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Home / Listen / Musicworks magazine recordings / Musicworks 127 CD
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Thin Edge New Music Collective
issue # 127
11 el8dEra 3m (2016) 6:40
Composed and performed by Craig Aalders (acoustic guitar, analog and digital synthesizers, analog effects, MaxMSP, field recordings).
Recorded at Pacific 70 Studios, Vancouver, B.C., August–October 2015. Mixed at Pacific 70 Studios, July–August 2016.
Ambient-electroacoustic piece that explores the relationship between sound, composition, and improvisation.
22 Linen (2014) 8:40
Composed by Anna Höstman.
Performed by Thin Edge New Music Collective: Cheryl Duvall (piano), Suhashini Arulanandam and Ilana Waniuk (violins), Dobrochna Zubek (cello).
Recorded in concert at Gallery 345, Toronto, Ont., Februrary 21, 2014. Audio-video by Alison J. Gray and John Gray.
Based on the poem “White Linen” by Swiss author Robert Walser (1878–1956), who wrote in the tiniest pencil-scratchings imaginable. In composing it, I looked for possible ways to emulate Walser’s approach musically, to construct “textures from tiny”— an extremely dense and closely knit series of events from small gestures.
33 Le sel de la terre (excerpt) (2015) 6:49
Composed by Patrick Giguère.
Performed by Thin Edge New Music Collective: Cheryl Duvall (piano), Sarah Yunji Moon (flute), Nathan Petitpas (vibraphone), Anthony Thompson (clarinet), Amber Walton Amar (cello), Ilana Waniuk (violin).
From the upcoming album Raging Against the Machine (Redshift Records, TK449, 2017).
Recorded at Glenn Gould Studio, Toronto, Ont., January 2015 by Dennis Patterson (audio engineer), Paul Hodge (assistant engineer). Produced by David Jaeger.
Some people—artists, craftsmen, ecologists, DIY workers, organic farmers, people whose first life concerns are not money and entertainment—are raging against the machine by their life choices and by having the courage to be who they are. Samuel Archibald, in his essay Le sel de la terre, calls these people le sel de la terre, and it is to them that I want to pay tribute with this work.
44 Shards and Lemons (2017) 17:17
Composed by Roscoe Mitchell and Craig Taborn.
Transcribed by Marc Hannaford. Orchestrated by Roscoe Mitchell.
Performed by the Montreal-Toronto Art Orchestra: Marilyn Lerner (piano); Lori Freedman, Yves Charuest, Kyle Brenders, Jean Derome, Peter Lutek, and Jason Sharp (woodwinds); Nicole Rampersaud, Craig Pedersen (trumpets); Tom Richards, Scott Thomson (trombones); Julie Houle (tuba); Jean René, James Annett (violas); Rob Clutton, Nicolas Caloia (double basses); Isaiah Ceccarelli, Nick Fraser (drums); Michael Davidson (vibraphone); Gregory Oh (conductor).
Recorded in concert and mixed live by Paul Hodge at The Music Gallery in Toronto, Ont., October 16, 2017.
“Shards and Lemons” is part of Conversations for Orchestra, a suite based on transcriptions of duo and trio improvisations with Craig Taborn and Kikanju Baku that have subsequently been orchestrated. This version is animated by various small-group improvisations, plus one full-ensemble improvisation toward the end of the piece.
© Mitchell, Taborn
55 Ibistix (excerpt) (1971) 4:19
Composed by John Mills-Cockell.
Performed by John Mills-Cockell (Arp 2500, Arp 2600, Hohner pianet, Vox Continental organ), Douglas Pringle (saxophone, bongos, bells, guiro), Alan Wells (congas, timpani, gong, tambourine), and the Toronto Repertory Orchestra, Milton Barnes conducting.
Recorded at Eastern Sound, Toronto. Produced by John Mills-Cockell and Eugene Martynec.
Originally released on the Syrinx LP Long Lost Relatives (True North Records, TNX-5). Reissued in the box set Tumblers from the Vault (RVNG Intl., 2016).
66 Melina's Torch (1973) 4:02
Composed by John Mills-Cockell.
Performed by John Mills-Cockell (ARP 2500 Synthesizer).
Originally released on Side A of the solo LP Heartbeat (True North Records TN-12).
The first song I wrote for Syrinx was Melina's Torch, when I was commissioned to do a score at the National Arts Centre in Ottawa—my first experience in theatre. Greek actress and revolutionary Melina Mercouri was portrayed in the play, Party Day, and I dedicated the song to her.
77 Age of Discovery (1974) 3:04
Composed by John Mills-Cockell.
Performed by Per Kynne Frandsen (organ) and soprano Susan Campbell.
Originally released on Side A of A Third Testament (True North Records, TN-17).
Composed for a film about mathematician and philosopher Blaise Pascal, the piece was performed in the Fredriksborg Castle using the Compenius organ, the oldest known functioning renaissance organ. One can hear the clattering of the bellows housed in a cupboard near the organ, operated manually by the bellows-operator’s feet.
Tracks 5–7 © Mills-Cockell, SOCAN.
88 Forgetting Time, second movement of Eternity Gaze (2012) 6:41
Composed by John Oliver.
Performed by PEP (Piano and Erhu Project): Nicole Ge Li (erhu), Corey Hamm (piano), John Oliver (guitar).
From PEP: Piano and Ehru, Vol. 1 (Redshift Records, TK437, 2014).
Recorded in 2014 at Barnett Hall, UBC, Vancouver, B.C. Produced by Don Harder.
This second movement from John Oliver’s four-movement work is actually a trio, with the composer on guitar. The erhu spins out a free-sounding melody, while the stopped piano and guitar play highly rhythmic isorhythmic layers that don't line up.
© Oliver, SOCAN
99 Her Fragrance On My Flesh (2016) 9:03
Composed and performed by Bret Parenteau.
This track is taken from Perfume Region (Sinnesloschen, SIN-03, 2016).
1010 Spectres of Shortwave / Ombres des ondes courtes: falling towers (excerpt) (2016) 6:00
From a film directed by Amanda Dawn Christie.
Sound design by Bruno Bélanger and Amanda Dawn Christie. Contact mike and field recordings by Amanda Dawn Christie. Sound mix by Bruno Bélanger at Studio Prim, Montreal, Québec, March 2016.
Spectres of Shortwave is both a film and an electroacoustic audio documentary about the RCI shortwave radio towers in Sackville, New Brunswick, that transmitted from 1944 to 2012 and were demolished in 2014. Two years before the demolition, homemade contact microphones (both piezo disks and piezo film) were placed on the towers, halyards, and vertical stays of the transmission site. A library of recordings was made of the vibrations of the 400-foot-tall radio towers in the high marsh winds. Field recordings were also made during the demolition, in the midst of heavy machinery and winter winds. In this excerpt, you hear the “voices” (contact-mike recordings) of each tower. As each tower falls and crashes to the ground, its “voice” is first briefly amplified in a final breath, before it is removed from the mix altogether.
—Amanda Dawn Christie
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Musicworks CD 127