenbuch et al.

2014

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0013312KAI Furrer Wüstenbuch et al.

DAI FUJIKURA: Ice

2013

Daniel Lippel | Jayce Ogren | Matthew Ward | ICE International Contemporary Ensemble 9120010 28190 7

For Dai, every compositional challenge is a wonderful opportunity for a fresh exploration of the basic materials of sound.

0013302KAI Fujikura Ice

LISZT INSPECTIONS

2015

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0013292KAI Formenti Liszt Inspections

In this program, pianist Marino Formenti exposes previously underappreciated and unperceived aspects of the musical language of Franz Liszt. A labyrinth-like dialogue with the Avant-garde music of the last sixty years, from Adams to Stockhausen, elucidates the multifaceted and radical nature of Liszt’s oeuvre, shedding new light on and dispelling canonical assumptions about his music.

GERALD RESCH: Collection Serti et al.

2012

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0013282KAI Resch Collection Serti et al.

BERNHARD GANDER: Monsters and Angels

2012

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0013272KAI Gander Monsters and Angels

Gander is interested not in balance, symmetry and purity, but rather in wobbling, limping and fluttering, in the inscrutable and the dirty. But his commentaries and work titles, as well as the way he plays with exaggeration boldly obvious effects and cliches, also bear witness to that healthy dose of humour and irony that inhabits his entire oeuvre.

YANN ROBIN: Vulcano et al.

2012

Susanna Mälkki | Alain Billard | Ensemble intercontemporain | IRCAM – Centre Pompidou 9120010 28183 9

Everywhere the breath is bullied. Society functions on this deprivation, needing it-it wants us to be out of breath, inoffensive, controllable. I am seeking a passage for breath with phrases. By writing, I sense my clarity coming back to me, as if I were blowing into a saxophone, a clarinet, or a trumpet-or, rather, as if it were them blowing in my head.

0013262KAI Robin Vulcano et al.

ENNO POPPE: Schrank

2012

Ernst Surberg | Daniel Gloger | ensemble mosaik

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The division of the three movements of Arbeit into separate tracks on the CD gives a sort of dramtic construct to the sequence …However, the other works on this CD also refer and connect to one another.

0013252KAI Poppe Schrank

FRIEDRICH CERHA: Percussion Concerto et al

2012

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Martin Grubinger | Peter Eötvös | Pierre Boulez | Vienna Philharmonic

0013242KAI

One of the most influential modern composers – Friedrich Cerha – is interpreted by one of the most prominent performers of our age. Martin Grubinger´s brilliant performance in “Konzert für Schlagzeug und Orchester” emphasizes the complexity of instrumental and formal layout of the piece, much like the emotional but strongly contradicting piece “Impulse für Orchester”, conducted by Pierre Boulez.

Cerha Percussion Concerto et al

GEORGES APERGHIS: Teeter-totter

2012

Klangforum Wien | Sylvain Cambreling | Donatienne Michel-Dansac | Emilio Pomárico | Uli Fussenegger 9120010 28185 3

The fact that long stretches of the score are notated simultaneously on two staves only hints at the virtuosic demands, which the composer makes of his performer.

0013222KAI Aperghis Teeter-totter

SALVATORE SCIARRINO: String Quartets 7, 8 et al

2011

Giulio Rovighi | Aldo Campagnari | Carmelo Giallombardo | Francesco Dillon | Quartetto Prometeo 9120010 28182 2

Each quartet distinguishes itself from the others by way of the articulation of it’s figures. However, the more recent ones share the same technical characteristics, the use of very high harmonics, a diminution in sound and as a consequence, elusive phraseology.

0013212KAI Sciarrino String Quartets 7, 8 et al

JOANNA WOZNY: as in a mirror, darkly

2011

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0013192KAI Wozny as in a mirror, darkly

The music searches for commonalities of sound despite – or perhaps because of – the differing instrumental idioms employed … it allows commonalities to arise only seemingly contrasting just at the levels of timbre and instrumentation, but also with regard to structures.

FRIEDRICH CERHA: Und du … et al.

2011

Ensemble “die reihe“ | Friedrich Cerha | Erwin Ortner | ORF Vienna Radio Symphony Orchestra | ORF Chor 9120010 28177 8

The desire to achieve the optimum suggested the choice of large-scale entity; whereas the text and music are initially coordinated. The musical aspect gradually compresses to become an ineffable concentrate musical event.

0013182KAI Cerha Und du … et al.

süden: Gastón Solnicki on Mauricio Kagel (DVD)

2011

Film on Mauricio Kagel Gastón Solnicki | Ensemble Süden

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Film maker Gastón Solnicki was on hand to capture Kagel’s visit on film, and the documentary süden chronicles. The composer worked directly with the musicians and tried reflecting the situation of modern music in Argentina as such.

0013172KAI (DVD) Kagel süden

MATTHIAS PINTSCHER: sonic eclipse

2011

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Matthias Pintscher | Gareth Flowers | David Byrd-Marrow | Marisol Montalvo | Marcus Alan Creed | ICE International Contemporary Ensemble | SWR-Vokalensemble Stuttgart He formulates a sonic continuum, which captivates the listener and affords him or her an associative experience of a multilayered soundscape.

0013162KAI Pintscher sonic eclipse

FRIEDRICH CERHA: Neun Bagatellen et al.

2009

Klangforum Wien | Sylvain Cambreling | Peter Rundel | WDR Sinfonieorchester Köln | Zebra Trio 9120010 28175 4

Cut to pieces by the media, drowned in over-information, measured in this age of zapping and clips. This time, the time which Bataille called “sacred”, the time of art, love and creativeness, the instant when something unprecedented happens, can only be preserved by the artist if he completely resists this late 20th century environment.

0013152KAI Cerha Neun Bagatellen et al.

HUGUES DUFOURT: L’Afrique d’après Tiepolo | L’Asie d’après Tiepolo

2010

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ensemble recherche

0013142KAI Dufourt L’Afrique d’après Tiepolo | L’Asie d’après Tiepolo

Dufourt’s works typically appear to be something like the slow differentiation of an overarching “structural sound” (Lachenmann), like a “texture which tears apart and grows back together again, albeit with a unified note that prevents the work from disintegrating.” Here, harmonic objects are endlessly weighed, turned over, put under a magnifying glass, stretched, distorted, slightly filtered and rubbed to dust via instrumentation, with the fine line between chord and timbre drifting this way and that. (Martin Kaltenecker)

BEAT FURRER: string quartet no. 3

2010

Steffen Tast | Angela Jaffé | Kristin Maria Pientka | Ringela Riemke | KNM Berlin 9120010 28170 9

Beat Furrer’s Third String Quartet begins in a state of paralysis: toneless grinding, individually hard with high notes. It’s dry, dripping, knocking, vibrating – isolated sounds occurring in a seemingly random way.

