The Squid's Ear Magazine


Hockley, Liam (Avram / Chrysakis / Dumitrescu / Radulescu): Pulse Tide (Aural Terrains)

Canadian clarinetist Liam Hockley, a dedicated advocate for new and experimental music, performs compositions on a relatively obscure member of the clarinet family, the basset horn, alone and in layers of up to seven horns, in pieces from Romanian spectral composers Ana Maria Avram, Iancu Dumitrescu, and Horatiu Radulescu, along with a contemporary work by Thanos Chrysakis.
 

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Liam Hockley-bassett horn

Ana Maria Avram-composer

Thanos Chrysakis-composer

Iancu Dumitrescu-composer

Horatiu Radulescu-composer


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Label: Aural Terrains
Catalog ID: TRRN1853
Squidco Product Code: 34385

Format: CD
Condition: New
Released: 2024
Country: UK
Packaging: Jewel Case
Recorded at Stratford Studio in Surrey, British Columbia, Canada, January 2021, to August, 2022, by Liam Hockley.

Descriptions, Reviews, &c.

"An imprint that offers cerebral yet sensorily engaging releases is rather uncommon. Aural Terrains does exactly that, regularly presenting programs with multiple points of interest. They may not always be within the reach of immediate fulfilment, but the angles of observation and the cues for in-depth study of the material are more than enough for yours truly. On the disc under review here, clarinet virtuoso Liam Hockley tackles challenging scores for basset horn, composed by three renowned representatives of the Romanian avant-garde: Ana-Maria Avram, Iancu Dumitrescu, Horațiu Rădulescu. In the midst of them stands an excellent piece by label honcho Thanos Chrysakis.

At this point, let me introduce a description of the basset horn by none other than George Bernard Shaw (aka Corno di Bassetto during his stint as music critic), in turn quoted by Donal Henahan in a New York Times article dated 1983: "It is a wretched instrument, now completely snuffed out for general use by the bass clarinet. It would be forgotten and unplayed if it were not that Mozart has scored for it in his Requiem, evidently because its peculiar watery melancholy, and the total absence of any richness or passion in its tone, is just the thing for a funeral". Assuming that this reviewer's opinion about Mozart as the greatest composer ever of cell phone ringtones is quite high, it is funny to compare the aural blindness of selected members of vintage intelligentsia to the effective ability of evolved composers to get the most out of a given instrument.

Avram's "Penumbra" (originally intended for clarinet/bass clarinet) and Dumitrescu's "Aura" (again, for bass clarinet in the initial form) highlight Hockley's expertise as a soloist. The possibilities of the basset horn and those of a musician willing to plumb its expressive depths are equally delineated in both pieces, typified by severely dissonant phraseologies, microtonal investigations, multifarious techniques. The performer extrapolates logic from any page, not to mention a wealth of upper partials that the aforementioned Shaw could not even imagine existed at the time of his rant. Chrysakis' "Egress" and Rădulescu's "Capricorn's Nostalgic Crickets" respectively employ five and seven superimposed basset horns, although in principle Rădulescu conceived the score for "7 identical woodwinds". There, it is the composer's clairvoyance that determines the success of the whole, subject to the instrumentalist's technical prowess and interpretive brio. Some contrapuntal designs may appear too complex to the inexperienced, but for a trained ear the intertwining lines are so well grounded in a concept of absolute lucidity that they resonate almost familiarly after four listens or so.

I'd suggest looking elsewhere if you are a bit too passionate, or plain romantic. Throughout Pulse Tide, one gets a glimpse of primary perceptions that privilege stern intellect over guts. Or perhaps — as is often the case — your chronicler is still missing something; and because of that, he will humbly press "play" once again."-Massimo Ricci, The Squid's Ear



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Artist Biographies

"A versatile musician for whom "alternative or avant-garde approaches to his instrument are only part of the everyday tool kit" (Georgia Straight), Canadian clarinetist Dr. Liam Hockley is a dynamic performer of classical music and passionate advocate for new and experimental music. His repertoire encompasses not only the standard clarinet repertoire from the eighteenth to the twenty-first centuries, but also the results of numerous collaborations with Canadian and international composers on innovative new works.

