Launch

Jonathan Hulting-Cohen

Jennifer R. Ellis

Eolienne: I. Lyrique

Eolienne: II. Intermezzo

Eolienne: III. Intense

Eolienne: IV. Perpetuum Mobile

Eolienne: V. Declamatoire

starshine & moonfall

Thaumaturgy: I. Cast and Bend

Thaumaturgy: II. Ripple - Reflect

Thaumaturgy: III. Holy Meteor

Amhrán na Cásca

Whirlwind

Still Here

…nice box! "Oh So Square"

Romance for Soprano Saxophone and Harp: I. With Love

Romance for Soprano Saxophone and Harp: II. Cheerfully

Romance for Soprano Saxophone and Harp: III. Freely

La Lettre du Jardinier

Kitchen Dance

Philipp Staudlin

New Thread Quartet

Noa Even

Emily Koh draws interest out of the things many of us may not even notice, and these overlooked minutiae and intricacies lead to new horizons in her work. Her new album [word]plays is full of frenetic and sonorous beauty, and represents her interest and exploration of the sounds, meanings, and interpretations of words, as a multi-linguist artist whose native tongue is an English-based creole language (Singlish). [word]plays is an album of microtonal works for saxophone(s) inspired by the similarly named literary technique in which witty word-use becomes the subject of the work. The central works in [word]plays are three saxophone quartets - homonym (2013), heteronym/ (2016) and cryptonym: (2018) - composed for the Amigo Saxophone Quartet, PRISM Quartet, and New Thread Quartet respectively. These quartets take their inspiration from the meanings of the compound words formed when the -onym suffix is attached after a root word. Homonyms are words that are spelled identically and sound the same, but have different meanings. Heteronyms are words that are spelled identically, but are pronounced differently, and have different meaning. Scryptonyms are code names or secret words. Flanking the quartets are medi+aTion (2016) and b(locked.orders) (2019). These solo works are named with neologisms which include special symbols, giving these titles a polysemic quality. medi+aTion (2016) can be read as ‘meditation’ or ‘mediation’, and looks within for inner meanings and unfoldings. b(locked.orders) (2019) can be read as ‘blocked borders’ or ‘blocked orders’, and sonifies the stifled voices of immigrants in their adoptive countries, as well as silenced minorities within their home countries. The version of b(locked.orders), with video art by Michiko Saiki can be viewed at emilykoh.net

[Word]Plays

Rudresh Mahanthappa

Dennis Sullivan

Nicholas Shaneyfelt

Second Flight

UMass Wind Ensemble

Nadine Shank

Stacy Garrop

Quicksilver - Music for Saxophone, Piano and Wind Ensemble

Amy Porter

Timothy McAllister

Fritz Kaenzig

Composer Stephen Rush has written six operas, more than 50 works for dance, chamber, and electronic media, concertos, and four symphonies. His works have been performed by distinguished ensembles including the Detroit Symphony Orchestra and the Warsaw National Symphony. The author of two books, his music appears on several record labels including Centaur, MMC, and Innova. A professor of music at the University of Michigan, he founded the Digital Music Ensemble at that institution, which he has directed for 25 years. He tours and records with his electronic psychedelic improvisation band, Crystal Mooncone. For this recording on Albany Records, he has chosen a variety of chamber works for varying ensembles including three versions of Taming the Ox, a work commissioned by flutist Rebecca Gilbert as a means of public sonic meditation.

Chamber Music of Stephen Rush

https://image.joox.com/JOOXcover/0/dc4629eeb9dcc16e/300

Launch

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