 Huddersfield Contemporary Records publish this CD mainly dedicated to clarinet solo pieces interpreted by Carl Rosman - Rebecca Saunders, Georges Aperghis, Aaron Cassidy, Chikako Morishita, Mauricio Kagel. Mark Knoop takes part of this adventure playing a Richard Barrett piece called "Fletchwerk". Discover this collection here
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 Aperghis' Riehm' Schöllhorn' Prins' Funambules
Trio Accanto Marcus Weiss sax Nicolas Hodges pno Christian Dierstein perc CD WERGO 7358 2 photo Marc Doradzillo Counterphrases is an evening of cinema with live music. Ten shorts films by Thierry De Mey set to music by ten composers with ten danced phrases choreographed by Anne Teresa De Keersmaeker and performed by Rosas. These ten films encapsulate the best of De Keersmaeker and De Mey’s collaboration: twenty years of assiduously practicing variation, of perpetually inventing algorithms, filters, and formulae that twist movement and space according to the capricious mathematics of pleasure. All of this is filmed – O Belgitude! – in exquisite flower-filled gardens and under impressionistic drizzling rain.
The ten composers of Counterphrases will each work on one of the variations separately, after the films have been edited, and will be completely unaware of what the others are doing. Discover 27 minutes of the film on UBUWEB  Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the 'rhizome', the 'assemblage' and the 'refrain' enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze's notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas. -
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