David Lang
33 products
note to a friend
David Lang: the sense of senses
Lang: poor hymnal
LANG, D.: Amelia (Blu-ray, NTSC)
Sonic Wires / Katia & Marielle Labeque
Katia Labèque/Marielle Labèque/David Chalmin/Bryce Dessner -"Sonic Wires"
Founded in 2018, the Dream House Quartet is bringing classical and contemporary music into completely new forms as a matter of course. The members draw on decades of expertise: the two piano sisters, Katia and Marielle Labèque, are joined by Bryce Dessner (Grammy-winning guitarist, composer and founding member of The National), and composer, musician and producer David Chalmin. Together they perform radical commissions from visionary composers and key contemporary works from the past half century.
Child
UND SIE BEWEGTE
All the Heart Of Me
From the Unforgetting Skies
THIERRY LANG FEATURING DAVID L
David Lang: anatomy theater
David Lang: The Day
David Lang: Love Fail
David Lang: The Loser
Bernhard Lang: The Anatomy of Disaster (Monadologie IX)
LANG: Violin Sonata / Cello Sonata / Canto / Viviofa
LANG: Concerto Ebraico / A faun halala / Fleur de delice
LIEDER: FEENREIGEN
Lang: composition as explanation / Eighth Blackbird
Four-time Grammy-winning sextet, Eighth Blackbird (8BB), "one of the smartest, most dynamic contemporary classical ensembles on the planet" (Chicago Tribune), presents the world premiere recording of Pulitzer Prize-winning composer David Lang's composition as explanation, based on Gertrude Stein's seminal 1926 lecture of the same name. Called "Super Chamber Music" by David Lang, this multidisciplinary work incorporates elements of chamber music, theater, and performance art; it has the groundbreaking ensemble not only performing the music, but also speaking and singing Stein's text.
For the performance, the 8BB players committed themselves to a rigorous education process, including lessons in acting, diction, and the art of theater. Musical America praised 8BB's live performance of Lang's work as "every bit as witty, circular, and self-referential as Stein's own prose; it's rare, not to mention utterly satisfying, to hear a work that so completely embodies it's text. To invoke Stein, one suspects Composition as Explanation will be a work of our time for many times to come."
In 2016, 8BB asked David Lang to propose a project that they could perform at the Chicago Arts Club in conjunction with the Club's centennial year. In his research, Lang discovered that Stein had spoken at the Club in 1934; this led him to employ Stein's text as the basis for the piece.
Love is Everywhere: Selected Songs of Margaret Ruthven Lang,
Lang: the little match girl passion / Maroney, Netter, Trio Mediaeval
In producing an update of his Pulitzer-winning 'the little match girl passion,' composer David Lang sought to deliver "...a leaner version of the piece, a more human version, one that emphasizes every breath, and that heightens the individuality of each singer." Featuring inspired performances by singers Molly Netter, Kate Maroney, Gene Stenger and Dashon Burton, as well as the renowned Trio Mediaeval — on the bonus track "I want to live," as well as an updated version of "just (after song of songs)" — this new recording accomplishes everything that Lang set out to explore, opening up fresh vistas of accessibility to a beloved work in modern choral music.
David Lang: shade & wed / Mammoth Trio, Contemporaneous
Featuring inspired performances by Mammoth Trio (Lisa Moore, Ashley Bathgate and Elly Toyoda) and the NYC-based Contemporaneous ensemble (conducted by David Bloom), David Lang's shade is one of his most poignant and dynamic collaborations — a writ-minimal recording with a wide-open emotional arc that can transport us into spaces that are by turns mournful, meditative and uplifting.
'shade' and its companion piece 'wed' clock in together at a little more than 23 minutes, but the listening experience is rich with the gradual ebb-and-flow sensations of an orchestral concert, or more directly, one of Lang's signature song cycles. The title piece moves through several distinct moods, with the middle section allowing the piano trio to step forward into a shimmering light while the string orchestra, as the composer intended, undulates behind them in shadow. The much shorter 'wed' is a triumph of string arrangement, with conductor David Bloom leading Contemporaneous through a slow-building wave of alternately consonant and dissonant textures, reflecting the tragic and beautiful events that inspired Lang to write the piece.
