Hello, cupfinal day in Europe, Real won after 120 minutes of play and a penalty shoot out 5-4. Before Atletico had been chasing an equaliser for most of the game, missing a penalty but 11min from time scoring a fine goal. In the end sour grapes after losing a third Champions final..meanwhile over at the Giro 'D'Italia local hero and favorite Nibali thought down and out last Sunday won his first pink jersey this afternoon, loser of the day was Steven Kruiswijk who after a brave ride lost even a place on the podium. He would have deservedly won this years Giro if not for the slight loss of concentration which caused him a crash during a downhill, broken rib and barely able to walk he lost almost 5 minutes that day. In the G.C. he's 110 seconds behind Nibali
Then there's Monaco's Grand Prix, glitz and glamour Red Bull in the headlines Ricciardo on pole, Verstappen from the pits after a slight clip at the back broke his steering bar and made him crash his car in the wall during his first qualification run,, way to go Max now you have to overtake most of the field on a circuit where its extremely difficult to do so..i will be surprised if he makes it to the finish.
Today's artist is an English composer and double bassist. He has been active in, or has produced works in, a variety of styles of music, including jazz, free improvisation, minimalism, historicism, experimental music, avant-garde and neoclassicism.. .. ........N'Joy
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Richard Gavin Bryars (b Goole, Yorkshire, 16 Jan 1943). English composer. He read philosophy at Sheffield University (1961–4) and studied composition with Cyril Ramsey and George Linstead. In 1968 he became part of London's fast-developing experimental music scene; although never a member of the Scratch Orchestra, he worked regularly for a while with the pianist John Tilbury. His best known works of this period – The Sinking of the Titanic (conceived in 1969 and still officially in progress 30 years later) and Jesus' Blood Never Failed me Yet (1971) – are good working examples of his early aesthetic. While conceptual concerns are central (the former work is based on a series of hypotheses surrounding the disaster that befell the liner), these are explored via a rigorous, not to say relentless, extrapolation of found objects, be they the music which evidence suggests was performed on board the Titanic as it sank, or the tape of a London tramp's song, incessantly repeated in Jesus' Blood. A further dimension of the experimental aesthetic was demonstrated by the concerts of the Portsmouth Sinfonia, founded while Bryars taught at the Portsmouth College of Art: here, the performances of Western classical music by untrained musicians embodied what Michael Nyman called the ‘wide discrepancy between intention and effect’ (Experimental Music, London, 1974). The first period of Bryars' work offers a very English perspective on the experimental tradition, augmenting territory already defined by Satie, Cage and others with an openness towards, for instance, frankly sentimental materials and their associations.
The influence of Marcel Duchamp, already detectable in earlier works, was enhanced by intensive study during two fallow compositional years (1973–4), by which time Bryars had established what was to become a long-standing relationship with Leicester Polytechnic. A determination – inspired in part by the composer's affiliation to the 'Pataphysics movement – to justify every compositional decision via specific, though often hidden or arcane, associations with its literary or artistic inspiration is here harnessed to musical processes derived in part from American minimalism. Bryars's main source of performances during this period was his own ensemble, formed in 1979 and initially dominated by keyboards and percussion, since the early 1990s by low strings. Pieces such as Out of Zaleski's Gazebo for two pianos, six or eight hands (1977) and My First Homage (1978 onwards, best known in the version of 1981 for eight performers) submit familiar-sounding borrowed materials – many taken from his then favourite composers: Lord Berners, Grainger, Bill Evans, Karg-Elert – to repetitive forms governed as much by the logic implied by these pieces’ musical and extra-musical reference points (and by the significant play of irony) as by purely internal musical processes. This approach governs Bryars's second period which lasted until the opera Medea (1982, rev. 1984). The flexibility, if not compromise, demanded of a composer in the theatre led to changes in Bryars's attitude and working methods; the Duchamp-inspired principle of justification was then abandoned in favour of a more free-wheeling approach to structure. Since Medea his output has often been for more conventional forces, such as orchestras and string quartets, and commissioned by musicians of repute in other fields; there has been a number of works, for instance, for the Hilliard Ensemble, including The First Book of Madrigals (1998–2000). While a modal but often chromatically restless melancholy remains an important component of his idiom, the opportunities to write for much larger forces later enriched and sometimes energized Bryars's melodic and harmonic style while offering him a broader timbral palette. These developments are well illustrated by the opera Doctor Ox's Experiment, first performed in 1998.
