5 albums sorted by Most acclaimed
Narrow my search
Classical - Released November 24, 2017 | Aeon
Michael Jarrell claims for himself the status of a craftsman. Well aware that mastery of his art is acquired in the long term, he has often felt the need to return to the same object, considered from a different angle, when he judges that he now possesses more efficient tools and can express his musical ideas with greater precision. Although he says he is fascinated by artists who constantly work at the same idea, he does not seek a reduction of this kind for himself, but rather moves from one work to another through a process of reactions. That attitude is illustrated by this new album in which works and performers intersect; and the artists here are the composer’s most loyal supporters. The arborescences and ruptures, the profundity of the multiple levels of interpretation we can perceive in the pieces on the programme of this disc, make us conscious of the multiplicity of the levels of meaning present in his music. Michael Jarrell’s training as a visual artist has probably honed his sensitivity to forms still further. The impact on him of Paul Klee’s ideas, notably concerning the relationships between forms and movements, is doubtless not foreign to the way he animates the materials with which he composes. © Aeon/Outhere
Classical - Released August 1, 2005 | Kairos
One of the founders in the 1970s of the so-called "spectral" school, Gérard Grisey demonstrated his musical theories most completely in his vast Les Espaces Acoustiques; but he also composed a number of instrumental solos and small ensemble pieces that indicate how his nascent ideas developed. This 2005 release from Kairos presents a selection of these chamber works, ranging from the early Charme for clarinet (1969) to Stèle for two percussionists (1995), composed three years before Grisey's death. These compositions, along with Tempus ex machina for six percussionists (1979), Solo pour deux for clarinet and trombone (1981), and Anubis-Nout for contrabass clarinet (1983), are nothing short of theoretical investigations: of sounds as events; of the variable resonances of overtones in acoustic space; and of the conflict between objective, chronometric time and psychological time, as perceived by performers and listeners. These musical problems are heady stuff, not easily grasped by lay listeners, let alone by those familiar with Grisey's experimental procedures. As a result of the difficulties presented in this cerebral music, much of this recording will seem scattered, meandering, and dull for long stretches. Without some theoretical grounding -- never mind the poetic liner notes that contribute little helpful information -- this CD is rather hard to understand or like; and while these pieces are undoubtedly valuable for scholars to comprehend Grisey's work as a whole, they are not sufficiently eventful or colorful for pleasurable listening. The performances by clarinetist Ernesto Molinari, trombonist Uwe Dierksen, and Ensemble S are competent, and Kairos' audio is expertly engineered, so if abstract and abstruse music appeals, this disc will adequately fill the bill.
News feed Prev. Next
Thu Qobuz | Highwomen: A Most Successful HeistTue Qobuz | Ashley Henry & The Night of The Vinyl HunterMon Qobuz | L'Epee: Live By The Sword, Jive By The Sword?
Sat Qobuz | Lower Dens' Fabulous RevoltWed Qobuz | Center Didn't Hold ...
Tue Qobuz | Sun Rings : The Overview Effect, In MusicMon Qobuz | Wallace Roney Celebrates The Jazz Youth
Fri Qobuz | Robert Randolph's Steely ResolveThu Qobuz | Taylor Swift Gets PoliticalWed Qobuz | Bombay Bicycle Club Is Open For Business