Magnus Granberg was born in Umea in northern Sweden in 1974. He studied saxophone and improvisation at the University of Gothenberg and in New York in his late teens and early twenties. He was self-taught as a composer.
In 2005, he formed his ensemble Skogen which on November 12th 2010 recorded his composition “Ist gefellen in den Schnee” at Atlantis, Stockholm. The nine members of Skogen included Granberg himself on piano, an instrument he had taught himself. The album was released on Another Timbre in February 2012. As with many of Granberg’s compositions, he used other music as inspiration for his own, without copying other composers’ work. As sources of inspiration for “Ist gefellen in den Schnee” he said he had referred to two…
Category: classical
Songs introduces Santiago Diez Fischer – a composer/performer with roots in Buenos Ares and branches in contemporary European institutes – poetically expressing a form of abstract electro-acoustic composition with an almost punkish approach not normally heard on explorative contemporary minimalist label Another Timbre, yet clearly resonating its tenets. An instrumentalist at heart, who turns to electro-acoustic forms for their immediacy and the limitations of playing with an ensemble back in Argentina, Diez Fischer can coincidentally be grouped with a number of other Argentine composers – Lucio Capece, Gabriel Paiuk, and Tomàs Cabado – who grew up with Argentine rock, tango, folk music, and make music that challenges perceptions of…
Setting aside initial plans for a second chapter of THE HARP, Kety Fusco has forged forward with the full-length BOHÈME. In a remarkable confluence, Iggy Pop (who appears on early single “SHE”) is having a moment, coming off the wild success of Teddybears’ “Punkrocker” from the Superman soundtrack. “SHE” underlines both Fusco’s gothic sensibilities and her efforts to bring the harp into what one might call an alternative mainstream. “The harp is not heard as much,” says Iggy, but one wants it to be; or at least, one wants the harp to be heard in surprising fashion, no longer relegated to the upscale and staid. One can also glean the shift in the video for “BLOW,” which references films such as Friday the 13th and The Blair Witch Project, albeit in…
As indicated by the title, Forward Into Light is a hopeful album, suggesting that history is tilting toward something brighter and more positive. This attitude may be in short supply these days, but its rarity makes it all the more essential. The bookends are carefully chosen, as the album begins with a piece inspired by the women’s suffrage movement in the U.S., which eventually succeeded, and ends with a “meditation on resilience” that might be applied to multiple nations and situations, from Ukraine to Gaza and points afar and in-between. These pieces, titled “Forward Into Light” and “Something for the Dark,” work in tandem to identify the spiritual struggle and speculate on its eventual outcome. The image of Synder like a supplicant bathed in a beam of light…
Pieces for Broken Piano turns a weather‑wrecked 1916 Gebrüder Stingl grand into an accidental “prepared” instrument, as Miroslav Beinhauer navigates new works by Terry Riley, Philip Glass, Milan Knížák, Gordon Monahan, Elliott Sharp, Milan Gustar and Yoon‑Ji Lee written specifically for its fractured voice.
At the centre of Pieces for Broken Piano lies a single, stubborn object: a 1916 Gebrüder Stingl grand that has been left to the weather until it could no longer be tuned, its action compromised, many of its keys only partially functioning, some not responding at all. By 2021 the instrument had effectively drifted out of standard pianistic usefulness, living outdoors in a garden, exposed to sun and rain. Rather than writing…
Marc Sabat is a Canadian composer who was born in Kitchener, Ontario, Canada in September 1965. He went to the University of Toronto, where he studied violin, composition and mathematics, completing a BA in 1986. He followed this with a Master’s at the Juilliard School in New York and then two years of string quartet playing in Banff and St. John’s Newfoundland. He has been based in Berlin, Germany, since 1999. Despite that, in 2017, as part of Another Timbres’ Canadian Composers Series, Sabat’s album Harmony was released on the label alongside Linda Catlin Smith, Cassandra Miller and the like.
Sabat is a pioneer of instrumental music written and performed in Just Intonation (JI) and one of a few composers who compose for…
Catrin Finch has been at the top her field for a long time now. The Welsh harpist was appointed to the ancient office of Royal Harpist by Prince Charles in 2000, was nominated for a Classical Brit Award in 2004 and her World Music collaborations with Seckou Keita resulted in their winning the 2019 BBC Radio 2 Folk Award for Best Duo.
After her three acclaimed albums with Keita, she released the striking Double You with Irish fiddler and classical violinist Aoife Ni Bhrian in 2023. And now, striking out with her first solo album in a decade, she turns to her self – in fact, to her 13-year-old self – in this beautiful set of pieces accompanied by short pieces of prose in the form of letters to herself, and archive family photos that focus on the young Katrin, and…
Vadim Neselovskyi is a Brooklyn-based composer who teaches jazz piano at Boston’s Berklee, yet as Perseverantia shows, the ties to his native Ukraine remain strong (now 48, Neselovskyi left Ukraine at the age of 17). To that end, the recording, issued on John Zorn’s Tzadik label, coincides with the fourth anniversary of the Russian invasion of his home country on February 24, 2022. Clocking in at 71 minutes, the work is an 11-movement suite of stylistically expansive character scored for piano and string trio. Neselovskyi himself performs on piano alongside the Netherlands-based Ysaÿe String Trio (Rada Ovcharova, violin; Emlyn Stam, viola; Willem Stam, cello). In honouring the ongoing struggles of the Ukrainian people, Perseverantia is a fitting follow-up to 2022’s…
Morton Feldman‘s composition “Intermission 6” dates from 1953, and is considered to be one of his most open, indeterminate piano works. Its score comprises a single page on which there are fifteen events — single notes or chords — which can be played in any order by one pianist or two. According to Feldman’s writing, “The pianist or pianists begin with any sound on the page, will hold until barely audible, then proceed to whichever other sound he/she/they may choose. Sounds may be repeated.” The music on this version of “Intermission 6” was all played by Finnish pianist Antti Tolvi and was recorded in Westers, Kiila, Finland, on 21st October 2024.