In 2000, a Joseph Holbrooke reunion concert from 1998 was issued, as was Bryars' score for Biped, a Merce Cunningham dance performance. During this period, Bryars was also working on his third opera, G. Amjad, a collaboration with David Lang for the Canadian dance company La La La Human Steps, was issued in late 2008. In February of 2010, his Piano Concerto: The Solway Canal, a co-commission of the Borletti-Buitoni Trust and the Dutch radio was premiered. The year also saw the release of three new albums: I Send You This Cadmium Red, scored by Bryars for an ensemble that included the speaking voices of John Christie and John Berger; I Have Heard It Said That a Spirit Enters, a collection of songs and instrumental works performed by the CBC Radio Orchestra, conducted by Owen Underhill with soloists Holly Cole, Gwen Hoebig, and the composer; and Live at Punkt by the Gavin Bryars Ensemble with Arve Henriksen guesting on trumpet.
Since 1974 Bryars has been a member of the Collège de 'Pataphysique and was elected Regent in 2001 and in 2015 was named as Transcendent Satrap, the highest honour in the Collège, a position shared with Marcel Duchamp, Man Ray, Eugène Ionesco, Umberto Eco and others.
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The Last Days consists of the title composition (a piece for two violins) and Bryars' "String Quartet No. 1" and "String Quartet No. 2." The first quartet (from 1985), previously recorded by the Arditti Quartet on the ECM release Three Viennese Dances, features sweeping, romantic melodic lines over minimalistically pulsing rhythms. Bryars' penchant for moody, melancholy ruminations is in full effect, though the final section, with its retuned strings entering airy harmonic territories, hints at sublime rapture. The basic material in "The Last Days" (1992) doesn't sound too different from the first quartet, though the work is broken into five portions, lending them more the quality of songs, even arias. However, the romantic surge is somewhat sublimated and a stately aura is almost achieved, which robs the music of greater emotional impact. The second string quartet begins where the first left off: in the upper atmosphere. It briefly settles into an enticingly turbulent give and take but soon reenters the general sound areas of the earlier work, replete with plaintive violin lines over those pulsating cellos. Some differences in technique are apparent, including the use of bottleneck slides, but the overall result is not without its pleasures.
Gavin Bryars - The Last Days (flac 318mb)
01 String Quartet No. 1 ("Between The National And The Bristol") 21:54
The Last Days ("Die Letzten Tage")
02 Prelude (The Roman Ending) 4:08
03 I The Venetian Beginning 5:42
04 Intermezzo I 4:17
05 Intermezzo II 4:06
06 II The Corinthian Middle 8:27
07 String Quartet No. 2 23:46
Gavin Bryars - The Last Days (ogg 151mb)
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The five variations of the title piece find Bryars returning somewhat to the more overtly experimental, not to say whimsical, aspects of his earliest work. They take the form of brief instructions in the fine art of cardsharping, with musical accompaniment, to be broadcast over radio during unoccupied stretches of airtime. A cultured, sometimes drolly amused, Spanish-accented voice announces "good evening" at the beginning of each section, then proceeds to give detailed instructions on dealing from the bottom of the deck, voiding oneself of an unwanted card, and other deceptions. All the while, Bryars' typically moody music rolls along behind him, often with dramatic flourishes investing the instructions with a surreal kind of urgency. The pieces are both effective and wryly humorous, especially if one imagines them suddenly issuing from a car radio late at night. The three works that complete the album are not very dissimilar from Bryars' general output since the mid-80's: somber, hazily romantic ruminations over minimalist derived rhythmic patterns. "Les Fiancailles" does possess a lovely yearning quality very reminiscent of parts of Messiaen's "Quartet for the End of Time" that makes it stand out from the rest.
Gavin Bryars - A Man In A Room, Gambling (flac 342mb)
01 A Man In A Room, Gambling No. 4 5:09
02 A Man In A Room, Gambling No. 8 5:08
03 A Man In A Room, Gambling No. 3 5:10
04 A Man In A Room, Gambling No. 9 5:08
05 A Man In A Room, Gambling No. 10 5:21
06 Fiançailles 18:43
07 North Shore 14:53
08 South Downs 14:49
Gavin Bryars - A Man In A Room, Gambling (ogg 160mb)
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Biped was commisioned by the Merce Cunningham Dance Foundation for the dance by Merce Cunningham. As in all things Bryars, Biped is very low-key, establishing a sort of tense stasis in the opening sections, with quiet, but ominous percussion thundering in the distance. The middle section is sparser, with isolated details and gestures coming in and out of a three-dimensional perspective to add up to a mysterious, luminous nocturnal landscape.
