Pub Date : 2023-09-01DOI: 10.1017/S0040298223000451
Caroline Potter
uration we are continually under. In a way, Matthias Kranebitter brings into the context of contemporary written music an iconoclastic critique of the values and rites inherited from – and still present in – Western classical music, with its clear, delimited context. Relying on plunderphonics – that is, the use of sampled material as a means of accessing different referential spaces – Kranebitter includes the extramusical, the social, even the scientific, all fields in which sound is a discursive agent. The pieces on this album invite the listener to engage with the world through music and sound in its multiple spaces of signification, while also acknowledging the privileged role of music in the discursive sonic treatment of ideas.
{"title":"Eliane Radigue","authors":"Caroline Potter","doi":"10.1017/S0040298223000451","DOIUrl":"https://doi.org/10.1017/S0040298223000451","url":null,"abstract":"uration we are continually under. In a way, Matthias Kranebitter brings into the context of contemporary written music an iconoclastic critique of the values and rites inherited from – and still present in – Western classical music, with its clear, delimited context. Relying on plunderphonics – that is, the use of sampled material as a means of accessing different referential spaces – Kranebitter includes the extramusical, the social, even the scientific, all fields in which sound is a discursive agent. The pieces on this album invite the listener to engage with the world through music and sound in its multiple spaces of signification, while also acknowledging the privileged role of music in the discursive sonic treatment of ideas.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44309778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1017/S0040298223000463
C. Carey
cussion from Beibei Wang. As water is constantly changing, so too is this music. Other than an ironic reference to Handel in the title, this is a rather enigmatic piece. The strongest moment is a triumphant fanfare accompanying the flushing of a toilet. This happens several times. Sweet Wishes has Paxton return to his trombone. This is even more enigmatic than the previous piece. It would seem that Tim Rutherford-Johnson would agree; his discussion of this piece in the liner notes doesn’t actually discuss it at all. The interesting edge-of-coherence explored elsewhere on this album I think has been missed here. In stark contrast, Bye is the most focused and restrained piece on the album and is a welcome gesture of settling down. Saxophone, clarinet and wah-wah trombone play a stately chorus, like the pilgrims’ chorus from Tannhäuser. The compositional task here is the effort to get out of this material, because, as beautiful as it is, it is like an endless loop of self-similarity. A very large-scale everybody-doing-everything climax tries mightily to achieve this. But once this train is in motion, Paxton seems unable to really alter its course – he can only add surface elements more or less in tension with a deeper momentum. There is so much to enjoy in this music, not least the extraordinarily vibrant and virtuosic playing from the Dreammusics Orchestra and Ensemble. From what I can tell, this group essentially is Alex Paxton and his friends, and this album is very much centred on him. He is credited for conducting, recording and mixing all six tracks, and the ensemble has no footprint unaffiliated with him. While listening, I found myself constantly evaluating how annoyed I was. I doubt this is a desired vector of listening. It went like this: somehow I had the impression that he was watching me, evaluating my response and throwing some shiny new thing as soon as my attention flagged. While it demonstrates an extraordinary musical situational awareness, it is also a rather exhausting dynamic. RutherfordJohnson writes that Paxton was a music teacher to young children while in graduate school. That experience has clearly informed his compositional approach. I really do think that there are wonderful elements to this music, though I also feel as though I have been treated like a child. But perhaps this is not such a bad thing.
