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Updated: 2014-10-03T00:37:22.812-07:00


Peter Ruzicka - String Quartets (Arditti String Quartet)


Peter Ruzicka (b. July 3, 1948, Düsseldorf). Esteemed German composer of mostly orchestral, chamber, choral, and vocal works that have been performed throughout the world; he is also active as an administrator, conductor and writer.Prof. Ruzicka initially studied music theory and piano with Peter Hartmann and oboe with Egbert Gutsch at the Hochschule für Musik und Theater in Hamburg from 1963–68. He later studied law and musicology in Munich, Hamburg and Berlin from 1968–76 and earned his doctorate under the supervision of Wilhelm Nordemann in 1977.Among his many honors are the Kompositionspreis from the city of Stuttgart (1969, for Esta Noche [Trauermusik für die Opfer des Krieges in Vietnam]), a prize in the Bartók competition in Budapest (1970, for 2. Streichquartett, '...Fragment...' [withdrawn]) and a mention in the UNESCO International Rostrum of Composers (1971, for Metastrofe [Versuch eines Ausbruchs]). He has also received First Prize in the Gaudeamus competition (1972, for In processo di tempo...), the Bach-Preis-Stipendium from the city of Hamburg (1972) and the Louis Spohr Musikpreis Braunschweig (2004, for his œuvre and his promotion of new music). He has been a member of the Akademie der Künste in Munich since 1985 and of the Freie Akademie der Künste in Hamburg since 1987.He has received commissions from the cities of Augsburg and Düsseldorf and from Bayerischer Rundfunk, the Berliner Festwochen, the Bundesjugendorchester, the Deutsche Oper Berlin, the Deutsches Symphonie-Orchester Berlin, and the Göttinger Symphonie Orchester. The Internationale Musikverlage Hans Sikorski, the Kölner Philharmonie, NDR, RIAS, the Sächsische Staatsoper Dresden, the Schleswig-Holstein Musikfestival, SDR, SWF, and WDR have also commissioned him.([...] Alongside Ruzicka’s works for large ensembles runs a steady production of string quartets - but this is in no way a “sideline”. These works have been closely connected to the poetic work of Paul Celan and to Webern’s axiom of a maximally dense musico-linguistic statement since ‘...fragment...' Five Epigrams for String Quartet (1970). The Second String Quartet arose as a requiem for Paul Celan and is concerned with thoughts about death. These thoughts can be considered to be the scope of the following compositions for or with string quartet, as in the eschatological standpoint of the Third String Quartet ‘...über ein Verschwinden’ [about a Disappearance], the title of which quotes Boulez’s obituary for Adorno and whose telos is found in the final movement of Mahler’s Ninth Symphony as an allegory of death itself; ‘Tombeau’ for flute, (doubling alto and bass flutes) and string quartet of 2000, “a late echo of the Flute Concerto” (P.R.), reveals itself as a stele for Karl-Bernhard Sebon (1935-1994), the soloist who played the world premiere of ‘Emanazione. Variationen für Flöte und vier Orchestergruppen’ (1976). Paul Celan’s ‘Force of Light’ is one of nine text sources in ‘...sich verlierend’ [Losing Oneself] for string quartet and speaker (1996), a work which, in regard to structure, is just as important a connecting link to the musical theatrical work ‘Celan’ as is ‘...Inseln, randlos...‘ [Islands, edgeless] of 1994/95. Here, as in nearly all of his works since the middle of the 1990s, one clearly perceives the tendency to abandon the fragmentary aesthetic of his previous works in favour of an arch-like grandeur, thus fulfilling the requirements of a full-length stage work as well.The compositional idea includes – as the image of edgeless islands suggests – compression and unfolding, the material core and the breadth of musical space, which the solo violin, large orchestra and a chamber choir fulfil. Paul Celan is also present in this work with a poem from the cycle ‘Eingedunkelt’ [Darkened]: “After the renunciation of light: / the messenger’s walk, / brightening day, // the blissfully blossoming message, / shriller and shriller, / finds its way to a blee[...]

Salvatore Martirano: O, O, O, O, That Shakespeherian Rag



Salvatore Giovanni Martirano, internationally acclaimed American composer and Professor Emeritus at the University of Illinois was born on January 12th, 1927, in Yonkers, NY, a son of Alexander and Mary Mazzullo Martirano. He died at the age of 68 on Friday, November 17th, 1995.