0013132KAI Furrer string quartet no. 3

coming up:

Photo: Â© Manu Theobald

0015028KAI Eine Art Chansons

FRIEDRICH CERHA

JESÚS RUEDA: String quartets

2010

Steffen Tast | Franziska Drechsel | Kristin Maria Pientka | Ringela Riemke | KNM Berlin 9120010 28171 6

In his String Quartets Rueda exhibits his special capacity for inextricably, bringing together an array of compositional techniques and results. The structure and instinctive feeling of a latent capacity for development and communication.

0013122KAI Rueda String quartets

ALBERTO POSADAS: Glossopoeia

2010

François-Xavier Roth | Ensemble intercontemporain | IRCAM – Centre Pompidou 9120010 28168 6

The poetics of the Lindermayer systems applied in Posadas’ music as sensitive structures, creating a mesh of interrelationships which are more rhizomatic. The smallest vowel change proliferates throughout the whole of this complex system of fragile interactions.

0013112KAI Posadas Glossopoeia

CESAR CAMARERO: Vanishing Point

2010

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Rafael Gálvez | Juanjo Guillem | Peter Hirsch | Miguel Borrego | José Miguel Gómez | Juan Carlos Garvayo | Trio Arbós | Orquesta Nacional de España This is the terrain of an attractive mystery in which ideas demonstrate a certain reserve and are given voice to their totality. It is music of the night: but be careful, don’t let the light flood in and shatter the dream!

0013102KAI Camarero Vanishing Point

BERNHARD LANG: Die Sterne des Hungers et al.

2010

Sabine Lutzenberger | Sylvain Cambreling | Klangforum Wien

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Lang has once again expanded the concept of repetition to make it a process that generates constant difference. Repetition serves Lang here as a way to arrive at a form of complete immanence-it is in this idea that the connection to Leibniz consists.

0013092KAI Lang Die Sterne des Hungers et al.

PETER ABLINGER: Voices and Piano

2011

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Nicolas Hodges

0013082KAI Ablinger Voices and Piano

Voices and Piano, written for Nicolas Hodges, is an extensive cycle of pieces, each for a single recorded voice, mostly of a well-known celebrity, and piano. The cycle is still in progress and should eventually include about 80 pieces/voices (around 4 hours of music). The work is always meant to occur as a selection from the whole. “At present, I like to write works where the whole should not be presented at once. The whole should remain the whole, and what we hear is just a part of it.” (Peter Ablinger)

BRIAN FERNEYHOUGH: Terrain

2010

Of all these pieces – none of which places anything less than cruel demands on the soloists – terrain is the most wildly virtuosic. Here, Paganini has to rise from the grave, reincarnated (initially via Irvine Arditti) as a transcendental modernist.

0013072KAI Ferneyhough Terrain

UNSUK CHIN: Xi

2009

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0013062KAI Chin Xi

“I’ve tried to write music that’s highly coloured in character and expression, freely flowing and flexible, that sometimes develops in entirely unexpected directions.” Like Xi and Fantaisie mécanique, the Double Concerto for prepared piano, percussion and ensemble (2002) was written for the Paris-based Ensemble Intercontemporain.

JOSÉ M. SÁNCHEZ-VERDÚ: Aura

2010

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Neue Vocalsolisten Stuttgart | kammerensemble neue musik berlin

0013052KAI Sánchez-Verdú Aura

Mexican author Carlos Fuentes wrote his short story Aura in Paris in 1961. It belongs to the traditions of magic realism and Latin American ghost stories, even if it actually goes far beyond that. It ranges from ancient Chinese literature to a Japanese story from the 17th century and on to Luis Buñuel’s Exterminating Angel, Alexandre Dumas’ Lady of the Camellias and Verdi’s La Traviata. For Fuentes, Aura is above all a story of eroticism and necrophilia, taking up the time-honoured tradition of stories about eternal fidelity and couples who are reunited in death.

HÈCTOR PARRA: Hypermusic Prologue

2010

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0013042KAI Parra Hypermusic Prologue

Hypermusic Prologue is the fruit of a unique partnership between science, music and the plastic arts. In the company of Lisa Randall, Matthew Ritchie and the stage director Paul Desveaux, we explored the “historical” form of opera to create a new type of dramatic expression suited to the 21st century.

PIERRE JODLOWSKI: Drones

2011

Susanna Mälkki | Sophie Cherrier | IRCAM – Centre Pompidou | Ensemble intercontemporain 9120010 28160 0

All of the sentimental objects (Aragon) of our era occur in the music of Jodlowski-gesture, energy, sound and image. Being fond of Jodlowski’s music means being fond of one’s own era.

0013032KAI Jodlwoski Drones

JOSÉ MANUEL LÓPEZ LÓPEZ: Conciertos

2010

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Juan Carlos Garvayo | Alberto Rosado | Ernst Kovacic | Johannes Kalitzke | Deutsches Symphonie-Orchester Berlin

0013022KAI López-López Conciertos

José Manuel López López, a composer with many long years of experience, stands out by virtue of his mature style of writing and the consistent way in which he adapts what he writes to sound what he intends to produce. This CD brings together three symphonic works with solo instruments that exemplify this development. Written in the period between 1995 and 2005, they represented three distinctly different contributions to the contemporary orchestral repertoire. (Horacio Vaggione)

JESÚS TORRES: Manantial de luz

2009

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0013012KAI

Jesús Torres (born in Saragossa in 1965) is one of the key figures in a very talented generation of Spanish composers who have made a significant contribution to the further development of music in Europe. Purity – seems to point toward pure tones with definite tuning and exact notation.

Torres Manatial de Luz

FRIEDRICH CERHA: Spiegel-Momentum-Momente

2010

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Friedrich Cerha | SWR Sinfonieorchester Baden-Baden und Freiburg | Sylvain Cambreling | Dennis Russell Davies | ORF Vienna Radio Symphony Orchestra

0013002KAI Cerha Spiegel-Momentum-Momente

I have always regarded Friedrich Cerha as one of the most important personalities of his generation. I have followed his composing with great interest whenever I had the opportunity to listen to a work or read it during its creation. I am delighted that an album has appeared that makes it possible to get an impression of his music’s remarkable development. I hope that this will serve to create an awareness of his true significance. (Pierre Boulez)

RAMON LAZKANO: Hauskor

2011

Ernesto Molinari | Johannes Kalitzke | Basque National Orchestra | Cello Octet Amsterdam 9120010 28156 3

Ramon Lazkano took two quotations from Nietzsche as the thought and the expression of the sound environment from which the musical idea slowly emerges. These two references may be read philosophically and artistically but can also plainly allude to a certain figurative affinity with the contents of the work.