Liam has performed as a soloist or ensemble member on three continents, including appearances on Vancouver New Music's concert series, Music on Main's Modulus Festival (Vancouver), the SALT New Music Festival and Symposium (Victoria), KLANGRAUM (Düsseldorf), the Stockhausen-Konzert und -Kurse Kürten, A Place to Listen (Victoria), the Banff Centre for the Arts and Creativity, NUNC! (Evanston), the Kuandu Arts Festival (Taipei), and the Tongyeong International Music Festival (Korea). He has been featured as an emerging artist in residence with the Music on Main concert series and was the director of the Ensemble in Residence at the Simon Fraser University School for the Contemporary Arts for the 18/19 Academic Year. His performances have garnered him many accolades and awards, including an interpretation prize at the Stockhausen-Konzert und -Kurse Kürten.

He maintains an active schedule of performances as a freelancer with diverse ensembles in Vancouver and on Vancouver Island. In this capacity, he has performed with the Vancouver Symphony Orchestra, Victoria Symphony, Vancouver Island Symphony, Vancouver Metropolitan Orchestra, Turning Point Ensemble, Nu:BC Collective, and Aventa Ensemble and has appeared as a soloist with the University of British Columbia Symphonic Wind Ensemble, the Victoria Symphony, and the Greater Victoria Youth Orchestra.

Liam holds a Doctor of Musical Arts degree in clarinet performance from the University of British Columbia. His dissertation, "Performing Complexity," developed a new analytical perspective to demonstrate how complexism's distinctive material and conceptual elements (which are often suggested as leaving the performer no room for interpretation or expression) engage with unique forms of performer agency. His research was supported by a prestigious Joseph-Armand Bombardier Canada Graduate Scholarship (SSHRC) and a University of British Columbia Doctoral Fellowship. Liam also holds a Master's degree from the University of British Columbia and a Bachelor's degree (with distinction) from the University of Victoria. His teachers have included Cris Inguanti, François Houle, Patricia Kostek, Earl Thomas, and Christian Gossart."

-Liam Hockley Website (http://liamhockleyclarinet.com/)
6/17/2024

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"Composer, pianist, conductor, born in 1961 in Bucharest, Romania.1980-1985 - she accomplished studies of composition at the National University of Music- Bucharest1992 DEA of musical aesthetics at Sorbonne Paris1994 Great Prize of the Romanian AcademySince 1988 she is a Member of Hyperion Ensemble from Bucharest -group of composers and interpreters representing a new, experimentalist and innovative direction in Romanian music, she realized a lot of European tours, as well as conductor and composer.Her music incorporates the outward semblences of abstraction ofarchetypal sound, achieving its full development in the synthesis ofelectroacoustic and instrumental sources.Her music is affiliated with the spectral music trend. She represents with Iancu Dumitrescu the Hyper-Spectral trend in contemporary avant-garde music. Conductor with Dumitrescu of the Hyperion Ensemble.

Her music is spectral, acousmatic, heterophonic and transformational. She composed since now around 130 works, music for soloists, chamber music, music for orchestra, electronic music and computer assisted musicHer main works are : Threnia I-II , Orbit of Eternal Grace fororchestra and soloists, Ekagrata , Swarms , Seconde Axe , Un Aaggio Ardente for chamber orchestra, De Sacrae Lamentationem, InNomine Lucis , Chaosmos- for large orchestra, Zodiaque I-IV, Notturno I-II , Labyrinthe I-III , Signum Gemini , Ikarus I-IV , Traces, Sillons, Sillages, Doryphories , New Arcana, Ascent, Voices of the Desert, Telesma I-VII- electronic & instrumental music, Archae , Ç Metaboles , Axe , Quatre Etudes d'ombre, Ikarus-Kronos Quartet , Assonant I-III - instrumental andchamber musics, Horridas Nostrae Mentis Purga Tenebras, Nouvel Archae - computer assisted music.Her music is published by Edition Modern, Electrecord, EdituraMuzicala, Artgallery, ReR Megacorp, Musicworks, Bananafish..Her music was performed in New York, Los Angeles, Boston, Stanford, in Vienna (in the Wien Modern Festival in 1992 and 1994) at Paris (several times at Radio France and Theatre de la Ville ), in London (at Royal Festival Hall, Conway Hall, LSO St Luke's) Nancy, Allicante, Lisbon, Baden-Baden, Darmstadt, Moscow, Belgarde, Berlin,Minneapolis, etc.

