Showing posts with label 1990s. Show all posts
Showing posts with label 1990s. Show all posts

Friday, 16 December 2022

Echoes Of Nature - Wilderness River (1993)

The charity shop oddities just keep coming at the moment - here's an addition to that small corner of SGTG that features no music at all, but just captures a variety of natural sounds and presents them in album format.  This one, on the budget LaserLight label's Echoes Of Nature series from the 90s, offers exactly an hour of riverside recordings across four continuously-mixed tracks.  
 
The self-descriptive titles - Big River, Streamside Songbirds, Small Rapids and Crickets & Water - are pretty much all you need to know, other than it's all well recorded (that DDD coding is making me picture someone with a DAT machine in their backpack and a couple of microphones dangling over a bridge), and it does the job if you want to relax with nature for a bit.

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Monday, 12 December 2022

Arvo Pärt - Miserere (1991)

It's definitely Pärt weather now, so dropping in on the great Estonian composer today at the turn of the 90s.  Settled in by this time to a fruitful relationship with ECM New Series, the three works featured here were recorded in late 1990 with the Hilliard Ensemble, Western Wind Chamber Choir, Beethovenhalle Orchestra and others.

The 34-minute title piece comes first, with its stark choral liturgy interspersed with orchestral swells and the organ playing of Christopher Bowers-Broadbent.  Miserere remains one of Pärt's most immersive works in its controlled power, and it sounds sublime in this first recording.  A short respite is programmed next in Festina Lente, very much cut from the same cloth as the Cantus in memory of Benjamin Britten.  We return to Old Testament liturgy for the final track, Sarah Was Ninety Years Old, but wordlessly.  An intermittent drumbeat forms the backbone of the piece as the Hilliards in turn add plaintive melodies, the culiminative effect (once Broadbent's organ enters for the finale) being another masterpiece of steady pacing to thoroughly entrance the patient listener.  This might not be Pärt's easiest album to get in to, but it pays some of the greatest rewards.

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Friday, 9 December 2022

Jan Garbarek / The Hilliard Ensemble - Officium (1994)

Been giving this a fresh appraisal, so why not turn it into a post.  In a quirk of tapping in to the listening moods of the time, Jan Garbarek spontaneously joining in at a Hilliards rehearsal turned into one of ECM's breakout hits with the buying public, so the story goes.  There were sequels, but this first collaborative album between the early music singers and saxophonist remains a very 90s phenomenon all of its own.  So how does it hold up these days?

Officium certainly sounds breathtaking.  You'd expect nothing less from an ECM New Series recording of the Hilliard Ensemble, taking advantage of the resonances of the St. Gerold priory in Grosses Walsertal, Austria.  Flitting in and out is the ahistorical, but somehow seeming like a natural added voice, sound of Garbarek's saxes, equally attuned to the natural reverb.  An hour-plus immersion in this sound-world is definitely a sublime experience.

In terms of material, the album flits through the Hilliards' repertoire from the 12th to 16th century, giving a nice balance of starker, plainer material (including the odd solo spotlight) with more complex and interweaved voicings.  Garbarek doesn't overpower the singers, but finds subtle harmonies and drones with which to enhance the music.  The end result might be an early vocal music purist's nightmare, but for anyone willing to take the chance on this hybrid, as soon as you acclimatise to it it's a delight.  The only thing I sometimes wonder is if 77 minutes is a bit too much of the same thing for a single sitting, but on those occasions the first reprise of Parce Mihi Domine is a handy staging post to focus on one half of a double-album.  Overall, beautiful stuff that still stands up.  Must get hold of the other albums someday.

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Jan Garbarek at SGTG:

The Hilliard Ensemble at SGTG:

Friday, 25 November 2022

Giya Kancheli - Symphonies No. 1 & 7, Mourned By The Wind (1992)

Some more recordings of the Georgian master of steely storminess and melancholy calm, all taped in Moscow in September 1992.  The 'world premiere recording' banner up there I assume only refers to Kancheli's 7th Symphony (composed in 1986), as the other works on the disc both had prior releases - see links below for an earlier Mourned By The Wind.

