The Knowledge Of Its Own Making

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Release Date: 18th Aug 2017
Catalogue No: HCR08CD
Label: Huddersfield Contemporary Records (HCR)
Length: 77 minutes

Cassidy: A painter of figures in rooms

Work length13:40

$2.05

$3.85

EXAUDI Vocal Ensemble
Recorded: 13 & 20-21 August 2012
Recording Venue: Tonbridge School Chapel, United Kingdom

Weeks: Nakedness

Work length6:48

$1.00

$1.30

Juliet Fraser (soprano)
Recorded: 13 & 20-21 August 2012
Recording Venue: Tonbridge School Chapel, United Kingdom

Harrison, B: 8 Voices

Work length14:40

$2.05

$3.85

EXAUDI Vocal Ensemble
Recorded: 13 & 20-21 August 2012
Recording Venue: Tonbridge School Chapel, United Kingdom

Chase: Jandl Songs

Work length10:47

$5.00

$6.50

Juliet Fraser (soprano), Tom Williams (countertenor)
EXAUDI Vocal Ensemble
Recorded: 13 & 20-21 August 2012
Recording Venue: Tonbridge School Chapel, United Kingdom

Why can I not

Track length1:03

$1.00

$1.30

Trost in wolken

Track length4:19

$1.00

$1.30

Suchen wissen

Track length1:23

$1.00

$1.30

Leid

Track length2:46

$1.00

$1.30

Mein

Track length1:16

$1.00

$1.30

Bailie: Artificial Environment No. 7 "Harmonizing"

Work length12:22

$3.00

$3.90

Joanna Bailie (electronics)
EXAUDI Vocal Ensemble
Recorded: 13 & 20-21 August 2012
Recording Venue: Tonbridge School Chapel, United Kingdom

Birdland

Track length4:07

$1.00

$1.30

William Tell

Track length4:18

$1.00

$1.30

3 Planes

Track length3:57

$1.00

$1.30

Glover, R: Corradiction

Work length9:11

$1.50

$2.60

EXAUDI Vocal Ensemble
Recorded: 13 & 20-21 August 2012
Recording Venue: Tonbridge School Chapel, United Kingdom

Molitor, C: Lorem ipsum

Work length9:44

$1.50

$2.60

EXAUDI Vocal Ensemble
Recorded: 13 & 20-21 August 2012
Recording Venue: Tonbridge School Chapel, United Kingdom

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The music Phil and I played during the concert recorded here was not determined in advance (except in respect to when and where we would play, and that in general Phil would mainly sing and I would mainly play the double bass); as this implies, we improvised both the form and content of the performance. But contrary to what some writers often assume, this doesn’t necessarily denote elements of stream-of-consciousness, or moment form, or indeterminacy. Indeed I would suggest this is composed music in many senses of the term, but not composed in advance of performance. It is certainly ‘determined’ in the sense that on the whole we decide what will happen, it doesn’t just happen to us. As experienced improvisers Phil and I know what we are doing (although we don’t always know what we are going to do). Admittedly, every now and then we might also do something we didn’t even know we could do, but in the main we draw on our considerable individual vocabularies and structuring strategies to spontaneously produce unforeseen and unrepeatable constellations of sound with a malleable yet form-aware structure. For me this represents one of the ideal possible states of music-making - a musical voyage of discovery, without a map but with an erudite and companionable fellow-traveller!

The Knowledge Of Its Own Making

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