Novus Ritus, a CD featuring percussion, voice, live electronics, and interactive video, has been released by Stradivarius. This project is part of MUSIC4D, an initiative of the "A. Scontrino" Conservatory of Trapani, funded by the European Union under the Next Generation EU program, with scientific coordination by Eugenio Catone. MUSIC4D is an innovative project created to explore the intersections between music and technology, redefining the boundaries of education, composition, and performance in the digital age. Conceived by Antonino Errera, Novus Ritus was brought to life through a collaboration between the "A. Scontrino" Conservatory of Trapani and Arizona State University, facilitated by Simone Mancuso and Gabriel Jose Bolanos, professors of Percussion and Composition, respectively, at the university. The tracklist unfolds through four tableaux vivants, animated by the pulse of percussion rooted in archetypal rhythms. The original music is performed by the composers themselves, with the vocal contribution of Irene Sciacca, a student at the Scontrino Conservatory and co-author, alongside Errera, of the vocal lines for the chants, which are performed in four languages: Greek, Latin, Arabic, and Sicilian. The instrumentation includes both ritual Mediterranean instrumentso typical of Morocco and Tunisia and instruments used in classical and avant-garde music, including the sixxen, microtonal instruments designed by the Greek composer Iannis Xenakis. In the album liner notes, Miriam Scotto di Santolo writes: "Filtering, reverberation, granulation, and sound spatialization 'transport' the audio from the present to the remote past, closing the magic circle like contemporary mechanai. Novus Ritus, as the Latin etymology suggests, points to the cyclical nature of an Hypostasis: Rites dedicated to the Moon, the prehistoric Great Mother who appears in the sky each month as a reflection of the Sun as a sickle announcing birth and death, wind and rain, sowing and harvest, in a mystical dance that has always inspired poets, mystics, and artists everywhere." It is an original project with broad geographical and temporal horizons, an evocative listening journey that suggests narratives, stories, and references to be identified and discovered within an intertwining web of auditory and visual impressions.
On 25 September 2026, Divine Art is proud to present Eduard Tubin's powerful Requiem for Fallen Soldiers and other major choral works by the composer, performed by the Estonian National Male Choir, conductor Mikk Üleoja. The soloists are Iris Oja (mezzo-soprano), Indrek Vau (trumpet), Madis Metsamart and Anto Õnnis (percussion), and Piret Aidulo (organ). The album is released to tie in with the sixth annual Tubin Festival from 28 September to 4 October 2026 in Tartu and Tallinn, Estonia. Artistic Director of the Festival Mihhail Gerts has written an excellent article about these choral works for the booklet notes. Eduard Tubin (1905-1982) is recognized as one of Estonia's greatest composers. He had to flee the country during World War II and spent his later decades in Sweden, but he drew strength from his national heritage and often incorporated Estonian folk music into his works. He was a devoted choral conductor throughout his entire creative career, and men's choir music held a particularly special place in his heart. The album includes all his choral songs written during his homeland period, some from the early years of his exile to Sweden, and two major works influenced by the tragedies of World War II: 'Reekviem langenud sõduritele' (Requiem for Fallen Soldiers) and 'Taganejate sõdurite laul' (Song of the Retreating Soldiers). He composed all of his choral songs from his homeland period for the men's choir of the Tartu Men's Singing Society and remained associated with the group until his escape from Estonia in 1944. The songs include 'Karjase laul' (The Shepherd's Song), written to a folk text, as well as 'Igatsus' (Longing), 'Randaja õhtulaul' (The Wanderer's Evening Song), and 'Noore kotka laul' (Song of the Young Eagle), all set in the 1930s to texts by one of the composer's favourite poets, Ernst Enno. His rich musical landscapes often depict memories of his youth as a shepherd. Mihhail Gerts says, 'These miniatures, characterized by a wide dynamic range and a wealth of tonal colors, transport the listener to the meadows along the shores of Lake Peipus near the composer's birthplace, where the young music enthusiast spent his summer months.'
Torke: Rapture (Percussion Concerto), An American Abroad / Currie, Alsop, RSNO
Naxos
CD
$19.99Jan 01, 2003
REVIEWS:
...Torke speaks with his own voice and (more importantly) knows how to write a good tune or two. And so despite the danger of sounding like a shameless Gershwin rip-off, An American Abroad comes across more as a joyous updating of a tried and true concept, and contains at its heart a lyrical melody that Gershwin himself would have been proud to sign. The much briefer Jasper covers similar emotional ground, being a bright, breezy jeu d'esprit that effortlessly sustains its 12-minute length.
