Squidco: Stiebler, Ernstalbrecht: Fur Biliana

Stiebler, Ernstalbrecht

Fur Biliana

(Another Timbre

- UK)

Stiebler, Ernstalbrecht: Fur Biliana (Another Timbre)

Click for larger image

[x] close image

Four chamber pieces for strings, covering 5 decades of work by veteran German composer Ernstalbrecht Stiebler--each with his representative focus on concentration and quiet intensity--recorded in Bulgaria and performed by violinist Biliana Voutchkova, to whom two of the pieces are dedicated, with Michael Rauter (cello) and Nurit Stark (viola).

Price: $15.95

Out of Stock
Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 3.00 units

Sample The Album:

product information:

Personnel:

Ernstalbrecht Stiebler-composer

Biliana Voutchkova-violin

Michael Rauter-cello

Nurit Stark-viola

Click an artist name above to see in-stock items for that artist.

Label: Another Timbre
Catalog ID: at155
Squidco Product Code: 29310

Format: CD
Condition: New
Released: 2020
Country: UK
Packaging: Cardboard Gatefold
Recorded at studio 1, at Bulgarian National Radio, in Sofia, Bulgaria, on July 1st, 2nd and 3rd, 2019, by Atanas Kopchev.

Descriptions, Reviews, &c.

Interview with Ernstalbrecht Stiebler

I discovered your music in the mid-90's thanks to the Hat Art label, and was impressed by its quiet soundworld. How would you say your music has changed or developed since that time?

ES: I think my music now is more concentrated, in a sense even more minimal, with fewer tones, and creating a deeper sound space (I hope!)

Since the mid-90's an appreciation of quietude has become more widespread, with, for example, the emergence of the Wandelweiser collective, 'lowercase improvisation', and a big upsurge of interest in Feldman's music. Do you feel a close affinity with those movements, or have you remained aside from that?

ES: I certainly feel close to the movements that you mention, but in the same way as with family relatives where you can also have differences, sometimes very subtle ones. Feldman and Scelsi are very important for me, though perhaps I have developed in a slightly different direction - an inner development looking for a larger traditional frame, with octaves, fifths, elements of tonality, all within a minimal structure.

In relation to the CD, I feel that there is a striking but interesting contrast in style between the 1963 trio piece (Extension für Streichtrio) and the more recent pieces that date from 40-50 years later. Do you feel the same sense of contrast?

ES: Not really, no. For me the pieces feel inwardly similar. For example, the long repetitions in 'Extension' still feel very close to me now - and they were avant-garde at that time. The expressiveness and sensitivity that is evident in 'Extension' is for me an aspect of youth - and I accept this without feeling any inner distance. So, for example, the tremolos in 'Extension' are not something that I've continued using in later pieces, but the inner feeling is the same, and the repetitions and sense of concentration are there in all of the pieces, I think. For me the pieces from both periods demonstrate an inner connection - even at 86 years old I am bit young, a bit - but also perhaps I am a 'traditionalist' (not a 'modernsky').

Interview with Biliana Voutchkova

How did you first meet Ernstalbrecht?

BV: Ernstalbrecht was the first composer I started working with in Berlin, in 2007, even before I moved to the city in 2008. He was already working with my dear colleague and friend, the cellist Agnieszka Dziubak, who first introduced us to each other. We met while we were working on the new violin and cello duo '4 Parallelen', which we premiered in 2008. The relationship strengthened, we kept in touch and became friends with an open mutual interest in continuing our work together.

How did this CD project come about?

BV: I walked a long pathway to get to this release. Me and Ernstalbrecht often spoke about a new violin solo, and in 2015 he surprised me with a phone call telling me that he had written "Für Biliana". He said he'd like to meet up for a first read through. I was really touched, and I loved the piece right away. Shortly after playing the premiere, Ernstalbrecht was motivated to write another solo for me, presenting a different set of ideas. So "Glissando" was born in 2016, and it hasn't even had its live premiere yet...

