Composition / All styles

The first complete recording of Walter Zimmermann's string quartets by the Sonar Quartett, with Songs of Innocence & Experience after William Blake, Festina Lente and Fränkische Tänze, plus solo works for violin and for viola with voice.

John Cage's early percussion chamber works from 1935-1942, including the three Constructions, Trio, Quartet and Living Room Music, played by Third Coast Percussion, with the first movement of Living Room Music recorded in the Ford House.

Aldo Clementi's works for flutes, issued for his 75th birthday: Fantasia su roBErto FABbriCiAni, Ouverture for 12 flutes, Passacaglia, luCiAno BErio and Parafrasi 2, played by Roberto Fabbriciani with tapes restored by Alvise Vidolin.

Two CDs of John Cage works for saxophones and other instruments, played by Ulrich Krieger and Intersax, including the only available recording of Party Pieces, written with Cowell, Harrison and Thomson.

First recording of Maria de Alvear's Asking (2001), a 53-minute open-structure work for solo piano composed for and performed by Eve Egoyan.

First recording of John Cage's Three (1989) for three recorder players, with his early Solo with Obbligato Accompaniment of Two Voices in Canon (1933-34), performed by Trio Dolce. The Number Pieces 4.

Three first recordings of orchestral works by Roger Reynolds: Symphony[Myths] with the Tokyo Philharmonic and Kotaro Sato, Whispers Out of Time with the Cleveland Chamber Symphony and Edwin London, and Symphony[Vertigo] with the La Jolla Symphony and Harvey Sollberger.

Aldo Clementi's works with guitar, the first complete CD devoted to them, played by Geoffrey Morris and the ELISION Ensemble: Serenata, Dodici Variazioni, Albumblatt, The Plaint and others, most of them first recordings.

Aki Takahashi plays Giacinto Scelsi's piano works in 2005 recordings, mostly pieces she prepared with the composer, including the Quattro Illustrazioni depicting the incarnations of Vishnu.

Recent works by Gerard Pape, 1998-2004, for voices, percussion, computer, amplified strings and ensemble, with Roland Auzet, Rohan de Saram, Irvine Arditti and others, on his third monographic CD for Mode.

First recording of John Cage's Chess Pieces (1944), rediscovered in a painting and transcribed by Margaret Leng Tan, with her recording of Sonatas and Interludes and the first recording of Vittorio Rieti's Chess Serenade.

Stefan Wolpe's music from his Jerusalem years, 1934-38, including three world premiere recordings, played by ensemble recherche and the WDR Symphony Orchestra under Werner Herbers and Johannes Kalitzke.

George Crumb's Makrokosmos, Books I and II (1972-73), both complete on one disc, in composer-supervised recordings by pianist Margaret Leng Tan, a leading exponent of extended piano techniques.

Cage's late works for saxophones, Four5, Five4 and Hymnkus, with Ulrich Krieger's arrangements of Ryoanji and Five, played by Krieger and German new music performers. Volume 24 of the Complete John Cage Edition.

Chamber works by Christian Wolff from 1950 to 1987, mostly first recordings, including the Serenade written at sixteen, the Harriet Tubman setting for voice and trio, and For Morty, played by The Barton Workshop under James Fulkerson.

Five chamber works with tape and electronics composed by Gerard Pape between 1993 and 1997, performed by soprano Janet Pape, the Arditti Quartet, bassist Nicholas Isherwood, Vox Nova, saxophonist Daniel Kientzy and Ensemble 2e2m.

Other Minds is excited to present Hypothetical Moments, a DVD of the collaborative works of Carol Law and Charles Amirkhanian, available on video for the first time. Some of the work included within will be familiar to followers of Amirkhanian’s work (Dog of Stravinsky, Mahogany Ballpark), but the vast majority of Hypothetical Moments has been entirely unavailable until now. Both video and audio have been lovingly restored and remastered, opening up a new pathway into the densely layered and ref…

Georgia Denham (b.1997) draws on anecdotal experience to create her music. She studied with Andrew Hamilton at Royal Birmingham Conservatoire and now with Richard Causton at the University of Cambridge for her PhD. She lives with her husband, a theoretical computer scientist, and their many beloved plants. “This collection of chamber music from 2018–2022 wakes scores I thought were long since sleeping, where I first learned to write the delicate sounds I loved. With music written during my studi…

The first complete recording of György Kurtág's 24 Signs, Games and Messages for solo viola, with first recordings of four further viola pieces, played by Maurizio Barbetti with baritone Gianpiero Ruggeri.

