Hind

This collection of music for guitar, brought together by Jose Luis Bieito as the musical element of his music+image binomis, Reflections, possesses a delightful balance of sounds. These are flowing, pulsing, mostly gentle sounds that tend to soothe and calm the listener's mind. Sounds that - through a variety of compositional techniques - tend to be sustained in time; the effects of which can sometimes capture a listener’s attention, holding it inside an extended musical moment, like a spell. When heard while viewing the accompanying (provocative, sometimes disturbing) images, the sounds can serve an additional function: grounding the listener's reaction, enabling the passage of emotion; like electricity discharging through a lightening rod.

The conductor and composer Robert HP Platz was born in Baden-Baden in 1951. His musical mentor and teacher was Karlheinz Stockhausen. Robert Platz was the founder of the Ensemble Koln and was its leader for over 20 years. Rolf Hind had appeared at all the major contemporary music festivals, including Huddersfield and Brighton, and has earned himself the reputation of one of the foremost interpreters of new music.

The conductor and composer Robert HP Platz was born in Baden-Baden in 1951. His musical mentor and teacher was Karlheinz Stockhausen. Robert Platz was the founder of the Ensemble Koln and was its leader for over 20 years. Rolf Hind had appeared at all the major contemporary music festivals, including Huddersfield and Brighton, and has earned himself the reputation of one of the foremost interpreters of new music.

The London Sinfonietta combine two works from Thomas Adès, one of the most distinctive and popular voices in modern composition. Both works feature accompanying films (by Tal Rosner and Sophie Clements) that are included in this CD/DVD set. 'In Seven Days' is a musical interpretation for piano and orchestra of the biblical ‘creation’ by Thomas Adès, composed in collaboration with a film-piece by the artist and filmmaker Tal Rosner. B

Composer John Adams' album Road Movies contains five pieces that Adams' considers "travel music, (…) passing through harmonic and textural regions as one would pass through on a car trip." Indeed, during Leila Josefowicz's spirited and appropriately brusque reading of the "40% Swing" movement from the title work, one hears what sounds like a passing auto in the left channel. Is it mere coincidence or the album concept channeling onto the master tape?