Her works has been commissioned by prestigious ensembles such asKronos Quartet (San Francisco) Ç 20 Jahrhundert È from Vienna, soloists from l'Orchestre National de France, orchestras as Bucharest Philharmonic Orchestra, Romanian National Orchestra, Romanian Radio Chamber Orchestra, L'Orchestre de Chambre de Roumanie, etc.On the Abolition of the Soul - a Radio France commission was released on a double CD- Radio France, as an anthology of Prix Italia since 1949.Her music was commissioned by: Radio-France, Kronos Quartet, CCMIX (Paris) , Ars Nova Ensemble, Musiques Nouvelles (Mons), Ensemble Lucilin ( Luxembourg), Enemble Mosaik ( Berlin), Institut International de Musique Electroacoustique Bourges.Founder and director, with Iancu Dumitrescu, of the International Festival of Electronic andc Computer Music "Acousmania" Bucharest, - in partnership with Romanian Radio Broadcasting Corporation, "Musica Nova" International festival (Ploiesti), Spectrum XXI -(Paris, London, Geneva, Nrussels, Berlin, Mons, Bucharest), Siberfest 2007 ( Sibiu).Founder of the Romanian Community of Electronic and Computer Music ( 2004) . Vice- President of CIME ( Intenational Cummunity of Electronic Music - UNESCO).Edited by : " Edition Modern " ( London) , " Electrecord " (Bucharest) ,"Artgallery " (Paris ) , " ReR Megacorp " (London) , " Bananafish " (Los Angeles) , " Musicworks " (Toronto).Musicological contributions in" Musica "- Bucharest, " Bananafish "-Los Angeles, " Musicworks " - Toronto " ""- Bucarest, Axis Mundi, 1992. & CREMAC- 2006 - in collaboration with Harry Halbreich."

-Spectral Music (http://www.spectralmusic.org/Anamariaavram/Biography.html)
6/17/2024

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"Thanos Chrysakis' output consists of composition, performance, and installation. He was born in Athens in 1971. After residing in the UK between 1998-2014 he moved in 2015 to Belarus. With several albums to his name his work has appeared in festivals and events in several countries, including CYNETart Festival, Festspielhaus Hellerau - Dresden, Academy of Arts / M:AI (Museum für Architektur und Ingenieurkunst NRW)- Berlin, TU - Berlin, Diapason Gallery - New York, ohrenhoch - der Geräuschladen Gallery - Berlin Neukölln, Spazioersetti Gallery - Udine, XXII "Sound Ways" International New Music Festival - St. Petersburg, Artus Contemporary Arts Studio - Budapest, CRUCE Gallery - Madrid, Fylkingen - Stockholm, Relative (Cross) Hearings festival - Budapest, ZEPPELIN festival - Barcelona, IVM (Institut Valencià de la Música) - Valencia, Motus/Festival Futura 2013 / 21 édition - Crest-Vallée de la Drôme-Diois, Xposed Club - Cheltenham, Festival de Música Contemporanea "Ramiro Guerra" - Monterrey, FACT Centre - Liverpool, Association Ryoanji - Salle Des Fêtes - Ahun, The Center for Advanced Musical Studies at Chosen Vale/International Chosen Vale Trumpet Seminar 2014 - Hanover-New Hampshire, Frost School of Music - Clarke Recital Hall - Coral Gables/Florida, XIII Festival Internacional de Música Nueva - Monterrey, Splendor - Amsterdam, VI European Clarinet Festival - Camerino - Italy, Logos Foundation - Ghent, Palacio de Bellas Artes - Mexico City, "On the Edge of Perceptibility - Sound Art" Műcsarnok Kunsthalle - Budapest, Festival del Bosque GERMINAL - Mexico City, Noise & Fury Festival - Moscow, Oosterkerk - Amsterdam, Center for New Music - San Francisco, Västerås Konstmuseum - Västerås, Störung festival - Barcelona, BMIC Cutting Edge concert series - The Warehouse - London.