0012992KAI Lazkano Hauskor

MANUEL HIDALGO: Beethoven

2009

Lothar Zagrosek | WDR Sinfonieorchester Köln | Ensemble Resonanz | Juditha Haeberlin | Barbara Bultmann 9120010 28155 6

A glance at his catalogue of works reveal Hidalgo’s intense interest in “Beethoven the giant,” whose music – alongside that of Mozart – has accompanied him since childhood. (Patrick Hahn)

0012982KAI Hidalgo Beethoven

GÖSTA NEUWIRTH: L’oubli bouilli

2009

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Klangforum Wien | Donatienne Michel-Dansac | Etienne Siebens

0012972KAI Neuwirth L’oubli bouilli

L’oubli bouilli – Vanish … It is a title that evokes the following question: just where do “cooked-up forgetting and disappearance” lead? If forgetting has been conserved in a process, then it does not actually disappear all that easily. The decisive elements are ambivalently connoted metaphors, as well as an angle of view and attitude. And a cryptic appendix concerning the arbitrary either-or. Does Gösta Neuwirth (born in Vienna in 1937) dream his works’ birth? It’s not outside the realm of possibility.

WOLFGANG RIHM: Sotto voce

2009

Arditti Quartet | Nicolas Hodges | Jonathan Nott | John Axelrod | Luzerner Sinfonieorchester 9120010 28152 5

I wanted to write a sister-work for the one that already existed, says Rihm. “Or a brother-work? Sotto voce is a slow, relatively quiet piece. Sotto voce 2 is something like a response to it – another answer, so to speak. A fast movement, a motionfilled piece that whispers. It has to do with motion sequences and velocity.”

0012952KAI Rihm Sotto voce

GEORGES APERGHIS: Crosswind

2009

Geneviève Strosser | Marcus Weiss | Pierre-Stephane Meugé | XASAX ensemble de saxophones modulable 9120010 28151 8

“It is similar to seeing the image of someone in a photo and wondering how their voice sounds. Is it nasal or is it high or is it low? Were they breathing heavily or easily? An instrument always remains the same. But the real question is: how does the voice of this instrument sound in this piece?”

0012942KAI Aperghis Crosswind

ALBERTO POSADAS: Liturgia fractal

2009

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Quator Diotima

0012932KAI

Liturgia fractal is a cycle of five string quartets in which each quartet is based on a different fractal model. Working with a fractal model, as something like an allegory with the way waves move, is based on the concept of a cycle as a “natural entity”. The combination of the idea of self-similarity (fractal) with that of spreading-out (wave) reflects the search for a sound which develops organically, as if it were just another part of nature. (Alberto Posadas)

Posadas Liturgia fractal

PHILIPPE MANOURY: Fragments pour un portrait

2009

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Christophe Desjardins | Susanna Mälkki | Ensemble intercontemporain | IRCAM – Centre Pompidou

0012922KAI Manoury Fragments pour un portrait

The name Manoury is closely associated with IRCAM, the Parisian research institute where the composer devised the cycle Sonus Ex Machina over a period of seven years (1987 – 94). In this work, solo instruments (one flute, one midi piano, one drum and one voice) interact with computer programs using realtime sound simulation. This system is revisited in the Partita I for viola heard on the present recording. The period since Sonus Ex Machina has seen Manoury’s interest shift toward the opera, and in 2004 he also began teaching composition at the University of San Diego in California.

MICHAEL JARRELL: Cassandre

2009

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Susanna Mälkki | IRCAM – Centre Pompidou | Ensemble intercontemporain Astrid Bas

0012912KAI Jarrell Cassandre

Within Michael Jarrell’s œuvre, Cassandre represents the culmination and synthesis of an initial and extremely fruitful creative period, even if the selection of the work’s text was “dictated” to him by Christa Wolf in both musical and expressive aspects. The figure of the Trojan priestess, reinterpreted by the German author, is torn back and forth between images of the past and of impending catastrophe. Neither Wolf nor Jarrell himself means to plunge us into the midst of the Trojan War: Cassandra speaks merely of her memory of the events. (Martin Kaltenecker)

Photo: Â© David Furrer

BEAT FURRER

KURTÁG’S GHOSTS

2009

Marino Formenti

9120010 28147 1

Marino Formenti is the catalyst and pianistic protagonist of a fascinating musical expedition in seventy compositions. This program places György Kurtág in musical dialogue with great composers of the past seven centuries.

0012902KAI Formenti Kurtág’s Ghosts

WOLFGANG RIHM: Trios 1969–1994

2009

ensemble recherche | Teodoro Anzellotti | Yukiko Sugawara

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This CD combines Trio pieces for three instruments – and yet it is very remote from the contemplatively muted frame-work of traditional chamber music.

0012892KAI Rihm Trios 1969–1994

ELENA MENDOZA: Nebelsplitter

2008

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0012882KAI Mendoza Nebelsplitter

Composing as play – that is more than a metaphor. It puts the action, the making of art, in the foreground and emphasizes an essential driving force behind the work of the composer Elena Mendoza: “Composing also means putting together a set of building blocks, a set of rules and then playing …”

FRANCISCO LÓPEZ: Through the looking-glass

2009

Francisco López

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Typically, recorded sound is considered to be a representation of reality. Unbeknownst to the average person – but also to a vast majority of sound professionals and composers – a sound recording can also be considered an entity in itself.

0012872KAI López Through the looking-glass

KLAUS LANG: the book of serenity.

2008

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Johannes Kalitzke | Klangforum Wien

0012862KAI

The music of Klaus Lang is a wonderful example of the fruitful coexistence of objectivity and mysticism, of concept and image, of planning and hoping, of thought and experience. The things about which one can speak and write in Lang’s work are the countable things and the forms they take; structures and systems. Within his music we find an approach similar to medieval times, when composing enjoyed the reputation of being a science. (Raoul Mörchen)

Lang the book of serenity.

BEAT FURRER: Konzert für Klavier und Orchester

2008

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0012842KAI Furrer Konzert für Klavier und Orchester

“I was mainly concerned,” says the composer, “with giving the piano a resonance throughout the whole work and with maintaining the plasticity of the piano sound. The piano sound always remains the center of gravitation, while the orchestra is the amplifier giving space to the piano.”

