Transits Volume 1
Virtuoso percussionist-composer Sarah Hennies, plus Clarinetists Madison Greestone and Katie Porter, and the Bard College Conservatory Percussion Ensemble (Arnav Shirodkar, Esteban Ganem, Jonathan Collazo) tackle rarely heard ’70s scores by pioneering percussionist-composer Michael Ranta, whose East-West fusions with everyone from Harry Partch and Jean-Claude Éloy to Conny Plank, Stockhausen and Toru Takemitsu made him one of the late c.20th avant garde’s most significant, groundbreaking figures.
Born in the US, 1942, Michael Ranta was studio assistant of recombinant composer Harry Partch 1964-65, and key member of Stockhausen’s Cologne circle in the late ‘60s. He was credited with performances on key Jean-Claude Éloy epics, before a move to Taiwan ’73-’79, and return to Cologne, resulted in a prolific streak of recordings, highlights of which have surfaced on Timo Van Luijk’s Metaphon since 2010, leading to a broader renewal of interest in Ranta’s specialised body of work.
Sarah Hennies is keenly aware of Ranta’s long shadow of influence over avant percussion-based music. On ‘Transits Volume 1’ she presents first performances of a number of Ranta pieces that have sat undiscovered for decades, notably exhibiting her own precise tekkerz on a 25 minute work for solo marimba, as well as a 7-part suite for percussion quartet, and a stunning 39 minute finale for clarinet duo and percussion that richly evokes Ranta’s interests in fusions of East-West tradition, timbre and time-slipping chronics. Since getting snagged on Ranta’s work via a reissue of ‘Mu’, a 1970 recording for percussion and electronics with Mike Lewis and legendary studio genius Conny Plank, the cherry-picked reissues of his catalogue and first glimpses of archived gems have consistently enchanted to a mind unstuck from time and daring to dream in other languages.
‘Transits Vol. 1’ makes an intriguing addition to Ranta’s holy mountain of works as one of the first to not feature the artist performing his own compositions. Of greatest interest are the set’s two expansive, durational parts. A four mallet solo scored for 4.0 octave marimba, ‘Mharuva’ ideally platforms Hennies’ creative tenacity in its challenging play of constant left hand motion and unmetered right hand gestures, but the real standout is ‘Continuum II’, where aspects of far eastern classical court traditions elide western chamber music in a masterful 39 minute piece edged with a magisterial jazz noir appeal, thanks to its resounding grasp of space and the entwined lines of clarinet and more brooding, or even sleazier, intimations to our minds, at least, against voluminous banks of percussive thunder.
View more
Virtuoso percussionist-composer Sarah Hennies, plus Clarinetists Madison Greestone and Katie Porter, and the Bard College Conservatory Percussion Ensemble (Arnav Shirodkar, Esteban Ganem, Jonathan Collazo) tackle rarely heard ’70s scores by pioneering percussionist-composer Michael Ranta, whose East-West fusions with everyone from Harry Partch and Jean-Claude Éloy to Conny Plank, Stockhausen and Toru Takemitsu made him one of the late c.20th avant garde’s most significant, groundbreaking figures.
Born in the US, 1942, Michael Ranta was studio assistant of recombinant composer Harry Partch 1964-65, and key member of Stockhausen’s Cologne circle in the late ‘60s. He was credited with performances on key Jean-Claude Éloy epics, before a move to Taiwan ’73-’79, and return to Cologne, resulted in a prolific streak of recordings, highlights of which have surfaced on Timo Van Luijk’s Metaphon since 2010, leading to a broader renewal of interest in Ranta’s specialised body of work.
Sarah Hennies is keenly aware of Ranta’s long shadow of influence over avant percussion-based music. On ‘Transits Volume 1’ she presents first performances of a number of Ranta pieces that have sat undiscovered for decades, notably exhibiting her own precise tekkerz on a 25 minute work for solo marimba, as well as a 7-part suite for percussion quartet, and a stunning 39 minute finale for clarinet duo and percussion that richly evokes Ranta’s interests in fusions of East-West tradition, timbre and time-slipping chronics. Since getting snagged on Ranta’s work via a reissue of ‘Mu’, a 1970 recording for percussion and electronics with Mike Lewis and legendary studio genius Conny Plank, the cherry-picked reissues of his catalogue and first glimpses of archived gems have consistently enchanted to a mind unstuck from time and daring to dream in other languages.