In 2018 I had the enormous pleasure of discovering and playing the string trio 'Extension' at a concert of Solistenensemble Kaleidoskop. I played it with Michael Rauter and Nurit Stark, and this is the trio which recorded it for the CD. The piece was part of a programme which included other larger, newer string ensemble works. It was like a jewel in the midst of the evening, a memorable collaboration for our trio and Ernstalbrecht.

That evening I felt a first strong impulse to find a way to record and produce a CD including the trio and the other pieces. I worked hard for two years to find a good studio for the recordings, to keep the group and the repertoire as I envisioned them, and to find the right label for the release. I couldn't be happier that this is now a reality. My gratitude is endless for the best outcome I could have possibly wished for.

As I said to Ernstalbrecht, I feel that there is a big contrast in style between 'Extension' and the more recent pieces. How does this contrast strike you, and why did you want to present the two together on a single disc?

BV: The contrast between the old and newer compositions is fascinating but for me actually not too marked or obvious. I can hear the same strong individual voice, the reduction of means, the repetition and re-occurrence of certain intervals as elements in all the pieces. In the later pieces one can sense a lot more patience, continuity without need of change, stretching the form to more extremes (especially in the '4 Parallelen' duo), while more surprises, outbursts, different "sections" and sharp curves are evident in the early trio. Of course, all of it presented with great elegance, Stiebler-style.

As I said earlier, the idea of releasing the selected pieces on a single disc came to me in relation to the 'Extension' trio, the last of the works that I discovered. It was the cherry on top of the cake, the missing part needed to complete a fabulous composer's portrait with masterpieces embracing a period of over 50 years. Pieces that I love playing and hearing, and which make sense dramaturgically to me as a whole - and pieces that have never been released before, except for one recording of the trio by Ensemble Recherche many years ago.

The music was recorded at Bulgarian National Radio, the country you come from. Could you tell us about your experiences growing up there and if that has affected your approach to new and experimental music?

BV: Oh well, this has to be a full interview if I want to say everything about it. Musically speaking, growing up in Bulgaria everything was related only to classical music. In the full-time music school where I was enrolled from age 5, there was strong emphasis on preparation for the professional classical music world. I am grateful for this education and the early start that placed me on stage as a soloist from a very early age. With some luck, I took this career to the maximum possible level by the time I was 17-18 years old. But I was hungry to discover more, to grow further, longing to find out what else be. This was communist Bulgaria, pre-internet times, and we had absolutely no information about the world of new and experimental music. Mavericks such as John Cage, Morton Feldman, György Ligeti etc. were completely unknown to me, to all of us in music school - not to mention leading figures from other musical genres. I did hear some records which somehow found their way into the country through magical pathways, most of them coming from the jazz world - Eric Dolphy or Miles Davis for example. Anyway, I intuitively knew that I needed to move further and, being lucky again, in 1991 I found myself in the USA where I completed my further education immediately after my high school graduation. There I searched and slowly discovered the wide, vibrant, colourful, multi-genre world of new music, in all its endless and creative forms. It was mind-blowing, and so satisfying. After a few years, in New York City, where I did my Masters, I began to understand something of my calling. I started improvising and consciously decided to pursue a career in contemporary / experimental music. It was and is a path that came entirely naturally to me, and one that keeps me alert and ever open towards new and unknown territories.

This album has been reviewed on our magazine:

The Squid's Ear!

Artist Biographies

• Show Bio for Ernstalbrecht Stiebler

"Ernstalbrecht Stiebler. Berlin, Germany, 1934. Composer • Performer (piano)

Ernstalbrecht Stiebler (born March 29, 1934, Berlin). Esteemed German composer of mostly chamber, choral, piano, and organ works that have been performed throughout Europe and elsewhere.

