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Density 2036: part iv (2016)

by Claire Chase

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    Thank you for supporting Density 2036! Learn more about the project, artists and pieces at Density2036.org. With gratitude, Claire


    All proceeds go to the Pnea Foundation, a 501(c)(3) organization dedicated to advancing the repertory of the flute through education, community-building and advocacy.
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STORY 1 — do Be that as it may, as I was saying, – know what I mean? – at the end of the day – know what I mean? – at the end of the day, you have to do what you do – know what I mean? – there’s nothing more you can do, is there?, nothing at all, at the end of the day – know what I mean? – you have to do what you do, you cannot do more, can you?, you have to do what you do – know what I mean? – I mean, there’s nothing at all, at the end of the day – know what I mean? – at the end of the day, you have to do what you do – know what I mean? STORY 2 — life If you think about it, life, if you think about it, think about it, if you think about it, when you think about it, life, life, life, when you think about it, when you think about it, would you think about it?, life, life, life, life, life, life, life, life, life, life, if you think about it, if we think about it, if you think about it, life, life, if you think about it, life, if, life... STORY 3 — snow That it may bring, that it may bring, that bring, that it may bring, that it may bring, that it may snow white snow, that it may bring, that bring, that it bring, that bring, bring, that it may snow white snow, that it bring, that it may bring STORY 4 — words words words words words words words words words words words words words words words words words words words words STORY 5 — numbers What is one to the power of one take away two, take away one hundred and eleven, take away two to the power of one point one with the addition of two to the power of threescore thousand, take away two thousand and one, take away fifty one million to the power of sixteen thousand, take away thirty dozen times twelve, times one, take away half a thousand times ten thousand, take away a half to the power of a half divided by point seven, times two point three three eight nine three, times ten, take away forty thousand millions, take away four and a half? STORY 6 — a piece of music You hear this bell, and then a voice is heard: the trumpet, sounding the high scale of dream lands. This voice’s first note bears a gentle accord of winds, which change to a march, slow. The third time the winds do this the subject is ‘Songs of the Moon’. A double second may take the wind higher, but kettledrum and trumpet burst in with the ground set: A–Do–A–As. Waves follow, and you hear fast stars and strange roots. From records the set will come again, heard fast. The set’s notes drift nearer, and a slight sound closes the phrase. Enter a music pale and piteous. Then we hear the set above a fast lightness, this time the set backward. The piece is moving to A natural, and in the wind a second row is heard, above the general set. Lines in the wind fall, crash and thunder. Pause. Low down we hear sixteen play a monstrous organ. Again a pause. Whips fly, and love music. Bells in quick lines mirror the set, and you hear a pipe sound the fall of a second. Rock music. Recorders recover the harmony. The organ will enter upon highest A sharp , with the strings below. You hear the set in compound time, with flame music in the wind. There is a discord, strong but smooth. Pause. All the wind speed the set to a march in a bastard scale, after which the wind again play melodious folk songs. To lead the wind comes the trumpet (and bell) to sing requiem, and a treble voice. All now is memory. STORY 7 — it seems I should remember what to say It seems I should remember what to say, But in my mind I hear strange troubles speak And I, concealed in silence, shall not play; The trumpet here will call, I am too weak. What can I say that will not be a lie? My words, I will say this, are not my own, I mouth the lines, and see them as they die: A life of puppets by the wind is blown. My words could I reword and not repent? This bad begins, and worse remains behind: No means I have to show you how I meant Another woman of another kind. In shapes and sorts and swords I did my best, I let the audience act and tell the rest. - texts from Paul Griffiths' "Hamlet Stories"

about

Claire Chase, described by the New York Times as "the most important flutist of our time," releases her most ambitious recording project to date: four full-length albums of the complete Density 2036 cycles from 2013-2018. The third album in the four-CD compilation features the 2016 cycle of Chase's 23-year commissioning project: world premiere recordings by Richard Beaudoin, Suzanne Farrin, Vijay Iyer, Pauchi Sasaki and Tyshawn Sorey.

"Meyer Sound’s pioneering Constellation acoustical system made these recordings possible. Constellation creates ideal and flexible acoustical environments in any room or performance venue at the flick of switch, giving performer and audience alike the optimal acoustical environment and performance experience. In these recordings, spanning a five year period, Claire Chase utilized the range of Constellation’s capabilities at Meyer Sound’s Pearson Theatre in Berkeley, California. The recording process is true to a performance: no editing, no post-production. Everything you hear is from a single take, with the perfect sound balance achieved through the magic of Meyer’s Constellation technology. The emotional impact is extraordinary, and is harnessed by the acoustical environment. The results, as you will hear, are remarkable."

Matias Tarnopolsky, producer
Philadelphia, October 2020

credits

released December 18, 2020

CLAIRE CHASE, flutes
Levy Lorenzo, electronics

Taurin Barrera, electronics
Suzanne Farrin, ondes Martenot
Tyshawn Sorey, percussion
Roomful of Teeth/Brad Wells, conductor

A MEYER SOUND PRODUCTION
Helen Meyer and John Meyer,
Executive Producers

Matias Tarnopolsky, producer
David Dennison, recording engineer
Miles Rogers, Constellation engineer

Recorded at the Pearson Theater,
Meyer Sound Laboratories, Berkeley, CA
July 2018–August 2019

Corbett vs. Dempsey Records
Jorinde Voigt, cover art

The Match I, 2019, india ink, gold leaf, pastel, oil pastel and graphite on paper in artist- designed frame, 551⁄4 x 109 7/8 inches

Image courtesy of the artist and David Nolan Gallery, New York.

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Claire Chase Brooklyn, New York

www.density2036.org

Claire Chase is a flutist, interdisciplinary artist, educator and advocate for new and experimental music. She was awarded a MacArthur Fellowship in 2012, and in 2017 was awarded the Avery Fisher Prize from Lincoln Center for the Performing Arts. Chase is Professor of the Practice of Music at Harvard University. ... more

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