This portrait of renowned composer Henri Pousseur arrives just days after his death at the hands of bronchial pneumonia, aged 79. The documentary goes some way towards conveying Pousseur's warmth and openness as well as giving some impression of the breadth of his career and its accomplishments. The film documents Pousseur taking one last trip to Basel's Fondation Paul Sacher, to which he's donated his full archive of sound materials, research and memos. In addition to spending time during the j…

bastille musique presents its thirty-third release »Klaus Ospald: Escribí« featuring world premiere recordings by Pierre-Laurent Aimard (piano), Teodoro Anzellotti (accordion), Edicson Ruiz (double bass), WDR Sinfonieorchester and Ensemble Modern, and conductors Enno Poppe, Peter Hirsch, David Niemann and Lin Liao. From a piano concerto and a concerto for double bass with accordion to an ensemble piece and a clarinet sextet, the album combines four of Ospald’s instrumental works from 2014 to 202…

* Edition of 200 * A composition for two bass Renaissance flutes. Performed by Mara Winter and Johanna Bartz. Rise, follow is a dialogue of long tones played by two bass Renaissance flutes, featuring subtle but persistent changes over the duration of one hour. It is performed in one sitting without interruption. The composition adopts the principle of instrumental ‘consort-style’ playing in Europe during the 16th century: a family of similarly pitched and constructed instruments performing polyp…

Time of year and day, light; warmth, coolness; wind, rain; breath of air, babbling of the stream; People and other beings going about their lives: a strangely unpredictable mix of expected and unexpected events that contribute to the precise conditions of the moment in which we find ourselves. The here and now conveys a special feeling and a unique sound identity. Mason enables us to connect with times, places, people and situations that go far beyond the here and now. Mason is one of the most i…

*2025 stock* Olympia 1972 and the musical avant-garde. A look back at the music program created for and around the 1972 Olympic Games in Munich causes astonishment. The people in charge give space to contemporary music. It is quite natural and apparently normal to rely on the avant-garde. This extraordinary musical framework program for the 1972 Olympics has almost been forgotten. The architecture with its transparent, glass tent roof is remembered as a sign of a new, cosmopolitan, modern and de…

Fabio Selvafiorita is a composer known to the public of experimental music for his massive musique-concrete work Death by Water composed with Valerio Tricoli. This CD is neither musique concrete or “extreme” experimental music: it's a CD of music for solo classical guitar. Consistent to the baroque guitar literature and its short musical forms, Fleurs d'X consists of musics written for a bard of an imaginary future kingdom's court. This is the best way to imagine this astonishing collection of m…

"[..] With Rebecca Bruton’s piece, the melody/ harmony is transmuted into something psychedelic by manifesting its essential indivisibility from the shifting textures of the music as a whole. There’s often an ephemeral virtuosity to this music, an intricate (sometimes opaque, sometimes disorientingly transparent), florid weave of sound. But this virtuosity doesn’t assert dramatic effects; there are gestures here, but they’re the movements of sounding bodies, not the quasi-meaningful gesticulatio…

'A room outdoors' is a 48 minute piece written in 2006 by Michael Pisaro-Liu for sustaining instrument, harmonium and field recordings. This was the first work in which Pisaro-Liu incorporated field recordings into his score. This double CD contains two different realizations of the piece, one made in Brussels during the lockdown in April 2020 and one set up in Cremona in June 2023, each realized by the following artists: Disc 1 features Belgium-based Guy Vandromme (keyboards) and Adriaan Severi…

The French pianist and composer Melaine Dalibert possesses an exquisite touch and engagement with his repertoire. On this new album he tackles the stripped-down music of Greek composer Anastassis Philippakopoulos, a key member of the post-Cagean Wandelweiser Collective, tracing out the delicate, sparsely mapped notes from a dozen contemplative, spacious miniatures.  The pieces are built around austere melodic fragments, all of which hang pregnant in the air, unfolding carefully before the next p…

This album contains three new works by Italian composer Giuliano d'Angiolini, ')))(((', '7 flauti', and '100100', following his previous three albums: 'Simmetrie di ritorno' (Edition RZ, 2010), ‘Cantilena’ (Another Timbre, 2016) and ‘Antifona’ (Another Timbre, 2020). ')))(((' was composed in 2023 for four flutes and sheng or accordion, or six clarinets, and the version here is for four flutes and six clarinets. It is recommended to listen at high volume. '7 flauti' was written in 2010 for seven …