‘Transits Vol. 1’ makes an intriguing addition to Ranta’s holy mountain of works as one of the first to not feature the artist performing his own compositions. Of greatest interest are the set’s two expansive, durational parts. A four mallet solo scored for 4.0 octave marimba, ‘Mharuva’ ideally platforms Hennies’ creative tenacity in its challenging play of constant left hand motion and unmetered right hand gestures, but the real standout is ‘Continuum II’, where aspects of far eastern classical court traditions elide western chamber music in a masterful 39 minute piece edged with a magisterial jazz noir appeal, thanks to its resounding grasp of space and the entwined lines of clarinet and more brooding, or even sleazier, intimations to our minds, at least, against voluminous banks of percussive thunder.
Virtuoso percussionist-composer Sarah Hennies, plus Clarinetists Madison Greestone and Katie Porter, and the Bard College Conservatory Percussion Ensemble (Arnav Shirodkar, Esteban Ganem, Jonathan Collazo) tackle rarely heard ’70s scores by pioneering percussionist-composer Michael Ranta, whose East-West fusions with everyone from Harry Partch and Jean-Claude Éloy to Conny Plank, Stockhausen and Toru Takemitsu made him one of the late c.20th avant garde’s most significant, groundbreaking figures.
Born in the US, 1942, Michael Ranta was studio assistant of recombinant composer Harry Partch 1964-65, and key member of Stockhausen’s Cologne circle in the late ‘60s. He was credited with performances on key Jean-Claude Éloy epics, before a move to Taiwan ’73-’79, and return to Cologne, resulted in a prolific streak of recordings, highlights of which have surfaced on Timo Van Luijk’s Metaphon since 2010, leading to a broader renewal of interest in Ranta’s specialised body of work.
Sarah Hennies is keenly aware of Ranta’s long shadow of influence over avant percussion-based music. On ‘Transits Volume 1’ she presents first performances of a number of Ranta pieces that have sat undiscovered for decades, notably exhibiting her own precise tekkerz on a 25 minute work for solo marimba, as well as a 7-part suite for percussion quartet, and a stunning 39 minute finale for clarinet duo and percussion that richly evokes Ranta’s interests in fusions of East-West tradition, timbre and time-slipping chronics. Since getting snagged on Ranta’s work via a reissue of ‘Mu’, a 1970 recording for percussion and electronics with Mike Lewis and legendary studio genius Conny Plank, the cherry-picked reissues of his catalogue and first glimpses of archived gems have consistently enchanted to a mind unstuck from time and daring to dream in other languages.
‘Transits Vol. 1’ makes an intriguing addition to Ranta’s holy mountain of works as one of the first to not feature the artist performing his own compositions. Of greatest interest are the set’s two expansive, durational parts. A four mallet solo scored for 4.0 octave marimba, ‘Mharuva’ ideally platforms Hennies’ creative tenacity in its challenging play of constant left hand motion and unmetered right hand gestures, but the real standout is ‘Continuum II’, where aspects of far eastern classical court traditions elide western chamber music in a masterful 39 minute piece edged with a magisterial jazz noir appeal, thanks to its resounding grasp of space and the entwined lines of clarinet and more brooding, or even sleazier, intimations to our minds, at least, against voluminous banks of percussive thunder.
Virtuoso percussionist-composer Sarah Hennies, plus Clarinetists Madison Greestone and Katie Porter, and the Bard College Conservatory Percussion Ensemble (Arnav Shirodkar, Esteban Ganem, Jonathan Collazo) tackle rarely heard ’70s scores by pioneering percussionist-composer Michael Ranta, whose East-West fusions with everyone from Harry Partch and Jean-Claude Éloy to Conny Plank, Stockhausen and Toru Takemitsu made him one of the late c.20th avant garde’s most significant, groundbreaking figures.
Born in the US, 1942, Michael Ranta was studio assistant of recombinant composer Harry Partch 1964-65, and key member of Stockhausen’s Cologne circle in the late ‘60s. He was credited with performances on key Jean-Claude Éloy epics, before a move to Taiwan ’73-’79, and return to Cologne, resulted in a prolific streak of recordings, highlights of which have surfaced on Timo Van Luijk’s Metaphon since 2010, leading to a broader renewal of interest in Ranta’s specialised body of work.