MAURICIO SOTELO: Wall of Light

2008

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0012832KAI

In the oscillating inwardness of Scully’s painting, there is a musical horizon on which I focus my gaze and my ear. His works reveal themselves to me like a kind of material space full of light and sound, like a womb for a note, which is open to what is possible, like silent music. (Mauricio Sotelo)

Sotelo Wall of Light

HÈCTOR PARRA: Wortschatten

2008

ensemble recherche

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At its heights, the fusion of an extremely irregular rhythm with the alternating articulation of strong, shrill notes in natural overtone positions, fragile overtone glissandi and very close tremoli creates a stroboscopic acoustical effect …

0012822KAI Parra Wortschatten

SALVATORE SCIARRINO: Sui peomi concentrici

2009

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0012812KAI Sciarrino Sui peomi concentrici

To write music for Dante’s entire Commedia … It was not without trepidation that I accepted the proposal for a television production. Especially, to accompany a reading of the text, meaning to follow it step by step, but also to support it with solid architecture.

SALVATORE SCIARRINO: Orchestral Works

2008

Orchestra Sinfonica Nazionale della RAI | Tito Ceccherini

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He searches for exeptional situations that throw the listeners back upon themselves. These can be deliberately designed to lead right to the edge of madness, but also to relaxed medidation. Just as silence counteracts the noise of everyday life, slowness is also a counterdesign to an accelerated present, and a reduction to a minimum of material is a response to the masses of data in the digital age. (Martina Seeber)

0012802KAI Sciarrino Orchestral Works

BEAT FURRER: Begehren (DVD)

2008

9120010 28136 5

0012792KAI (DVD) Furrer Begehren

JOSÉ M. SÁNCHEZ-VERDÚ: Orchestral works

2008

9120010 28135 8

0012782KAI

Exploring marginal realms which, in their beauty and refinement of tone, contain both the brilliant light of Spain’s south and utter darkness: this is the art of composer José M. Sánchez-Verdú.

Sánchez-Verdú Orchestral works

OLGA NEUWIRTH: Music for Films (DVD)

2008

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0012772KAI (DVD) Neuwirth Music for films

REBECCA SAUNDERS: crimson

2008

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0012762KAI

Within this production Rebecca Saunders shows an example of how she is breaking new ground for piano compositions. From similar basic material, she develops three extraordinary pieces with different instrumentations, which get their big coherence from the cellular structures of her incipient composing act.

Saunders crimson

GÉRARD GRISEY: Les Chants de l’Amour

2008

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0012752KAI Grisey Les Chants de l’Amour

As the co-founder of spectral music Gérard Grisey moves within a cosmos of partial tones and harmonics. He discloses the secrets of the interior of sound. In a momentous way this is shown inside his music, which acts always in a world between modern technology and poetry. Sometimes Grisey analyses the different temporal structures of perception of humans, whales and insects or he generates his love songs out from the phonetical basic material. (Martina Seeber)

OLIVIER MESSIAEN: Èclairs sur l’Au-Delà …

2008

Ingo Metzmacher | Vienna Philharmonic

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Ingo Metzmacher, who made his debut in a subscription concert of the Vienna Philharmonic with this work, said in a statement at the end of the dress rehearsal that one can open oneself to this music only by setting aside one’s “earthly” sense of time and committing oneself to the cosmic dimensions and promise of this music. This may be understood as instructions to the listener. (Wolfgang Schaufler)

0012742KAI Messiaen Èclairs sur l’Au-Delà

MARK ANDRE: durch ...zu... ...in ...als... II

2008

ensemble recherche | EXPERIMENTALSTUDIO des SWR | Trio Accanto | Shizuyo Oka 9120010 28130 3

It takes nothing more than a look at the scores to understand that the familiar system of coordinates comprised of pitch and duration describes only a small part of the space in which the music of Mark Andre moves and has its being.

0012732KAI Andre durch ...zu... ...in ...als... II

BRUNO MANTOVANI: Le Sette Chiese

2008

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IRCAM – Centre Pompidou | Ensemble intercontemporain | Susanna Mälkki

0012722KAI

Let us wide open the doors of the hothouse so that wind, rain and snow rush in. Maurice Maeterlinck’s image ideally fits Bruno Mantovani as well as the first impression one has of him. That impression is one of youthfulness and freshness, of an unexpected and at the same time encouraging simplicity and health in a world in which these characteristics are atypical, not to say suspected. (Christophe Ghristi)

Mantovani Le Sette Chiese

LUCA FRANCESCONI: Etymo

2008

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0012712KAI

… finally exploding in a sea of profundity from which the first words rise. Just like Baudelaire, Luca Francesconi appears to be crying out in the apparent stasis in the middle of the work: “The beautiful life! The beautiful life!” Then everything is reversed in a mirror process, with the energy being reborn of its own antimatter, or perhaps of its memory.

Francesconi Etymo

JOHANNES KALITZKE: Vier Toteninseln

2007

Johannes Kalitzke | Deutsches Symphonie-Orchester Berlin | Thomas E. Bauer | Thomas Larcher | Stadler Quartett 9120010 28127 3

The “Four Islands of the Dead” are musical “over-paintings” of “Four Serious Songs” by Johannes Brahms; a work of his later years, Songs of consolation for the growing certainty, increasingly personal, of his insight into the transient nature of earthly existence.

0012702KAI Kalitzke Vier Toteninseln

MATHIAS SPAHLINGER: furioso

2007

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ensemble recherche | Hans Zender | Arditti Quartet | Ensemble Modern

0012692KAI Spahlinger furioso

The ensemble is conceived as open, in flux, the musicians and instrumental tones that are coming and going. Ideally, if the procedure wouldn’t be too obtrusive and apt to distract from the music, the musicians, each at their own tempo could be drawn across the stage on podiums on wheels, so that they would appear with the first note and disappear with the last – apart from the violoncello, that must be silently present and apart from the piccolo, it can be heard in part IIa, but which should also be visible in IIb. (Mathias Spahlinger)

Photo: Â© Philippe Gontier

HELMUT LACHENMANN

BERNHARD GANDER: Bunny Games

2007

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0012682KAI Gander Bunny Games

… it’s hot, eight o’clock in the evening, i’m tired and thirsty. i’ve worked enough for today. I take a look at the television programme and the dj line-up for the night scene and decide to let the evening end in a bar. I spruce myself up, leave my apartment and head for the bar area. Already from far away I hear the low bass of techno music. my steps quicken, i reach the bar and open the door. thick waves of smoke hit me in the face. it is dim, the glaring lights flicker to the rhythm of the music. i get myself a beer and let myself be dazed by the strong beat …

JOHANNES MARIA STAUD: Apeiron

2007

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0012672KAI Staud Apeiron

When Johannes Maria Staud refers to one of his works to the pre-Socratic philosopher Anaximander and the latter’s contrasting pair of concepts apeiron (unlimited or infinite) and peras (limited or finite), he outlines a fundamental problem: the conflict between associative invention and logical development.

