If the Swedish group name Skuggorna Och Ljuset does not ring any bells, then the names of some of its members may help jog the memory—Magnus Granberg on clarinet, Anna Lindal on violin, Leo Svensson Sander on cello, Erik Carlsson on percussion. Yes? Well, all four of them have previously figured on Another Timbre releases as members of the larger ensemble Skogen, in particular playing the Granberg compositions "Ist gefallen in den Schnee" and "Despairs Had Governed Me Too Long".
Jürg Frey and Magnus Granberg are two of the musicians who feature most frequently in the Another Timbre catalogue. So, when the label commissioned two new works in 2015, it was no surprise that they were the chosen composers. Performed by Ensemble Grizzana, including a stellar line-up of AT regulars alongside Frey and Granberg themselves, the resulting pieces were premiered at the Huddersfield Contemporary Music Festival at the end of November 2017, receiving a prolonged ovation and rave reviews.
Double album featuring two long compositions by Magnus Granberg, peformed by Skogen.
“The Swede Magnus Granberg has rapidly become a key member of the Another Timbre family, this being his fifth album on the label in under four years, with four of those being his own compositions. Those familiar with Granberg's past AT releases will be delighted to hear that How Deep is the Ocean, How High is the Sky? follows the familiar pattern of the others. As before, it employs material derived from another song—in this instance, Irving Berlin's "How Deep is the Ocean"—but there are few, if any, traces of the original in evidence. Instead, the piece establishes a pleasantly melancholy mood that typifies Granberg compositions.
A double CD of music for violin + piano and vibraphone, composed and played by two young American composers and members of the ensemble Ordinary Affects, who have recorded music by the Jürg Frey, Magnus Granberg, Nomi Epstein, Michael Pisaro, Eva Maria Houben and others. The second disc contains an exquisite new work by Morgan Evans-Weiler, while the first presents for the first time the beautiful music of JPA Falzone, who acknowledges a connection with Feldman. “Feldman’s approach to writing asymmetrical patterns has long fascinated me. His work represents a kind of considered haphazardness in defiance of formalised systems.” (JPA Falzone)