Vale: New Music for Flute
$12.00 – $20.00
“The flute is one of the instruments closest to the audible human breath and is caught in the process of continually becoming something other than a metal cylinder. Listening to Richard Craig’s playing, one becomes aware not of the limitations of the flute but of its expansion into a vibrant sonic biosphere. We listen, not just to the flute, but to the flautist; singing, whistling, humming are added to his palette and become integrated with the sound of the instrument.” —John Hails, from the CD booklet
Richard Craig has established a leading position in the new music world for his virtuosity and skill in traditional and newer techniques on all members of the flute family. Here he presents a challenging and fascinating diverse group of contemporary works by British, American, French and Swedish composers – some are solos, which present even more challenges to the player – others with voice or chamber ensemble.
Vocalist Cora Schmeiser is from the Netherlands and works in early/medieval music, jazz and contemporary and electronic music.
Distractfold Ensemble is a British group of high stature, having been ensemble in residence at Harvard University in 2016 – this year they are back in the USA but at Stanford. The ensemble can vary its personnel and here is a string trio: Linda Jankowska (violin); Emma Richards (viola); Alice Purton (cello)
- Agricola IX
- I. par cette vie infirme et vacillante
- II. Ô phosphorescence
John Croft: Deux méditations d’une furie
[A] virtuoso compilation of recordings, pieces and performances that bring together a myriad of personas. All of these pieces address in some way live-ness, the musical poetics of distance and nearness. What could have possibly gone underway in the rush of live performance is captured in recording, flickering instability becoming itself textual. Perhaps, this speculative listening environment encompasses the situation of listening to these recordings – metaphorically blindfolded to the live bodies of the performers, we lead these bodies through our auscultation into the imaginal daylight of hearing.” —Madison Greenstone
[Craig’s] second disc for Metier is perhaps the most challenging and avant-garde collection that I have heard in some time. Bravo to Craig for continuing to strike out into the unknown.” —Tom Moore
Some of the music on flautist Richard Craig’s second Métier disc might simply be called post-everything. When there’s no tonality, no atonality, no melody and few pitches, what exactly is left? Quite a lot, as it happens – and therein lies the interest. Such technically complex, ‘post-everything’ music paradoxically brings us back to a primal, at times ecstatic state of Fauvist force. Craig owns the works here. The warmth of his tone along with a reverberant room sound, while taking nothing away from the compositions’ severity, succeeds in making them approachable.” —Liam Cagney
The performances appear to me to be brilliant. This is an interesting exploration of modern music for flute, voice and other instruments. It is certainly avant-garde: it is never off-putting.” —John France