{"title":"Erkki-Sven Tüür","authors":"C. Carey","doi":"10.1017/S0040298223000463","DOIUrl":"https://doi.org/10.1017/S0040298223000463","url":null,"abstract":"cussion from Beibei Wang. As water is constantly changing, so too is this music. Other than an ironic reference to Handel in the title, this is a rather enigmatic piece. The strongest moment is a triumphant fanfare accompanying the flushing of a toilet. This happens several times. Sweet Wishes has Paxton return to his trombone. This is even more enigmatic than the previous piece. It would seem that Tim Rutherford-Johnson would agree; his discussion of this piece in the liner notes doesn’t actually discuss it at all. The interesting edge-of-coherence explored elsewhere on this album I think has been missed here. In stark contrast, Bye is the most focused and restrained piece on the album and is a welcome gesture of settling down. Saxophone, clarinet and wah-wah trombone play a stately chorus, like the pilgrims’ chorus from Tannhäuser. The compositional task here is the effort to get out of this material, because, as beautiful as it is, it is like an endless loop of self-similarity. A very large-scale everybody-doing-everything climax tries mightily to achieve this. But once this train is in motion, Paxton seems unable to really alter its course – he can only add surface elements more or less in tension with a deeper momentum. There is so much to enjoy in this music, not least the extraordinarily vibrant and virtuosic playing from the Dreammusics Orchestra and Ensemble. From what I can tell, this group essentially is Alex Paxton and his friends, and this album is very much centred on him. He is credited for conducting, recording and mixing all six tracks, and the ensemble has no footprint unaffiliated with him. While listening, I found myself constantly evaluating how annoyed I was. I doubt this is a desired vector of listening. It went like this: somehow I had the impression that he was watching me, evaluating my response and throwing some shiny new thing as soon as my attention flagged. While it demonstrates an extraordinary musical situational awareness, it is also a rather exhausting dynamic. RutherfordJohnson writes that Paxton was a music teacher to young children while in graduate school. That experience has clearly informed his compositional approach. I really do think that there are wonderful elements to this music, though I also feel as though I have been treated like a child. But perhaps this is not such a bad thing.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46948967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1017/s0040298223000360
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{"title":"CONTRIBUTORS","authors":"","doi":"10.1017/s0040298223000360","DOIUrl":"https://doi.org/10.1017/s0040298223000360","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135048570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1017/S0040298223000372
Nicolas Hodges
While Harrison Birtwistle’s house in Mere was being sorted out after his passing last year, his son Silas called me: ‘I found some tapes in the basement. Are they important?’ Once I had discovered the images below (see Figures 1a, 1b) in my email I called him back: ‘Yes, they are important.’ For what Silas had stumbled across between damp papers and spiders’ webs were the original master tapes of Harrison Birtwistle’s Chronometer (1971–72), the ‘two asynchronous four-track tapes’ about which one has read in almost every catalogue of Birtwistle’s work. Not only had these tapes been lost since their creation – only surfacing once in the 50-odd years of their existence (more on that below) – the idea had even been aired by Peter Zinovieff, who himself brilliantly realised the tapes and translated Birtwistle’s composition into physical reality, that they had never existed. Yet here they were. Here is what is known for sure about these tapes:
{"title":"HARRISON BIRTWISTLE'S CHRONOMETER: AN UPDATE","authors":"Nicolas Hodges","doi":"10.1017/S0040298223000372","DOIUrl":"https://doi.org/10.1017/S0040298223000372","url":null,"abstract":"While Harrison Birtwistle’s house in Mere was being sorted out after his passing last year, his son Silas called me: ‘I found some tapes in the basement. Are they important?’ Once I had discovered the images below (see Figures 1a, 1b) in my email I called him back: ‘Yes, they are important.’ For what Silas had stumbled across between damp papers and spiders’ webs were the original master tapes of Harrison Birtwistle’s Chronometer (1971–72), the ‘two asynchronous four-track tapes’ about which one has read in almost every catalogue of Birtwistle’s work. Not only had these tapes been lost since their creation – only surfacing once in the 50-odd years of their existence (more on that below) – the idea had even been aired by Peter Zinovieff, who himself brilliantly realised the tapes and translated Birtwistle’s composition into physical reality, that they had never existed. Yet here they were. Here is what is known for sure about these tapes:","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41850010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1017/s0040298223000384
{"title":"ARTWORK: ANTON LUKOSZEVIEZE","authors":"","doi":"10.1017/s0040298223000384","DOIUrl":"https://doi.org/10.1017/s0040298223000384","url":null,"abstract":"","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47021869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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