The major work, though, is Rapture, a percussion concerto that features--in each of its three movements respectively--drums and woods, mallets, and metal instruments. Percussionist Colin Currie has a field day wielding his various pieces of musical artillery, and the outer movements play an entertaining game of having the soloist set a series of complex rhythmic patterns while the orchestra then proceeds to construct a variety of tunes employing them. It's great fun, if a bit relentless, and the vaguely Balinese central movement offers a very lovely and quite necessary element of repose...this brilliantly performed and recorded selection fills an important niche in Naxos' American Classics series. Despite rather unhelpful notes by the composer, it would be churlish to deny this sunny and accessible music anything but the highest recommendation. [2/3/2003]
UNIKO features the Kronos Quartet together with the Finnish Duo - accordion adventurer Kimmo Pohjonen and sampling guru Samuli Kosminen. They create a new, multi-dimensional sound world. Commissioned by Kronos in 2003 and premiered at the Helsinki Festival in 2004, UNIKO has drawn sellout crowds. The spectacle is as visual as it is aural, and is a must-see on DVD.
The Norwegian Soloists’ Choir and Grete Pedersen have made acclaimed recordings of music spanning a millennium – from chants by Hildegard of Bingen (1098 – 1179) to the most recent compositions – and in styles ranging from folk songs to Bach motets and Berio’s Coro. On their new album, the focus is on contemporary Norwegian music, with three works which all originate in words and challenge the relation between language and music. For his Lament from 2015, Lars Petter Hagen has chosen to set a short text by E. E. Cummings, written when the poet was 6 years old. The words of the poem are split up and stretched out into pulsating waves of grief, at once mysterious, beautiful and painful. Awarded the Nordic Council Music Prize in 2018, Muohta (Snow) consists of 18 sections, each setting a single word in Sámi, the language of the indigenous people in the north of Norway. The words are all related to snow, and composer Nils Henrik Asheim has found inspiration in how indigenous peoples live with nature, as opposed to seeking to control it.
Ecstatic Drumbeats / Evelyn Glennie, Taipei Chinese Orchestra
BIS
SACD
$21.99May 01, 2012
Appearing with leading orchestras and conductors around the world, Evelyn Glennie has also collaborated with musicians as diverse as Emmanuel Ax, the King's Singers and Bjork. Another unexpected partner is the Taipei Chinese Orchestra, with which she first performed at the 2009 Deaflympics. Returning to Taiwan a year later, she recorded the present disc of original compositions and arrangements for percussion and Chinese orchestra. The programme is wide-ranging in geographical terms, with works by composers from the Far East, as well as by German-based Nebojsa Zivkovic, whose duo Born to Beat Wild for bass drum and trumpet here is performed with a suona, 'Chinese oboe', replacing the trumpet. But the disc also spans a vast distance in time, in that the final work, Emperor Qin Crushing the Battle Formations, is a reworking by the composer Yiu-Kwong Chung of an ancient score first performed in the year 627 at the court of the second Tang Emperor. Ecstatic Drumbeat is the last of four discs that present collaborations between the Taipei Chinese Orchestra and soloists from a Western tradition, with Evelyn Glennie following in the footsteps of flutist Sharon Bezaly, saxophonist Claude Delangle and trombone player Christian Lindberg on her own oriental journey.
Playful and with an acute ear for the full range of possibilities of the human voice, Perttu Haapanen has established himself as one of the most exploratory and intellectually curious composers of vocal music active in the Nordic countries. His output includes works for a wide variety of musical formations, but the human voice is central to much of it. He combines a deep understanding of traditional choral sonority with a modernist fascination for extended techniques and structural rigor and a post-modern interest in the deconstruction of text. In his writing, Haapanen examines the full range of sound production available using the human vocal apparatus. We hear singing, of course, but also whispering, speaking, shouting, Sprechgesang, breathing sounds, whistling, lip smacks, tongue clicks, grunting as well as nasal tone and falsetto. Haapanen's use of text is also far from traditional: he is as interested in words for their sonic qualities as he is in the meanings they convey, separating them into their individual phonemes or using similar-sounding words in quick succession to create a sonic image. The subject matter explored in these texts is varied, but notable in a number of Haapanen's works is his interest in the themes of playfulness and of childhood - although not necessarily the innocent variety. The Helsinki Chamber Choir has a diverse repertoire, as shown on it's previous, acclaimed albums for BIS which range from late Renaissance Christmas hymns via 19th-century Finnish songs to spring to 20th-century modernism. Particularly highly regarded for it's work with new music, the choir under it's artistic director Nils Schweckendiek here takes the step into the 21st century, and proves it's expertise in a highly demanding programme.