Mr. Stiebler studied composition and piano at the Musikhochschule Hamburg, but had more important lessons at Darmstadt from 1958-61, including studies with Karlheinz Stockhausen in 1959.

His honors include the Bach-Preis Hamburg (1966) and a prize from the Stille Musik composition seminar in the Künstlerhaus Boswil (1991). Moreover, two of his productions for Hessischer Rundfunk received the Prix Italia Special Prize: Piece for Peace by Alvin Curran and Die Blinden by Walter Zimmermann.

Mr. Stiebler is also active in other positions. He served as director of new music for Hessischer Rundfunk from 1969-95 and founded the concert series Forum Neue Musik there in 1989. He co-produced numerous CDs for Hessischer Rundfunk in collaboration with the Hat Hut label, including the series devoted to the New York School (John Cage, Morton Feldman and Christian Wolff). In addition, he has written numerous essays for Musik-Konzepte, MusikTexte and other music journals, as well as booklet notes for the Montaigne Auvidis CD of Words and Music by Morton Feldman."

-Quatuor Bozzini Website (https://quatuorbozzini.ca/en/select/bio/?id=stiebler_er)
11/20/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

^ Hide Bio for Ernstalbrecht Stiebler

• Show Bio for Biliana Voutchkova

"Biliana Voutchkova is a dedicated, thoroughly engaged composer-performer whose work combines regular performances of major solo violin/ensemble works and new works by contemporary composers often written for her, improvisation and performance work reaching into the realm of dance and movement. Her constant research as a creative artist spans the widest possible range of sound and movement and extends her sonic, physical and technical capacities evolving into the development of a highly individual artistic musical language.

Biliana is a risk taker approaching contemporary classical repertoire with the same inspiration and freedom characteristic of her forceful improvisations. She collaborates with an international pool of renowned artists - among those are Mazen Kerbaj, Audrey Chen, Ute Wassermann, Iva Bittová, Robin Hayward, Jacques Demierre, Matthias Bauer, Frances-Marie Uitti, Séverine Ballon, Helmut Lachenmann, Michael Thieke, Hans Peter Kuhn, George Lewis, Georg Nussbaumer, Clayton Thomas, Axel Dörner, Peter Ablinger and many others. Biliana has been heard at festivals and concert series worldwide, her appearances ranging from celebrated concert venues such as Carnegie Hall in New York, the Berliner Philharmonie and Radial System V in Berlin, and Suntory Hall in Tokyo, to performances in the most vivid experimental places such as Kule/Labor sonor, Ausland, Quite Cue, Studio 8 and Exploratorium in Berlin, Saal 100 in Amsterdam, and the Knitting Factory in New York. After her 14 years long residence in the USA, Biliana now lives in Berlin and collaborates with the Splitter Orchestra, Solistenensemble Kaleidoskop, Ensemble Modern, Zeitkratzer, Work in Progress, Ensembles United Berlin, Mosaik, LUX:NM and others. She is the co-founder of her dance/music group GRAPESHADE and OSM (open sound & movement collective). Her recent/current projects include solo concerts at the Huddersfield Contemporary Music Festival, MuseRuole Festival, Radar Festval, Radialsystem V and Unerhörte Musik, concert appearance with Iva Bittová and Phil Minton, the solo portrait concert/presentation and the project "Gazes that matter" at Ballhaus Naunynstrasse, the performance of Alban Berg's chamber concerto for the March Music Days Festival, the concert tour in Bulgaria/Serbia with Voutchkova/Thieke duo supported by the Goethe Institut and performances for the festivals Klangwerkstatt, Jazzfest and Faithful in Berlin, Blurred Edges in Hamburg, Rainy Days in Luxemburg and Klarafestival in Brüssel.