Thierry Lang - Lyoba 2
New Love Must Rise: Selected Songs Of Margaret Ruthven Lang, Vol. 2
In October last year, I reviewed for MusicWeb International, the first volume of songs by American composer Margaret Ruthven Lang. She was unknown to me at the time, and naturally, I had never heard her music. Little did I know that I was in for a treat! Indeed, Volume I of Lang’s selected songs was a very pleasant surprise. The music was exquisite and beautifully matched the lyrics. It made me think: where on Earth had this composer been hiding all my life! For me, it was a revelation, which was why I selected it as one of my Recordings of the Year 2011. I have been anticipating the launch of the second volume. Well, it is here now, under the charming title of New Love Must Rise. I am very pleased to say that it does not disappoint; on the contrary, if anything, it is even better than the first.
In a brief interview to me, via e-mail, tenor Donald George, who performs the songs with pianist Lucy Mauro in both volumes, said of Lang’s work: “The songs are simple, eminently singable and enjoyable. They work in the singing voice”. For me, this is exactly why the songs have an instant appeal and the reason why one is happy to listen to them repeatedly. As with the first CD, the songs are organised into topics: The Garden, The Twilight, Nonsense Rhymes and Pictures and Tomorrow and a Lullaby. The recording opens with On an April Apple Bough; a gorgeous piece and one of my favourites in Volume II. Although not the most difficult to perform, its heart-warming, poetic melody immediately has you hooked! All the other songs within the Garden topic are equally beautiful but there are two that stand out and which I would describe as two mini-masterpieces. The first, I Knew the Flowers Had Dreamed of You, is delicate and lyrical. The second, Nameless Pain, sets a poem by Thomas Bailey Aldrich, where the music perfectly illustrates the poetry. It is vibrant, poignant and powerful all at the same time; if you close your eyes, you can almost feel the summer wind or the scent of the rose and sense the nameless pain of the poet.
These two precious gems are by no means unique. The second topic, The Twilight, begins with another of these little treasures, Song in the Songless. This is on a poem by George Meredith from “A Reading of Life”. It is an extraordinary piece, emotionally very expressive, almost operatic. It is probably one of the most difficult to sing but also one of the most effective dramatically. It works almost like a duet between the voice and the piano. Donald George does it justice and has here the opportunity of showcasing an excellent technique, with some very warm, confident high notes, a very fine crescendo and the right level of sentiment. The piano line is exquisite and engaging, particularly on its own when responding to the voice. Lucy Mauro’s delicate touch and flawless technique give us a luminous sound of great beauty, adding to the emotional impact of the song.
Besides the abovementioned little masterpieces, there is much to enjoy and admire. All the songs within the second topic, The Twilight, are simply adorable; often evocative of a certain romantic atmosphere that adds to the general charm. Then, there is the very funny, at times witty group of Nonsense Rhymes and Pictures, effectively performed by George and Mauro with humour and a real sense of fun. I felt like jumping in and singing along! The last topic, Tomorrow and a Lullaby, is perhaps, from my perspective, as a linguist, the most fascinating section of the recording. It includes a song in German Lied der Nebenbuhlerin and one in French Lament. These songs are not better than the ones in English but it is remarkable how well Lang is able to compose to languages that were not her own. It shows her versatility, knowledge and sensibility.
Tenor Donald George and pianist Lucy Mauro are in this CD, as in the first, in fine form. The musical rapport between them is transparent throughout, as is their obvious admiration for the composer. They revel in the music; their sheer delight is contagious and, like me, you will suddenly realise that you are smiling, all alone in a room, for no apparent reason!
I could go on forever, describing the intricate beauty of Margaret Lang’s songs, one by one, but then, this review would become far too long! To summarise: the songs of the second volume are as admirable as the ones of the first. Lang’s music is full of appealing melodies and sophisticated harmonies but most of all, the songs have a freshness, an innocence of days gone by. They are often deceptively simple but the more one listens, the more one grasps their delicate complexity. This collection of little musical treasures comes, yet again, in an attractive, colourful package as delightful as the music. There are some very interesting, informative notes, on the composer and her songs, written by Lindsay Kooth.
Finally, I would like to end by making a simple suggestion: Get the recording, close your eyes, lean back and enjoy!
-- Margarida Mota-Bull, MusicWeb International