His music has been frequently aired by RAI Radio 3, BBC Radio 3, Radio Portugal Antenna 2, Radio Nacional de España Radio 3, Ireland's RTÉ Lyric FM, Polskie Radio (Warsaw), RTS - Radio Belgrade 3 (Serbia), FM Brussel, Elektramusic (Strasbourg), CKCU FM - (Ottawa), Undae! Radio and Onda Sonora - Radio Circulo de Bellas Artes (CBA) (Madrid), Radio Horizon (Johannesburg), Motus/Radio Saint Ferréol -Les Territoires Du Son (la radio du Val de Drôme), Radio Nova (Oslo) among others. In addition, his texts have been also appeared in the Leonardo Music Journal (MIT Press), the Vague Terrain Journal, and in the volumes The Book of Guilty Pleasures and The Idea of the Avant Garde - And What It Means Today (Manchester University Press) edited by Marc James Léger. He composes for electronic and acoustic instruments, as well environmental sounds, focusing on the structural, aesthetic and transfigured capacity of sonic matter.

His formal training encompasses percussion (Dimitris Tzafestas), Sonic Arts (Hugh Davies) at the Lansdown Centre for Electronic Arts and a PhD in composition from Goldsmiths, University of London (EMS/Michael Young) as well as private studies in orchestration with Dmitri Smirnov. However it is the yearning of the creative praxis itself that transmitted the crucial aspect of artistic practice: that something has to be staked, that something must be ventured.

His work was amongst the selected works at the 32nd International Competition de Musique et d'Art Sonore Electroacoustiques de Bourges 2005, in the category œuvre d'art sonore électroacoustique, while received an honorary mention in 2006 at the 7th International Electroacoustic Composition Competition Musica Viva in Lisbon (the jury was constituted by Morton Subotnick (USA), François Bayle (France), and Miguel Azguime (Portugal).

He has written music for distinguished musicians such as Philippe Brunet (flugelhorn, trumpet), Wilfrido Terrazas (flutes), Chris Cundy (baritone saxophone, bass clarinet), the Stockholm Saxophone Quartet, Jason Alder (bass clarinet), Alexander Bruck (viola), Yoni Silver (bass clarinet), Natalia Pérez Turner (cello), Nadia Ratsimandresy (Onde), Mikael Rudolfsson (alto trombone), Matias Karlsen Bjornstad (soprano saxophone), Liam Hockley (clarinets), Michael Pelzel (church organ), Kate Ryder (piano, prepared piano), Tzenka Dianova (piano), Claire Chase (bass flute), Peter Evans (trumpet), Julie Kjaer (alto saxophone/alto, Luis Tabuenca (percussion), Philip Chase Hawkins (trumpet).

Recent compositions amongst others, include: Above the Hidden Track an Endless Blaze (Aural Terrains 2015), Terra Firma (for Mikael Rudolfsson [alto trombone] 2015), Astraea (for the Stockholm Saxophone Quartet, 2013), Undercurrent (for Liam Hockley [clarinet in A] 2014), Arché (for Chris Cundy [baritone saxophone] 2014), Nocturnal Flight (for Nadia Ratsimandresy [onde] 2014), Ingress (for Yoni Silver [bass clarinet] 2015), Canto Intrare (for Philippe Brunet & Philip Chase Hawkins [duo trumpets] 2015), Μήτε το Κύμα / Νé da'll onde (for Wilfrido Terrazas & Natalia Pérez Turner [bass flute / cello] 2014].