From the fourth section the music opens up to reveal a harmonious plateau that has been lurking underneath the texture much of the time, bringing the work to a conclusion in the final two sections that is both satisfying and rewarding. While the running time of 45 minutes may seem a tad short for some, Biped is a complete musical experience in itself and does not need, nor does it seem to invite, filler material. At times Biped could make one think of Merce Cunningham's feet -- leathery and somewhat twisted out of shape from their long use in dance, but sinewy and incredibly strong with not a square centimeter of fat.
Gavin Bryars - Biped (flac 207mb)
01 Part I 7:34
02 Part II 12:57
03 Part III 9:18
04 Part IV 8:31
05 Part V 5:16
06 Part VI 2:20
Gavin Bryars - Biped (ogg 90mb)
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The music of British composer Gavin Bryars has been shaped by a variety of influences, from the avant-garde aesthetic of John Cage and Cornelius Cardew to minimalism, but its roots were in jazz performance, and it's easy to hear the sensibilities of jazz underlying the solo piano works, After Handel's Vesper and Ramble on Cortona. Both have an improvisatory quality and a harmonic language derived more obviously from jazz than from the Handel or the 13th century laudes that provide the source material. They have a mellow sweetness, and they unfold with amiable leisure. Bryars' Piano Concerto (The Solway Canal) is a darker work, an evocative soundscape that features the accompaniment not only of an orchestra but a choir. The piano part, frequently a simple melodic solo line floated over an arppegiated or chordal accompaniment, is far from the virtuosic showcase that typifies most concertos. The chorus, perhaps inevitably, draws the listener's attention most powerfully, and the piano part frequently takes on the character of an accompaniment. This flexibility of roles and the shifting musical focus should be problematic only for purists who demand that a concerto follow a preordained form, because the result, if not simple to categorize, is hauntingly lovely. Like the solo works, it develops at a reflective, unhurried pace. Its lack of dramatic contrasts in tempo is another element that sets it apart from conventional concertos, but it is highly effective in its moods of subdued melancholy. The album doesn't make the kinds of demands that show off Ralph van Raat's considerable virtuosity, but he brings just the right gentle poetry to Bryars' music. Otto Tausk leads Cappella Amsterdam and Netherlands Chamber Orchestra in a colorful and expressive performance of the concerto.
Gavin Bryars - Piano Concerto (The Solway Canal) (flac 181mb)
01 After Handel's Vesper 11:47
02 Ramble On Cortona 12:34
03 Piano Concerto (The Solway Canal) 28:21
(ogg 108mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Then there's Monaco's Grand Prix, glitz and glamour Red Bull in the headlines Ricciardo on pole, Verstappen from the pits after a slight clip at the back broke his steering bar and made him crash his car in the wall during his first qualification run,, way to go Max now you have to overtake most of the field on a circuit where its extremely difficult to do so..i will be surprised if he makes it to the finish.
Today's artist is an English composer and double bassist. He has been active in, or has produced works in, a variety of styles of music, including jazz, free improvisation, minimalism, historicism, experimental music, avant-garde and neoclassicism.. .. ........N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Richard Gavin Bryars (b Goole, Yorkshire, 16 Jan 1943). English composer. He read philosophy at Sheffield University (1961–4) and studied composition with Cyril Ramsey and George Linstead. In 1968 he became part of London's fast-developing experimental music scene; although never a member of the Scratch Orchestra, he worked regularly for a while with the pianist John Tilbury. His best known works of this period – The Sinking of the Titanic (conceived in 1969 and still officially in progress 30 years later) and Jesus' Blood Never Failed me Yet (1971) – are good working examples of his early aesthetic. While conceptual concerns are central (the former work is based on a series of hypotheses surrounding the disaster that befell the liner), these are explored via a rigorous, not to say relentless, extrapolation of found objects, be they the music which evidence suggests was performed on board the Titanic as it sank, or the tape of a London tramp's song, incessantly repeated in Jesus' Blood. A further dimension of the experimental aesthetic was demonstrated by the concerts of the Portsmouth Sinfonia, founded while Bryars taught at the Portsmouth College of Art: here, the performances of Western classical music by untrained musicians embodied what Michael Nyman called the ‘wide discrepancy between intention and effect’ (Experimental Music, London, 1974). The first period of Bryars' work offers a very English perspective on the experimental tradition, augmenting territory already defined by Satie, Cage and others with an openness towards, for instance, frankly sentimental materials and their associations.
