Various Artists | Fallen Sparrow

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Avant Garde: Electro-Acoustic Classical: Contemporary Moods: Type: Sonic
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Fallen Sparrow

by Various Artists

With "Fallen Sparrow," Barry Schrader ventures into neoclassical wanderings [with live] performers joining in to augment the organic feel of the compositions, contributing operatic vocals, violin parts, clarinet and delightful piano passages. - Darklife
Genre: Avant Garde: Electro-Acoustic
Release Date: 

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  Song Share Time Download
clip
1. Love In Memoriam: L'Oreille coupée
Frank Royon Le Mée
2:54 $0.49
clip
2. Love in Memoriam: Marmelade d'oranges
Frank Royon Le Mée
3:15 $0.49
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3. Love in Memoriam: Une histoire de portrait
Frank Royon Le Mée
3:47 $0.49
clip
4. Fallen Sparrow
Mark Menzies
20:00 $1.99
clip
5. Five Arabesques: Arabesque 1
William Powell
1:49 $0.49
clip
6. Five Arabesques: Arabesque 2
William Powell
1:26 $0.49
clip
7. Five Arabesques: Arabesque 3
William Powell
1:30 $0.49
clip
8. Five Arabesques: Arabesque 4
William Powell
2:09 $0.49
clip
9. Five Arabesques: Arabesque 5
William Powell
3:37 $0.49
clip
10. Ravel
Vicki Ray
15:30 $1.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Fallen Sparrow illustrates Mr. Schrader’s mastery in combining live performance with pre-recorded electroacoustic music. On a large scale, the composer’s carefully designed track arrangement creates a seamless, flowing sonic experience. Each composition fits within the disc’s time stream, progressing through a meta-world of sonic events. It’s clear that Mr. Schrader deliberately considers the many relationships that exist between acoustic instruments and electroacoustic sounds. He thoughtfully crafts sonic, rhythmic, motivic, harmonic, and formal materials, creating music that exhibits both freedom and reliance between instruments and electronics. Although temporally aligned with the electroacoustics due to the fixed nature of the sounds, the instrumentalist weaves seamlessly through the synthetic sound world, appearing free from time and technical constraints. The electroacoustic sounds envelop and enhance the acoustic instrument, sometimes providing a driving rhythmic accompaniment and at other times creating a lush textural back- ground allowing the instrumentalist to float above or virtuosically traverse through. Mr. Schrader precisely addresses each compositional element to accurately balance the instrumentalist and electroacoustics, designing every moment to create a natural amalgamation between the two. This is no easy task, yet the musical result is organic and seamless.

Elainie Lillios, Computer Music Journal

______________________________________________

Already on the previous release I had the pleasure to review (EAM), Barry Schrader discussed his interest in timbre as a factor of musical development. On Fallen Sparrow, it has very much attained that status. Sound as such has become both a driving force as well as a source of meaning in itself: It accompanies the lyrics with precise strokes on "Love, In Memoriam," provides sharp contrasts with the lyrically organic lines of the clarinet on "Five Arabesques," and charges between complimentary emulation and direct opposition in "Ravel." On "Fallen Sparrow" (the piece), meanwhile, the embodied, designative and timbral meanings come together in perfect unison, the violin melody moves from agitated death cries to warm acceptance as the work deals with the four final stages of the bird’s life and the sounds fill in the unspoken gaps, the metaphysical implications, the silence.

Just as much as there are musical themes enveloping the entire record, the sound world Schrader has created is tightly defined and recognisable. It certainly had to be with regards to the symbiosis between organic and electronic instruments in all the tracks contained here. This last point opens up another angle from which to regard “Fallen Sparrow”, namely as a distillation of highly personal human relationships, of finding the right partner for a music which requires experience, expertise and a pronounced sensitivity for the nuances that lie in playing with an “invisible orchestra”.

Tobias Fischer, Tokafi

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