He has recorded/performed with a number of improvisers including among others Wade Matthews, Dario Bernal-Villegas, Jerry Wigens, James O'Sullivan, Philip Somervell, Jamie Coleman, Chris Cundy, Zsolt Sőrés, Sebastian Lexer, Javier Pedreira, Julie Kjaer, Artur Vidal, Christian Kobi, Christian Skjødt, Yoni Silver, Nuno Torres, Kurt Liedwart, Ernesto Rodrigues, Abdul Moimême. Furthermore, he has also closely collaborated with the visual artists Pascal Dombis, and Villő Turcsány. Since 2007 he operates the record-label 'Aural Terrains' focusing in electroacoustics, composed and improvised music.

He has held residencies at the Visby Centre for Composers (twice) and at the Artus Contemporary Arts Studio in Budapest. His work has been supported by PRS for Music Foundation and the Swedish Art Council.

Current and upcoming projects for 2016-17 include a residency at the Porticello Artist Residency in Calabria/Italy, a series of compositions for the Hyperion Ensemble, Tim Hodgkinson (bass clarinet), Yoni Silver (bass clarinet), Tibi Cenuser (trombone), for the Stockholm Saxophone Quartet, for Konus Quartett, for Liam Hockley (clarinets in A and E♭), Laura Faoro (bass flute), Philippe Brunet (trumpet), Elena Kakaliagou (french horn), Stephan Vermeersch (bass clarinet), Alexander Bruck (viola), Natalia Pérez Turner (cello), Chris Cundy (bass clarinets), Markus Wenninger (clarinet E♭), Serge Bertocchi (Tubax E♭), Shadanga Duo (alto flute/alto clarinet), Katalin Szanyi (alto flute), Jason Alder (contra bass clarinet), Alejandro Tello (oboe), Wilfrido Terrazas (flutes), Dana Jessen (bassoon) as well a new electronic music CD entitled 'Equinox'."

-Aural Terrains (http://www.auralterrains.com/chrysakis/en/bio/)
6/17/2024

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"Iancu Dumitrescu is one of the leading personalities of contemporary music, embracing both composition and interpretation. He centers his work on the phenomenological principle, which Sergiu Celibidache made him to discover, and which Dumitrescu applies to the composition itself, and on the idea of acousmatics. Acousmatics represents for Dumitrescu not only " the art of disguising a sonic source " in a concrete approach, but the very metaphor of the sound, infinite, cryptical alchemy applied to the sound material.

Iancu Dumitrescu has born the 15th of July 1944 in Sibiu, Romania, son of Gheorghe T Dumitrescu (1904-1982), University Professor, philosopher and psychologist, author of numerous volumes, and of Maria Dumitrescu, a Mathematics teacher. Around four, probably in 1949 he witnesses the general search and arresting of his father with tragic consequences for the entire family. Three years of kept into custody without any awareness from the family, until the death of Stalin, with unforgettable consequences. 1950-1963: Elementary school and college. 964-1969. Musical studies at the Musical Academy in Bucharest. It was the first year after WW2 when admittance in high school happened without the censorship of the " political file of the family ". The vigilance however remained complete and its effects increasingly harmful. He later followed, beginning with 1978, systematic studies of conducting and musical phenomenology with Sergiu Celibidache. 1964 Depressing atmosphere, with serious political pressure, harassing, when modern art was denounced and condemned to disappear, as well as those frequenting it. However those young years are full of impetus, of challenge and even some unexpected artistic success. The encounter of few extraordinary colleagues, enthusiastic and talented opened the opportunity of a new and real stimulation. From 1966, for two decades he launches into a fervent musicological and journalistic activity, trying, under difficult conditions, to engage his writing through the construction of an axiological, selective dimension of the Romanian musical culture of that time. He writes permanent editorials for important cultural magazines and newspapers such as "Luceafarul", "România Literara", than Radio broadcastings, articles in "Scânteia tineretului", "România libera", "Saptamâna Culturala" etc.