The influence of Marcel Duchamp, already detectable in earlier works, was enhanced by intensive study during two fallow compositional years (1973–4), by which time Bryars had established what was to become a long-standing relationship with Leicester Polytechnic. A determination – inspired in part by the composer's affiliation to the 'Pataphysics movement – to justify every compositional decision via specific, though often hidden or arcane, associations with its literary or artistic inspiration is here harnessed to musical processes derived in part from American minimalism. Bryars's main source of performances during this period was his own ensemble, formed in 1979 and initially dominated by keyboards and percussion, since the early 1990s by low strings. Pieces such as Out of Zaleski's Gazebo for two pianos, six or eight hands (1977) and My First Homage (1978 onwards, best known in the version of 1981 for eight performers) submit familiar-sounding borrowed materials – many taken from his then favourite composers: Lord Berners, Grainger, Bill Evans, Karg-Elert – to repetitive forms governed as much by the logic implied by these pieces’ musical and extra-musical reference points (and by the significant play of irony) as by purely internal musical processes. This approach governs Bryars's second period which lasted until the opera Medea (1982, rev. 1984). The flexibility, if not compromise, demanded of a composer in the theatre led to changes in Bryars's attitude and working methods; the Duchamp-inspired principle of justification was then abandoned in favour of a more free-wheeling approach to structure. Since Medea his output has often been for more conventional forces, such as orchestras and string quartets, and commissioned by musicians of repute in other fields; there has been a number of works, for instance, for the Hilliard Ensemble, including The First Book of Madrigals (1998–2000). While a modal but often chromatically restless melancholy remains an important component of his idiom, the opportunities to write for much larger forces later enriched and sometimes energized Bryars's melodic and harmonic style while offering him a broader timbral palette. These developments are well illustrated by the opera Doctor Ox's Experiment, first performed in 1998.
In 2000, a Joseph Holbrooke reunion concert from 1998 was issued, as was Bryars' score for Biped, a Merce Cunningham dance performance. During this period, Bryars was also working on his third opera, G. Amjad, a collaboration with David Lang for the Canadian dance company La La La Human Steps, was issued in late 2008. In February of 2010, his Piano Concerto: The Solway Canal, a co-commission of the Borletti-Buitoni Trust and the Dutch radio was premiered. The year also saw the release of three new albums: I Send You This Cadmium Red, scored by Bryars for an ensemble that included the speaking voices of John Christie and John Berger; I Have Heard It Said That a Spirit Enters, a collection of songs and instrumental works performed by the CBC Radio Orchestra, conducted by Owen Underhill with soloists Holly Cole, Gwen Hoebig, and the composer; and Live at Punkt by the Gavin Bryars Ensemble with Arve Henriksen guesting on trumpet.
Since 1974 Bryars has been a member of the Collège de 'Pataphysique and was elected Regent in 2001 and in 2015 was named as Transcendent Satrap, the highest honour in the Collège, a position shared with Marcel Duchamp, Man Ray, Eugène Ionesco, Umberto Eco and others.
xxxxx xxxxx xxxxx xxxxx xxxxx
The Last Days consists of the title composition (a piece for two violins) and Bryars' "String Quartet No. 1" and "String Quartet No. 2." The first quartet (from 1985), previously recorded by the Arditti Quartet on the ECM release Three Viennese Dances, features sweeping, romantic melodic lines over minimalistically pulsing rhythms. Bryars' penchant for moody, melancholy ruminations is in full effect, though the final section, with its retuned strings entering airy harmonic territories, hints at sublime rapture. The basic material in "The Last Days" (1992) doesn't sound too different from the first quartet, though the work is broken into five portions, lending them more the quality of songs, even arias. However, the romantic surge is somewhat sublimated and a stately aura is almost achieved, which robs the music of greater emotional impact. The second string quartet begins where the first left off: in the upper atmosphere. It briefly settles into an enticingly turbulent give and take but soon reenters the general sound areas of the earlier work, replete with plaintive violin lines over those pulsating cellos. Some differences in technique are apparent, including the use of bottleneck slides, but the overall result is not without its pleasures.