This album, then, functions as a kind of bookending of Kancheli's symphonic era, that began in 1967 with his 1st and ended 19 years later with the aforementioned 7th.  Symphony No. 1's two movements show early signs of the Kancheli trademarks - fluctuating dynamics, especially in the choppy first movement, then a more languid solemnity in the second (love that twinkling percussion though).  The dramatic fireworks and passages of elegaic respite of Symphony No. 7 are contained in a single, flowing movement lasting 21 minutes.  Some later recordings are noted as proper blow-your-speakers-out monstrosities, but this premiere doesn't sound too extreme.

In between the symphonic bookends sits a lovely rendering of Mourned By The Wind, Liturgy for Viola and Orchestra.  It's not drastically different in approach to the 1988 Georgian recording, more a matter of taste - occasional little subtleties are more apparent in one version than in another.  Nice to have a contrast.
 
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Giya Kancheli at SGTG: 

Monday, 22 August 2022

Jacob Druckman - String Quartets Nos. 2 & 3, Dark Wind, Reflections On The Nature Of Water (1998)

A sample of the chamber music composed by Philadelphia-born Jacob Druckman (1928-1996).  The most avant-garde piece here, from Druckman's experimental 1960s, is the String Quartet No. 2.  Placed last on this collection, the single-movement work calls for the wildest playing techniques, and contrasts nicely with the album opener, the lengthy light-and-shade of 1981's String Quartet No. 3.  In between are Reflections On The Nature Of Water (1986), a solo marimba suite performed by the composer's son Daniel Druckman, and another pensive, dramatic string piece Dark Wind (1994).

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The Group For Contemporary Music at SGTG:

Friday, 19 August 2022

Paul Haslinger - Future Primitive (1994)

Since the Tangerine Dream posts ended in the Haslinger era, thought some of you might enjoy (or at least be mildy amused by) his debut solo album.  Picked this up in a charity shop a few months ago, and in the spirit of that Christoph Franke album from ages ago, decided that whether for comedy value or genuine enjoyment, it was too good an opportunity to pass up.

Well, it's definitely not as bad as that Christoph Franke album.  But it is still an ex-member of TD, whose 90s forte was most definitely film soundtrack work, deciding to make a sample-heavy solo album.  Haslinger in this case sticks to shorter, beat-driven tracks, so Future Primitive would at least have sounded vaguely contemporary in 1994.  From this distance it's a listenable enough time capsule of the kind of 'tribal' electronica that dozens of people were doing better, but it's definitely not an 'old shame' dud either.  See what you think.  I've just noticed that Haslinger put out a fairly well-received ambient record (and follow-up of sorts) just a couple of years ago, so I wouldn't mind giving that one a listen.

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Friday, 8 July 2022

Franco Degrassi & Gianni Lenoci - Franco Degrassi Gianni Lenoci (1998)

Earliest of a handful of collaborations between avant-garde composer and improviser Franco Degrassi (b. 1958, Bari) and fellow Italian Gianni Lenoci (1963-2019), a jazz pianist and composer from Monopoli.  The eight untitled tracks on this album credit both artists with "piano, computer, environmental sounds and acoustical instrument sounds", and after initial tracks focused on piano then concrete sounds, progress to various amalgamations of both.  The piano textures and sounds of the room can be loud and grating, or richly textured and meditative, adding up to just under an hour of closely-observed possibilities in improvised sound.

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Monday, 29 November 2021

Katharina Lienhart & Christoph Maria Moosmann - Hildegard Von Bingen: Antiphona: Liturgie Für Gesang Und Orgel (1998)

Music based on compositions by Benedictine abbess Hildegard Von Bingen (c. 1098-1179), arranged for voice and organ by soprano Katharina Lienhart and organist Christoph Maria Moosmann, to mark 900 years since the (approximate) birth of the composer, visionary and polymath.  
 
Three lengthy tracks and three short ones make for a bewitching hour-plus of well-arranged atmospheric music, with slowly developing dynamics from the organ - if your hearing's as bad as mine, some passages are virtually inaudible unless cranked right up.  When they reach full crescendo though, the organ drones (occasionally bringing to mind organ work by Ligeti or Jarrett) and ghostly vocal sound incredible.  More Hildegard Von Bingen next week.