In 1967 he is awarded with the Prize for journalism of the LUCEAFARUL magazine for his " originality and sharpness ". In the same dreadful period, by its harsh ideological limitations, its dogmatism and sclerosis the musicological interventions of Dumitrescu quickly attracted the attention of officials who were preparing to attack. But it was necessary to reject to any risk the cultural repression. Firstly by drawing attention to other aesthetic attitudes, other names, and the marginalized ones - against those became the taboos, the untouchables "skills" of the time. It was necessary to propose another professional ethics, a new elite, imposing a new generation of composers. Thus, disarticulating one week after another the Establishment of the time, he became the official choice of the attacks, controversies, and charges in the official press, but could not be silenced. The activity as a musicologist, composer and performer (conductor) intersects from the very beginning. Febrile period 1964-1970: the young student is attracted and finds himself in the avant-garde movements. He desperately looks for scores, recordings, unpublished, innovative ideas: Stravinsky, Bartok, Webern, Schoenberg, Berg, Stockhausen, Boulez, Berio, Nono, Cage, Lutoslawski, Penderecki ... Frenetic Revelation of the modernity. The avant-garde. The atonalism, dodecaphony, Stochastics, the Aleatorism. First systematic explorations in composition. The unique role of Professor A. Mendelssohn, who during an important meeting expressed as " from all his students having made ​​progress, only for Iancu Dumitrescu composition represents the very life! " 1967 to 1969. As still a student, he realizes his first original compositions invested with an opus number thereafter: Diachronies "(I-II-III-IV) for piano, published in 1970 by" Gerig Musikverlage " recorded by WDR-Köln, Radio Madrid, Radio Brussels etc.). "Metamorphoses" for solo clarinet and 'Alternances (I-II) "string quartet, works later recorded by Radio România and Radio France. First discoveries of the sound core, the natural harmonics, the microscopic approach of the sound world etc. The idea of ​​acousmatic. The Spectralism - ideas that will remains central in his composition since. First presence of his works at Radio France - Grand Auditorium. World Premiere of "Multiple" for three percussion groups. The work was engraved little after for CBS Harmonia Mundi.

1974 to 1976. Dumitrescu configures the Hyperion Ensemble, an artistic group of performers and composers who will occupy for 40 years, one of the most important and dynamic role in Romanian music 1978 - He received a Scholarship from Sergiu Celibidache in Germany, after examinations, repeated interviews and extensive theoretical discussions with the Master. Since June 1978, systematic studies of general and musical phenomenology, and also conducting at the University of Trier and Munich. Sergiu Celibidache became for him the Master has always sought, to whom he always relates. He since joined the Husserlian Phenomenology - perspective that has led to important theoretical crystallization and to fertile creative conclusions, re-placing in question the principles of academic composition, petrified and deprived - as we can easily see - of any genuine creative impulse. After extensive explorations, he finally foresees his own vision on sonic world he has pursued since. Thus, the essential concepts of "phenomenological reduction" and "pure intuition" became functional in composition. According to Dumitrescu, it is the first time phenomenology is utilized as a true method of composition, which re-poses in question essential concepts, nevertheless hidden at that time: inspiration, vision, creativity, imagination.

1991 - Inauguration of the EDITION MODERN CD Label in collaboration with "RER Megacorp" - London. Until 2011 26 CDs with the music of Iancu Dumitrescu and Ana-Maria AVRAM were released, and distributed in United States, Canada, France, Germany, United Kingdom, Italy, Austria, Japan, Brazil, South Africa, Korea.. . Iancu Dumitrescu is considered one of the leaders of the spectral music trend at a worldwide level. In 1976 he founded the HYPERION Ensemble, proposing a new aesthetic in today's music, hyper-spectral, based on the radiant power of sound, within its microcosmic complexity - which is questioned, analyzed, re-composed ​​from a spectral perspective. Dumitrescu is also Founder and Artistic Director of the International Music Festivals of Computer Assisted Music Acousmania, Musica Nova, Musica Viva and the International Spectral Music Festival SPECTRUM XXI - held annually in three European capitals. His creation counts more than 200 works, chamber music, electro acoustic, orchestral music, computer music, etc.

