Christian Mason: Unseen Light

Carolin Widmann (violin), Simon Lepper (piano), Marisol Montalvo (soprano), Anne Clare Hauf (mezzo)

Bamberger Symphoniker, Deutches Symphonie Orchester Berlin, Klangforum Wien, Gergely Madaras & Christoph Eschenbach, Christoph Eschenbach, Clark Rundell, Gergely Madaras

Release Date: 12th Feb 2016
Catalogue No: COL40415
Label: Col Legno

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Mason, C: Clear Night

Bamberger Symphoniker, Bamberger Symphoniker, Deutches Symphonie Orchester Berlin
Christoph Eschenbach, Gergely Madaras & Christoph Eschenbach

Mason, C: Learning Self-Modulation

Carolin Widmann (violin), Simon Lepper (piano)
Bamberger Symphoniker, Deutches Symphonie Orchester Berlin
Gergely Madaras & Christoph Eschenbach

Mason, C: The Years of Light

Marisol Montalvo (soprano), Anne Clare Hauf (mezzo)
Klangforum Wien, Bamberger Symphoniker, Deutches Symphonie Orchester Berlin
Clark Rundell, Gergely Madaras & Christoph Eschenbach

Mason, C: Isolarion - Rituals of Resonance

Deutches Symphonie Orchester Berlin, Bamberger Symphoniker, Deutches Symphonie Orchester Berlin
Gergely Madaras, Gergely Madaras & Christoph Eschenbach

Mason, C: Layers of Love

Klangforum Wien, Bamberger Symphoniker, Deutches Symphonie Orchester Berlin
Clark Rundell, Gergely Madaras & Christoph Eschenbach

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A 2015 Composers’ Prize Winner at the Ernst Siemens Music Foundation. Light, of course. Radiance. It comes from – it comes in – British composer, Christian Mason’s music in the same way it comes from and in with reflections of other composers, going back through Gérard Grisey to Guillaume Dufay and the anonymous authors of plainchant (to cite some plausible kinships), by virtue of how the sound is at one with resonance. This is so, even when Mason – like his nearest musical connections, who include Scelsi, Radulescu and Stockhausen as well as Grisey – is dealing with complex, clangorous resonances: the sounds of bells, as it might be, or of wind blowing through a frost-covered tree. Such luminous congruity may derive, in Mason’s case, from an awareness of spectral music, but the stimulus may equally have been a matter more of acoustic fact and personal experience. ‘When you play the violin’, he has remarked, ‘the open E-string seems to ring in the ear’.

Christian Mason: Unseen Light

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