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Wednesday, 24 November 2021

Arvo Pärt - Kanon Pokajanen (1998)

Acapella choral masterpiece by Arvo Pärt, written for the 750th anniversary of Cologne Cathedral.  Kanon Pokajanen takes its text from the eighth-century Orthodox (therefore sung in Church Slavonic) Canon of Repentance, with Pärt letting that liturgical language inform the structure of the music.
 
For this premiere recording in June 1997, the Estonian Philharmonic Chamber Choir were recorded in Niguliste Church, Tallinn, and sound phenomenal throughout, whether all 28 voices are combined or in the solos and responses.  The work's eleven sections climax in the full-on power of the Prayer After The Canon, to top off a sublime listening experience, whether you want to give it full attention or just wash over you in pure sound.

Disc 1 link
Disc 2 link
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Previously posted at SGTG:
Other posts featuring music by Pärt:

Monday, 8 November 2021

Conlon Nancarrow (performed by Ensemble Modern) - Studies, Tango, Trio etc (1993)

Yvar Mikhashoff (1941-93) was a New York-based pianist, composer and professor; he is notable in relation to Conlon Nancarrow for his ensemble arrangements of Nancarrow's studies for player piano.  A couple of these were heard on this blog last year in a Proms performance (links below) - now, here's an album's worth, filled out by a handful of other Nancarrow compositions.

The seven early Studies presented here were arranged by Mikhashoff in consultation with Nancarrow, who it turned out had envisaged fiendishly complex ensemble arrangements from the outset, perhaps performed by mechanical means.  That the technology wasn't feasible at the time to make this happen led to the eventual adoption of the player piano as Nancarrow's main mode of expression.  The performances here, by Ensemble Modern, are therefore as close as they can be to the instrumentation Nancarrow originally had in mind, and are tons of fun to listen to as they burst into life, like crazed, hyper-polyrhythmic cut-ups of Gershwin or Ives.

Mikhashoff's correspondence with Nancarrow, and his own investigations, also led to the definitive presentations here of some of Nancarrow's lesser known chamber works.  The Trio for clarinet, bassoon and piano (1942) was restored to its complete score here; the Piece For Small Orchestra was written as late as 1986, and the Sarabande and Toccata date back to the 1930s.  Lastly, Mikhashoff had a bit of a thing for commissioning tango pieces from various composers, so Nancarrow duly obliges.  All of it is wonderful, joyously bonkers music from a true original.

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Conlon Nancarrow at SGTG:

Wednesday, 3 November 2021

Tomás Luis De Victoria - Requiem, Officum Defunctorum (Gabrieli Consort/Paul McCreesh) (1995)

 
Late-Renaissance choral music in a masterful recording by the Gabrieli Consort led by Paul McCreesh, the plaintive singing bathed in the natural reverb of Brinkburn Priory, Northumberland.  Victoria (1548-1611) was the most significant composer associated with the Counter-Reformation in Spain, and was a contemporary of Palestrina.  Working for a while under the patronage of Empress Maria of Austria, Victoria composed this funeral mass on the Empress' death in 1603.  Beautifully sombre music, plus grinning skeleton cover, equals the perfect package.

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Monday, 4 October 2021

Gerry Hemingway - Electro-Acoustic Solo Works 1984-95 (1996)

Over an hour of sound-shifting from composer and jazz drummer Gerry Hemingway, b. 1955 in New Haven.  As might be expected, most of his sound sources here are percussive, but manipulated extensively to create compelling worlds of sound and atmosphere.

Five works are presented in mostly chronological order, starting with Waterways (1983-4).  As the title suggests, it grew from actual recordings of the flow of a stream and isolated water droplets to representations of these textures by percussion ensemble.  The four-part evocation of life in an Arctic landscape, Aivilik Rays (1988-90) is next, creating a cinematic immersion over nearly 25 minutes with treated sounds of wind, birds, plus percussion and synthesised sound.

A couple of shorter pieces follow: Totem (1985) is a particularly ear-catching collection of tape-shifted sounds from junk percussion and broken glass, and Chatterlings (1995) brings Hemingway's sound up to date for the era of this release, with MIDI sampling/triggering of wood, metal and skin percussion.  To round off a really enjoyable collection, we get another lengthy exploration, this time of different overlapping sound groups in Polar (1990-6).  Really enjoying the way this album reveals lots of subtleties on repeat listens.

