|Album:||Music From Stanford||Collection:||Classical|
|Artist:||Various Artists||Added:||Oct 2010|
|Add Date:||2011-06-19||Pull Date:||2011-08-21||Charts:||Classical/Experimental|
|Week Ending:||Aug 21||Jun 26|
|1.||Aug 17, 2011:||Memory Select
|3.||Jun 21, 2011:||Bisous Bojoux
Teune Brillantez / Tenuous Brilliance
|2.||Jun 24, 2011:||Gilt: Cantan
Siempra Otra Cosa (EstaciÃ³n Violenta)
Label: Innova Recordings
This is the 4th volume in a series recording “challenging music” composed by members of the Stanford community and performed by Stanford students. Sigman describes reflets/réflexions/implosions as having “two primary levels of discourse . . . [imploding to] their kernel identities . . . [which are] expanded, re-configured, and systematized.” Semper’s Zusammenzeit is scored for flute, oboe, percussion, violin, cello and conductor. Cerrillo writes that siempre otra cosa (estación violenta) is concerned with the word imperceptible: “the possibility of encountering and knowing what always remains unknown.” Rodríguez’ //ligero// is scored for soprano and tenor recorders, piano and percussion and involves a harmonic sequence “that relates simple integer frequency ratios with intervallic relationships perceived as smooth or terse.” Martínez’ Tenuous Brilliance “is a tiny light to illuminate the infinitesimal parts of any instant, and a poetic microscope.” Ireland’s clearing (I) for string quartet utilizes a passage “transformed through being partially reversed and marked by insistently regular bowing. . . particular playing techniques are regarded as expressive distractions and excluded entirely.” Total time: 69:56
1. Sigman, A. reflets/réflexions/implosions (12:06). Sax (or clarinet?) tremolos, tweets and bleats, in mostly brief bursts, traveling up and down the instrument’s register, with brief pauses interspersed. Soft, pianissimo quivers and quiet creaks in last few minutes.
2. Semper, S. Zusammenzeit (14:49). Atonal, instrumental interplay without recognizable melody or classical harmonies (chords are dissonances that do not resolve). Varied textures, including use of cow bells, as instruments play independent lines. High pitches predominate
3. Cerrillo, JC. siempre otra cosa (estación violenta) (13:54). Starts with high chimes, semi-melodic, sustained recorder notes start at 1:00 and continue over low hums, with some recorder calls and slides. Dragging rhythm ends the piece, with near banshee wails sounding over percussion.
4. Rodríguez, M. //ligero// (9:04). A ship creaks, coconuts are tapped, winds rise, distant jungle birds call, eventually approaching nearer as celesta-like chords play and drums, including snare, become more prominent. These motives continue throughout and fade over the last 2-3 minutes.
5. Martínez, PE. Tenuous Brilliance (10:28). Separated sounds occupy first 2.5 minutes, then an exuberant, discordant jam session begins, later giving way to extended, dissonant flute/oboe diad, joined more melodically by cello and then violin in syncopated rhythms. Dissonant lyricism occupies the last few minutes.
6. Ireland, K. clearing (I) (9:37). A high-pitched squeal is heard, then sunlit flies buzz before slow quadrupeds lumber into view. Midway through the piece, cacophony ensues as all try to be heard, insistently, and the loud complaining never lets up.