On September 18, Storyville Records releases a newly remastered edition of Circular Chant, percussionist Marilyn Mazur's 1994 recording made in connection with the Jazzpar Project, featuring new liner notes by saxophonist Fredrik Lundin and new album cover art. Marilyn Mazur (1955-2025) was a singular presence on the international jazz scene. Few percussionists have commanded such a wide range of instruments. She reshaped the role of percussion in improvised music and developed a personal musical language that expanded it's expressive scope. Recorded in March 1994 at Sun Studio in Copenhagen and at the Jazzpar Prize Concert at the SAS Falconer Center, the album documents a specially assembled ensemble featuring Nils Petter Molvær, Per Jørgensen, Michael Riessler, Hans Ulrik, Bugge Wesseltoft, Mikkel Nordsø, Klavs Hovman, Jacob Andersen, and Mazur herself. The album contains 13 tracks in total: nine compositions by Marilyn Mazur and four co-composed group pieces. Although the group was formed for the Jazzpar concerts, the recordings show a high degree of cohesion. The ensemble, often referred to as Pulse Unit, combines composed material by Mazur with ensemble pieces and shorter interludes. Mazur worked throughout her career at the intersection of composition and improvisation, and Circular Chant reflects this approach to ensemble writing and performance. The album places strong emphasis on group interaction, with the ensemble frequently functioning as a responsive collective. The three wind players, Molvær, Ulrik, and Riessler, play a central role throughout, moving between melodic and textural roles. They are supported by Wesseltoft on keyboards, Nordsø on guitar, Hovman on bass, and the rhythmic interplay between Andersen and Mazur on percussion and drums. The recording moves between composed ensemble works, vocal-led sections, electric group passages, and shorter interludes. More than thirty years after it's original recording, Circular Chant stands as a distinctive collaborative release from European jazz in the 1990s, bringing together a group of musicians who were central to the Scandinavian and wider European scene at the time.
TYRANNIDE was conceived from the desire to explore the theme of cante jondo as a universal expressive archetype, not confined to the Spanish tradition but deeply rooted in human nature. It's primordial character - often expressed through the insistence of the semitone and microtonal inflections - becomes a symbol of the human condition, forced to confront suffering, death, and their inexorable musical reflection. A tyranny, indeed: that of a lament that does not belong to a single people or era, but which runs through the history of music, re-emerging in the form of appoggiaturas, suspended tensions, and melodic lines filled with longing. Cante jondo, originally connected with Andalusian flamenco, thus becomes, in the programme of this recording, a universal musical principle, capable of manifesting itself even in languages far removed from the Spanish tradition. The programme includes two works never previously recorded: Cantar de mio Cid by the French composer Jean-Dominique Krynen and the Concerto Trois Graphiques by Maurice Ohana in it's original arrangement for guitar and piano. Around these two central works unfolds a musical journey that places cante jondo in dialogue with different historical and stylistic contexts, revealing it's surprising expressive continuity.
A protege of legendary jazz master Dizzy Gillespie, Arturo Sandoval has been awarded 10 Grammy® Awards, and been nominated 19 times. He has also received 6 Billboard Awards as well as an Emmy Award for his composing of the entire underscore of the HBO movie based on his life, "For Love or Country", that starred Andy Garcia as Arturo. Considered one of the world's most acknowledged guardians of jazz trumpet and flugelhorn, he is also recognized worldwide as a renowned classical artist, pianist, and composer.
Cage: Works for Percussion, Vol. 4 / Whiting, Otte
Mode Records
CD
$20.99May 05, 2017
John Cage allowed for some of his works to be combined and performed simultaneously. Percussionist Bonnie Whiting has created uniquely virtuosic solo-simultaneous realizations of some of these works for "speaking percussionist." 51'15.657" for a speaking percussionist is Whiting's solo-simultaneous realization of all of 45' for a speaker and 27'10.554" for a percussionist. Cage wrote 45' for a speaker to perform himself. He wrote on thirty-two subjects and added a series of gestures (gargling, lighting a match, etc.) to be performed during the delivery. Like the percussion piece, each page is one minute long. Between 1984 and 1987 Cage composed 17 pieces called Music for ____. Any of these pieces can be performed alone or together in any combination. Here Whiting combines one of the percussion versions with the version for voice. Her recital is completed by Cage's two beautiful, classic, early pieces for voice and piano: The Wonderful Widow of Eighteen Springs and A Flower. Here the piano is used as a percussion instrument, never played on the keys but rather knocked and slapped on by th epianist. As in the larger works, Whiting gives a tour de force performance of both parts simultaneously. As a bonus, Whiting's mentor Allen Otte performs his work for speaking pianist/percussionist which is created around works of Cage and utlizing Cage's compositional "tools" for both the music and text.
Cage: Music for an Aquatic Ballet, Music for Carillon No. 6 / Faralli, Fabbriciani
Brilliant Classics
CD
$13.99Aug 28, 2012
In addition to electrifying performances and exciting repertoire, this fascinating disc offers several world premiere recordings to the Cage canon. Flautist and Cage expert Roberto Fabricciani is joined by percussionist Jonathan Faralli in anticipation of John Cage’s 100th birthday in 2013, turning out a disc that reveals a rich interpretation couched in intimate knowledge of the composer’s game-changing aleatoric music. An historic disc for an historic event.
