Richard Barrett: Transmission

Editorial Reviews

All Music Guide - Blair Sanderson
This 2006 NMC album of Richard Barrett's intricate music -- designed for players who are well-versed in the extended techniques of their instruments and this "maximalist" composer's extraordinary demands -- may appeal to intrepid listeners intellectually, yet it may also annoy them for its abrasive and disjointed qualities. For example, there is little to love in the harsh vocalizations, contorted bass clarinet lines, and thudding bass drum strokes of "Interference" 1996-2000, even though one may appreciate the complexity and physicality of this work for a soloist acting like a one-man band. Carl Rosman's virtuosic reading is impressive in its relentless energy, if ...
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Editorial Reviews

All Music Guide - Blair Sanderson
This 2006 NMC album of Richard Barrett's intricate music -- designed for players who are well-versed in the extended techniques of their instruments and this "maximalist" composer's extraordinary demands -- may appeal to intrepid listeners intellectually, yet it may also annoy them for its abrasive and disjointed qualities. For example, there is little to love in the harsh vocalizations, contorted bass clarinet lines, and thudding bass drum strokes of "Interference" 1996-2000, even though one may appreciate the complexity and physicality of this work for a soloist acting like a one-man band. Carl Rosman's virtuosic reading is impressive in its relentless energy, if off-putting in its rough sonorities. Peter Neville's performance of the percussion piece "Abglanzbeladen/auseinandergeschrieben" 1992-1996 -- translated as laden with reflections/written asunder -- is easier to take, since the opening section for vibraphone is mellow and almost magical in effect, and the succeeding passages for such percussion instruments as crotales, steel drum, and flexatone seem to be an extension of the first part's bell-like music. The yawping trombone solo, "Basalt" 1990-1991, brings us back to the bracing techniques and tensions of "Interference"; its companions, the gritty "Air for violin" 1993 and the twittering "Knospend-gespaltener for clarinet in C" in English, budding-fissured continue Barrett's exploratory efforts in their knotty growls and multiphonic squeaks. These pieces have a confrontational edge, and whatever differences there are in tone colors and methods of attack, the performers do indeed attack, and the music is dense, sharp, and difficult to absorb in a single sitting. Yet some of the charm of the second piece is found in "Transmission" 1996-1999, where the pairing of Daryl Buckley's electric guitar and Barrett's live electronics is quite attractive, and their repartee seems more or less like a futuristic free jazz jam. Because this CD is a mixed bag, listeners are advised to sample a few tracks first before snapping up this highly challenging collection. NMC's sound is fine in the tracks with acoustic instruments, but the volume is red hot in the final piece.
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Product Details

  • Release Date: 6/27/2006
  • Label: Nmc Records
  • UPC: 675754918521
  • Catalog Number: 117
  • Sales rank: 370,313

Tracks

Disc 1
  1. 1 interference, for contrabass clarinet, voice & pedal bass drum - Colin Matthews & Richard Barrett (12:07)
  2. 2 abglanzbeladen / auseinandergeschrieben, for percussion - Colin Matthews & Richard Barrett (10:26)
  3. 3 basalt, for trombone - Colin Matthews & Richard Barrett (7:39)
  4. 4 air, for violin - Colin Matthews & Richard Barrett (6:59)
  5. 5 knospend-gespaltener, for clarinet in C - Colin Matthews & Richard Barrett (8:23)
  6. 6 transmission, for electric guitar & live electronics - Colin Matthews & Richard Barrett (17:56)
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Album Credits

Performance Credits
Elision Primary Artist
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