Professor Martirano studied composition with Herbert Elwell at Oberlin College(1947-51), with Bernard Rodgers at The Eastman School of Music(1952), and with Luigi Dallapiccola at the Cherubini Conservatory in Florence, Italy(1952-4). From 1956 to 1959 he was in Rome as a Fellow of the American Academy, and in 1960 he recieved a Guggenheim Fellowship and an award from the American Academy of Arts and Letters. At this time he had works commissioned by the Koussevitzky and Fromm foundations. He was professor of composition at the University of Illinois from 1963 till his retirement in 1995. During the Illinois years he also accepted residencies at The Sydney Conservatorium of Music in Sydney in 1979, Australia, IRCAM in Paris in 1982, France, and The California Institute of the Arts in 1993.

His compositions have been performed by the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Vienna Philharmonic Orchestras, Cleveland Orchestra, and by radio orchestras and choral ensembles throughout the United States, Europe and the Orient. His chamber and solo works have been performed world-wide.



01 Cocktail Music (1962), for piano
02 Octet (1963), for flute, bass clarinet, conta-alto clarinet, marimba, celesta, violin, cello, contra-bass
03 Chansons Innocentes (1957) ,for soprano and piano: I In Just Spring
04 Chansons Innocentes (1957) ,for soprano and piano: II Hist Whist
05 Chansons Innocentes (1957) ,for soprano and piano: III Tumbling Hair
06 Ballad (1966), for amplified nite-club singer and instrumental ensemble
07 Stuck On Stella (1979), for solo piano
08 O, O, O, O That Shakespearian Rag (1959), for mixed chorus and instrumental ensemble: I Winter
09 O, O, O, O That Shakespearian Rag (1959), for mixed chorus and instrumental ensemble: II Lullaby
10 O, O, O, O That Shakespearian Rag (1959), for mixed chorus and instrumental ensemble: III Warning
11 O, O, O, O That Shakespearian Rag (1959), for mixed chorus and instrumental ensemble: IV Spring

Performers: John Garvey, viola; Dorothy Martirano, violin; Arthur Maddox, celesta; Howard Smith, contra-alto clarinet; Lee Duckles, cello; Rick Kvistad, marimba; Thomas Fredrickson, bass; Thomas Howell, flute; Ronald Dewar, bass clarinet; Donald Smith, voice; Jacqueline C Bobak, soprano; J. Robert Floyd, piano; Vicki Ray, piano; Marilyn Nonken, piano; Morgan Powell, trombone; University of Illinois Chamber Choir and Madrigal Singers


[avg. bitrate: 183 kbps]
[genre: contemporary classical, avant-garde, classical]

l i n k

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Tom Sora - Music For Mechanical And Electronic Instruments: 20 Töne / Destillation / Drei Angriffe


20 Töne (1993-98) - Neun Kompositionen Für Kurbelspieluhr
1 Texturen (1993) (5:24)
2 Ohne Titel 1 (1993) (1:58)
3 Eingefangenes Monument (1994) (3:026)
4 Wechselspiele (1994) (Mit Zwei Stimmen) (10:10)
Voice - Tom Sora
5 Ohne Titel 2 (1995/98) (3:42)
6 Tradiertes Material (1995) (3:37)
7 Unterbrochene Bänder (1995) (2:44)
8 Unterbrochenes Band (1996) (3:46)
9 Diskontinuität Und Überblendung (1996) (4:46)
Zwei Stücke Aus Dem Zyklus Destillation (2002/2004) Für Midi-Klavier
10 Improvisationscollage (2002/2004) (4:27)
Piano - Tom Sora
11 Erstes Destillat Aus >>Improvisationscollage<< (2003/2004) (4:27)
Piano - Tom Sora
12 Drei Angriffe (2003) Für Midi-Klavier (10:25)