“It has been my conviction for a number of years that Music (and Art in general) must simply assume the humble task of describing its own end, or at any rate its gradual extinction,” wrote Italian maestro Aldo Clementi (1925–2011) in 1973. Three years earlier he had written B.A.C.H., a piano piece which proved to be pivotal. From this point on, almost all his works are — in David Osmond-Smith’s words — constructed from “tonal fragments arranged in a polytonal canonic counterpoint that ensures ne…

12 instrumenter til Henning (english: 12 instruments for Henning) is a new arrangement by Danish composer Anders Lauge Meldgaard (formerly known as Frisk Frugt) that sees Meldgaard exploring the music of Danish avant-garde artist and composer Henning Christiansen. A trio piece by Christiansen from 1975 is the source material for a bright and stimulating new work for extended chamber ensemble, with the tonal language the original blossoming outwards via Meldgaard’s own brilliantly colourful sound…

*2022 stock* 'We can appreciate some musical works for a variety of reasons. Some unleash a narrative that can read our present and its problems very well, others prefer to move on abstract codes, whether experimental or electronic. Still others may propose ethnographic readings as much aimed at an examination of the past and tradition as they try to probe the future through spatial or psychedelic atmospheres. Then there are proposals capable of going beyond any stylistic framework and floating …

This second project released on Sub Rosa by the Japanese artist Kaoru Tashiro, manages to create a subtle dialogue between four composers, and four musical pieces, mixing a delicate blend of Japanese and European sensibilities. Those different approaches convergence thanks to the highly recognizable sensibility of Kaoru Tashiro's way to play. After "drifting" through unpublished pieces from Toshi Ichiyanagi (Fluxus) and Claude Ledoux on the album Cloud Atlas, Kaoru Tashiro is now highlighting th…

Brown Wardle Hill stands as an imposing yet noble hill on the South Pennine Moors of Whitworth, Rossendale, Lancashire. Regarded as a site of prehistoric importance due to the overwhelming amount of mesolithic flint scatterings discovered during the early 20th century, the hill also boasts an incredible amount of lore and legend. In 2019 David Chatton Barker spent a year walking and researching into the hill and its surrounding moors, the material gathered formed a series of performances, culmin…

Three CDs and a 144-page book of Walter Zimmermann's vocal music from 1979-2016, on texts by Eckhart, Hadewijch, Mandelstam, Jabès, Creeley and others, with a 1982 rock and new music band recording, Freunde.

Chamber works by Walter Zimmermann from 1986-89 for piano, cello and piano, bass flute and piano, and violin and piano, played by the HCD Ensemble with cellist Michael Bach and violinist Peter Rundel.

Four chamber works by Walter Zimmermann, Schatten der Ideen, Ursache und Vorwitz, Distentio and Shadows of Cold Mountain 3, played by Ensemble Recherche. The music reflects the influence of John Cage and Morton Feldman.

After three acclaimed solo piano programmes for the label, here Anna Gourari widens the instrumental spectrum with the Lugano-based Orchestra della Svizzera italiana under Markus Poschner’s direction in striking performances of Alfred Schnittke’s Concerto for Piano and String Orchestra and Paul Hindemith’s The Four Temperaments. Gourari’s pianistic command is one of “virtuoso polish and with flawless action”, to quote the German daily Süddeutsche Zeitung, and her holistic, wide-reaching grasp of…

*2022 stock* 'This collection of ensemble works, six altogether, ranges across the last two decades of Iannis Xenakis's life. It includes the last two pieces he composed, Zythos, for trombone and six marimbas, and O-Mega, for percussion and ensemble, both written in 1997, four years before his death. They are striking, small-scale examples of the bareness and drastic compression of his late style, but the finest music here is a bit earlier. In Échange, from 1989, a bass clarinet painstakingly un…

"One Arm Bandits is an hour-long piece in four parts, scored for four cellists. The cellists play only open strings, thus using only their right arms, never fingering the strings with the left hand. Recorded in Alvin Lucier's dining room, this work features cellists Tyler J. Borden, Laura Cetilia, Charles Curtis and Judith Hamann. Lucier oversaw and produced the recording, and approved the final takes. One Arm Bandits was an important project for Alvin Lucier. The idea for the piece goes back to…