Born in the family of musicians, Biliana Voutchkova begins playing violin at the age of four, makes her orchestra debut at the age of nine, and records her first CD for the Japanese label Crown Record Ltd. at the age of sixteen. She studies classical violin, in her college years starts being involved with the contemporary and improvised music scene in New York. Among her teachers are Peter Arnaoudov, Abram Stern and Felix Galimir. Ms. Voutchkova holds degrees from the University of Southern California and New School for Social Research/Mannes College of Music in New York (MM in music). She has received top honors at the Kozian International Music Competition, CRS National Competition for Performing Artists, and Music and the Earth International Contemporary Music Competition. At the age of nineteen, she was invited to the United States, and was presented the special Jasha Heifetz Violin Scholarshipfor for her studies at the University of Southern California. After her move to New York in 1995 her continuous interest and exploration of the music of today remains being a major part of her work. "

-Biliana Voutchkova Website (http://www.bilianavoutchkova.net/about.html)
11/20/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

^ Hide Bio for Biliana Voutchkova

• Show Bio for Michael Rauter

"Michael Rauter, born 1980 in Basel, is a Berlin based music theatre maker, composer, performer and cellist. In 2006 he founded the music theatre group Solistenensemble Kaleidoskop and was its artistic director until 2016. Since 2018 he creates music theatre and performance pieces with his label Bob's Company.

He has collaborated with artists like Benjamin van Bebber, Boogaerdt/Van der Schoot, Alexander Charim, Laurent Chétouane, Aliénor Dauchez, Luigi de Angelis, Martin Eder, Sabrina Hölzer, Susanne Kennedy, Mouse on Mars, Georg Nussbaumer, Peaches, Sasha Waltz & Guests, Ladislav Zajac among others.

From 2018-20 he is artist of the fellowship program #bebeethoven, a project of the PODIUM Esslingen for the Beethoven anniversary 2020, funded by the Federal Cultural Foundation.

As part of this program, he cooperates with Operadagen Rotterdam, where he presented the music theatre END OF THE STORY in 2018 and the solo performance THE GAP in 2019.

Upcoming projects include the music theatre installation PIXELSINFONIE at Ludwigsburger Schlossfestspiele in May 2020 and the music theatre ABSCHIED with Solistenensemble Kaleidoskop at Festspielhaus Hellerau in October 2020."

-Michael Rauter Website (http://michaelrauter.com/about)
11/20/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

^ Hide Bio for Michael Rauter

• Show Bio for Nurit Stark

"The Israeli violinist and violist Nurit Stark studied at the Rubin Academy Tel Aviv with Haim Taub, at the Juilliard School New York with Robert Mann, Musikhochschule Cologne with the Alban Berg Quartet and at Universität der Künste Berlin with Ilan Gronich where she graduated from her master studies.She has made solo appearances with orchestras such as the Israel Philharmonic under Zubin Mehta, Münchner Radio Orchestra under Dmitry Sitkovetsky, Bremen Philharmonic, Sao Paolo Symphonic Orchestra, the Lithuanian Chamber Orchestra, Chamber Orchestra of Mantova and the South-West German chamber orchestra Pforzheim.

Her love and dedication for contemporary music has led her to perform many world premieres and to collaborate with composers such as Sofia Gubaidulina, György Kurtag, Viktor Suslin, Valentin Silvestrov, Georg Nussbaumer, Deirdre Gribbin and Ernstalbrecht Stiebler.

Since 2005, Nurit Stark has been taking part in avant-garde stage projects in theaters such as Schaubuehne Berlin, Volksbuehne Berlin, State Theatre Stuttgart, Bobigny Paris, Burgtheater Vienna, Kammerspiele Munich and Le Maillon Strasbourg, developing performances which integrate elements of music and theatre. She has recorded works by Feruccio Busoni, George Enescu, Clara & Robert Schumann for violin / viola and piano with Cedric Pescia for Claves Records and chamber works by Olivier Messiaen for Genuin Records. For BIS records she has recorded chamber works by Viktor Suslin and Sofia Gubaidulina and "Kafka Fragments" by György Kurtag with Caroline Melzer. Her latest recording of works by Ernest Bloch for violin and piano together with Cedric Pescia appeared in January 2018. Nurit Stark plays a 1710 Pietro Guarneri Violin from Mantua."