Vanessa Rosetto


MisafridalImperial brickWhoresonin the wildernessMusic Appreciationmus001-003One of the pleasures of following new music is when someone springs up out of the blue (at least, to you), almost fully formed, with no particular connection to any musicians or musical scene of which you were aware, if anything known only as an avatar on a discussion board. For this listener, that happy circumstance occurred in the case of Vanessa Rossetto, a violinist/violist/electronicist from Austin, Texas. These three discs were all recorded in 2007and, though not intended as a triptych of any sort, can easily be heard as such, and a mighty impressive one at that.“misafridal” opens with some almost idle sounding flicking, presumably of a stringed instrument but abstracted enough to suggest almost any taut pieces of material, from plastic to paper. One of the first magical moments in this music occurs subsequently as rich, dark bowing from the viola enters quite unexpectedly, soon overlaid by field recording atmospherics, either out in the wind or inside some large enclosure, among which plaintive violin pluckings are briefly heard. It’s quite evocative and mysterious and sets the table perfectly for what follows as the music caroms between the impassioned string playing and the tapes. While she’ll occasionally, as near the beginning of the second track here, play rough-edged quasi-melodies, more often Rossetto fluctuates between freer playing inspired by musicians such as Polly Bradfield and Phil Wachsmann and low drones that recall Tony Conrad but with perhaps a greater emotive range. These drones constitute one of the deeper elements at play throughout the discs, often anchoring farther flung sounds though Rossetto is quite content to abide in a given area for an extended time, wringing out variation upon subtle variation. The third cut here, “eohippus” (Rossetto also has a way with titles), is gorgeous, all slightly splintered but relatively tonal, high-ish drones, one lapping at the heels of the next, with a soft rumble of something, perhaps a rogue field recording, maybe just ambient sound in the studio, beneath. As an album-length suite of sorts, it’s not perfect—the fourth track throws in a bit of a wrench with some accordion-like wheezing and disjointed, scrabbling string attacks, but on the whole it holds together beautifully, Rossetto varying both sound and structure within a seemingly narrow plane but achieving great breadth. The closing string piece (three or four overlaid, I think), returns to a fairly tonal character, a wonderful rumination that recalls, just a bit, the bluesy keening of the late Leroy Jenkins while also making reference to early minimalism.The “middle” disc (they were in fact recorded in the order issued), “imperial brick”, consists of seven improvisations on the viola, all laid down on the same day. (One can sometimes make out ambient sound from outside the room, traffic and such, a very nice effect). Here, the connection with earlier free improvising string players is the strongest and this set can be heard as part of the entire tradition of solo performances in that vein, though still the strongest attractor seems to be that of the ornamented drone. As ever, it’s a difficult feat to pull off consistently and Rossetto wavers here and there but by and large holds matters together with a sure hand. Not that it’s technically flashy, but I admit to being a bit wowed every so often, unable to quite believe that a mere single viola was in use; I get the feeling she has chops to spare. My favorite cut is “The Girlhood of Baba Yaga”, once again a drone-centered improvisation, with coiling, smoky tendrils unfurling off the central spine. Though I don’t know his work terribly well, I was reminded a good bit of a fine solo concert I saw in Nancy several years ago by Malcolm Goldstein. There’s a similar latent romanticism in Rossetto’s playing, not woozy at all, but clear-eyed with a dash of harshness[...]

Magazzini Criminali - Notti senza fine


"I Magazzini" is an acting company established in 1972 in Florence from Federico Tiezzi and Alessandro Lombardi. It's one of the most innovative acting company world-wide. As "Magazzini Criminali", the company did a contamination between theatre, cinema and music. Since 2001 he changed its name in "Compagnia Lombardi-Tiezzi".



Mathias Spahlinger - Musica impura


Mathias Spahlinger is a fastidious composer of highly charged music. His music does recall Lachenmann, but he is not a Lachenmann drone or imitator (like many younger-generation German composers). Instead he reaches back to the music of Webern through ultra-condensed miniatures and a very economical manner of writing. When I first heard Spahlinger, I was totally unprepared for the visceral intensity of his music; unlike the restrained expressionism of his Second Viennese School ancestors, Spahlinger's music frequently boils over into violent noise. This music needs to be listened to very carefully. It is an exploration of monumental relevations of expression in a small, compact, terse, and very dense manner. Albeit not such a distinction, (

link 1

link 2

thanks avant-terrorist :)

William Duckworth - The time curve preludes



William Duckworth's Well-Tempered Clavier of minimalism. Elegant studies in proportion and sonority. Each prelude grows from a single rhythmic figure, uses modal harmonies, raga-style drones, and Medieval melodic outlines, and captures a particular but relatively brief mood, whether meditative, dance-like, or song-like. Duckworth's shifting, modal patterns unfold in a specially reverberant universe created by sustaining (with weights) certain of the keyboard's lowest notes. With pace and duration perfectly controlled, the preludes progress from sweetness to pungency with an elegiac inevitability.

