Unsettled Choruses: A Terrain of Humming and Phonetics 1930-1974
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Label: New World Records
Cat No: NW80827
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 14th April 2023
Contents
Works
Missa symphonicaWhen, not If
Do It
Ad te, Domine
Humming
Laetentur caeli
Psalm
Terra tremuit
Madrigals (3)
One Word, 'Sonic Meditation XII'
Tuning Meditation
Gesprochene Musik (simulated Grammophonmusik version)
Dust of Snow
Artists
The Astra ChoirConductor
John McCaugheyWorks
Missa symphonicaWhen, not If
Do It
Ad te, Domine
Humming
Laetentur caeli
Psalm
Terra tremuit
Madrigals (3)
One Word, 'Sonic Meditation XII'
Tuning Meditation
Gesprochene Musik (simulated Grammophonmusik version)
Dust of Snow
Artists
The Astra ChoirConductor
John McCaugheyAbout
'Generations later, they remain as outliers, but also as bearers of central truths about musical materials of their times, evading common categorizations – radical or moderate, experimental or formalist, Stravinsky or Schoenberg.The eight composers are eminent figures – each represented in other productions of New World Records. Their pieces here, however, have found no settled place in the choral culture, let alone in recordings – excepting Pauline Oliveros's Tuning Meditation and Ernst Toch's Geographical Fugue. Yet there could be something special about these choral cases. In their individuality and diversity – a small cauldron of mid-20th-century energies – they might raise questions still not settled in our 21st century. At the least, they seem to offer fresh experiences among the more conventional tonalities of recent choral creation, and the more uniform notions of what constitutes good choral sound.
'Since the earliest chant, choral singing has been poised between two poles of expression, both of great interest to modern composers: a meditative state of pure sonority – humming, melismas on vowels, drones – and a discursive state of phonetic movement – words projected through collective utterance.
'Through our fourteen choruses, emanations from the poles of humming and phonetics lead to a sense of musical "language" itself in a state of re-thinking, not by notions of post-tonal styles replacing 19th-century harmonic grammar, but more by combinations of different sonic materials available on the terrain – chromatic, 12-tone, modal, neo-classic, noise, drone, sound poetry. This is choral music "unsettled" by its own times and embracing the situation with creative enthusiasm.'
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