-Poona Music Society (https://poonamusic.com/events/nurit-stark-violin-and-cedric-pescia-piano-2/)
11/20/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

^ Hide Bio for Nurit Stark

Track Listing:

1. Fur Biliana 6:03

2. Glissando Fur Solo Violine 8:56

3. Extension Fur Streichtrio 18:55

4. Duo 4 / Parallelen 21:15

Recommended & Related Releases:

Other Recommended Releases:

	Lang, Klaus / Trio Amos Tehran Dust (Another Timbre)
Three chamber works by Klaus Lang of a beautifully fragile and dark nature and a meticulous inner structure, alongside arrangements of early music pieces by Johannes Ockeghem and Pierre de la Rue, performed by Klaus Lang himself on organ with the Trio Amos of Sylvie Lacroix on flute, Krassimir Sterev on accordion and Michael Moser on cello.

	Stiebler, Ernstalbrecht / Tilman Kanitz The Pankow-Park Sessions, Vol.1 (Another Timbre)
Six potent duo improvisations for cello and piano by composer & pianist Ernstalbrecht Stiebler and fellow-Berlin resident Tilman Kanitz, who have been developing their dialog together for several years in studio, focusing much of their momentum on pitch and harmony, their work all the more remarkable for Stiebler only having begun improvising in his mid-80s.

	Cabado, Tomas / Christoph Schiller Unconscious Collections (Another Timbre)
Swiss prepared spinet player Christoph Schiller and Argentine guitarist-composer Tomás Cabado, whose work is found on the Wandelweiser label, met in Schiller's studio in Basel to perform compositions from both and to improvise, recording this wonderfully relaxed but compelling music that exists in the fertile grey area between composition and improvisation.

	Falzone, J.P.A. / Morgan Evans-Weiler Chordioid [2 CDs] (Another Timbre)
2 CDs of works for violin, piano & vibraphone, composed and performed by two young American composers and members of the ensemble Ordinary Affects, who have recorded music by the Jurg Frey, Magnus Granberg, Michael Pisaro, Eva Maria Houben, &c.; the 1st disc presents the Feldman-esque work of JPA Falzone, while the 2nd contains an exquisite new work by Morgan Evans-Weiler.

	Denyer, Frank The Boundaries of Intimacy (Another Timbre)
A set of varied compositions from Frank Denyer, most of them of a delicate acoustic intimacy, with works for female singers & flute, two works for koto, a string quartet, one for flute and electronics and the two-part "Frog" for a bowed stringed instrument of Denyer design, the "sneh"; uncategorizable music of sublime imagination and unusual approaches.

	Smith, Linda Catlin Wanderer (Another Timbre)
Eight sophisticated chamber pieces composed by Linda Catlin Smith and realized by the Canadian Apartment House ensemble, including a solo piano performed by Philip Thomas, a piano duo with Thomas and Mark Knoop, and works for percussion & cello, 2 quintet pieces for strings, percussion and winds, and two 7-piece conducted works with two percussionists, strings and brass.

	Voutchkova, Biliana / Ernesto Rodrigues / Micha Rabuske 77 Kids (Creative Sources)
Exploratory free improvisation with an emphasis on strings from the trio of Ernesto Rodrigues on viola, Biliana Voutchkova on violin, and Micha Rabuske on flutes & sax, collective conversation with scraping and overblowing mutating their sound in interesting and curious ways.

	Stiebler, Ernstalbrecht ...Im Klang... (Hat [now] ART)
Composer Ernstalbrecht Stiebler presents three solo pieces, one for accordion (Teodoro Anzellotti) one for piano (Marianne Schroeder) and the third for organ (Huub Ten Hacken).

