program:
Christopher Halffter (* 1930)
[01] Nore pasiva del sentido [San Juan de la Cruz] (1970 /1971) 15:05
for voice, two percussionists and piano
Helene Fauchere, soprano
Detlef Heusinger, conductor
EXPERIMENTAL STUDIO of the SWR
Thomas Hummel / Dominik Kleinknecht, sound direction
Brian Ferneyhough (* 1943)
[02] Mnemosyne for bass flute and tape (1986) 11:15
Martin Fahlenbock, bass flute
EXPERIMENTAL STUDIO of the SWR
Reinhold Braig, sound direction and mixing
Simon Spillner, sound direction
Pre recorded tape:
17 & 18 May 2012
Heinrich Strobel Hall, SWR EXPERIMENTAL STUDIO
Martin Fahlenbock, bass flute
Reinhold Braig / Sven Kestel, recording
Reinhold Braig, mixing
Andre Richard (* 1944)
[03] Glidif. a sonar and cantar à Luigi Nono in memoriam (1991 version) 14:28
for bass clarinet / contrabass clarinet, two double basses and live electronics
COLLEGIUM NOVUM ZURICH
Elmar Schmid, bass clarinet / contrabass clarinet
Johannes Nied / Käthi Steuri, double bass
Detlef Heusinger, conductor
EXPERIMENTAL STUDIO of the SWR
Thomas Hummel / André Richard / Joachim Haas, sound direction
Detlef Heusinger (* 1956)
[03] overburden II (1995) for piano trio and live electronics 22:58
COLLEGIUM NOVUM ZURICH
Urs Walker, violin
Imke Frank, cello
Simone Keller, piano
EXPERIMENTAL STUDIO of the SWR
Thomas Hummel / Detlef Heusinger / André Richard, sound direction
Total playing time: 63:49
Press:
Exploration of sound and space
Two high-quality SACD productions from the Neos label provide an insight into the more than 40-year history of the Experimentalstudio Freiburg and its creative work with electronics and space.
[…] The spectrum in which the technical developments in this area are emerging ranges from the simple playback of pre-produced recordings and the playback of time-delayed, live-recorded sounds to complex forms of the transformation of sound and its projection into the performance space, as well as to complete tonal simulation of room acoustics.
[...] [It] unfolds a multifaceted music full of difficult and subtle twists and turns and delicate, intertwining and penetrating bands of sound, which, through constantly fluctuating changes in sound density, come across as a living organism. Even if several recordings of the work are now available, the flautist Martin Fahlenbock can shine with enormous differentiation and richness of nuances.
[…] Heusinger celebrates a permanent metamorphosis here, so that every tonal trace of traditional chamber music-making disappears. The fact that the piece - it is one of the composer's stronger works - falls behind the other works results from the show character, which is still carefully used, which primarily stages the possibilities of the technique and therefore also appears far less compelling than the details of the other compositions. Heusinger's piece draws attention to what is perhaps the greatest danger that composers today face when they come to Freiburg to realize their own projects there: tracking down effects for the sake of effects.
Interpretation: 
Sound quality:
repertoire value: 
Booklets: 
March / April 2016