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Monday, 6 September 2021

Kaija Saariaho - Private Gardens (1997)

Typically ear-bending brilliance from Finnish composer Kaija Saariaho, in a collection of solo works from the 1990s.  Much like her other music featured here before (links below), sound manipulation plays a central role throughout, with every piece having "...and electronics" appended to the instrument of choice.

First up is sixteen bewtiching minutes of Lonh (1996), sung by Dawn Upshaw, with her soprano voice (and some spoken fragments and whispers in there too) emmeshed in the web of electronic sound.  Both from 1992, the three-part Près is an envigorating journey for solo cello and subtler manipulation, and NoaNoa combines regular flute playing with associated sounds of rustling, breathing and voice.  To round out a highly recommended collection of journeys into sound, the percussion cycle Six Japanese Gardens (1993-95) takes its inspiration from a visit to the gardens of Kyoto, and (again using voice as well as instrument) is by turns meditative and ritualistic.  Don't miss this one - as with all of Saariaho's music that I've heard, it just sounds so damn good.

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Kaija Saariaho at SGTG:

Wednesday, 7 July 2021

Plastikman - Sheet One (1993)

An hour of minimal techno, nice and acidy sounding (and famously including artwork made to look like a blotter sheet) from Richie Hawtin in the album that launched his Plastikman alias.  This hypnotically static music is at its best over extended tracks, and Plasticity is first to set off on a long, winding trip.  Glob and Plasticine are my favourites here for the same reason, and in between there are plenty of shorter ventures into creating near-ambient atmospheres, with the same evergreen bleeps and splodges of classic acid bass.  Eternally durable journeys for the mind and body.

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Friday, 20 November 2020

Roedelius - Piano Piano (1991)

Whether you read that album title as an indication of musical dynamics ('soft, soft'), or just that Hans-Joachim Roedelius' touch on the titular instrument was so good he named it twice, this is a sublime album.  Released in 1991 on the Italian label Materiali Sonori, these nine tracks of solo piano bear all the hallmarks of the master of melancholy melody.  A couple of the longer ones meander a bit, but always in the nicest way possible, along the paths and across the fields of rural Europe that Roedelius' more reflective music conjure up.

On the CD version, Materiali Sonori added three bonus tracks: one of them 15 minutes long, and the other two back down to a compact three minutes.  In contrast to the album proper, there are subtle synth shadings added to these extra pieces.  In the lengthy In der Dämmerung, actually, they're not all that subtle at all to begin with, sounding like a particularly odd counterpoint or out-of-sync overdub at first, but it all starts to make sense after a few minutes.

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Monday, 12 October 2020

Ljubica Marić - Threshold Of Dream (1996 compi, rec. 1958-1996)

 
Career-spanning overview of Yugoslavian/Serbian composer Ljubica Marić (1909-2003), whose style was significantly influenced by Byzantine church music.  Her earliest work is represented by the very last track on this compilation, a violin sonata written in 1928.

Most of Disc 1 is taken up by works in Marić's "Music of Octoecha" series from the 50s and 60s, inspired by the eight modes used by the Byzantine Orthodox Church.  Some of the recordings occasionally show their vintage (or perhaps inept remastering) in brief dropouts, so don't worry, it's not your headphones, but are all good enough to let this solemn, powerful music shine through, especially on the lengthy Byzantine Concerto.  The cantata that gives this collection its title is another highlight, using the fifth mode of the Octoechos and surrealist verses by the poet Laza Kostić.
 
Marić's late work is represented by the trio piece Torso from 1996, so titled as it was intended to be "reduced to its core".  Disc 2 then starts with what was the highlight of the whole collection for me, Songs Of Space for choir and orchestra, which takes its text from epitaphs found on Bogomil tombstones.  An orchestral work from the 50s and string work from the 80s round out this great introduction to Marić.  Recommended especially for anyone who likes Pärt & Górecki at their most invigorating.