Customers Who Bought This Item Also Bought:

	Lely, John / Apartment House Meander Selection (Another Timbre)
A diverse set of compositions by London composer, performer and improviser John Lely performed by the UK ensemble Apartment House, demonstrating the spectrum of Lely's work across string quartets, solo piano works, a solo electronic piece, and a work for violin, two violas & cello; works of cohesive direction across a variety of approaches and interests.

	Oxley, Tony Unreleased (1974 to 2016) (Discus)
The second in Discus Music's "Unreleased" series selected from percussionist and electronics legend Tony Oxley personal collection, here in three configurations: a quintet with Barry Guy, Dave Holdsworth, Howard Riley and Paul Rutherford; a quintet with Howard Riley, Larry Stabbins, Phillip Wachsmann and Hugh Metcalfe; and a duo with Stefan Hoekler.

	Dopolarians (Chad Fowler / Kelley Hurt / Christopher Parker / William Parker) The Bond (Mahakala Music)
Reinventing their band with the late drummer Alvin Fielder and saxophonist Kidd Jordan, the core trio of vocalist Kelley Hurt, pianist Christopher Parker and alto saxophonist Chad Fowler bring together drumming legend Brian Blade, bassist William Parker and trumpeter Marc Franklin for three extended works, rich journeys in expressive, soulful and lyrical free jazz

	Bang, Jan / David Toop / Mark Wastell Compound Full Of Bones, Translucent Thousands (Confront)
An extended improvisation interweaving acoustic and electronic instruments in a beautifully coherent evolution of mysterious and approachable sources, from the trio of Jan Bang, David Toop and Mark Wastell, combining tam tams, gongs, flutes, lapsteel, live sampling, gongs, brushes, elastic, paper and more to captivate the curious listener.

	Ming Bau Set (feat Gerry Hemingway / Vera Baumann / Florestan Berset) Yakut's Gallop (Listen! Foundation (Fundacja Sluchaj!))
Meeting regularly since 2018, these three Luzern, Switzerland improvisers have developed a shared language of collective creative improv, the best known of the three being drummer & percussionist Gerry Hemingway working with two younger generation musicians, acoustic & electric guitarist Florestan Berset and vocalist Vera Baumann, here in their first wonderfully paced album.

	O'Rourke, Jim / Apartment House Best That You Do This For Me (Another Timbre)
The UK ensemble Apartment House commissioned this work from composer & experimenter Jim O'Rourke based on their performance of other O'Rourke works, here interpreting a new graphic score designed like a sonic mobile, creating a minimal yet episodic piece of flexible interpretation as the performers whistle, hum and quietly sing in combination with bowed harmonics.

	Winter, Michael / Liminar Single Track (Another Timbre)
Working with Liminar, one of the premier new music ensembles in Mexico, German/US composer Michael Winter wrote this dynamic and extended work pursuing a method of enumerating all ways of articulating a 6-note chord with 7 instruments bound by certain constraints, using the computer science concept of "Gray Code" switches to create shifts within the piece's progressions.

	Democ, Adrian / Apartment House Hlaholika (Another Timbre)
Commissioned by Another Timbre for the quarantine commissions series, Hlaholika was developed by composer Adrián Demoč for the Apartment House ensemble as a quintet of violin, double bass, clarinet, viola & piano, using the configurations for 3 other works performed here by Apartment House; plus a piece for an ensemble from the Janacek School of Music in the Czech Republic.

	Beuger, Antoine / Apartment House Jankelevitch Sextets (Another Timbre)
The 4th album on Another Timbre from a series of pieces by composer Antoine Beuger, each acknowledging a cultural or intellectual figure, here titled for philosopher, musicologist, educator and one-time member of the French Resistance, Vladimir Jankélévitch, represented by Beuger in a large dramatic work performed by the Apartment House sextet.

