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| Journal Archive |
| New Releases |
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| Gordon Kampe: Arien/Zitronen |
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Though it may be tempting to suspect an element of provocation here, Kampe is no iconoclast. His compositional style doesn’t follow an impulse to oppose any particular musical genre or movement – it is simply the result of an attentive, aesthetic sense of perception which articulates a wonderful inventiveness. This in turn allows Kampe to set the world to music. [...] Click here for more about Gordon Kampe: Arien/Zitronen. |
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| Milica Djordjevic: rocks-stars-metals-light |
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Milica Djordjević, a native of Serbia, is still in her early thirties: far too young to be pigeonholed. Nevertheless, judging by all she has achieved so far, she has to be on the side of the hedgehogs. She is pursuing her own, steady course with determination and great discipline; indeed her compositions are so clearly members of the same family, with numerous shared characteristics, that it might almost seem as though she were tirelessly writing and rewriting the same piece. On closer observation, however, this impression soon dissipates. [...]
Click here for more about Milica Djordjevivic: rock-stars-metals-light.
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| David Hudry: Durchgang |
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David Hudry is a French composer who is interested in the exploration of dramaturgy using heterogeneous musical characters. Inspired by the graphic arts, especially by Klee and Kandinsky, his music articulates gures and gestures that create tension and lends a visual aspect to the sonic material. [...]
Click here for more about David Hudry: Durchgang.
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For me, composition is a game’, says Kampe, ‘using objects which – from a distance – don’t seem to belong together.  |
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| [...] Hudry researches very early on, a form of vigorous interaction between the performer and the machine – an axis of his compositional output. |
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| Beating Bounds, the Limits of Failure: the Music of Mark Barden. |
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| It seems that Djordjević’s imagination is focussed entirely on an interior world, on the interplay of forces within a de ned space. |
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| Ceremonies, too, guard their silences: the music of Christian Mason. |
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| Even Hector Berlioz praised the sound of the, then newly invented, saxophone, likening it to the “mysterious vibrations of a bell, long a er it has been struck.” |
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| “A man is only fully a human being when he plays.” (Friedrich Schiller) |
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| The documentation of the Internationale Ferienkurse für Neue Musik Damrstadt 2002 by col legno |
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