His work is edited by Salabert (Paris), Editura Musicala (Bucharest) Gerig Musikverlage-Schott-Schöne (Köln). The LPs and Cds of his music are published by Edition RZ (Berlin) Generation Unlimited (United States), Escargot-Harmonia Mundi (France), Electrecord (Bucharest), Artgallery (Paris), ReR Megacorp (London), Bananafish (Los Angeles) Edition Modern (London-Bucharest). The musicological contributions of Iancu Dumitrescu have concretized in numerous articles such as "Structure & Freedom" (London, Resonance magazine), "Writing: Iancu Dumitrescu" in "Revue et Corrgiée " , Grenoble, "Iancu Dumitrescu: On The Inside Looking In" (Bananafish, Los Angeles ) "In the land of ninth sky : Iancu Dumitrescu Ana-Maria Avram" (Musicworks, Toronto) and in the book "Iancu Dumitrescu, Acousmatic Provoker" (ReR Megacorp, London)."

-Spectral Music (http://www.spectralmusic.org/Iancudumitrescu/Biography.html)
6/17/2024

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"Horațiu Rădulescu 7 January 1942 - 25 September 2008) was a Romanian-French composer, best known for the spectral technique of composition.

He studied at the conservatory in Bucharest with Tiberiu Olah, Ștefan Niculescu and Aurel Stroe. After finishing his studies he went to France, later living in Germany and Switzerland. Horațiu Rădulescu was a composer known throughout the world, with even Olivier Messiaen noting the qualities of his compositions."

-Wikipedia (https://en.wikipedia.org/wiki/Hora%C8%9Biu_R%C4%83dulescu)
6/17/2024

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Track Listing:



1. Penubra (2001) 6:14

2. Egress (2017) 13:24

3. Aura (2009) 12:45

4. Capricon's Nostalgic Crickets (1972) 25:15

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Recordings by or featuring Reed & Wind Players
Solo Artist Recordings
Canadian Composition & Improvisation
European Improvisation, Composition and Experimental Forms
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Aural Terrains.