HELMUT LACHENMANN: Streichquartette

2007

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Irvine Arditti | Ralf Ehlers | Lucas Fels | Arditti Quartet | Ashot Sarkissjan

0012662KAI Lachenmann Streichquartette

“The three quartets provide a commentary on each other and the time in which they were composed. Gran Torso has something of an investigation about it, of a broaching, into a critical new land. Reigen designates the sounds and techniques of two very different regions. Grido gains a new expressiveness– the land of music is freely praised and celebrated, although never without reflexive refraction or arousing disturbance. In the Choral a sharp crack comes at the end. A bark, before the music collapses.” (Martin Kaltenecker)

HELMUT LACHENMANN: Les Consolations

2008

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0012652KAI Lachenmann Les Consolations

What I want … is always the same: a music, which in order to be grasped, does not require a privileged intellectual training, but can rely uniquely upon its compositional clarity and logic; a music, that is at the same time the expression and the aesthetic form of a curiosity able to reflect everything – including the illusion of progressiveness. Art as a foretaste of freedom in an age without freedom. (Interview with Ursula Stürzbecher, 1971)

ISABEL MUNDRY: Traces des Moments

2007

ensemble recherche

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Isabel’s music doesn’t evade making the process of its genesis audible. The doubts and hesitations during composition. The traces of ways of deciding, which complex form will be the special identity of her world of sound.

0012642KAI Mundry Traces des Moments

GERD KÜHR: Revue instrumentale et électronique

2007

Klangforum Wien | Emilio Pomárico | IEM Graz

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Every phrase begins anew and seethes otherwise and otherwise. Meanwhile something irritates and right beside it something buckles back to the beginning. And always along the musical pathways, which branches out in secret, is the presence of surrealism, which journeys through hollow running time …

0012622KAI Kühr Revue instrumentale et électronique

HANS ZENDER: Shir Hashirim

2006

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0012612KAI Zender Shir Hashirim

“Shir hashirim ashira li shlomo”, the “Song of Songs” is sung in Hebrew and heard at the beginning. The composition Shir Hashirim is basically open, but it is not undefined. It is a result of Hans Zender‘s reflections over a period of many years concerning technical, compositional questions, which have led to an independent system of harmonics, here carried out for the first time.

PIERLUIGI BILLONE: 1+1=1

2006

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Petra Stump | Heinz-Peter Linshalm

0012602KAI Billone 1+1=1

We have been planning this unique project for a long time: a composition for two bass clarinets as a full evening program. Through intense research Pierluigi Billone has acquired much experience in handling the bass clarinet and is the ideal composer for this task. Billone has an open mind and original thoughts about such a project. His formal conception can open new spaces for the listeners and take them on an exciting journey into the souls of the bass clarinets. The title of the work 1+1=1 is a quotation from an Andrey Tarkovskij film which points to the special relation between the two instruments.

WOLFGANG MITTERER: coloured noise

2006

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Klangforum Wien | Peter Rundel | Wolfgang Mitterer

0012592KAI Mitterer coloured noise

The foundation of the work is a constant layer of multi-channel electronics, which Mitterer has put together from his collection, snippets of older works, like KA and the Pavian, or networds 1–5, or from solo recordings from collaborative projects with Wolfgang Reisinger, Reinhardt Winkler, the Callboys and others. One thing unites them all: they all were created as free improvisations, not on the computer, not generated, not notated, intact results of the direct union of person and instrument. (Walter Weidringer)

MATTHIAS PINTSCHER: en sourdine

2007

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Christophe Desjardins | Ensemble intercontemporain | Matthias Pintscher | Frank Peter Zimmermann | Truls Mørk | NDR Sinfonieorchester The dark room full of shimmering grey, the gradual groping one’s way, various levels of indeterminacy – Matthias Pintscher’s coordinates are “space” and “colour.”

0012582KAI Pintscher en sourdine

BEAT FURRER: FAMA

2006

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0012562KAI

“... and every voice reaches listening ears”: When one blocks out the context of this formulation in Ovid’s brilliant description of the house of Fama, the beginning of Book XII of his Metamorphoses, one can imagine without difficulty a person, who would find this so obvious an experience, that at first it hardly seems worth mentioning.

Furrer FAMA

ENNO POPPE: Interzone

2006

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ensemble mosaik | Omar Ebrahim | Neue Vocalsolisten Stuttgart | Jonathan Stockhammer

0012552KAI

The interstices are what fascinate artists. Interzone is one such interstice. The title is taken from the book of the same name by William S. Burroughs. It refers to the Moroccan city of Tangier, which was declared an ‘international zone’ in The Fez Treaty of 1912, thus remaining an undefined space, a zone of indeterminacy, sometimes also of lawlessness.

Poppe Interzone

OLGA NEUWIRTH: Lost Highway

2006

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0012542KAI Neuwirth Lost Highway

The illustrations of these sound spaces and notes are an attempt to approach the experience in the theater. Fortunately, the possibilities of surround-techniques have come to our aid, which envelop the listener with alternating, overlaying sound-strata. Thus, the present production was intended to be mixed for 5.1 surround.

BERNHARD LANG: Das Theater der Wiederholungen

2006

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0012532KAI Lang Theater der Wiederholungen

HANS ZENDER: Cabaret Voltaire

2005

Klangforum Wien | Salome Kammer | Hans Zender

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Friedrich Hölderlin (1770–1843) and Hugo Ball (1886–1927), two poetic signposts at either end of the nineteenth century, would seem to be worlds apart. At first glance, the withdrawn Romantic, whose obsession with the Greeks led somehow – mysteriously, fatally – to silent confinement in the madman …

0012522KAI Zender Cabaret Voltaire

SALVATORE SCIARRINO: Quaderno di strada

2005

Klangforum Wien | Otto Katzameier | Sylvain Cambreling

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Light and air in a state of constant, subtly detailed movement: this is also the nature of Sciarrino‘s music, as if it had soaked up all those delicate colours and adopted the mobility of air, captured its nocturnal buzzing-sound with a netted veil and transformed them into fluctuating sonorities, roaring and murmuring.

0012482KAI Sciarrino Quaderno di strada

CLAUDE VIVIER: Orion . Siddharta

2006

Peter Rundel | WDR Sinfonieorchester Köln | Christian Dierstein 9120010 28015 3

lt is direct, perfectly sculpted music that begins with a simple melody and broadens marvellously into a fantastic galaxy of ideas and emotions. “It is very sensitive music as well. The composer listens intently to his creative self and communicates his total being to us with disarming simplicity.”