Performer: Neely Bruce


1 Untitled (2:21)
2 Untitled (2:08)
3 Untitled (2:00)
4 Untitled (1:54)
5 Untitled (2:09)
6 Untitled (4:11)
7 Untitled (2:45)
8 Untitled (1:48)
9 Untitled (1:48)
10 Untitled (1:46)
11 Untitled (3:34)
12 Untitled (2:45)
13 Untitled (3:12)
14 Untitled (3:45)
15 Untitled (1:40)
16 Untitled (2:17)
17 Untitled (2:33)
18 Untitled (2:03)
19 Untitled (2:36)
20 Untitled (1:44)
21 Untitled (1:45)
22 Untitled (2:11)
23 Untitled (3:30)
24 Untitled (2:35)


Jani Christou - Symphony No. 1



Jani Christou was born at Heliopolis, N.E. of Cairo on January 9th, 1926, of Greek parents. He was educated at the English School in Alexandria, and began composing at an early age. In 1945 he travelled to England to study formal logic and philosophy at Kingâs College, Cambridge under Ludwig Wittgenstein and Bertrand Russell (he attained an MA in philosophy in 1948). At the same time he studied music privately with H. F. Redlich, the distinguished musicologist and pupil of Alban Berg, and in 1949 travelled to Rome to study orchestration with F. Lavagnino. He also travelled widely in Europe, culminating for a short period in Zurich, where he met and attended lectures in psychology with Carl Jung. Christou's studies in psychology were greatly encouraged by his brother Evanghelos (himself a pupil of Jung) whom Christou considered his spiritual mentor and who exerted a strong influence on his creative thinking. Christou was deeply affected by his brother's death in 1956 as the result of a car accident, and it was Jani who arranged the posthumous publication of Evanghelos's book The Logos of the Soul.

He returned to Alexandria in 1951, and in 1956 he married Theresia Horemi a remarkable young painter from Chios who supported and assisted Christou in all his artistic and creative aspirations. Christou would compose for long hours at a stretch, and when not actually physically engaged in the act of composing would spend a great deal of time studying in his vast library of books and absorbing subjects from philosophy, anthropology, psychology, theology and comparative religions, history and pre-history through to occultism and art. Christou was as much a philosopher and metaphysician as he was a composer, and it is important to understand that all of his music sprang from his philosophical studies and theories. This is particularly so in the music covering the last ten years of his life, where his compositional techniques are at times transmuted beyond conventional music. In a series of Î130 Projectsâ (described by John G. Papaioannou as 130 metamusical, ritual works) Christou extends musical syntax to such a degree that the boundaries between music, theatre and everyday 'life', merge, coexist and sometimes become mutually independent one from the other: Anaparastasis III (The Pianist) for actor and instrumental ensemble and tapes (1968); Anaparastasis I, for baritone and instrumental ensemble (1968) and Enantiodromia are prime examples of this genre of Christou's late music. (

Symphony No. 1 for mezzo-soprano and orchestra (1951)
Athens State Orchestra. Kitsa Damassiotou, mezzo-soprano. Conductor: Alec Sherman


Phoenix Music for Orchestra (1949)
Deutsches Symphonie-Orchester Berlin, conductor: Brad Lubman


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Liz Allbee/Sharon Cheslow/Weasel Walter - Plants That Kill


Liz Allbee is a voracious musician whose work spans many genres, including new music, improvisation, electronic composition, Asian folk and pop, noise, minimalist, free jazz and experimental rock. She has played with a wide array of musicians, including Anthony Braxton, Wadada Leo Smith, Cecil Taylor, Hans Grusel, Birgit Uhler, Alberto Braida, Fabrizio Spera, Gino Robair, Yugen Noh Theater, SFSound, and with members of Caroliner, Sun City Girls, and Rova. She lives in Oakland, CA.

1. dionaea muscipula
2. cephalotus follicularis
3. utricularia
4. nepenthes
5. prosopis
6. syzygium
7. quisqualis pubescens
8. dalmatian spurge
9. strophantus
10. convolvulus jalapa

genre: free improvisation

liz allbee - trumpet, electronics, conch shell, voice
sharon cheslow - guitar, electronics, objects, voice
weasel walter - drums, percussion


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Nicolas Schöffer - Hommage À Bartók


Genre: electronic, experimental, avant


Electronic Compositions
Chronosonor 1–2 (10:12)
Chronosonor 3 (9:53)
Chronosonor 5 (11:30)
Percussonor 1–2 (8:48)


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Vittorio Gelmetti - Musiche elettroniche

Genre: electronic, experimental, contemporary classical, avantgarde



Trendi D'Onda A Modulazione D'Intensità (10:40)
Modulazioni Per Michelangiolo (15:20)
Nous Irons A Tahiti (13:40)
Traumdeutung (10:10)
L'Opera Abbandonata Tace E Volge La Sua Cavità Verso L'Esterno (23:10)