richard baker, Richard Uttley, Goldfield Ensemble - Paths (Bonus Track Version) (2019) [Hi-Res]

Tracklist
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01. Paths Where the Mourners Tread
02. Quasi una cadenza
03. On Visiting Stravinsky's Grave at San Michele
04. Malinconia Militaire: 1st Movement
05. Malinconia Militaire: 2nd Movement
06. Malinconia Militaire: 3rd Movement
07. Malinconia Militaire: 4th Movement "Poem"
08. Café Warsaw 1944: I. Prologue
09. Café Warsaw 1944: II. Lament
10. Café Warsaw 1944: III. Scherzo
11. Café Warsaw 1944: IV. Lament II & Coda
12. Kaleidoscope (Bonus Track)

'It is incredibly rare to stumble across a virtually unknown or forgotten composer whose music genuinely excites and delivers, piece after piece. Erika Fox’s language is bold, feisty, uncompromising and astonishingly fresh. A highly distinctive style has emerged from a childhood suffused with music of Eastern European origin. Hasidic music, liturgical chant embellished with heterophony mingle with modal ancient melodic lines reminiscent of Eastern European folk music. She is a composer who is constantly energised by sound and its inexhaustible possibilities.' (Kate Romano - Artistic Director of Goldfield Ensemble) In the 1970s, Erika was actively involved with the Fires of London, the Nash Ensemble, Dartington, and the Society for the Promotion of New Music (SPNM). Between 1974 and 1994 her works were regularly performed at London's South Bank Centre, at major festivals and were regularly broadcast in the UK and abroad, but then it all stopped... This album brings her music to a new audience; six chamber pieces have been selected, spanning a 25 year period (1980-2005). They represent the depth and scope of Fox’s music and are a fine introduction to her extraordinary musical imagination. Erika says: "I have always been interested in theatre and ritual, as a means of containing human drama within boundaries. Since my music owes almost nothing to Western musical tradition, and almost everything to my childhood memories of Jewish Liturgical chant and fragments of Hasidic melody, there is no harmonic development as such, rather single melodic lines, often in heterophony, held together by dint of varied repetition, and moulded, sometimes by use of percussion, to provide a ritualistic and perhaps theatrical whole."

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