0012472KAI Vivier Orion . Siddharta

OLGA NEUWIRTH: Chamber Music

2005

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Irvine Arditti | Nicolas Hodges | Arditti Quartet | Garth Knox

0012462KAI

Olga Neuwirth’s music is full of shifts, ruptures, deformations and associative relationships. Her works build upon various materials of sound, image and language taken from highly diverse backgrounds, which she interconnects without evening out their intrinsic characteristics. Usually marked by unpredictable transformations during which the music branches out like lush organic growth, the composition comes to reflect the heterogeneous starting materials.

Neuwirth Chamber Music

LUIGI NONO: Caminantes … Ayacucho

2011

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0012512KAI Nono Caminantes … Ayacucho

GÉRARD GRISEY: Solo pour deux

2005

Ernesto Molinari | Uwe Dierksen | Ensemble S

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Cut to pieces by the media, drowned in over-information, measured in this age of zapping and clips. This time, which Bataille called “sacred”, the time of art, love and creativeness, the instant when something unprecedented happens and can only be preserved by the artist if he completely resists this late 20th century environment.

0012502KAI Grisey Solo pour deux

WOLFRAM SCHURIG: Ultima Thule

2005

Breaking through the boundaries of the familiar, questioning conventional patterns of perception and moving ahead to the openness and uncertainty of uncharted creative territory – from the very start, this impulse has been an ever-present characteristic, Albeit is found in many different guises, of the compositions by Wolfram Schurig.

0012492KAI Schurig Ultima Thule

Photo: © Luca Carrà, RaiTrade

SALVATORE SCIARRINO

CLEMENS GADENSTÄTTER: Comic Sense

2004

Klangforum Wien | Florian Müller | Mark Foster

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Written in 2002–03, this work offers a rare example of contemporary music that is happy, playful and fresh, and downright friendly at times, without stooping to banality, trivial clichés or stereotypical gags. It arouses the listener’s curiosity, surprises and occasionally even astounds.

0012452KAI Gadenstätter Comic Sense

IN NOMINE: The Witten In Nomine Broken Consort Book

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2004

0012442KAI In Nomine The Witten In Nomine Broken Consort Book

BEAT FURRER: Begehren

2006

ensemble recherche | Beat Furrer | Petra Hoffmann | Johann Leutgeb | Vokalensemble NOVA 9120010 28107 5

(Self-) encounters do not happen. What remains is the darkness of (un) lived moments. And the form of the question: is there a way out of this solitary path? Through desire? …

0012432KAI Furrer Begehren

GÈRARD GRISEY: Les Espaces Acoustiques

2005

WDR Sinfonieorchester Köln | Stefan Asbury | Asko Ensemble | Garth Knox 9120010 28019 1

The “Acoustic Spaces” cycle, begun in 1974 and was completed in 1985. It consists of six instrumental works that may be played consecutively, since each acoustic space extends the previous one. The unity of the whole is based on the formal similarity of the pieces and on the two acoustic points of reference: the overtone spectrum and periodicity.

0012422KAI Grisey Les Espaces Acoustiques

KAIJA SAARIAHO: Chamber Music

2004

Wolpe Trio

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Finnish composer Kaija Saariaho is an exceptional person in more ways than one; not only in her own country but also within the international new music scene, in which she has asserted herself amidst the middle generation of the avantgarde, with performances in Salzburg, London, Paris and New York.

0012412KAI Saariaho Chamber Music

MISATO MOCHIZUKI: Si bleu, si calme

2003

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0012402KAI

Si bleu, si calme: The natural cycles of water and air are the underlying ideas of „Si bleu, si calme“: condensation and evaporation, winds and currents. „Bleu“ (blue) stands for the elements air and water, and „Calme“ (calm) refers to space and silence. In musical terms, the complex „Bleu“ tends toward development and growing complexity, while „Calme“ works on the simplification of intervals and rhythmical figures.

Mochizuki Si bleu, si calme

JOHANNES MARIA STAUD: Berenice. Lied vom Verschwinden

2003

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0012392KAI

Sophisticated formal strategies, a strict organisation of material, in a nutshell: with the greatest nonchalance, Staud draws on a secured intellectual foundation and on long-proscribed emotionality for his music.

Staud Berenice. Lied vom Verschwinden

BEAT FURRER: Solo piano works

2005

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Nicolas Hodges

0012382KAI Furrer Solo piano works

As though he were an architect in sound and of an ongoing Revolution of the Viaduct (Paul Klee) – this composer discovers in his piano pieces something which, for a master mason, might represent discarded corner-stones: the heart of the secret. It becomes apparent that in the pieces for solo piano – themselves like a collection of cornerstones in his output – a small collection of musical gems has come into being: crystalline, glittering, and utterly lucid both in form and appearance. The guiding and enlightening code for them might read: distillation by diminution. (Wolfgang Hofer)

WOLFGANG RIHM: Klavierstücke

2003

Bernhard Wambach

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Wolfgang Rihm once said retrospectively about his piano oeuvre that: “The music I have composed for piano is not a separate block within my production stream. In its own way, every piece shares in and belongs to the problematic of its wider context.” The works Klavierstück Nr. 1 to Klavierstück Nr. 7 are not based on a cyclical concept.

0012372KAI Rihm Klavierstücke

MORTON FELDMAN: Palais de Mari

2004

Siegfried Mauser

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The Babylonian ruins fascinated him insofar as that, similar to Clemente’s pictures, they seemed to be referring to what was not depicted but merely hinted at through rudimentary outlines. Similarly, the aura between the contours of the Babylonian ruins seemed to him the essence, just as the aura between the tonal and sound events of his own music.

0012362KAI Feldman Palais de Mari

GEORG FRIEDRICH HAAS: Wer, wenn ich schriee ...

2004

Klangforum Wien | Dimitrios Polisoidis | Lukas Schiske | Georg Schulz 9120010 28008 5

Haas’ filigree-fine structured music lights up the dark zones of a society from which the “other”, the alien, is increasingly excluded, and through its critique simultaneously creates a counter image, in a kind of “… harmony of free entities …”, as a direct reference to Hölderlin’s Utopia … (Reinhard Kager)

0012352KAI Haas Wer, wenn ich schriee …

OLGA NEUWIRTH: Bählamms Fest

2003

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0012342KAI

It is a sadistic family story in scurrile-surreal snap shots. The home of an odd family stands in a completely remote, heathlike landscape. This somewhat dilapidated bourgeois house in its seclusion is refuge and a madhouse at the same time …

Neuwirth Bählamms Fest

GEORG FRIEDRICH HAAS: in vain

2003

Klangforum Wien | Sylvain Cambreling

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Georg Friedrich Haas really has a bent for numbers; the implicit symbolism of numbers in “in vain” applies even to the relation between the size of orchestration (24 instruments in the dark, plus the director in the light) and the microtonal 24:25 interval.

