Source: Col Legno.
Here is the second solo album by the cellist and composer Lukas Lauermann, a much sought-after guest in contemporary music where it is experimental and still nobody has to cover their ears. The opus is titled “IN” and describes a special condition: someone goes IN himself and at the same time receives INput from outside. When stepping through the 12 semitones of the music, tuning forks, synthesizers and piano can be heard in addition to the cello. Sometimes these sounds are changed electronically, but sometimes they are also heard through the cello, whereby the time-honored instrument becomes a body of sound for other sound sources in a maximum expansion of playing techniques. But that’s not all: Lauermann undertakes rhythmic transfers of binary codes. Sees his musical ideas as germs that spread, network and become an organism that can be accessed at different points. Seeks completeness in the smallest possible. And the best thing about it all: even if you know all of this – you won’t hear it! You can just sink in!
What Thomas Wally, born 1981 in Vienna, composed and what the famous Mondrian Ensemble miraculously recorded on this composer’s first portrait album, could herald the dawn – or better: the dawn – of the latest music. So much individual language and character can be seen in the pieces from the past decade – including two piano quartets, a string trio and a quarter-hour violin solo – so much desire to experiment and strive for freedom with maximum conceptual seriousness. Playful curiosity paired with deep knowledge can be heard in these compositions, richness of detail and vision, poetry and plain text. In this way and in many ways more, Thomas Wally’s music can be “experienced, sometimes even tangible”.
Les Espaces Électroacoustiques II
The idea of researching important electroacoustic compositions of the 20th century in their historical performance practice and on this basis to prepare a reinterpretation in 5.1. Mix made waves. It was created at the Institute for Computer Music and Sound Technology (ICST) at the Zurich University of the Arts and was reflected in the double SACD Les Espaces Électroacoustiques I. – With this album, further milestones in electroacoustic music appear in an adequate and informed reproduction: by Luigi Nono’s first studio work on the production of serial electronic sounds, which Gottfried Michael Koenig realized in 1955 in the WDR studio in Cologne, to Karheinz Stockhausen’s piece Kontakt,an early example of successful dialogue between instruments and electronics as well as Luciano Berio’s Altra Voce , a kind of echo to the “azione musicale” Cronaca del Luogo , premiered in 1999 at the Salzburg Festival.
Boulez / Manoury
Le Marteau sans maître / B-Partita
“Le Marteau sans maître” by Pierre Boulez (1925-2016) is one of the essential compositions of the 20th century. For the first time, the masterpiece appears on an album together with the Boulez homage “B-Partita” by the well-known French composer Philippe Manoury (* 1952). According to texts by René Char, Boulez moved between extremes: spherical sounds followed pulsating rhythms, free passages followed strictly formal meters, lyrical singing followed instrumental expression. The music is always changing, although the goal of its change always remains noticeable. Via the special instrumentation, which aims at a step-by-step deconstruction of the singing voice into percussive noises – a compositional technique that would continue through his further work – the barely 30-year-old Boulez approaches his own, distinctive handwriting. Manourys “B-Partita” sees itself as a subtle appreciation of the same Boulezian musical language.