Sarah Hennies is keenly aware of Ranta’s long shadow of influence over avant percussion-based music. On ‘Transits Volume 1’ she presents first performances of a number of Ranta pieces that have sat undiscovered for decades, notably exhibiting her own precise tekkerz on a 25 minute work for solo marimba, as well as a 7-part suite for percussion quartet, and a stunning 39 minute finale for clarinet duo and percussion that richly evokes Ranta’s interests in fusions of East-West tradition, timbre and time-slipping chronics. Since getting snagged on Ranta’s work via a reissue of ‘Mu’, a 1970 recording for percussion and electronics with Mike Lewis and legendary studio genius Conny Plank, the cherry-picked reissues of his catalogue and first glimpses of archived gems have consistently enchanted to a mind unstuck from time and daring to dream in other languages.
‘Transits Vol. 1’ makes an intriguing addition to Ranta’s holy mountain of works as one of the first to not feature the artist performing his own compositions. Of greatest interest are the set’s two expansive, durational parts. A four mallet solo scored for 4.0 octave marimba, ‘Mharuva’ ideally platforms Hennies’ creative tenacity in its challenging play of constant left hand motion and unmetered right hand gestures, but the real standout is ‘Continuum II’, where aspects of far eastern classical court traditions elide western chamber music in a masterful 39 minute piece edged with a magisterial jazz noir appeal, thanks to its resounding grasp of space and the entwined lines of clarinet and more brooding, or even sleazier, intimations to our minds, at least, against voluminous banks of percussive thunder.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Virtuoso percussionist-composer Sarah Hennies, plus Clarinetists Madison Greestone and Katie Porter, and the Bard College Conservatory Percussion Ensemble (Arnav Shirodkar, Esteban Ganem, Jonathan Collazo) tackle rarely heard ’70s scores by pioneering percussionist-composer Michael Ranta, whose East-West fusions with everyone from Harry Partch and Jean-Claude Éloy to Conny Plank, Stockhausen and Toru Takemitsu made him one of the late c.20th avant garde’s most significant, groundbreaking figures.
Born in the US, 1942, Michael Ranta was studio assistant of recombinant composer Harry Partch 1964-65, and key member of Stockhausen’s Cologne circle in the late ‘60s. He was credited with performances on key Jean-Claude Éloy epics, before a move to Taiwan ’73-’79, and return to Cologne, resulted in a prolific streak of recordings, highlights of which have surfaced on Timo Van Luijk’s Metaphon since 2010, leading to a broader renewal of interest in Ranta’s specialised body of work.
Sarah Hennies is keenly aware of Ranta’s long shadow of influence over avant percussion-based music. On ‘Transits Volume 1’ she presents first performances of a number of Ranta pieces that have sat undiscovered for decades, notably exhibiting her own precise tekkerz on a 25 minute work for solo marimba, as well as a 7-part suite for percussion quartet, and a stunning 39 minute finale for clarinet duo and percussion that richly evokes Ranta’s interests in fusions of East-West tradition, timbre and time-slipping chronics. Since getting snagged on Ranta’s work via a reissue of ‘Mu’, a 1970 recording for percussion and electronics with Mike Lewis and legendary studio genius Conny Plank, the cherry-picked reissues of his catalogue and first glimpses of archived gems have consistently enchanted to a mind unstuck from time and daring to dream in other languages.
‘Transits Vol. 1’ makes an intriguing addition to Ranta’s holy mountain of works as one of the first to not feature the artist performing his own compositions. Of greatest interest are the set’s two expansive, durational parts. A four mallet solo scored for 4.0 octave marimba, ‘Mharuva’ ideally platforms Hennies’ creative tenacity in its challenging play of constant left hand motion and unmetered right hand gestures, but the real standout is ‘Continuum II’, where aspects of far eastern classical court traditions elide western chamber music in a masterful 39 minute piece edged with a magisterial jazz noir appeal, thanks to its resounding grasp of space and the entwined lines of clarinet and more brooding, or even sleazier, intimations to our minds, at least, against voluminous banks of percussive thunder.