0012332KAI Haas in vain

BEAT FURRER: Aria

2003

Petra Hoffmann | Lucas Fels | ensemble recherche

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Beat Furrer’s music leave no doubt that someone is at work here (on himself), whose appreciation of sound and radical rejection of all-too-plausible contextual aesthetics brought forth an altogether distinct language, moving, boldly layered sounds. Ensemble recherche provides listeners this exemplary experience.

0012322KAI Furrer Aria

GIACINTO SCELSI: Action Music

2003

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Bernhard Wambach

0012312KAI Scelsi Action Music

Giacinto Scelsi’s relationship with the piano is interesting and contradictory. For no other instrument has this Italian composer and poet composed so many pieces; to no other instrument does he seem so closely attached, both personally and biographically; and no other instrument disappeared so abruptly and finally from his scores as the piano, the European showcase instrument.

OLGA NEUWIRTH: Clinamen / Nodus

2002

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0012302KAI Neuwirth Clinamen / Nodus

Olga Neuwirth‘s faible for grotesque themes and her occasional vegetative proliferation of pieces ensured her a permanent place in the repertoire. As brilliant growths of an undomesticated artist. Many-facetted, vigorously arranged scores with the most heterogeneous influences and styles, far remote from any of the false glamour characteristic of postmodernity. With the conductor Pierre Boulez she has found herself a genuine ally. (Wolfgang Fuhrmann)

MORTON FELDMAN: Something Wild

2002

ensemble recherche 9120010 28002 3

Being in the present with the sound, this time music with stories and history is how we experience this extraorbitant dramatic art by the fascinating recording by ensemble recherche.

0012292KAI Feldman Something Wild

HELMUT LACHENMANN: Das Mädchen mit den Schwefelhölzern

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2002

0012282KAI Lachenmann Das Mädchen mit den Schwefelhölzern

BEAT FURRER: Stimmen

2001

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0012272KAI Furrer Stimmen

Beat Furrer’s music moves persistently in regions of the “no-longer” and the “not-yet”. It eludes the apparent extreme, the allegedly cheaply aquired poles between offering and denial, between effect and reticence – yet it is all of this together and emphatic in its very own way. (Thomas Schäfer)

HANS ZENDER: Music to hear

2000

Klangforum Wien | Hans Zender

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Music to hear is characterised by the rhetoric of musical diction: an alternation of tension and relaxation, clearly defined metrics, main themes, the alternation of stressed and unstressed tempi, a comprehensibility of figures, and generally the use of figures at all … (Frank Gerhardt)

0012262KAI Zender Music to hear

GÉRARD GRISEY: Quatre chants pour franchir le seuil

2001

Klangforum Wien | Sylvain Cambreling | Catherine Dubosc

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As only few other composers, Gérard Grisey was a master at working in these various “altidudes”, one who skilfully zoomed back and forth between micro- and macro-time, or, in Grisey’s beautiful imagery, between human time and the extended time of whales and the extremely compressed time of insects.

0012252KAI Grisey Quatre chants pour franchir le seuil

Erste Bank Kompositionspreis coming up: 0015007KAI PETER JAKOBER Substantie and other works 0015031KAI EVA REITER Noch sind wir ein Wort … and other works

Award Winner 2016:

EVA REITER

OLGA NEUWIRTH: Vampyrotheone

2001

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Klangforum Wien | Sylvain Cambreling | Ernesto Molinari | Rico Gubler | Burkhard Stangl

0012242KAI Neuwirth Vampyrotheone

The ironical in music and the unhoely. Both are a challenge for Olga Neuwirth, but even for a challenge you must first see who and what the opponent is. What does one fear? Then the fear comes by itself and then that what all this fear is about (it may also be something that occurred once before and may possibly occur again), And the music makes it all happen at the same time, and makes an opera chronology (and what a chronology!) â&#x20AC;Ś (Elfriede Jelinek)

HELMUT LACHENMANN: Kontrakadenz

2001

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NDR Sinfonieorchester | SWR Sinfonieorchester Baden-Baden und Freiburg | Gerhard Gregor | Michael Gielen | Zsigmond SzathmĂĄry | Peter Roggenkamp | SWR Radio-Sinfonieorchester Stuttgart Form and detail resulted from the effort of realistically laying bare this aspect and placing it in the dialectical setting imposed by the use of a symphonic apparatus.

0012232KAI Lachenmann Kontrakadenz

SALVATORE SCIARRINO: Luci mie traditrici

2001

A voice behind the curtain. Antique beauty disappears: It will always return, the same music, and each time it will be marked by the wounds of time.

0012222KAI Sciarrino Luci mie traditrici

HELMUT LACHENMANN: Allegro sostenuto

2001

Yukiko Sugawara | Lucas Fels | Shizuyo Oka

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… this is the first recording of the recently completed piano piece Serynade, - the special feature: Helmut Lachenmann composed it for Yukiko Sugawara, the performer on this CD – the piano sound is kept alive, worked and shaped, to stop the sound from fading and thus to stop time itself.

0012212KAI Lachenmann Allegro sostenuto

HELMUT LACHENMANN: Mouvement

2001

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Klangforum Wien | Hans Zender | SCHOLA HEIDELBERG | Walter Nußbaum | ensemble aisthesis

0012202KAI

Lachenmann chose a text by Leonardo da Vinci:“… but when I had remained silent for a fairly long time, all at once two feelings awoke in me. Fear and desire. Fear of the cave‘s looming darkness, but the desire to see with my own eyes what marvels may lie within …“ and there are many marvels to discover on this exceptional recording.

Lachenmann Mouvement

PETER ABLINGER: Der Regen, das Glas, das Lachen

2000

Klangforum Wien | Sylvain Cambreling

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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)

0012192KAI Ablinger Der Regen, das Glas, das Lachen

REBECCA SAUNDERS: Quartet

2003

Stefan Asbury | musikFabrik

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“When composing I imagine holding the sounds and noises in my hands, feeling their potential between my palms, weighing them. Skeletal textures and musical gestures develop out of this. Then, like pictures placed in a large white room, I set them in silence, next to, above, beneath and against each other.” (Rebecca Saunders)

0012182KAI Saunders Quartet

TOSHIO HOSOKAWA: Koto-uta

2001

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0012172KAI

The Japanese composer Toshio Hosokawa, born 1955, about his work: “European art says: Time should not pass. As in the cathedrals, which stand for eternity. Japanese art stays abreast of the times and says: transience is beautiful. A sound emerges from silence, it lives to return to silence.” (T.H.)