	Armstrong, Newton: Plus Minus Ensemble; Severine Ballon The Way To Go Out (Another Timbre)
Three minimal works for small ensemble incorporating electronics by Australian-born, UK-resident composer Newton Armstrong: 2 performed by the London-based Plus-Minus Ensemble directed by Mark Knoop as an acoustic quartet configuration and one as an electroacoustic quartet; and a solo work for multiple cello layers and resonance performed by Séverine Ballon.

	Verlaak, Maya All English Music is Greensleeves (Another Timbre)
Five fascinating works by the Belgian composer Maya Verlaak, realized by Apartment House and soloists Sarah Saviet & Mark Knoop, experimental compositions including a work of personal reflection based on "Alouette"; a conceptual game piece; a composition layering pre-recorded segments of "Greensleaves"; and two interactive acoustic & computer pieces.

	Lamb, Catherine / Harmonic Space Orchestra Prisma Interius VII 7 VIII (Sacred Realism)
Two hauntingly beautiful works in microtonal composer and violist Catherine Lamb's "Prisma Interius" series, the first a duo with violinist Johnny Change and Xavier Lopez on the "secondary rainbow synthesizer", which channels the sound outside of the performance space as a generator of ambient sound; then a sextet of strings and winds with two secondary rainbow synthesizers.

	Oceans Roar 1000 Drums [VINYL] (Sacred Realism)
Their first proper vinyl release since forming in 2008, this studio album recorded in Berlin finds Berlin saxophonist and electronic artist Bryan Eubanks, double bassist Andrew Lafkas, and NY drummer & cymbal player Tod Capp in an extended and dark improvisation, with Catherine Lamb's "secondary rainbow synthesizer" interacting and filtering their work as a 4th member.

	Lafkas, Andrew Two Paths with Active Shadows Under Three Moons and Surveillance (Sacred Realism)
Composer Andrew Lafkas' large ensemble piece with performers including C. Spencer Yah, Ron Stabinsky, Barry Weisblat, Sean Meehan, Ben Owen, &c. is a meditative work intended for live performance, this album the 2nd of 3 performances, a brooding and resonant rendering of rich and subtle detail that evolves over 70 minutes, carrying its listeners in a profound revery.

	Ablinger, Peter Augmented Study (2012) (Sacred Realism)
Austrian composer Peter Ablinger wrote this study, which is not intended for live performance, using a violin performing a slow glissando over one octave, here performed by violinist Johnny Chang, the recording then composed in the studio as a proportion canon, virtually layering 16 violins in a study displaying the harmonic interactions of that single glissando.

	Eventless Plot (Vasilis Liolios / Yiannis Tsirikoglou / Arias Gatas) Parallel Worlds (Another Timbre)
With 20 years of performance history, the "Eventless Plot" trio of Thessaloniki, Greece — Vasilis Liolios (Psaltery, percussion, electronics), Yiannis Tsirikoglou (electronics) and Arias Gatas (piano, percussion, electronics) — present three chamber works, performed with other other Greek instrumentalists; extraordinary works of embracing creativity and depth.

	Leith, Oliver / George Barton / Siwan Rhys Good Day Good Day Bad Day Bad Day (Another Timbre)
UK composer Oliver Leith presents a work in 8 movements for piano, keys and percussion performed by Siwan Rhys (keys) and George Barton, an invocation of everyday life through a personal and often idiosyncratic orchestration reflective of personal ritual & habits; our good and our irrational, often contradictory impetus, portrayed through quirky and embraceable episodes.

	Grady, Kraig Monument Of Diamonds (Another Timbre)
Microtonal composer Kraig Grady in a work for specially adapted brass instruments (Kris Tiner, trumpets; Subhraag Singh-saxophones; Emmett Kim Narushima-trombones) and organ (Terumi Narushima) using a the Meta-Slendro tuning, an obscure 17-tone scale, to create an expansive and organic work assembled from recordings of each musician playing meditations on single notes.