Disc 1 link
Disc 2 link
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Wednesday, 23 September 2020

Steve Hackett - There Are Many Sides To The Night (1995)

Steve Hackett live and acoustic, from the Palmero Teatro Metropolitan in December 1994, supported only by keyboards from Julian Colbeck.  Steve's on sparkling form, and in jovial spirits, frequently teasing bits of his old classics (and even tracks from his time in Genesis) before claiming to have forgot them all.  He does open with Horizons, and touches on his earliest solo records (links below) with Kim and a re-arranged Ace Of Wands.  The rest of the set highlights his acoustic records as might be expected, plus a nice bit of Vivaldi, a blues where he drops the guitar in favour of harmonica, and a cover of Andrea Morricone's Cinema Paradiso.

link
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Previously posted at SGTG:
Voyage Of The Acolyte
Please Don't Touch
Defector

Friday, 14 August 2020

Pat Metheny, Dave Holland & Roy Haynes - Question And Answer (1990)

Sunny (even though it was recorded just before Christmas) and swinging single-day session from a trio of absolute masters of their craft, effortlessly turning in five Metheny originals, three jazz standards and an Ornette Coleman cover.  It's a well-sequenced hour of uptempo material and some gorgeous ballads, in classic guitar trio format until the album closer - which oddly sounds like it's jumped in from a Pat Metheny Group record, but it's still a great tune so it doesn't jar with the rest of the material.

Pat's on fine form, Dave Holland rock solid and nimble, and the legend that is Roy Haynes.... just.... wow.   Sometimes I feel like this album should've been credited to Haynes first followed by the others, he's just so on point with every single beat and trademark cymbal/hi-hat flourish.  So well recorded, too - if a lover of jazz drumming was ever to tap me for a recommendation, they'd be pointed straight in the direction of this album.

link
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Pat Metheny at SGTG:
Watercolors
New Chautauqua 
American Garage
As Falls Wichita, So Falls Wichita Falls
Offramp
First Circle
Song X
The Way Up
and featuring Pat:
Dreams So Real
Shadows And Light
The Sound Of Summer Running

Wednesday, 27 May 2020

Gateway - Homecoming (1995)

Twenty years on from their first session together (posted a couple of weeks back), and seventeen since they'd last recorded, the Gateway trio of John Abercrombie, Dave Holland and Jack DeJohnette reunited in style.  There was plenty of fire left in the trio, as evidenced right from the opening title track - after a cool, swinging earworm of a theme, Abercrombie cranks up the volume and a great group improv ensues.

As with their debut, Holland is the standout songwriter here, penning the title track and also the barreling-forwards Modern Times, the firey groove of How's Never (with a great drum solo) and also the spare In Your Arms.  Abercrombie writes three tunes, including the glowing embers of Waltz New - his guitar tone is never less than a thrill on this record, even when not at full pelt; and DeJohnette pens the closing pair, including a switch to piano on the gorgeous closer Oneness.

link
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Previously posted at SGTG:
Gateway - First Album
Characters (Abercrombie)
Sargasso Sea / Five Years Later (Abercrombie/Towner)
Pictures (DeJohnette/Abercrombie)

Monday, 25 May 2020

Edison Denisov - Symphony (1990)

Edison Vasilievich Denisov (1929-1996) was part of the Soviet "underground" of composers who found themselves denounced by the state in 1979 - "Khrennikov's Seven" also included Artyomov and Gubaidulina.  He spent the last two years of his life in Paris before succumbing to long-term ill health.

This live recording of his first symphony (composed in 1987) dates from February 1990.  By this time, Denisov's standing in late-Soviet Russia had improved enough that the Ministry of Culture Orchestra performed it in the Moscow Conservatoire.  Rather than follow established symphonic form, the work paints dark tonal colours and textures: unsettling, almost Ligeti-like strings and sombre bells in the long first movement, and strong percussion in the third.  Wonderful, stirring and engrossing music.

link
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bonus Denisov - Symphony No. 2

A concert broadcast from February 2017 in the London Royal Festival Hall, with the LPO conducted by Vladimir Jurowksi.  Denisov's Symphony No. 2, written eight months before his death, was much shorter than the first (just under 16 minutes), but covers similar terrain.  It was programmed with two other "end of life" works: Berg's Violin Concerto, and Symphony No. 15 by Denisov's one-time teacher Shostakovich.

link
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