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An extended electroacoustic piece recorded in 2011 and named as an apt description of the bubbling, dense and intense flow of sound Chrysakis generates using electronic devices, acoustic sounds and field recordings, an absorbing work of audio flux and percolation.
Chrysakis, Thanos / Chris Cundy
Music for Chamber Organ & Contra Bass Clarinet
(Aural Terrains)
Electroacoustic improviser Thanos Chrysakis performing on the chamber organ at the University of Gloucestershire, UK in a collaboration with Chris Cundy on contra bass clarinet, for a subtle, mysterious and uncompromising four-part improvisation.
Chrysakis / Rodrigues / Rodrigues / Mira / Moimeme
Exaiphnes
(Creative Sources)
A quintet of string improvisers in discerning dialog using viola, cello, double bass, electric guitar, piano & harp, from regular collaborators Ernesto & Guilherme Rodrigues, Miguel Mira, and Abdul Moimeme, plus Aural Terrains label leader Thanos Chrysakis.
Chrysakis, Thanos
Above the Hidden Track An Endless Blaze
(Aural Terrains)
Composer/performer Thanos Chrysakis in a studio electronic work, using a diversity of methods and approaches that imply his usual free improvisational approaches by creating a rich and elaborate sound world of distinctive, unique and often warped electronic sound.
Chrysakis, Thanos
ΕΚΝΗΨΙΣ
(Aural Terrains)
Aural Terrains label leader and electronic composer Thanos Chrysakis in a work in three movements based on a blending of electronics and acoustic instruments.
Branche / Chrysakis / Soloveitzik / O'Sullivan / Vidal / Wigens
Magnetic River
(Aural Terrains)
Electroacoustic improvisation with unusual techniques from the sextet of saxophonist Sebastian Branche, laptop electronicist Thanos Chrysakis, saxophonist Tom Soloeitzik, guitarist James O'Sullivan, saxophonist Artut Vidal and clarinetist Jery Wigens.
Chrysakis, Thanos / James O'Sullivan / Jerry Wigens
Syneuma
(Aural Terrains)
The Syneuma Trio is the free improvising trio of Thanos Chrysakis playing inside and out of the piano + chimes and vibes, James O'Sullivan on guitar, and Jerry Wigens (Astrakan) on clarinet.
Chrysakis, Thanos / Philip Somervell
Knotted Alembic
(Aural Terrains)
The 7 part "Knotted Alembic" is an improvisation between electroacoustic artist and label leader Thanos Chrysakis and Brazilian based Chilean pianist Philip Somervell performing inside and out of the piano.
Chrysakis, Thanos
Subterranean Sky
(Aural Terrains)
Aural Terrains label leader and electronic composer Thanos Chrysakis in a work in five movements based on field recordings, synthesized, and acoustic instrumental sounds.
Other Recommended Releases:
Chrysakis, Thanos / Dawid Frydryk / Edward Lucas / Sue Lynch / Adrian Northover
Five Shards
(Aural Terrains)
The edges of electroacoustic improviser and composer Thanos Chrysakis' shards are sharpened by the quartet of Dawid Frydryk on trumpet & electronics, Edward Lucas on trombone, Sue Lynch on flute & tenor saxophone and Adrian Northover on soprano saxophone, as Chryaskis generates evocative sonic environments over which the four horns mysteriously interact.
Chrysakis, Thanos
Elytra
(Auf Abwegen)
"Elytra" are the protective fore-wings of beetles & crickets, which are raised and scraped to create a resonating and projecting sound; Greek composer and sound artist Thanos Chryaskis composed these seven works of deeply detailed, resonant and layered sonic interaction as a form of emulation to the action of the elytron, each piece an absorbing sonic experience.
Hodgkinson, Tim / Jason Alder / Chris Cundy / Yoni Silver / Heather Roche / Shadanga Duo / Thanos Chrysakis
Music For Bass Clarinets
(Aural Terrains)
A live performance at London's Cafe OTO from composer Thanos Chrysakis, performing compositions focused on the deeper reeds from composers Christian Wolff, Iancu Dumitrescu, Hannes Kerschbaumer, Georges Aperghis, and Chrysakis himself, in configurations from solo to quintet, with Tim Hodgkinson, Jason Alder, Chris Cundy, Heather Roce, Yoni Silver, and Shadanga Duo.
Alder, Jason / Thanos Chrysakis / Caroline Kraabel / Yoni Silver
Music for Baritone Saxophone, Bass Clarinets & Electronics
(Aural Terrains)
Exploring the low end of the clarinet family with Jason Alder on bass, contra bass, B flat & E flat clarinets, Yoni Silver on bass clarinet, plus Caroline Kraabel on baritone saxophone & voice, Thanos Chrysakis expanding the sonic space with laptop & synthesizers, in a 5-part series of beautifully paced, absorbing and subtly detailed collective improvisations.
Chrysakis, Thanos / Sue Lynch / James O'Sullivan / Joe Wright
Iridescent Strand
(Aural Terrains)
Very much in an AMM mold of electroacoustic improvisation, this album of intense cooperation and sonic depth presents five sections numbered by Roman numerals, performed in the studio by the adept and investigative quintet of Thanos Chrysakis on computer & synthesizers, Sue Lynch on reeds, James O'Sullivan on guitar, and Joe Wright on sax & dynamic feedback system.
Chrysakis, Thanos / Ernesto Rodrigues / Guilherme Rodrigues / Miguel Mira / Abdul Moimeme
Micrographia
(Creative Sources)
Recording in Portugal, the quintet of Aural Terrains label leader Thanos Chrysakis on piano, Creative Sources label leader Ernesto Rodrigue on viola, son Guilherme Rodrigues on cello, Miguel Mira on double bass and Abdul Moimeme on electric guitar, three parts of microscopic collective electroacoustic improvisation of highly focused, detailed interplay.
Chrysakis, Thanos / Chris Cundy / James O'Sullivan
Asphodels Abide
(Aural Terrains)
Sophisticated and interactive electroacoustic improvisation from the trio of Chris Cundy on bass clarinet, James O'Sullivan on guitar, and Aural Terrains label leader Thanos Chrysakis on laptop, synth and radio, performing the six part "Asphodels Abide".



The Squid's Ear Magazine

The Squid's Ear Magazine

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