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Arvo Pärt: Anima |
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Arvo Pärt, by virtue of his distinctive, soulful music, enthuses his audience like no other contemporary classical composer. This album is the first-ever compilation of all compositions by Pärt that have been transcribed for saxophone quartet – revealing them, so to speak, without words, “only” through breath, through oscillating columns of air. The Italian Alea Saxophone Quartet master this task brilliantly. Find the album right here. |
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Lukas Lauermann: How I Remember Now I Remember How |
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He plays the cello with celebrated indie bands, writes music for theatre and lm productions, realizes sound improvisations: now Lukas Lauermann presents his solo debut, and invites us to listen into “the great spaces all around” – spaces of memory, chambers of sensation, places of yearning. “Barrier-free modern classical music.” Find the album right here.
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Alma: Oeo |
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Guess who’s back: Alma are happy to show around again presenting their brand new and highly anticipated 3rd Longplayer Oeo! »... somewhere between the native soil and a dark universe.« Find the album right here.
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iris electrum |
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Pop music of stunning grandeur, and of moving simplicity. Eleven songs brimming over with ideas, sounds, shapes, defying any stylistic categorization, nimbly commuting between different genres, celebrating diversity and curiosity. Find the album right here.
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Les Espaces Électroacoustiques |
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Is a musical performance “historically informed”? Does it do justice to the “original sound”? Is it even possible to truly experience the “original idea” behind a composition when it is performed with “modern instruments”? We are familiar with questions such as these in connection with the interpretation of so-called early music. On this double album they are rigorously applied to so-called new music. Find the album right here. |
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Federspiel: Smaragd |
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"The music they make is an acoustic gingerbread, lustily oral, closely linked to eating, drinking, kissing, breathing, living." (...) "It is brass instrument music with its origins in the depths of the country, but which then always branches o in surprising ways, not meeting the usual expectations but instead surprising with something new." (Franzobel) Find the album right here. |
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Sferraina: Monkeyfish |
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Sferraina, a young and uprising ensemble dedicated to "performing old music in a contemporary way and contrasting it with a modern horizon“ finally presenting their debut Monkeyfish. Find the album right here.
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| John Cage |
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Melodies & Harmonies |
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"Six Melodies" (1950) and "Thirteen Harmonies" (1985): Annelie Gahl (violin), Klaus Lang (Fender Rhodes) and col legno present an excitingly accessible John Cage.  |
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| Trio Catch |
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Sanh |
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| “Trio Catch are like a fresh new brand for the old lady New Music.” (www.vanmagazin.com) — Could there be a catchier way of phrasing it? |
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| Arvo Pärt |
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Anima |
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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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| Franui & Florian Boesch: ALL WAS WELL AGAIN |
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| Alma: Oeo (Teaser) |
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| iris electrum: of tigers and owls (no future, no past) |
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| CPSS: Bold |
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| Helmut Lachenmann |
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Allegro Sostenuto |
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| Resonance and motion take center stage in Allegro Sostenuto. Lachenmann’s “idea of a musique concrète” bears remarkable fruit in Pression and Dal niente. |
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| John Cage |
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Prepared Piano |
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| A virtue out of necessity: under Cage’s hands the preparation of the piano developed from a flash of inspiration into a distinctive mode of expression. |
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| Morton Feldman |
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For Bunita Marcus |
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| "This work, which I have dedicated to Bunita Marcus, [...] deals with the death of my mother, and with the notion of a slow death." |
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| Steven Stucky |
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| Listening to Contemporary Music |
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| A timeless keynote about finding a relationship to music of our times. |
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