Tim Hodgkinson with Hyperion Ensemble - Sketch of Now 2006, MP3 (tracks), 320 kbps

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Tim Hodgkinson with Hyperion Ensemble - Sketch of Now

Жанр: Avant-Garde/Free Jazz/Progressive
Год выпуска диска: 2006
Производитель диска: EU
Аудио кодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 59:31
Трэклист:
01 - Vers Kongsu I
02 - Aici Schiteaza Pe Acu
03 - Fightingbreathin
04 - Frago
05 - De Yoknapatawph
06 - Further Into Hard Ston
Доп. информация:
[spoiler="About"]
Vers Kongsu II (2003) (10:13)
for ensemble with solo clarinet
Tim Hodgkinson, clarinet solo
Vinny Golia, bass clarinet
Gustavo Aguilar, percussion
Hyperion Ensemble
Iancu Dumitrescu, conductor

Aici Schiteaza pe Acum (2004) (8:58)
for ensemble and tape
Lisa Cella, flute
Robert Reigle, tenor saxophone
Morris Palter, percussion
Hyperion Ensemble
Tim Hodgkinson, conductor

Fighting/Breathing (2001) (7:40)
for bass clarinet and taped percussion
Tim Hodgkinson, bass clarinet

Fragor (2003) (7:06)
for computer-modified cello and electric guitar

De Yoknapatawpha (2004) (16:49)
for two clarinets and piano
Isabelle Duthoit, clarinet
Jacques Di Donato, clarinet, bass clarinet
Pascale Berthelot, piano

Further into Hard Stone (2004) (9:02)
for ensemble
Berten d'Hollander, flute
Denis Simandy, french horn
Robert Reigle, tenor saxophone
Hyperion Ensemble
Tim Hodgkinson, conductor

Tim Hodgkinson co-founded the politically and musically radical free-jazz/progressive rock group Henry Cow in 1968, which also featured guitarist Fred Frith. He regards his membership in this group, with the opportunity to work closely and collectively with other instrumentalists in developing new sound worlds, as the foundation of his musical education.
In addition to composing, Hodgkinson continues to perform as an improviser (clarinets, saxes and keyboards) and considers the practice of improvisation as an important aesthetic form in contemporary music.
This disc explores Hodgkinson's other side as a composer, and also as a soloist, of recent compositions for ensembles (2001-2004).
The works explore a variety of processes and influences - Korean and ritual Siberian music, improvisation, the actual use of musique concrete, and combinations/transformations of acoustic instruments with electronics and tape.
Liner notes by Tim Hodgkinson.
The above description, written by Tim Hodgkinson concerning the opening piece on this new Mode collection, highlights, as well as any verbiage can, the dialectic underlying every composition on Sketch of Now. As soon as a boundary is established, delineated at length or in the most cursory fashion, a disruptor affects enigmatic but palpable change.
What separates Hodgkinson from the myriad others that work in similar modes of musical construction is a unique attention to recurrence, both of sound and of silence. His palette is that of the contemporary classicist, but his cyclic deployment of sound and its apparent antithesis - his explorations of the genesis, motion and fruition of each sound in context - reveal many layers on repeated listening that render any notion of classicism irrelevant.
The opening moments of "Further into Hard Stone" (2004) demonstrate the simultaneous expansion and dismemberment of an ensemble sound. Each element is clearly audible as it rises from the collective ensemble iteration, the recurrent swells providing much of the differentiation. The multiple overtones hearken back to what Hodgkinson states to be the original concept of the work, involving ring modulation; the clarinet stands out above all else, different shades of vibrato momentarily disconnect the timbre from environment and preconception.
On the opposite end of the spectrum, "Aici Schiteaza pe Acum" (2004, for ensemble and tape) is built on larger and more violent contrast. Hodgkinson describes the work's origin:
"Here as a 'Sketch of Now' is how the Romanian translates. Always I try to return to the blank emptiness when I start a piece. That there should be nothing, except what comes. In this case the commission was for an ensemble piece that had to use tape. I tried to push that out of my mind. Nothing happened. I walked. I sat. Nothing came. In the afternoon I became aware of an enormous sound: a violent thunderstorm had started up. Taking this as a sign, if not from god, at least from the complex unpredictability of being, I rushed out to record it."
The act of sitting, of willful anti-reflection, in contrast with the big bang of inspiration, is subjected to continuous return in this timbral fireworks display, as geysers of activity burst forth, exuberant but controlled, only to vanish abruptly into the uneasy rustling with which the piece opens. A particularly harrowing moment involves what sounds like piano strings being stroked at great speed, any sense of attack smoothed out. At first transparent, the sound swells until it's pierced by a percussive intrusion; the moment of disillusion is brought about, however, by the airy staccato of a flute, the gesture seeming almost humorous in its destructive power.
I have concentrated on moments of this music, leaving many, many others untouched. Special mention must, however, be given to the players of Rumanian composer/philosopher Iancu Dumitrescu's Hyperion Ensemble, without whose complete absorption of the tradition of exploration this music would surely suffer in translation. All of the playing is masterful, and this is certainly now among Hodgkinson's best recorded offerings.
Marc Medwin, Dusted Reviews (online review), Sep. 4, 2006
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