Lines & Spaces: The Music of Thad Anderson Various Artists

Cover Lines & Spaces: The Music of Thad Anderson

Album Info

Album Veröffentlichung:
2019

HRA-Veröffentlichung:
10.05.2019

Label: Ravello Records

Genre: Classical

Subgenre: Chamber Music

Interpret: Various Artists

Das Album enthält Albumcover Booklet (PDF)

?

Formate & Preise

FormatPreisIm WarenkorbKaufen
FLAC 44.1 $ 13,20
  • Thad Anderson (b. 1980):
  • 1Withheld08:08
  • 2Route (Version for Alto Saxophone & Fixed Media)05:37
  • 3As We May Think08:02
  • 4Five Messages: Message One01:08
  • 5Five Messages: Message Two01:02
  • 6Five Messages: Message Three02:08
  • 7Five Messages: Message Four02:33
  • 8Five Messages: Message Five01:51
  • 9Withhold (Version for Snare Drum & Fixed Media)08:04
  • 10Re-cite (Performed on Baritone Saxophone)08:12
  • 11Mechanization09:30
  • 12Outside, Looking In03:19
  • 13Through-Line (Version for Flute Quintet & Fixed Media)07:29
  • 14By-and-By07:26
  • 15Within05:06
  • Total Runtime01:19:35

Info zu Lines & Spaces: The Music of Thad Anderson

The 15 tracks on Thad Anderson’s LINES & SPACES are from his Lines series, based on his compositional technique called “duration lines” that create both structure and polyrhythmic interest. Anderson integrates traditional instruments with fixed media, live processing, and tuned metals to create pieces that are infinitely malleable.

For these compositions, Anderson draws inspiration from poetry, paintings, and some early writings that predict many of the technologies now integrated into daily life. His Route is loosely based on the Emily Dickinson poem, “A Route of Evanescence,” which explores the mesmerizing hummingbird during flight. On Route, one might imagine the interaction between saxophone and electronic playback as representing the hummingbird and its surroundings. Re-Cite was inspired by painter Ellsworth Kelly’s 1951 piece Cite, which used chance practices to create a random arrangement of black and white squares.

The quintet for flutes and fixed media, Through-line, refers to a central theme or idea — an invisible thread that runs from the beginning to the end of work. In this instance, the through-line is both the duration lines that are used throughout the piece and a seven-chord progression that is used in the odd numbered sections.

Using a duration line set, Outside, Looking In features layers of single line fragments that segue and weave between one another. On this solo piano piece, the composer effectively positions the piano as a percussion rather than string instrument. Both As We May Think and Mechanization were inspired by an article by engineer and inventor Vannevar Bush (1890 – 1974) that appeared in The Atlantic in 1945. In the former, the spoken component of the electronic playback audio derives from an archived interview with the author.

Bryant Bernal, percussion
Kaley Bonatakis, percussion
Karen Toney, percussion
Matt Roberts, percussion
George Weremchuk, alto saxophone
Nick Stange, percussion
Rose Grace, piano
Kristie Born, piano
Thad Anderson, percussion
Marja Kerney, percussion



Keine Biografie vorhanden.

Booklet für Lines & Spaces: The Music of Thad Anderson

© 2010-2024 HIGHRESAUDIO