Feldman’s writing and music for “Intermission 6” are reminiscent of various other issues.
Unsuk Chin describes her music as a conscious attempt to render in sound the visions she encounters in her dreams. This ear-catching profile album from Ensemble Intercontemporain presents three of the Korean-born, Berlin-based artist’s works: a triptych of visionary panels that flicker and swarm with kaleidoscopic colours.
It opens with ‘Gougalon’, a playful suite inspired by the travelling amateur theatres of her native country. Prepared piano and a percussion section that hums with gongs, bells, bottles and vibraslap lend a riotous jocularity to six contrasting episodes, including the lugubrious ‘Lament of the Bald Singer’, the clangorous ‘Grinning Fortune Teller with the False Teeth’ and the madcap ‘Hunt for the Quack’s Plait’. First-class engineering…
Isabel Pine has been quietly releasing independent EPs for a while now, and it was high time that a label like Kranky would pick up her new album release, Fables. And it all seems to fall into place, with that quiet description, the album title and cover, telling a bit about what is going on here.
Pine, a classically trained viola and cello artist, has exactly that touch to make that fluid area between modern classical and ambient music work.
It is not just about creating moody soundscapes but make those soundscapes transform obvious instrumental capabilities into music that presents personal emotions in a way that listeners can not only pick up on them, but understand them in a way the artist, in this case Pine, wanted it in the first place.
Violin is a site of adventure for Darragh Morgan. The Irish violinist performs compositions that unite the instrument’s sweet acoustic timbre with electronics, enhancing and warping its sound. His 2017 record, For Violin and Electronics, first presented this interest through six icy meditations. On For Violin and Electronics II, he follows that experiment with nine more pieces that showcase the versatility of this instrumentation through the eyes of nine different composers.
Uniting strings and electronics isn’t a new concept, but it’s one that continues to offer plenty of leeway for expanding the possible textures and timbres of age-old instruments like the violin. Groundbreaking works like Steve Reich’s Violin Phase, for example, brought the potential of…
Leo Chadburn’s Sleep in the Shadow of the Alternator is a dream: a deep immersion in another world that is like and unlike our own, described through abandoned landscape, wrecked machines and lost purpose. The dream is here and now, a post-industrial Britain inspired by Chadburn’s East Midlands home town, marked by the closed power stations and coal mines, retreating back to the land and back to the future.
Chadburn is an acclaimed composer who has released several solo albums, including as Simon Bookish. Sleep… is powered by his narration, words murmured into a microphone like the latest of late night radio: the spirit of Chris Morris’ Blue Jam and Delia Derbyshire’s Inventions for Radio. Around his soft, insistent voice, layers of sound…
Luminous, barely breaking the silence with miniscule gradations and returns, a Jacob’s Ladder of chimes ushers in Tyshawn Sorey’s Monochromatic Light (Afterlife), the 2022 piece for piano, percussion, viola and chorus which also serves as DACAMERA’s new label debut.
A DACAMERA co-commission with Houston’s Rothko Chapel and composed in celebration of its 50th anniversary, the piece’s opening gesture reflects and anticipates, conjuring sounds conjured for the chapel’s inauguration while prefiguring its own development and distilling Sorey’s compositional approach.
Pianist, writer and DACAMERA founder Sarah Rothenberg’s liner essay describes the work’s genesis. She, percussionist Steven Schick,…
Founded in Berlin in 2019, the Leonkoro Quartet is no stranger to the UK having won first prize and nine special awards at the 2022 Wigmore Hall international string quartet competition. In their new disc they explore three composers who embody the musical cutting-edge that might have been encountered in the Austrian capital either side of the Great War.
Alban Berg and Anton Webern took Schoenberg’s theories of free atonality and the 12-tone system in rather different directions. Berg’s Lyric Suite was a fervent outpouring to his mistress, and the quartet aptly captures the moody sensuality of this intense, intricate music. The Andante Amoroso swoons; the Allegro Misterioso tiptoes on muted strings; the Presto Delirando is positively…
The music of David Moore’s Bing & Ruth has typically resembled cloud systems, ocean waves, swarming shoals of fish. In the spirit of compositions like Terry Riley’s In C and Steve Reich’s Music for 18 Musicians, each of his pieces stirs diminutive patterns into unfathomably vast forces. But over the long sweep of his career, Moore gives the impression of an artist steadily clearing away cobwebs, determined to get at the essence of something. There were 11 players on 2010’s City Lake, his post-classical ensemble’s breakout album, and then seven on 2014’s Tomorrow Was the Golden Age; by 2020’s somber Species, he had stripped his materials down to Farfisa organ, clarinet, and double bass. Moore recently dropped the Bing & Ruth alias for a duo…