Gavin Bryars - The Last Days (flac 318mb)
01 String Quartet No. 1 ("Between The National And The Bristol") 21:54
The Last Days ("Die Letzten Tage")
02 Prelude (The Roman Ending) 4:08
03 I The Venetian Beginning 5:42
04 Intermezzo I 4:17
05 Intermezzo II 4:06
06 II The Corinthian Middle 8:27
07 String Quartet No. 2 23:46
Gavin Bryars - The Last Days (ogg 151mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The five variations of the title piece find Bryars returning somewhat to the more overtly experimental, not to say whimsical, aspects of his earliest work. They take the form of brief instructions in the fine art of cardsharping, with musical accompaniment, to be broadcast over radio during unoccupied stretches of airtime. A cultured, sometimes drolly amused, Spanish-accented voice announces "good evening" at the beginning of each section, then proceeds to give detailed instructions on dealing from the bottom of the deck, voiding oneself of an unwanted card, and other deceptions. All the while, Bryars' typically moody music rolls along behind him, often with dramatic flourishes investing the instructions with a surreal kind of urgency. The pieces are both effective and wryly humorous, especially if one imagines them suddenly issuing from a car radio late at night. The three works that complete the album are not very dissimilar from Bryars' general output since the mid-80's: somber, hazily romantic ruminations over minimalist derived rhythmic patterns. "Les Fiancailles" does possess a lovely yearning quality very reminiscent of parts of Messiaen's "Quartet for the End of Time" that makes it stand out from the rest.
Gavin Bryars - A Man In A Room, Gambling (flac 342mb)
01 A Man In A Room, Gambling No. 4 5:09
02 A Man In A Room, Gambling No. 8 5:08
03 A Man In A Room, Gambling No. 3 5:10
04 A Man In A Room, Gambling No. 9 5:08
05 A Man In A Room, Gambling No. 10 5:21
06 Fiançailles 18:43
07 North Shore 14:53
08 South Downs 14:49
Gavin Bryars - A Man In A Room, Gambling (ogg 160mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Biped was commisioned by the Merce Cunningham Dance Foundation for the dance by Merce Cunningham. As in all things Bryars, Biped is very low-key, establishing a sort of tense stasis in the opening sections, with quiet, but ominous percussion thundering in the distance. The middle section is sparser, with isolated details and gestures coming in and out of a three-dimensional perspective to add up to a mysterious, luminous nocturnal landscape.
From the fourth section the music opens up to reveal a harmonious plateau that has been lurking underneath the texture much of the time, bringing the work to a conclusion in the final two sections that is both satisfying and rewarding. While the running time of 45 minutes may seem a tad short for some, Biped is a complete musical experience in itself and does not need, nor does it seem to invite, filler material. At times Biped could make one think of Merce Cunningham's feet -- leathery and somewhat twisted out of shape from their long use in dance, but sinewy and incredibly strong with not a square centimeter of fat.
Gavin Bryars - Biped (flac 207mb)
01 Part I 7:34
02 Part II 12:57
03 Part III 9:18
04 Part IV 8:31
05 Part V 5:16
06 Part VI 2:20
Gavin Bryars - Biped (ogg 90mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The music of British composer Gavin Bryars has been shaped by a variety of influences, from the avant-garde aesthetic of John Cage and Cornelius Cardew to minimalism, but its roots were in jazz performance, and it's easy to hear the sensibilities of jazz underlying the solo piano works, After Handel's Vesper and Ramble on Cortona. Both have an improvisatory quality and a harmonic language derived more obviously from jazz than from the Handel or the 13th century laudes that provide the source material. They have a mellow sweetness, and they unfold with amiable leisure. Bryars' Piano Concerto (The Solway Canal) is a darker work, an evocative soundscape that features the accompaniment not only of an orchestra but a choir. The piano part, frequently a simple melodic solo line floated over an arppegiated or chordal accompaniment, is far from the virtuosic showcase that typifies most concertos. The chorus, perhaps inevitably, draws the listener's attention most powerfully, and the piano part frequently takes on the character of an accompaniment. This flexibility of roles and the shifting musical focus should be problematic only for purists who demand that a concerto follow a preordained form, because the result, if not simple to categorize, is hauntingly lovely. Like the solo works, it develops at a reflective, unhurried pace. Its lack of dramatic contrasts in tempo is another element that sets it apart from conventional concertos, but it is highly effective in its moods of subdued melancholy. The album doesn't make the kinds of demands that show off Ralph van Raat's considerable virtuosity, but he brings just the right gentle poetry to Bryars' music. Otto Tausk leads Cappella Amsterdam and Netherlands Chamber Orchestra in a colorful and expressive performance of the concerto.
Gavin Bryars - Piano Concerto (The Solway Canal) (flac 181mb)
01 After Handel's Vesper 11:47
02 Ramble On Cortona 12:34
03 Piano Concerto (The Solway Canal) 28:21
(ogg 108mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
1 comment:
Would it be possible to have new links for the flac files, please?
Thanks
S.
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