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Mark Barden : Anatomy. Cesari, Bledsoe, Rosman, Ballon, Houston, Poppe, Rundel.
Format : 1 CD
Total Time : 01:16:32

Recording : 2019-2020
Location : Cologne/Berlin/Hambourg
Country : Allemagne
Sound : Eglise/Studio / Stereo

Label : Wergo
Catalog No. : WER6434
EAN : 4010228643428
Price Code : DM019A

Publishing Year : 2021
Release Date : 01/05/2021

Genre : Classical
Mark Barden (1980-)
"Veil", pour 2 flûtes piccolo
"aMass", pour flûte, hautbois, clarinette, batterie, piano, guitare électrique, violon, alto, violoncelle et dispositif électroacoustique
"Personae", pour flûte basse et clarinette basse
"Lamentoso", pour flûte piccolo et basson
"Cleft", pour violon et violoncelle
Etudes pour piano seul
Velocity Gauge
Mirros, Masks
On Affect and Nostalgia
"Anatomy", pour batterie et grand orchestre

Matteo Cesari, flûte piccolo
Helen Bledsoe, flûte piccolo
Carl Rosman, clarinette basse
Lorelei Dowling, basson
Ashot Sarkissjan, violon
Sévérine Ballon, violoncelle
Joseph Houston, piano
Brian Archinal, batterie
Deutsches Symphonie-Orchester Berlin
Peter Rundel, direction
Ensemble Mosaik
Enno Poppe, direction

Mark Barden’s music attends to the thresholds of our perception. Subtle deviations, ephemeral swarms of detail, and sustained sonic textures predominate on this portrait recording, as Paul Griffiths' booklet text notes. In these works, which range from solo to full orchestra, Barden hunts for extremes. “Veil” unfolds at the edge of stillness. Two piccolos enfold one another, superimposing pitched and breath sounds with the fluctuating caprice of a veil caught in the air's shimmer. Other works sculpt volatile sounds verging on ex- or implosion that Barden culls from registral extremes. In “cleft”, an exhaustive string duo played with ferocious intensity by Ashot Sarkissjan and Séverine Ballon, Barden focuses on the threshold between unity and divergence, between fusion and splitting. “Can we imagine,” he asks, “that a gap created between cleft layers is not empty but instead rages with chaotic violence?” While smaller instrumentations frame this violence in a sharp and rarefied manner, the orchestral and ensemble works here inhabit a broader, more weighted space. In “aMass”, interpreted by ensemble mosaik, Barden deploys three very different trios to produce a dense, self-similar sound mass that grows to a brutal, sustained climax. Rivaling this sonic power is the titular work “anatomy”, an early orchestral work for percussion solo and large orchestra, heard here by Brian Archinal and Deutsches Symphonie- Orchester Berlin conducted by Peter Rundel.

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