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EDITION WANDELWEISER RECORDS
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amsterdam . berlin . moscow losoncy
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EWR
2122/23
CD
boon, sijstermans, cater, singh, losoncy,
hauer, shirokov, vriezen
the same ensemble: sasha elina (voice,
flute), kirill shirokov (piano, electronics) dante boon
(fender rhodes, piano), seamus cater (concertina,
harmonica), heather frasch (flute), koen nutters (doubel
bass), germaine sijstermans (clarinet), rishin singh
(trombone) gaby losoncy |
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squidco.com
audio excerpt:
►
germaine sijstermans - M (22:23)
►
seamus cater - tree space: the trees they are growing high
(07:24)
►
dante boon - for what (08:46)
►
kirill shirokov - a dream (05:01)
►
samuel vriezen - linking (10:21)
amsterdam . berlin . moscow
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CD1 |
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1
2
3
4
5
6 |
dante
boon
germaine sijstermans
seamus cater
dante boon
rishin singh
dante boon |
the
heart’s size (2011)
M (2018)
tree space:
the trees they do grow high (2019)
depression (herbeck) (2017)
trauermusik (2020)
for what (2020) |
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CD2 |
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1
2
3
4
5 |
gabi
losoncy
josef matthias hauer / kirill shirokov
kirill shirokov
kirill shirokov
samuel vriezen |
tighter
(2020)
atonale musik nr. 1 (1922/2017)
2019IX26 (quintet) (2019)
a dream
(from: songs of innocence) (2020)
linking (2019) |
musicians:
CD1
the same ensemble: sasha elina (voice, flute), kirill
shirokov (piano) (1, 3, 4, 5)
dante boon (fender rhodes, piano) (2, 5, 6), seamus cater
(concertina) (2, 5), heather frasch (flute) (5) koen
nutters (double bass) (2, 5), germaine sijstermans
(clarinet) (2, 5), rishin singh (trombone) (5)
CD2
the same ensemble: sasha elina (voice, flute) (2, 3, 4),
kirill shirokov (piano, electronics) (2, 4)
dante boon (piano) (3, 5), seamus cater (harmonica) (3),
koen nutters (double bass) (3),
germaine sijstermans (clarinet) (3), gabi losoncy (1)
virtual meetings
this double album, curated by dante boon, was realized under
pandemic conditions, musicians sit- ting in their cities, in
their homes, not quite able to play together. so it features
forms of together- ness that are not quite together. it is a
portrait, not quite of a scene, but showing links between
scenes, related interests, a musical sensibility at work in
the world today.
there are songs. the same ensemble, the moscow-based duo of
sasha elina and kirill shirokov, describes their work as
"experimental chamber pop in the form of a new music
duo". dante himself has played keyboards in the
dutch rock band the scene, and his vocal music shows an
ongoing affinity with the form. amsterdam-based composer and
singer/songwriter seamus cater’s tree space: the
trees they do grow high is based on an 18th-century
folk song, as recorded by peter bellamy, but maps the
materials onto a score in the form of a tree that musicians
explore.
there are ensembles formed of musicians who have never met.
members of the same ensemble, amsterdam’s dnk
ensemble, and berlin’s konzert minimal have recorded
parts to be mixed together by a composer. if the parts have
similar materials, echos happen spontaneously, like multiple
perspectives on the same ideas, from all over the world,
happening in various rooms. tiny differences in tuning
become unexpectedly expressive this way – rishin
singh’s trauermusik in fact asks musici- ans
to tune their a individually at anything other than 440.
similar surprises happen in kirill shirokov’s 2019ix26
with its mesmerizing gradual shift of pointillist harmonies.
germaine sijstermans’s m, recorded in the
regular way, also has three sub-ensembles interpreting the
same material (a sequen- ce of dyads) each in their own way,
but breathing together, complementing each other’s
forms of resonance.
there are responses to more distant times and circumstances.
josef matthias hauer, the “other” inventor of
twelve-tone music, is present in a radical arrangement by
shirokov. choices of texts betray affinities with great
poetic voices from the past: blake, thomas, herbeck,
whitman. but the tracks also are of their moment – the
score of for what by boon, a lament in dyads,
mentions june 2020 as its date of composition, when the
world was gripped by protests against the infuriatingly
unjust death of george floyd. at that time, too, tighter was
contributed by sound artist gabi losoncy, the one artist on
this album whose music practice isn’t explicitly
connected to the others somehow, appearing like a
sympathetically resonating world apart within the world that
is this album.
what links all these tracks together? because they do
connect – i hear the album as one whole in which the
pieces flow into one another, talk to each other. but i
can’t say for sure how this works, even though my own
piece is called linking. this was written in 2019
for tom johnson’s 80th birthday; it is a set of cards
for any ensemble to play, in which musicians each get
different cards with motives of up to three notes on them,
and try to link these together using common pitches. dante
has chosen to play this as an ensemble of one; listening,
you can trace the polyphony as it unfolds, motives enter and
are discarded, voices meeting at the unison or in another
octave. that’s playing piano: even when you
can’t get together with other voices directly
there’s always whole ensembles of them under your
fingers. another kind of virtual meeting.
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