Hosokawa Koto-uta

GIACINTO SCELSI: Natura renovatur

2001

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Klangforum Wien | Hans Zender | Annette Bik | Andreas Lindenbaum | Uli Fussenegger

0012162KAI Scelsi Natura renovatur

With Natura renovatur, Anâgâmin and Elohim, pieces have been published dating back to the 60s that were hitherto difficult to approach and that show the out-sider’s fascinating attempt to realize the “real spherical dimension of sound” using the means of an ensemble made up purely of strings. Persuasively interpreted by Klangforum Wien under Hans Zender. (Berno Odo Plozer)

HANSPETER KYBURZ: Malstrom

2003

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0012152KAI Kyburz Malstrom

“All of his music harbors this pulling force, which in the uproar of turbulences catapults the listener – if not always wide-awake – out of itself. Rarely does calculated music have such a devastating effect. And still, from a tilted perspective, such can induce merriest pleasure …” (Hans-Peter Jahn)

HELMUT LACHENMANN: NUN

2001

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0012142KAI Lachenmann Nun

SALVATORE SCIARRINO: Lo spazio inverso

2000

ensemble recherche | Kwamé Ryan

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Both peculiar archaism and highest sensitivity characterize this quiet while extremely tense sound landscapes of the Sicilian composer Salvatore Sciarrino. (Hans-Peter Jahn)

0012132KAI Sciarrino Lo spazio inverso

WOLFGANG RIHM: Klavierstück Nr. 6

2000

Siegfried Mauser

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Four pieces for piano which draw their power from the integration of a precisely defined diversity of life and its own, aural world of sound.

0012122KAI Rihm Klavierstück Nr.6

BERNHARD LANG: Differenz / Wiederholung 2

2000

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Klangforum Wien | Salome Kammer | Dimitrios Polisoidis | Sylvain Cambreling | Risgar Koshnaw | Todd | Robert Lepenik | Wolfgang Musil “Perhaps DW2 is not so much repetition, but recurrence, a recurring repetition with something new – a difference that creates a difference because it looks back at us with the power of the information society gives beckons us to answer its repeating intensities.”

0012112KAI Lang Differenz / Wiederholung 2

LUIGI NONO: La lontananza nostalgica utopica futura

2000

Melise Mellinger | Salvatore Sciarrino

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By offering the listener a series of association patterns, relating to various kinds of historical have-beens, it reveals what has remained unfinished in the past and transforms it to a future potential which lies ahead of us as utopia that must be rediscovered anew by the interpreters and listeners each time they are performed.

0012102KAI Nono La lontananza nostalgica utopica futura

PETER EÖTVÖS: Chinese Opera

2000

Klangforum Wien | Peter Eötvös

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Chinese Opera is one of the most fascinating works of the eighties, written by the Hungarian composer and conductor Peter Eötvös. The double concert “Shadows” continues to work with the composer’s idea of “shadow plays”: sounds move as objects in space, throwing different shadows in other, softly echoing sound colours.

0012082KAI Eötvös Chinese Opera

WOLFGANG RIHM: Gejagte Form

2000

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Klangforum Wien | Sylvain Cambreling | Marino Formenti

0012072KAI Rihm Gejagte Form

“Art, working with art and making art, is in itself an invitation to boundless freedom. There can be no submission here,” writes Wolfgang Rihm. “Uncertainty predominates, the only potential for an agile mind.” Four pieces of one of the most significant and provocative post-war composers whose titles speak for themselves: “Gejagte Form” or hunted form, “Verborgene Formen” or concealed forms, “Chiffre I” or cipher, and “Silence to be beaten (Chiffre II)”. Four pieces of music that attempt to realise what Wolfgang Rihm considers “art’s purpose”: “Not to be a place of refuge but a reservoir of energy in regressive times.”

BEAT FURRER: Nuun

1999

Klangforum Wien | Sylvain Cambreling | Peter Eötvös

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The Austrian composer of Swiss origin considers his art to be a “view over the moving matter ‘sound’”: Beat Furrer does not develop sounds, he observes them, his music does not unfold dynamically with time, but attempts to rescind it: “No beginning”, writes Furrer, “everything is present from the start”.

0012062KAI Furrer Nuun

MATTHIAS PINTSCHER: Fünf Orchesterstücke

1999

Klangforum Wien | Matthias Pintscher | Sylvain Cambreling | Rundfunk-Sinfonieorchester Berlin | Urban Malmberg 782124 12052 8

The nocturnal side of reason is the subject of the suite derived from a piece of music theatre entitled Thomas Chatterton, while the Fünf Orchesterstücke showed how Pintscher compacts his sound images into a vocabulary for pursuing what Arnold Schönberg referred to as “the instinctual life of sounds”.

0012052KAI Pintscher Fünf Orchesterstücke

WOLFGANG RIHM: Musik für 3 Streicher

1999

trio recherche

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A music without distance and taboo, mercilessly physical, gestural, almost brutal. Using a rather abrupt editing technique, the most varied worlds collide, while all neatly separated styles are agitated against one another.

0012042KAI Rihm Musik für drei Streicher

GIACINTO SCELSI: Yamaon

1999

Annette Bik | Klangforum Wien | Hans Zender | Roland Hermann | Pierre-Stephane Meugé 782124 12032 0

Giacinto Scelsi refused to write down his works because to his way of thinking, it was influenced by far-eastern mysticism and philosophy, only the spontaneous primeval impulse seemed important and not some laborious elaboration.

0012032KAI Scelsi Yamaon

SALVATORE SCIARRINO: infinito nero

1999

ensemble recherche | Sonia Turchetta | Carlo Sini

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Both peculiar archaism and highest sensitivity characterize this quiet, while extremely tense sound landscapes of the Sicilian composer Salvatore Sciarrino.

0012022KAI Sciarrino infinto nero

MORTON FELDMAN: For Samuel Beckett

1999

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Klangforum Wien | Sylvain Cambreling

0012012KAI Feldman For Samuel Beckett

For fifty-five minutes, the great American composer Morton Feldmann weaves his tapestry of sounds, a pattern that is 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 literature than by the history of music.

HANS ZENDER: Schuberts „Winterreise“

1999

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Composers: Franz Schubert, Hans Zender Artists: Klangforum Wien | Sylvain Cambreling | Christoph Prégardien

0012002KAI Zender Schuberts „Winterreise”

What do listeners of Hans Zender’s composed interpretation of Franz Schubert’s Winterreise actually listen to? Is it quite simply an interpretation, or an instrumentation, an acoustic illustration, a highly original approach, a remake, an adaptation or a new creation? None of these terms would be wrong, and yet none truly corresponds to the complexitiy of this work.

Neue Musik kommentiert: Einführung in die Neue Musik

2003

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0011012KAI Oswald Einführung in die Neue Musik

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